Disrupting masculinity: Locating Indian OTT web series as quality television and sites of subversive masculine representations

“It is fascinating, it cringes, and it is OTT”. With over 300 million active users per months per the Brand Equity Foundation, 2020 OTT has become one of the largest platforms in existence. With the establishment of digital media platforms like Amazon Prime, Netflix, Disney Hot star and other OTT streaming services, the web stories are viewed as an absolute platform for narrating female-centric stories and reflecting their ideology. Such web-series culture initiates the new wave of narrating women-centric stories reflecting their realities and also break the stereotype culture of women in India. A number of shows, series and a creative content such as Aarya, four more shots please, Tribhanga, Delhi crime that have done well and exploring a lot of female oriented narrative. The rise of digital content in the form of web series began abruptly in 2014. These web series were not only acknowledged womanhood but also focus on topic that are not raised up by mainstream media such as LGBTQ issues, dysfunctional relations, untold stories. Web series have embarked to highlight gender identity, normalize sexuality and showcase women real stories. The study aims to illustrate the ideology of Feminism in the selected Indian web series. This paper aims to analyze the content centered around the aspirations and struggles of women. The researcher has taken some Indian web series for this analysis and examine how they represent Feminism philosophy and also explore their blemish breaking content. The research is conducted by summarizing the data gathered from Web series through textual analysis and observation. This study helps in understanding the change in women centric content and also Scrutinize how these Web series are breaking the chain of T.V. soap operas and Stereotype of women Identity.

With the COVID-19 lockdown, the world has entered a new era of communication. Nowadays, everyone, including children, has access to smartphones, computers, tablets, and other devices that are connected to the internet. Web series have become extremely popular as a result of the easy access to OTT platforms made possible by this internet connectivity. Online series are not just becoming more and more popular; they have also been shown to be a form of addiction, as evidenced by the term “binge viewing,” where a viewer cannot stop after watching one episode and ends up watching the entire series. Binge-watching and web series are causing people to have more health and social behavior issues. The following essay attempts to analyze the social and psychological effects of the top five Indian crime web series. A survey of Indian viewers (N = 321) is conducted in addition to a content analysis of these web series, which looks at the qualitative component to provide empirical conclusions about the impact. The papers provide a comparative study as well as the formula for creating the content for these web series. The satisfaction that comes from watching these series has a significant impact on consumers, according to the survey results.

This study explores the adaptation of Satya Vyas’s novel ''Chaurasi'' into the web series "Grahan". It provides an in-depth analysis of how the novel’s narrative, character development, and themes are transformed and visualized in the web series format. By comparing the novel with its film adaptation, the research evaluates how well literary material is converted into a visual format and explores the associated challenges and successes. Adaptations of literary works into web series have increasingly become a significant trend, offering fresh interpretations and broadening audience reach. One notable adaptation is Satya Vyas’s novel Chaurasi, which has been transformed into the Hindi crime drama web series Grahan. Created by Shailendra Jha and directed by Ranjan Chandel, Grahan premiered on Hotstar on June 24, 2021 (Wadikar, 2016). The Indian web series landscape has undergone considerable transformation in recent years, marked by a surge in content that delves into complex social and historical themes.

With restaurants, malls and multiplexes closed in India because of Lockdown, people now spend a lot of time watching movies and shows on OTT (Over-The-Top) platforms such as Hotstar, Netflix, Amazon Prime, Zee 5 etc. OTT (Over-the-top) streaming platforms are creating new wave in the field of Indian media especially during COVID-19 lockdown. They showcase different genre of programmes like videos, movies, web series, documentaries, short films etc. Among all, Web series are of great delight for the youngsters. The presentation of the web series is quite attractive unlike other daily TV soaps. Since, it can run on all digital devices like smartphone, its popularity is growing leaps and bound. Hence, making it a personalized viewing at one’s convenience. However, this web series culture has an impact on youth especially during Covid-19 lockdown. Already in the time of uncertainty of COVID-19 pandemic anxiety and stress levels are quite high, on the top the web series also intend to influence them. This research is carried with the objective to find the perception of youth on web series during COVID-19 lockdown in Mumbai beginning from 23rd March,2020. Nearly 20 respondents were contacted over the telephone and an unstructured interview was conducted.

Crowdfunding model for financing movies and web series

The decriminalization of homosexuality in India in 2018 marked a significant turning point in the legal recognition of LGBTQ+ rights. Since then, digital streaming platforms have become important spaces for the articulation of queer identities. This paper examines how queer representation in Indian web series has evolved in the post-Section 377 era. Using qualitative textual and discourse analysis, the study investigates five web series—Made in Heaven, His Storyy, Romil & Jugal, and Four More Shots Please! The analysis explores how these series portray queer characters, the role of intersectionality, and the implications of digital media as a site for both visibility and commodification. The findings reveal a complex landscape: while these platforms increase queer visibility and diversity, they also present tensions between authenticity and market-driven narratives. This research contributes to broader discussions about queer media, representation, and digital cultures in contemporary India.

