Full Transcript

Dhruv Sharma: Hey there listeners, it's Monday, June 22nd. This is a live stream number 103 and today we are speaking with Pratik Dixit of Pocket FM. Pratik, welcome to the show.

Prateek Dixit (Pocket FM): Thanks a lot. Thanks, Dhruv. Thanks a lot for inviting me and yeah, really excited to be here.

Utsav Somani: All right, Pratik, let's get started. Fresh Monday energy. So let's introduce Pocket FM.

What are the numbers like? What does the business do? Where all are you present?

Let's, I mean, paint a picture so that we can dive deeper into some of this stuff with you.

Prateek Dixit (Pocket FM): Yeah, I think so. Pocket FM is the world's largest AI native storytelling platform with, I think we have last month, I think we have hit 450 million ARR with over 250 million registered user globally. We have, we are one of the highest engaging product across all the current platforms with engagement of 150 minutes every day.

We stream around 12 billion minutes a month, 12 billion minutes every single month, which is increasing like 10% month in month. And yeah, I think we are currently in, we currently operate in 20 plus countries, starting from India to US to Europe. We are now expanding to some of the markets in SEA as well.

So it's a truly global platform which serves each and every language across the globe.

Utsav Somani: And when you talk about these minutes, these are video minutes, these are audio minutes, and these are audio minutes, right?

Prateek Dixit (Pocket FM): So we are a storytelling platform for audio format.

Utsav Somani: And video itself, like Netflix, I mean, they took a time, I mean, they took their own sweet time to build this habit where you binge watch content for like hours and hours. And they tried, I mean, it's a full human psychology and science experiment at play, right? I mean, the founder, I think the CEO said, their biggest enemy is sleep.

Like, what do you think about the audio category? Why did you guys get excited about audio in general?

Prateek Dixit (Pocket FM): Yeah, I think so. Before we started audio, I think there was one single most important insight was that audio is a passive consumption format as opposed to video, which is more foreground in nature. So let's say if you consume any video OTT platforms, you generally consume during weekends or during night, because that's where you get consistent foreground time, right?

Let's say if I ask you a very simple question, when do people watch movies and webseries, right? It's mostly during weekends and maybe like after dinner, right? But the fact about audio is that it's a passive consumption, right?

You can consume on the go, right? You can consume while you're traveling, you can consume while you're working, you can consume like the entire 24-7, like, time lifecycle of your week, right? So I think that's basically in favor of this binge listening because users can consume audio anytime on the go.

Apart from that, the way we have innovated content in general, which is very fast-paced in nature, very short form, bingeable episodes, you have to basically, every episode is designed in such a way where users are actually pulled for next episode. I think that's also something that has helped in creating this quick binge, binge-worthy loops.

Dhruv Sharma: Prateek, can you tell us about maybe what's been one of the biggest things inside the company over the last couple of years, which is this transition to a truly a native storytelling platform? How has it impacted the top line, even the bottom line?

Prateek Dixit (Pocket FM): Yeah, I think so. When you talk about most of the current platforms, one of the single most important thing for growing any OTT or current platform is finding blockbusters, right? Because most of the OTT platforms have to have, let's say, some few blockbusters every single month, right?

Now, this entire process of finding blockbusters initially used to be very cumbersome, right? Because you had to have subjective validation. Let's say if we have 100 scripts or 1,000 scripts, how do you understand which show will become blockbuster, right? Before even you produce that, right? That's a typical way of, let's say, discovering a blockbuster, right? Now, what Pocket did in the last two years was that we entirely changed this process of finding and discovering blockbusters using AI native engine, right?

So the way it works is that where we create these very small, small pilots of concepts, and these concepts could be in the range from 1,000 to 5,000 in a month, right? And we distribute these pilots to social media, be it Meta, be it YouTube, be it TikTok, right? And we get a lot of data from the users on social media.

