How OTT platforms are pairing ads with emotions amid clutter

Lata Jha
4 min read2 Jun 2026, 11:38 AM IST
logo
Which genres get greenlit is now partly influenced by advertiser demand — mythology and family content attract FMCG budgets, while crime dramas often attract fintech and insurance brands.
Summary
Streaming platforms are shifting to contextual advertising, recognizing its importance for engagement. Advertisers align their strategies with viewer emotions and behaviors, leading to targeted ad placements 

As streaming platforms juggle a flood of shows, films, podcasts and short-form videos, advertisers are becoming increasingly selective about where their messages appear on the screens.

This is prompting content creators and platforms to move towards aligning ad categories with viewer mindset, emotion, and consumption behaviour.

According to a report by VDO.AI, a global advertising technology company, contextual targeting on YouTube has delivered click-through rate (CTR) improvement of up to 55% and pushed view rates from 31.9% to as high as 47%. CTR is a digital marketing metric that measures the percentage of people who click on a specific link or ad out of the total number of people who view it.

For years, ad-supported OTT was seen as the “compromise” tier, said Arjit Sachdeva, co-founder of VDO.AI. But now smarter ad strategies are turning it into a genuine revenue engine.

Also Read | Why OTT platforms are censoring global shows like The Boys for India

The awareness around contextual placement has grown significantly over the past two to three years in India. Earlier, platforms focused on scale and the eyeballs they could get on an ad, but now the conversation has shifted to where the ad shows up and what the viewer is watching when they see it, Sachdeva pointed out.

In India, a few pairings have worked really well. FMCG and lifestyle brands tend to perform strongly alongside family dramas and slice-of-life content, which is a huge genre here. Auto and fintech brands find better traction with sports and crime thriller audiences. During IPL-adjacent content windows, completion rates touch 85-90% for aspirational brands and CTR nearly doubles compared to general entertainment slots.

“Targeting goes well beyond geography and demography, though both still matter as inputs,” said Arjun Kolady, head of sales, India at Spotify. “In India, this matters because the country isn’t one market, it’s many. The more powerful layer is what listeners are actually doing and how they’re actually feeling, read in real time from listening behaviour.”

Listening behaviour, language preferences, cultural moments, and content consumption all vary across regions, cities, and communities. As far as context-led ad placement goes, every listening session generates real signals about who that person is, what they are doing, and how they are feeling in that moment, Kolady pointed out.

As OTT advertising moves beyond basic demographic targeting, platforms are experimenting with genre-based, language and region-based, device-level targeting, frequency control and more interactive ad formats, said Sayak Mukherjee, co-founder, Creatorcult and founder, Brandwizz Communications. The idea is not just to serve an ad to the right demographic, but to place it in the right viewing environment, he added.

Also Read | FinetuAdd-ons, ads and paywalls: The new math of India’s streaming wars

“OTT platforms today are highly cognizant and sophisticated about contextual alignment, because unlike linear TV, they sit on first party viewing data,” said Atrayee Chakraborty, senior vice president – strategy, Mudra, part of Omnicom Advertising India.

Mood match

Entertainment industry experts say the shift reflects a broader move from interruption-based advertising to what they describe as contextual intelligence.

First-party data, such as watch history, completion rates, and device context, has become table stakes. For example, a viewer who is 80% through a thriller on a living-room TV represents a very different advertising opportunity compared to someone casually browsing content during a commute, according to Tarunesh Madan, co-managing partner at Amrop India, a global executive search and leadership advisory firm.

From a monetization standpoint, this precision translates directly into yield, according to Umair Mohammad, founder and CEO at Nitro Commerce, an AI and marketing tech platform. High-intent targeting can command 20–40% higher CPMs (the cost an advertiser pays for every 1,000 views), while improving conversion efficiency for advertisers.

Also Read | OTT revenues jump 55% as platforms crack India’s price puzzle

Beyond contextual alignment, OTT platforms are rapidly evolving their ad-targeting ecosystems. Many are also experimenting with homepage takeovers, sponsored content rails, interactive ad formats, commerce integrations, pause ads, and dynamic overlays integrated into the viewing journey rather than interrupting it, said Amit Dhawan, co-founder at Crack'd & Vibetheory.

Sandeep Bansal, director, Chaupal, a platform specializing in Punjabi, Haryanvi and Bhojpuri content agreed ad revenue can become a growth driver for OTT platforms. It allows platforms to generate an additional revenue stream, while brands benefit from targeted visibility within specific geographies and among relevant audience segments.

“Brands now pursue sequential messaging because they want to develop a narrative that spans multiple customer interactions which happen during one viewing period,” said Nitin Burman, chief revenue officer, Balaji Telefilms.

About the Author

Lata writes about the media and entertainment industry for Mint, focusing on everything from traditional film and TV to newer areas like video and audio streaming, including the business and regulatory aspects of both. A journalist for over a decade, she has extensively covered relatively underexplored aspects of what is seen as a glamorous business—from the death of single-screen cinemas in small towns to unreasonable star fees and demands eating into film production budgets and eventually inflating ticket rates. She was early to spot what are now established and ongoing trends such as the slowdown in the OTT business and the surge in the popularity of southern movies, which she continues to spotlight. A regular writer of in-depth, long-form features, her best-read work ranges from critical profiles of companies like Netflix, JioHotstar and Prime Video to takes on sexual harassment and mental health in the entertainment industry. She spends a lot of time watching content, particularly the old-school way in movie theatres, to make sure her writing is embedded in on-ground experience, since she believes the best stories often come from the travesties of directly engaging with and paying for the content that she writes on, and not from celebrity tweets, company releases or listings. A graduate of the Columbia School of Journalism, she has also authored a book on the business of entertainment.

Catch all the Industry News, Banking News and Updates on Live Mint. Download The Mint News App to get Daily Market Updates.

More

Topics