People are interested in online streaming services, making the cash boxes ring like never before. TV content has stayed the same, but now they are changing things and making room for richer, higher-quality programming. TV shows with too much drama are being replaced by online streaming services that offer new, more relatable stories. These services bring new life to the entertainment business. Based on facts and numbers, the COVID-19 wiped out almost every industry. However, it did cause Over The Top (OTT) platforms to become famous and see a rise in payments. Because everyone was stuck inside their homes and could not find fun things to do, people turned to web shows to escape their boring lives. People also thought that the web series broke the mould for how women are portrayed and changed how women are portrayed in popular media. The researcher aimed to look into this new portrayal, and a poll was given to the audience. Researchers can use the poll results to determine why OTT platforms are so popular and how people feel about how women are portrayed in mainstream media, changing over time.

In the era of digital cinema, web series is the revolutionary audio-visual format. They introduced us to Over-The-Top, Video-On-Demand binge-watching. Moreover, international OTT platforms like Netflix, Amazon prime video, HBO max, and Disney+ have started to produce their premium and original content with the aim to grow their reach in every possible country; it created lots of opportunities for new filmmakers and production houses. Money Heist is the best suitable example of a journey from flop to success. After the relaunch and distribution in the essential international without advertising catalogue by Netflix, it became a huge success. It got the third rank among the most-watched popular web series globally. This study focuses on the Money Heist’s audience behaviour pattern, the impact of the series, its characters, and retention power towards the young cohort of the Gujarat region. This research was conducted with the empirical quantitative method; the researcher used the convenience sampling technique for sample collection. The results solved all the research questions with an adequate positive approach. Distinctive characteristics of the Money heist web series made it a top-rated, addictive, and popular show that became local to global to again local.

India has taken a commendable step by becoming the first country to regulate the promotion of tobacco in the content displayed on Over-the-Top (OTT) streaming platforms such as Netflix, Amazon Prime, Voot, ZEE5, Disney Hotstar, etc. 1 . The move is an extension of the existing provisions of the Cigarettes and Other Tobacco Products Act (COTPA), which previously focused on traditional media 2 . This dynamic move aims to curtail exposure to tobacco imagery in movies, short videos, and web series, hosted by the new age and popular OTT platforms and, in turn, can protect impressionable youth from the harmful influence of such depictions. The decision to regulate tobacco on OTT platforms was prompted by an extensive research effort involving data mining, interviews, and in-depth analysis of movies and web series, available on popular streaming platforms. Multiple researches revealed an alarming trend wherein tobacco use scenes were depicted without statutory warnings or disclaimers, creating a 'cool' and 'glamorous' image of tobacco 3, 4 . Such depictions violated the existing COTPA Act and had a concerning influence on vulnerable individuals, especially youth 5 . The comprehensive investigation and reporting played a pivotal role in highlighting the need for regulation within the OTT space. This development ensures that tobacco use scenes are appropriately addressed and necessary warnings are prominently displayed, safeguarding the well-being of viewers, especially the younger audience. The newly introduced Cigarettes and Other Tobacco Products (Prohibition of Advertisement and Regulation of Trade and Commerce, Production, Supply, and Distribution) Amendment Rules, 2023, notified by the Ministry of Health and Family Welfare of India on World Tobacco Day, 31 May 2023 [GSR 400(E)] 1 , outlines stringent requirements for streaming platforms. These rules mandate displaying anti-tobacco health spots at the beginning and middle of the program, showing a prominent health warning message at the bottom of the screen while displaying tobacco products, and incorporating audio-visual disclaimers about the harmful effects of tobacco use. Failure to comply with these rules will result in action by an inter-ministerial committee, and publishers will be allowed to explain any non-compliance and make appropriate modifications to their content. The impact of these stringent laws on the industry will be witnessed in the future. However, the clear intent to protect the health and well-being of the Indian population is the heart of this regulation. This significant development is poised to change the content landscape positively, promoting responsible storytelling. OTT platforms can actively discourage tobacco use and foster a healthier society by incorporating warnings, disclaimers, and health spots. India's pioneering move to regulate tobacco in OTT content, sets an exemplary standard for the world, demonstrating the country's commitment to public health and responsible media practices.