We also distribute this content within app as well to get a lot of insights and signals to understand which show could be a potential blockbuster. And this entire production cycle, production to testing cycle, is a very cheap cycle in terms of cost and a very fast cycle as well, right? So essentially, you can launch 1,000 concepts in a week and get to know which particular show has more potential to be a blockbuster, right?

So while we transition to this process, our number of blockbusters that we used to launch through this process and post this process actually 10x, right? And this helped in Pocket going from 200 million ARR to 450 million ARR in just one year, right? So this was one of the craziest innovations that Pocket did, with which I think we have reached, we have done 100% growth year on year.

Dhruv Sharma: What I find really fascinating is that some of these blockbusters actually do 100, if not million dollars, at least 100 crore rupees in revenue on their own, like standalone startups.

Prateek Dixit (Pocket FM): Yeah. Yeah. I think so.

We have a few shows. I think My Vampire System has done more than $100 million revenue globally, right? So that's one of the biggest blockbusters in Pocket, right?

Then we have Saving Nora, which has done more than $60 million revenue globally. And this specific show is basically in eight different languages, right? So Saving Nora, Ek Ladki Gu Dekha Hai in Hindi, it will be called something else in Tamil, Telugu, right?

So we have built, of course, something called Atlas, which is a localization engine, which takes a show, convert that into a different language in a locally adapted format, so that you can launch one show into 20 different languages with just a click of a button, right? So this has really helped us in scaling one show to multiple languages in a matter of no time as well, right? So yeah, we have a lot of blockbusters and the power is the distribution.

You can distribute one content to 20 plus languages within a matter of days using AI.

Utsav Somani: And let's talk a little bit about what's in it for creators. And suppose I'm a creator, I have an idea for a show, I come to you, where does the journey of that show start? And what does it look like towards becoming a blockbuster?

And so how does a creator get out of it?

Prateek Dixit (Pocket FM): So I mentioned, right, I mean, with Pocket, Pocket is like one of the biggest distribution platform with 250 million registered users. On the creator economy side, I think Pocket has 300,000 creators at this point. Which is growing significantly.

I think we expect to have a million creators by end of this year, right? Now, why is this increasing, right? Because of two things.

One is Pocket has distribution, global distribution, which generally creators didn't have before. If you look at the traditional publishing way of style, I think there's always this gatekeeping, right? But in Pockets where users decide what works, what doesn't work, gatekeepers don't decide that, right?

So that's why I think creators are really, really willing to work within Pocket platform. And within Pocket, I think what we have worked on is something called creator suite, where it's a three sort of layered platform. The first platform within that suite is where you can use a product that we are working on for writing assistant, right?

Now, if you think about writing in general, right, writing consists of two things. One is the art, which is your concept, creativity, and the craft part, which is where you construct your episode, cliffhanger, structure your plots and things like those, right? So our belief is that while the art remains with writers, the craft can actually be automated using AI, right?

So the part that we have worked within suite of product is a writer assistant, where writers can use this assistant to write long form, very high quality stories. And they can write more within, let's say a day, which we used to before, let's say without this tool itself, right? So that's the first product, which is a writing product, right?

Which helps writers in writing high quality long form stories, right? The second product of the suite is the production part, right? Because you have the text story, you also have to now produce that story into an audio format, right?

To be able to distribute in Pocket FM, right? So the production suite basically helps writer to create AI audio series, just a click of a button, right? Where they can select which voice they want to produce with, they can select the mastering levels, the BGM, the SFX and all those things, right?

So that's a completely AI production suite that writers can use to convert their text content to a fully fledged AI audio series, right? Now, the third, which is a very important part as part of the journey is the multiplier effect, which is where now you can convert your content in one language to 20 different languages, right? Let's say if I'm a creator from, let's say Kanpur, a small town of India, I write in Hindi, I create my original Hindi audio series.

