The days of passive television consumption are long gone. Viewers now command their entertainment destiny, summoning favorite shows with a mere tap on a smartphone or click of a remote. Streaming giants like Netflix, Amazon, HBO, and Disney have revolutionized how we consume content, transforming television from a scheduled experience to an on-demand universe.
Binge-watching has become more than a trend—it’s a cultural phenomenon. Viewers no longer wait for weekly episodes; entire seasons are devoured in marathon sessions, reflecting an insatiable appetite for storytelling that transcends traditional media boundaries.
For countries in South Asia, this digital content revolution arrived fashionably late. Limited internet access and prohibitive subscription costs initially kept the region on the periphery of the global streaming landscape. But that was then.
Today, digital content consumption has evolved into a nuanced, immersive experience. Unlike fleeting digital interactions, Over-the-Top (OTT) platforms now offer meticulously curated content that commands viewers’ undivided attention. The average OTT session now stretches far longer than traditional digital engagements, signaling a profound shift towards intentional, quality viewing.
This transformation has birthed a fascinating global content ecosystem in Pakistan. K-pop and K-dramas from South Korea sit alongside Japanese anime, while American psychological thrillers and Turkish historical narratives serve as a testament to the borderless nature of modern entertainment. Platforms like Netflix have become global cultural conduits, offering libraries that reflect this rich, diverse content landscape.
While Netflix dominated the Pakistani market since 2016, the post-COVID streaming landscape has become a battleground of emerging platforms. Amid numerous launches and quick exits, one player has emerged distinctly: Tamasha, Jazz’s OTT platform, which has carved a remarkable niche in merely three years.
But has Tamasha truly cracked the code of Pakistan’s streaming market? To understand its strategy and the broader competitive dynamics, Profit dives into the intricate world of streaming platforms. The content in this publication is expensive to produce. But unlike other journalistic outfits, business publications have to cover the very organizations that directly give them advertisements. Hence, this large source of revenue, which is the lifeblood of other media houses, is severely compromised on account of Profit’s no-compromise policy when it comes to our reporting. No wonder, Profit has lost multiple ad deals, worth tens of millions of rupees, due to stories that held big businesses to account. Hence, for our work to continue unfettered, it must be supported by discerning readers who know the value of quality business journalism, not just for the economy but for the society as a whole.To read the full article, subscribe and support independent business journalism in Pakistan
This is a great achievement. Jazz offer daily free mbs to use tamasha and also it also covers every match streaming, this thing increase the viewership.