TELEVISION, OTT, AND FILM IN INDIA, ASIA, THE MIDDLE EAST, AND AFRICA

Introduction

Over the past two decades, the global media landscape has transformed dramatically. With technological advancements, the proliferation of mobile devices, and increasing internet penetration, traditional media formats such as television have had to adapt, while newer forms like OTT (Over-the-Top) platforms have surged in popularity. Nowhere is this transformation more vibrant than in emerging markets—particularly in India, the broader Asia-Pacific, the Middle East, and Africa. These regions are shaping the future of global media through unique models of content consumption, regulation, and monetization.

India: A Hybrid Media Giant

Television Broadcasting

India remains one of the largest TV markets globally, with over 900 channels and nearly 210 million TV households. Despite the rise of digital media, TV continues to enjoy widespread reach, especially in rural areas. Key players such as Star India, Zee Entertainment, and Sun TV dominate the landscape.

However, the implementation of the New Tariff Order (NTO) by the Telecom Regulatory Authority of India (TRAI) has led to a significant restructuring of pricing and channel bundling, forcing broadcasters to rethink their distribution and monetization strategies.

OTT: The Rising Star

India's OTT sector has exploded, driven by cheap mobile data, widespread smartphone use, and increasing demand for regional content. Platforms like Disney+ Hotstar, Netflix, Amazon Prime Video, JioCinema, and homegrown players like ALTBalaji and MX Player are competing aggressively.

Revenue from OTT is expected to reach $5 billion by 2030, according to PwC. A distinguishing feature of the Indian OTT landscape is its multi-language and tiered subscription strategy. Freemium and ad-supported models (AVOD) are especially popular in Tier 2 and Tier 3 cities.

Film Industry

India's film industry, centered in Bollywood, is one of the world’s largest in terms of volume. While box office earnings dipped during the COVID-19 pandemic, 2022–2025 has seen a resurgence, particularly in South Indian cinema. Additionally, films released directly on OTT during lockdowns have created a new distribution channel.

Key Learnings:

  • • India showcases how OTT and TV can coexist.
  • • Regional content is a goldmine.
  • • AVOD + SVOD hybrid models are vital for market expansion.

Asia-Pacific: A Mosaic of Maturity and Momentum

The Asia-Pacific media landscape is incredibly diverse, spanning mature markets like Japan and South Korea, to emerging powerhouses like Indonesia, Thailand, and Vietnam.

Television Broadcasting

In countries like Japan, South Korea, and Singapore, traditional TV has plateaued. However, in Indonesia and Vietnam, terrestrial TV still commands a large audience due to cost-effectiveness and accessibility.

Public broadcasters still hold cultural and regulatory significance, but private players are increasingly investing in niche and regional content.

OTT Platforms

The region has seen exponential OTT growth. South Korea is a content powerhouse, exporting dramas through platforms like TVING, Wavve, and international distributors such as Netflix.

In Southeast Asia, platforms like Viu, iQIYI, and WeTV cater to diverse linguistic and cultural audiences. The OTT market is expected to exceed $50 billion by 2026, largely due to Gen Z and mobile-first consumption.

Films

South Korea has become a cinematic superpower, with films like Parasite and Train to Busan achieving global acclaim. Government support and focus on international festivals have aided this.

Southeast Asian countries are emerging players—Indonesia and Philippines are producing high-volume, low-budget content targeting local audiences and diaspora.

Key Learnings:

  • • Localization and subtitling/dubbing are essential for regional success.
  • • State-supported film industries (like in Korea) can go global.
  • • Freemium OTT and mobile-first strategies win in emerging economies.

Middle East: A Digital Disruption in the Desert

Television Broadcasting

TV still dominates media consumption in the Middle East, with channels like MBC, Al Jazeera, and Rotana enjoying strong viewership. However, satellite TV is now facing disruption from OTT platforms.

Religious and cultural programming remains a significant draw, especially during periods like Ramadan, which sees a spike in TV content production and viewership.

OTT: Emerging but Cautious

OTT penetration is growing steadily. Shahid VIP (by MBC Group) is the largest Arabic streaming platform and is expanding rapidly. Global players like Netflix, Amazon, and Disney+ are also entering, but face challenges related to content localization, censorship, and regulation.

There is a strong focus on family-friendly and Islamic-compliant content, with user data privacy and regional regulations playing a critical role in OTT strategy.

Films

The Middle East, particularly Saudi Arabia, is experiencing a film renaissance. After lifting a 35-year ban on cinemas in 2018, Saudi has rapidly developed film infrastructure, with NEOM and Riyadh Season attracting international productions.

UAE and Egypt remain traditional film hubs, with Dubai becoming a media investment magnet.

Key Learnings:

  • • Cultural relevance and compliance are critical.
  • • Domestic platforms like Shahid can outpace global players with tailored content.
  • • Public-private partnerships are key to jumpstarting the film sector.

Africa: A Continent of Untapped Potential

Television Broadcasting

TV remains the dominant medium across Africa. In countries like Nigeria, Kenya, and South Africa, terrestrial and satellite broadcasting continue to thrive.

Players like Multichoice (DStv) and SABC dominate, although piracy and lack of local content are ongoing issues. There's also a growing push towards digital switchover (DTT), especially in East Africa.

OTT Platforms

Africa’s OTT sector is nascent but growing. Limited broadband access and high data costs are constraints. However, platforms like Showmax, iROKOtv, Netflix, and YouTube are making inroads.

Local language content, short-form videos, and mobile-friendly platforms (often with offline viewing features) are emerging trends. Telcos like MTN and Safaricom are bundling OTT with data plans, which has helped improve accessibility.

Films

Nigeria’s Nollywood is the second-largest film industry by volume globally, producing over 2,000 films annually. While it has historically relied on DVD distribution, digital platforms have improved reach and monetization.

In South Africa, strong government support and infrastructure have attracted foreign productions. Kenya and Ghana are fast developing their own creative industries.

Key Learnings:

  • • Infrastructure is as important as content.
  • • Telco-OTT partnerships can solve affordability issues.
  • • Local storytelling with international themes appeals to the diaspora.

The media markets in India, Asia, the Middle East, and Africa are undergoing rapid evolution—but at different paces and trajectories. India demonstrates the coexistence of legacy and new media. Asia shows how localized OTT can drive regional and even global engagement. The Middle East underscores the importance of cultural alignment and local investment, while Africa highlights the critical role of infrastructure and mobile integration in unlocking content potential.

For investors, creators, and distributors, the lesson is clear: Success in emerging media markets requires more than just content—it demands cultural insight, flexible monetization, strategic partnerships, and an adaptive approach to technology. Each region offers not only a unique audience but also a unique roadmap to future global influence.