Now with the help of adaptation tool, I can convert my Hindi audio series to Tamil, Telugu, Kannada, English, Spanish, German, French, and I can distribute my content to different countries with the help of pockets distribution, right? So this has been a major unlock for creators where they can now access pockets distribution, in fact, global distribution with the help of AI, right? So the writing product, the production product, and the localization product, these are basically three of the most important pillars of the creative suite that we have launched.

Dhruv Sharma: Prateek, there's this expression called loss in translation, right? So very often what happens when you take a piece of content and adapt it into different languages, sometimes the cultural nuance is lost. I'm wondering if technology allows us to preserve or rather carry over that cultural nuance as well as we move from one geography to the next or one language, one dialect to the next.

Prateek Dixit (Pocket FM): I think you're spot on in that sense. I mean, one of the most complicated part of, I think, this entire adaptation model was the cultural transfer, right? Because I feel localization is still easy, right?

You can change names, you can change cities, you can change countries. But let's say the way a wedding happens in India as opposed to the way a wedding happens in the US is very different, right? I mean, you can't just, let's say, have an Indian plot or Indian wedding process and convert it to a US story by not changing, let's say, the way a wedding happens in India, sorry, US, right?

So I think what we have built is a very deep culture playbook. We call it as culture Bible, right? And it's like, it's something that is, of course, not going to be perfect.

And it's sort of like we keep on building this culture Bible for as many shows as possible. So we have a culture Bible for most of the language pairs, right? So you would have, let's say, culture Bible for English across US.

We'd have a culture Bible for, let's say, India across China, India across Germany, India across Spanish, India across Korea, right? Now, what this helps is basically, this culture Bible helps us in basically adapting these very deep culture nuances from one language to other languages, right? Now, the other part that we have built on top of this is basically a learning method, which basically takes this culture Bible and then self-corrects as, let's say, as the model sees more and more shows, right?

So this culture Bible keeps on improving as we produce more shows and as we get more data from our users as well, right? So I think these two parts have helped in making sure that the culture nuances stays very close to that specific language and that specific country.

Utsav Somani: I think this is fascinating. I think you mentioned one problem that you've solved very nicely with these culture Bibles, but any other problems while scaling globally, because 70% of your revenue comes from US, I believe. Any other globalization problems that you've thought at Pocket.fm that you found were very interesting?

Yeah.

Prateek Dixit (Pocket FM): One of the other key problems when we were scaling, of course, like US was that having local content, right? Because while adaptation solves a lot of it, but you still need to have local concepts, right? By local concept, I mean, let's say, mythology works really, really good in India, right?

But it might not work that well in US, right? In US, maybe romanticy works a lot or lit RPG works a lot, right? So having a local catalog of content was one of the most important part as we scaled up US.

Utsav Somani: And local content, were you changing incentives for creators across different countries?

Prateek Dixit (Pocket FM): Yeah. So I think to get local content, I think you need to scale up your UDC community, the creator product to more and more languages, right? Let's say if I have to scale up crime, for say, right?

Now, crime is really, really big in Germany, right? Of course, it's big in US as well. But crime is one of the biggest genre in US, sorry, in Germany, right?

Now, if you have to scale up Germany, you need to have crime genre as well, right? Now, so the biggest of like, I'll not say blocker, the biggest challenge as we scale these market was that how to get, how to get, let's say, these local genres, local content from local creators, right? And the only solution to that scaling that was basically to launch UDC, scale UDC, scale creator community to these countries.

Apart from that, we also like, of course, done partnership with local publishers as well. So we work with a lot of local publishers to get their local content to seed initial stages as well.

Dhruv Sharma: So you guys obviously have very, very impressive revenue numbers. I'm wondering what lessons have you guys learned along the way about pricing these subscription-based entertainment products? And more so for India.

Prateek Dixit (Pocket FM): Yeah, I think our pricing is slightly different from what other brands have to offer too. I think so we have three different ways to monetize users. First of all, it's a completely freemium model, right?

