JioStar to boost Gen Z programming in South India by 7 to 10x

New Delhi: JioStar Entertainment is placing a sharp focus on Gen Z, with plans to significantly ramp up its programming for Gen Z audiences, particularly in the southern market.

Speaking at a session during APOS 2025 in Bali, Krishnan Kutty outlined the company’s commitment to younger viewers, calling it both a creative imperative and a business priority.

“While MTV and the youth cluster are doing some outstanding work, broadcasters and streamers have not programmed enough for Gen Z. For the South, we are committed to increasing our programming volume for that audience by 7 to 10 times,” said Kutty, Head of Cluster, Entertainment (South), JioStar.

Also present at APOS, Alok Jain, Head of Cluster, Entertainment (Colors, Digital Hindi, Niche, Movies and Studio), JioStar, echoed the sentiment, emphasising that profitability and relevance in the evolving content landscape depend on how effectively platforms engage younger demographics.

“If the industry is to run sustainably, we must drive content profitably, and focusing on youth is a big one for us,” Jain said.

Touching on the broader theme of building content for “multiple Indias,” Kutty emphasised the opportunity in regional storytelling.

“Every state, every region is a source of different perspectives, which provides a wealth of stories,” he noted.

He pointed out that audiences are increasingly embracing content beyond their native language and region, a shift that is shaping JioHotstar’s strategy of scaling regional narratives for a national audience.

Citing the example of Kerala, Kutty said, “A small state like Kerala, for instance, creates stories that travel nationwide. 80% of the consumption on JioHotstar for Malayalam content is outside the state.”

He added that JioHotstar’s 10-language content network has demonstrated that cross-regional storytelling is not only viable but thriving.

“By adapting successful shows across our 10-language network, we see firsthand that great stories truly transcend borders,” Kutty said.

Jain also spoke about the platform’s role in evolving formats. “The Indian consumer is constantly evolving. It’s a young country. People are exposed to new things, and they’re demanding and unforgiving. If the story isn’t great, they won’t watch, regardless of who stars in it. We must not just innovate in stories but in formats. We’re also exploring non-fiction, micro dramas, and more. Innovation isn’t a tactic for us. It’s the baseline.”

“Consumers are adapting to multiple formats, and I believe the space will settle. There’s a reset in process, and the industry is very cognizant of that. A lot of work is already underway. This economic space is available across all content types in the country, whether it’s theatrical films or digital-first content. There’s a big reset required. But that also means there’s a big opportunity to rethink, reformat, and rebuild.” 

With 500–600 million users consuming 4–5 hours of content daily across all formats, Kutty believes that the real challenge isn’t what to do, but what not to do. There’s significant headroom for both subscription and ad growth.”

He added, “We see untapped opportunity in the space between premium long-form dramas and social storytelling. What makes India truly exciting is its multilingual ecosystem, where diverse storytelling formats and innovative monetisation models are actively being explored and adopted.”

However, Kutty also acknowledged the need to rethink the current economic structure of streaming platforms. “I can reflect on what feels like a broken economic model. In streaming, we’ve escalated prices to a point where producers have become B2B entities, creating primarily for the platform, not the end consumer,” he said. 

“That has led to a disconnect in the kind of content being created. Now we’re seeing cost bases increase: talent costs, production costs, while consumer demand is softening. Unless the model is reset, I believe it’s deeply broken.”

Jain built on that point by expressing cautious optimism for the evolving marketplace. “Consumers are adapting to multiple formats, and I believe the space will settle. There’s a reset in process, and the industry is very cognizant of that,” he said.

He said, “A lot of work is already underway. This economic space is available across all content types in the country, whether it’s theatrical films or digital-first content. There’s a big reset required. But that also means there’s a big opportunity to rethink, reformat, and rebuild.”