Ekta Kapoor Clarifies Non-Involvement in ALTT Amid Government Ban on 25 OTT Platforms
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On July 25, 2025, the Indian government banned 25 OTT platforms, including ALTT, for allegedly hosting obscene and vulgar content, sparking widespread discussion. Ekta Kapoor, a prominent figure in Indian television and film production, quickly issued a statement distancing herself from ALTT, emphasizing that she and her mother, Shobha Kapoor, severed ties with the platform in June 2021. This essay explores the context of the ban, Ekta’s clarification, the controversies surrounding ALTT, and the broader implications for digital content regulation in India.
The Government’s Crackdown on OTT Platforms
The Ministry of Information and Broadcasting (MIB) took decisive action against 25 OTT platforms, including ALTT, Ullu, and Desiflix, citing violations of the Information Technology Act, 2000, and the Indecent Representation of Women (Prohibition) Act, 1986. Authorities flagged these platforms for streaming content deemed “obscene, vulgar, and, in some cases, pornographic,” often lacking narrative substance or social value. The content reportedly included explicit scenes and inappropriate depictions of family relationships, raising concerns about accessibility to minors and cultural sensitivities.
This wasn’t the first warning for these platforms. In September 2024, the MIB had issued notices to curb such content, followed by an advisory in February 2025 to adhere to the IT Rules, 2021. However, the platforms’ continued non-compliance led to the ban, with 26 websites and 14 mobile apps blocked. The move, coordinated with multiple ministries and industry bodies like FICCI and CII, reflects growing public and regulatory scrutiny over digital content.
Ekta Kapoor’s Clarification: Setting the Record Straight
Following the ban, Ekta Kapoor took to social media to clarify her stance, stating that she and Shobha Kapoor have had no association with ALTT since June 2021. In her statement, she emphasized that Balaji Telefilms, their publicly listed company, operates with high standards of corporate governance and compliance with all applicable laws. She urged the media to report accurate facts, denying any insinuation of her involvement with ALTT’s recent activities.
Ekta’s swift response was likely motivated by the reputational risks tied to the controversy. Balaji Telefilms, where Ekta and Shobha are promoter directors, faced a 5% stock slump after the ban was announced. The company’s annual report for W3-24 revealed a significant investment of Rs 795 crore in ALTT, alongside a Rs 103 crore loan, highlighting the financial stakes involved. Ekta’s clarification underscores her intent to protect her brand and distance herself from the platform’s controversial content.
ALTT’s Controversial Legacy
ALTT, formerly ALTBalaji, was launched in 2017 under Balaji Telefilms to tap into the growing OTT market. The platform gained traction during the 2020 COVID-19 lockdown, with shows like Gandii Baat and Ragini MMS Returns drawing massive viewership for their bold, adult-themed narratives. However, this approach often courted controversy. Critics accused ALTT of promoting sensationalism under the guise of social realism, with shows like Gandii Baat facing legal scrutiny under the POCSO Act for allegedly depicting minors in objectionable scenes.
Ekta herself acknowledged the platform’s “risqué” strategy in a recent interview with Faye D’Souza, admitting that being provocative was intentional to “normalize sex” and present bold, women-driven narratives. While she defended this as progressive, the backlash was significant, including protests outside her residence. Despite her vision, the platform’s content often lacked contextual justification, drawing criticism from bodies like the Digital Publisher Content Grievances Council (DPCGC) for “distasteful and bizarre” scenes.
Implications for Digital Content Regulation
The ban on ALTT and other platforms signals a tightening grip on India’s OTT ecosystem. The government’s action, backed by the National Commission for Protection of Child Rights (NCPCR) and public complaints, underscores the tension between creative freedom and cultural norms. Platforms like ALTT and Ullu have been criticized for circumventing warnings by re-uploading unedited content, prompting the MIB to invoke emergency powers under the IT Act.
This crackdown raises questions about the future of content regulation. While some, like BJP MP Arun Govil, hailed the ban as a step toward protecting family values, others argue it risks stifling creative expression. The involvement of self-regulatory bodies like the DPCGC suggests a push for industry accountability, but the ban’s broad scope may pressure mainstream platforms like Netflix and Amazon Prime to tighten content checks.
Conclusion: Balancing Creativity and Responsibility
Ekta Kapoor’s dissociation from ALTT amid the government’s ban highlights the complexities of operating in India’s rapidly evolving digital landscape. While her vision for ALTT aimed to challenge norms, the platform’s provocative content crossed legal and cultural boundaries, leading to its downfall. The ban serves as a reminder that freedom of expression must align with responsible content creation, especially in a country with diverse cultural sensitivities. As India’s OTT sector grows, striking this balance will be crucial for creators, regulators, and audiences alike.
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