We’re all watching Aamir Khan’s YouTube experiment closely: Sameer Nair, Applause

Ace actor Aamir Khan has thrown a fresh spark into the OTT-versus-theatrical fire, choosing to bypass mainstream streamers and launch Sitaare Zameen Par on YouTube, behind a ₹100 paywall. But Sameer Nair, Managing Director of Applause Entertainment, sees no binary here—only opportunity.

“There’s no ideal window between theatrical release and streaming of a film,” quips Nair. “Theatre and OTT must coexist. Whether it's a three-week window or six months, what matters is whether a film compels people to step into a theatre. Gaps alone won’t change a film’s fate.”

When it comes to newer release models like Sitaare Zameen Par—launched on YouTube as a pay-per-view offering—Nair remains cautiously optimistic. “YouTube is the world’s largest OTT platform. It’s democratic and powerful. If Aamir Khan can get people to pay ₹100 to watch a film on YouTube, we’re all watching closely. Indians are used to paying for a service, not individual titles—but this could evolve.”

Several leading production houses such as Balaji Telefilms and The Viral Fever have begun releasing web series directly on their YouTube channels, leveraging the platform’s massive reach, e4m has earlier reported. 

Does Applause have similar plans? Nair acknowledges the opportunity but is clear-eyed about the challenges. “YouTube is the world’s largest OTT platform—it reportedly reaches a billion people. It’s massive and incredibly powerful,” says Nair. “What sets it apart is its democratic nature. Anyone can start a channel and put their content out there. But that’s also where the challenge begins.”

He explains, “Unlike subscription-driven platforms (SVoDs), YouTube is primarily ad-supported (AVoD), though it’s now layering in new models—offering ad-free subscriptions, paywalls, and even pay-per-view options. That’s a good thing. It gives creators and studios more flexibility.”

However, visibility remains a key hurdle. “Just because your content is on YouTube doesn’t mean people will see it. Discovery takes serious effort—it requires marketing muscle and compelling storytelling. That’s where traditional platforms like Netflix, JioCinema, or Amazon still have an edge—they offer curated visibility to a built-in subscriber base. YouTube, on the other hand, offers global reach, but success there, demands hustle.”

Doubling down on movies

Nair’s conviction is more than theoretical. As Applause—an Aditya Birla Group company—celebrates its eighth anniversary, the studio is doubling down on theatrical films. Known for defining India’s premium web-series boom with shows like Scam 1992, Criminal Justice, Black Warrant and The Hunt, Nair’s team is now actively building a theatrical slate. “We’re working with Kabir Khan, Imtiaz Ali, and making a Tamil film Bison,” he shares. “Theatrical films will now be a significant part of our portfolio.”

That confidence is being fuelled by what Nair calls the industry’s post-pandemic bounce-back. “The theatre business was hit, no doubt. But films like Chhaava and Saiyaara doing well proves audiences are returning. It gives us confidence to bet bigger.”

In fact, Nair plans to replicate the reinvestment-led growth model that powered Applause’s OTT success. “For eight years, we’ve been in a deep reinvestment mode. We’ve done a lot more work than the capital we’ve invested. This business is all about recycling cash flows. If you get three or four good cycles going, it works. Now, we’ll own and build a library of theatrical films—just like we built a strong IP catalogue for streaming.”

Global ambitions

At the heart of Applause’s next chapter is a major international acquisition: the exclusive screen rights to six iconic novels by Jeffrey Archer, including The Clifton Chronicles, Fourth Estate, and First Among Equals. These character-driven, high-stakes stories will be adapted into premium series and features—marking Applause’s first global literary IP project.

“This is a milestone for us,” says Nair. “Archer’s stories are tailor-made for the screen—rich characters, tight plots, and universal themes. We’ll reimagine them with scale and cinematic style, for audiences in India and beyond.”

The move signals a bolder international ambition—not just to tell Indian stories globally, but to create global stories, made in India. “It’s a fertile ground for writers, directors, and showrunners. You take something iconic and layer it with a contemporary, cinematic voice—that’s the future.”

Even as streaming platforms tighten content budgets and shift focus to profitability amid audience attention gets fragmented, Nair remains unfazed. “Audiences haven’t shrunk attention spans—they just have more choices. They still go to theatres, they still read long-form. What’s changed is their discernment. They can tell good content from bad, and that’s a good thing.”

When asked about the biggest challenge facing the OTT industry today, Nair pointed to market maturity. “The primary concern is stability—platforms are seeking a more consistent subscriber base and clearer long-term growth trajectories. It’s no longer just about rapid expansion; it’s about sustaining scale and ensuring predictable performance,” he noted.

Despite consolidation, outlook remains positive

"While the consolidation of India’s media industry—such as the Disney Star–Viacom18 merger—may have temporarily slowed OTT growth, Nair remains upbeat. 'Consolidation always has an impact, but overall, I believe the outlook remains positive,' he says."

“At the recent WAVES conference, the Prime Minister, along with several industry stalwarts, echoed a bold ambition—to catapult India’s media and entertainment industry from its current $20 billion scale to a staggering $100 billion. That’s not just a number, but a national aspiration,” Nair reflects. 

“If all the leading players are united in this vision to scale the industry fivefold over the next decade, then every disruption, every consolidation, must be seen as part of that larger evolution. And in that context, I remain deeply optimistic about the future.”