How streaming is changing the game for storytelling

The creative ecosystem within the Over-The-Top (OTT) space is a dynamic network of content creators, producers, distributors, and tech innovators in digital entertainment. It blends creativity and technology to reshape how we consume digital content. OTT platforms, like Netflix, have transformed traditional broadcasting, leading to a diverse landscape of streaming services, original content, and innovative tech. This ecosystem thrives on sharing ideas, merging storytelling with technology, and finding unique ways to engage audiences. As the OTT industry grows, this creative hub plays a vital role in shaping the future of digital entertainment and how we access content on various screens and devices.

In order to gain deeper understanding and to discuss the latest trends and insights, SCREENXX Summit & Awards 2023 saw a panel discussion on ‘Influence of streaming on storytelling’. Chaired by Karan Taurani, SVP Elara Capital, the esteemed panellists included:

Manish Gupta: Film director and writer

Sonal Dabral: Writer, director and creative consultant

Kartik D Nishandar: Founder, GSEAMS, and producer of ‘Taali’

Ravie Dubey: Actor, producer and writer

Vishal Furia: Director

Commencing the discussion, Karan Taurani asked the panellists about how they took this entire cultural shift in India of binge watching and where they saw this going ahead. He also asked if India is mirroring global trends.

Replying to the question, Vishal Furia noted, “It is actually quite a transitional phase. And as makers, we are learning every day and setting new formulas or methods of writing so that the engagement is stronger, because it’s all about engagement these days. Earlier, content was more character-focused, now it has become a lot about the plot, because you have to keep the audience engaged. The moment the audience loses the engagement, they just move on to watching something else, because there’s so much available. So, I think it’s a transitional phase. I myself am also in the learning phase, with every new project that I take up, trends change, new data comes in, and new ideas are thrown in by the platforms. Hopefully, this is an irreversible phase. So, we all have to learn and move on from here and adapt to it.”

When asked about the success mantra that creative directors and producers have, Manish Gupta pointed out that India’s media landscape differs significantly from the global norm. He observed, “While Western countries use terms like “TV shows” to describe what India refers to as “web series”, there are notable distinctions. In the West, TV and OTT content share similarities in style and audience. In India, these two forms of media are markedly different – from their production methods to the sensibilities they target. Indian television has traditionally catered to housewives, but it is now embracing web series. This transition has left many industry professionals uncertain about the path forward. Content creators, studios, and platforms are all in the process of determining their next steps. India’s media industry is currently in a state of flux, adapting to its unique market and evolving consumer preferences.”

Taurani then asked Ravi Dubey, “How OTT has changed the entire concept of star creation and what is the difference in working on OTT platforms compared to TV shows?”

Ravi Dubey explained that expertise varies across different media platforms. He added, “Television is renowned for its deadline-centric approach, while OTT and films enjoy the advantage of not being bound by strict deadlines. Television has traditionally relied on appointment viewing, whereas OTT and film are shifting towards long formats and content designed to build habits. In the present day, even OTT platforms like Apple TV release episodes weekly to foster viewer retention.”

This shift in the industry parallels the way television evolved from being a niche medium in the early ’90s to reaching a broad audience by the late ’90s and early 2000s, much like how smartphones have become accessible to a wide demographic. Content now must cater to a broader audience and be cost-effective.

“As for talent, whether it is technical or performance-oriented, the required expertise remains consistent. Those who are accustomed to working in a deadline-driven environment perform well, as this quality is invaluable in the current media landscape. In essence, there is no significant difference between creating content for television, OTT, or film when the deadline factor is removed,” Dubey further said.

Speaking on the changes seen in the last 2-3 years, Sonal Dabral reminisced, “Having spent a lifetime in advertising and now transitioning into long-form content, I have closely observed the industry with a genuine passion as both a viewer and an industry insider. Audience preference analytics, in my view, is a complex matter, especially when it comes to creative content. Creativity can’t always rely on data, since it involves human choices and the need for out-of-the-box thinking.”

He noted, “In India, with its incredible diversity in cultures, languages, and nuances, analytics may not capture the finer details crucial for storytelling, particularly in the OTT space, which demands regional and nuanced stories. Additionally, the importance of great production values and talent in OTT successes may not be evident in the data alone. In conclusion, a blend of data insights is essential, but we must not overlook human instinct, intervention, and creativity to create truly breakthrough content.”

When asked about what is working more on OTT – biopics or fictions or web series, Kartik D Nishandar said, “I’d like to divide the OTT era into two phases: the pre-COVID era and the post-COVID era. Before COVID, Indian audiences mainly consumed Indian-made content. However, during and after COVID, we started exploring international content like ‘Money Heist’, ‘Squid Games’, and ‘Fauda’.”

“In the past five years, we’ve created around seven series, including our latest, ‘Taali’, featuring Sushmita Sen, which we believe is an evolving market. There’s no fixed formula for success, and we focus on engaging storytelling. For example, when we created ‘Taali’, we didn’t follow a typical formula. Instead, we told the story of a transgender individual, believing it would make a societal impact and resonate with a broad audience,” he added.

Nishandar further said, “Our approach is to create content that can go beyond borders and appeal to both Indian and international audiences. ‘Taali’ not only achieved commercial success, but also made a difference in the community. We believe that storytelling should aim to make a positive impact on the masses and audiences.”

These are edited excerpts. For the complete panel discussion, please watch below: