Are unique content studios disrupting major OTT platforms with shows like Scam 1992 and Criminal Justice?

It was in late October when the show Scam 1992 caught everybody’s attention. The title track was all over the internet and Instagram, in particular, was swamped with memes and videos with the background music playing over and over again. By early November, almost everybody knew about the show, even if they hadn’t watched it. Yes, this is the power of social media but why did this show, one that isn’t available on Netflix or Prime or Hotstar, the three big OTT platforms that rule content in the Indian market, get the limelight it did? Is there a bigger picture that we seem to miss here? 

Apparently, the answer here is, yes. Scam 1992 wasn’t just any other show. Written by Hansal Mehta, it was produced by Applause Entertainment, Aditya Birla Group's content creation arm, established in 2017. A creative content studio, originally founded to produce fictional content for digital platforms, it later spread its wings to encapsulate films, animation and gaming content. 

But this isn’t just about this one show. Applause Entertainment has been breaking norms and is now all set to disrupt the OTT platforms with its novel ideas and unconventional ways. Let us have a look at the bigger picture.

The emergence of a unique content studio 

It was in and around 2016 when Sameer Nair, CEO, Applause Entertainment, witnessed a growing change in the mindset of the Indian audience. Platforms like Amazon Prime, Netflix and Hotstar were on the rise and people were eagerly looking out for fresh content online. Acknowledging this change, he envisioned a time when there would be a boom in demand for out-of-the-box content. Sameer was intrigued and he wondered if content should now be created to suit these platforms and audiences. 

When asked about Applause Entertainment and its scope of work, Sameer said that the company is neither a conventional co-financing studio nor a typical commission production house. Whatever they make, they have their fingerprints on top; they have been involved in every single detail of Criminal Justice or Scam. The only thing that they do not do is physical line production. 

A unique business model

Today, Applause Entertainment works on a hub-and-spoke model where they largely invest in the creation of quality content and monetise through distribution networks and execution platforms. As far as the business model is concerned, the company finances, green-lights and commissions shows, after which it partners with leading streaming platforms of the country, creating a content model and licensing IP.

In this regard, Sameer commented by saying that Applause Entertainment focuses on structuring ideas, creating content and figuring out how the content can be made commercially viable. In association with different writers and directors, the world with execution partners like Emmay Entertainment, BBC, Juggernaut, etc, post which the work of distribution platforms like Netflix, Sony Liv, Amazon Prime, MX Player, Eros Now, etc., comes into play. 

In terms of content, the company follows a three-pronged approach. One theme is based on the adaptation of international shows and formats for Indian audiences. Your Honour, The Hostages and Criminal Justice are a few shows created on these lines. Another theme is related to book adaptations where Avrodh and Scam 1992 come into the picture. And the third is the original content which includes shows like Hasmukh, Rasbhari and the City of Dreams.

The need for differentiated content

In an attempt to explain the need to build a content-centric company, Sameer talks about the new TV series of the 2000s. While there was a time when audiences looked forward to shows like that, viewers soon diversified. And today, with the OTT revolution, India is on the verge of having its own HBO Showtime or House of Cards moments!

Further elaborating on the necessity for differentiating content, he says that the launch time of the K-Series was essentially “programming for that period”. It had varied characters and a whole new rhythm to it. The OTT platform, on the other hand, follows a very different form factor. From a storyteller’s lens, you must take care of your audience involved in any and every format you choose.  

He also adds that there were about 25 million “satellite TV homes” in 2000 when Star worked on KBC and the K-series. This number shot up in 2010 where it touched 100 million and as of current stats, this number is more than 197 million. 

Building a diversified team

Once the idea of creating Applause Entertainment was planted, Sameer reached out to his friend and colleague, Deepak Sehgal. But unlike most founders, the duo was sceptical about hiring people from their references. On this note, Sameer said that you find yourself in a comfort zone when working with people you know. They were looking forward to building differentiated content and needed a team of eclectic people. So, they went ahead and hired people from television, advertisement industry and content. 

The only criteria they had in mind were people who enjoyed watching premium content - drama series, had a ground in the field of storytelling and in executing and appreciating that content, he added. 

What it takes to weave a good story

According to Sameer, there always is art, science and magic in storytelling and it is discipline that ties it all together. 

When both form and story are put together in correct measure, storytelling becomes the key. And Sameer mentions this specifically, saying that the process of storytelling is very crucial and important. Scam 1992, for instance, was a great story that was also well told, where the well-told part comes from writings, narratives, performances, production and everything else that follows.

Applause Entertainment as a company focuses on picking unique ideas and subjects where they strive to delight, disturb, dazzle and disrupt audiences. It may be all four or a combination of any two or more but you must keep a close eye on the idea along with its execution, both of which play a vital role in creating a good storyline, added Nair. 

The path forward

With a recent announcement of its collaboration with Drishyam Films to produce “Iftikhar”, a movie based on the life of Major Mohit Sharma, an Ashok Chakra awardee, Applause Entertainment is back in the news. The film is supposed to be an adaptation of the first chapter of Rahul Singh and Shiv Aroor’s book, “India’s Most Fearless 2: More Military Stories of Unimaginable Courage and Sacrifice”. 

In an attempt to work with like-minded content creators, Applause is co-producing and co-funding content with Juggernaut Productions. In addition, it has announced a partnership with Sunder Aaron's Locomotive Global and Gurinder Chadha's Bend It to curate and develop a global show called “Seeker”. Applause Entertainment is also in talks for collaboration with several Hollywood studio to co-produce and co-finance IP. 

As mentioned in a report by PwC, platforms like Amazon, Disney+ HotStar, Netflix, Sony Liv, Voot and others are all set to touch a revenue of $5 billion by 2024 in India. Keeping this in mind, large production houses like Dharma Productions and Red Chillies Entertainment are also looking at partnering with and creating quality content for OTT platforms. 

On this note, Sameer said that Applause is working on new content verticals - animation, short form and audio. The company is developing animation content to leverage existing IP in association with like-minded creators. Short-form content is being created for social media, e-commerce platforms and UGC. As far as audio content is concerned, Applause is exploring content and is looking forward to IP creation through strategic collaborations. 

In an era where the race to reach the top seems never-ending, it will be exciting to witness various content specific organizations compete amongst themselves for glory. What’s even more fascinating is the fact that the audience is more than willing to provide them a playing field for test-runs and experiments. Amidst this chaos, one thing is certain, the OTT platforms for sure are going to take a major blow if content specific firms take the reins!