The development of television is never complete. It is a medium in permanent change, even if some aspects of television outlasted several decades. Television in the second decade of the 21st century looks different than in the 1950s of the 20th century. The screens are bigger, the picture is colourful, and the reception possibilities are more diverse, even mobile. Since the invention of television in the 1920s, the medium has undergone major changes, both in terms of technology and content. Television can therefore be seen on the one hand as a transitional medium - quasi a medium in permanent transition, because it repeatedly takes up and unites various technical developments. On the other hand, television can also be described as a transmedial medium because it incorporates aesthetic and narrative forms from other media into its programmes and at the same time has developed programme forms that radiate onto other, newer media (e.g. forms of television series form an important content on the Internet as web series or as an offer on streaming platforms such as Amazon Prime Video. Movistar+, Viaplay or Netflix). This double configuration of television as a transitional and transmedial medium makes up its fluid character. In the following, an initial attempt will be made to approach television in order to work out what actually constitutes this medium. Afterwards, the technical and institutional development of television is dealt with, before the development of programme forms is described. Finally, current developments resulting from the digitalization of television are presented.

There are several social benefits generated by digital platforms, including facilitating inclusion. Communication services have been critical in accelerating the inclusion of marginalized users into formal systems, particularly for financial, health, and education services that are enabled by OTT providers. Using OTT platforms places a significant strain on energy resources, services providing music and video streaming have a far lower carbon footprint than traditional physical formats.
 Over The Top (OTT) industry is one of the fastest growing industries in the world. The usageofOTTplatformsinIndiahastremendouslyincreasedafterCOVID19.ThereasonsforthisismobilefriendlyandtheoriginalcontentthattheseOTTplatformsprovide.In India, big international players like Netflix entered and changed the entertainment industry making platform for more international as well as Indian OTT platforms. This study focuses on various international OTT platforms in India and their performance in Indian Market. The study attempts to identify current international OTT platform trends with reference to type of shows preferred by customers & investigate OTT platform success factors in India. The research concluded that majority of the people preferred Netflix, followed by Disney+ HotStar and Amazon Prime Video. The respondent’s shows liking towards OTT which focus more on Original Shows and Web Series which gets frequently updating list just like Netflix. It was also observed that Disney+ HotStaris more preferred as they of digital broadcasting partner for big cricket events like IPL and World Cup. The research concludes that localization of content, affordable pricing, high quality picture quality, strong distributorship partnership, good user experience and better after sales services are the major factor for success of international OTT in Indian Market.

'Mind the Gap'

The Indian millennial generation is increasingly demanding and consuming online video contents which form a considerable percentage of digital content. The current chapter sheds light on the factors which play a key role in the growing popularity of the Indian web series, a recent addition to the online video content, among the millennial generation. A study of the past literature draws a picture of the millennial generation, their inclination towards the Internet and their preferred form of content including the web series. It also, elaborates on the nine clusters identified by Rubin as a part of uses and gratification theory to understand the factors which draw the millennial to these web series. By the end of the chapter, the readers will have a deep understanding of the following - the gratification received by the millennial generation under the nine clusters identified by Rubin in reference to the Indian web series and the top four motivating factors behind the consumption of the Indian web series.

I examine how recent historic incidents surrounding sexual violence that registered emotional shockwaves across India have been portrayed in Indian web series through a focus on police brutality and consequent experiences of pain. I study Delhi Crime (Directed by Richie Mehta, performance by Shefali Shah, Rasika Dugal, and Adil Hussain. Netflix, 2019), a Netflix Original on the 2012 Nirbhaya Rape Case, and Made in Heaven (Directed by Prashant Nair; written by Alankrita Shrivastava, Zoya Akhtar, and Reema Kagti, performance by Arjun Mathur, Sobhita Dhulipala, and Vinay Pathak. Amazon Prime, 2019), a Prime Video Original about horrific systemic injustices against the queer community that culminated through turbulent protests into the long-awaited 2018 Supreme Court verdict. I study the way police torture inflicts pain on the human body, referring to the complex analyses of pain in Wittgenstein, Rachel Ablow, Elaine Scarry, Veena Das, and David Morris, veering between understanding pain as something intensely bodily that obliterates the social, and seeing pain as something that indubitably acquires meaning only in the social context within which it is inflicted and received. Drawing on both approaches, I will explore the political meaning of violent pain, arguing that these bodily experiences occupy a space between emotionality (in which the individual is reduced to nothing more than the reality of the pain) and morality (in which political forces and social hierarchies filter into its meaning), and together they confuse the very possibility of democratic surveillance and guardianship. Drawing on Ablow, I will study how socio-cultural meanings of pain derive historically from assumptions of shared sympathy. I will then unpack how the contemporary democratic state in these web series renders communitarian sympathy redundant, problematizing the very idea of pain as a shared emotion that can trigger moral responses.

Transmedia Theory’s Author Discourse and Its Limitations