So you don't have to pay to consume content at all, right? I mean, you can consume the platform for free for days without even need to pay for the content, right? Unlike, let's say, other platforms, right?

So the way I think we monetize is by the means of binge listening, right? So we give users one hour of free content every single day across all the shows. But if you really want to binge listen that show on the same day, right?

Let's say if you want to binge listen that show for three hours in that day, you have to pay for that additional two hours of content, right? Otherwise, you can come tomorrow, get another free hour of content, and then just not pay for the content, right? So it's a very innovative model.

Now, this has helped us in having very peak retention, engagement retention, because as you mentioned, India is a very, India is a relatively hard market to monetize in general, right? Especially if you want to, if you have a pure VIP product or pure monetizable product, right? So this is, this freemium model has held pocket in maintaining high number of monthly active users, one of the highest industry retention, because users can just consume for free, right?

Now, these free users, we monetize through advertisement, right? Because you still have to monetize these free users, right? So advertisement is the way to monetize these free users, right?

Now, the users who want to binge listen on the same day, they use something called paper purchase, right? Or pay-per-view, right? So they can purchase these coins of, let's say, 9 rupees, 19 rupees, 29 rupees, right?

They don't have to overcommit to subscription, or they don't have to go through this vicious auto- pay cycle. So microtransactions, but did you start off with this model, or were you? So we, we innovated this model in India, yeah.

So we started with this model, and this model is now scaling up globally as well, right? So ad model and microtransaction model is sort of a, contributes to all of, most of our revenue at this point. What's the split between ad versus microtransaction?

It's 20%, 22%, and IAP contributes to 88%, 78%. Yeah.

Utsav Somani: And I mean, I read about the 11 Labs partnership that you've gone into recently, and voice is a big part of your stack and the product offering itself, right? So how does that partnership benefit you? And why not go for an Indian partner?

Prateek Dixit (Pocket FM): Yeah, I think so. This partnership was done a couple of years back, and 11 Labs for sure is one of the, one of the better players in terms of DTS, it's a text-to-speech model. Now the thing about DTS is that they are like multiple use cases of DTS, right?

One is more calls into use case, right? Where it's more of a transactional use case, right? You don't care about, let's say, emotions, dialogue, or expressive measure of DTS, right?

In case of Pocket, it's the extreme, right? You do care about dialogues. You do care about expressions.

You do care about emotions. You do care about how a character is delivering this particular dialogue, right? And it's a very, very complex part of statement, right?

So with 11 Labs being one of the best, especially at this point in terms of expressive DTS, we wanted to, of course, work with them to scale this up, right? While other partners are good at transactional DTS, they weren't so good at expressive DTS, right? And that's why I think we went ahead with 11 Labs.

While we work closely with 11 Labs, we're also building in-house models as well, because of the fact that Pocket has one of the best data to train expressive DTS, right? So we have 300,000 hours of content of really, really high quality expressive data, right? We feel that if we really have to build the best expressive DTS, I think Pocket can do that.

So while we work with 11 Labs in parallel, we're also focusing on building something internally as well, so that the model can do better in terms of storytelling tasks, right? We still feel that there's still some gap to be filled between where 11 Labs is and where the best storytelling content can be, right? I think, as a company, we want to fill that gap by getting our own models.

Dhruv Sharma: As we go further down this road of voice cloning and synthetic voice, Prateek, I'm wondering if you guys are, I'm curious if you guys internally have a benchmark for expressive DTS, right? Is there a movie, a show, something where you thought the work was so incredible?

Prateek Dixit (Pocket FM): Yeah. So I think we don't have to go outside our platform. I think we have a lot of, I think, high quality shows within Pocket itself, right?

I mean, there's a show called Primal Hunter. There's a show called Solar Leaping. It's one of the biggest anime IPs ever.

It's an audio series format, right? I think if you look at, if you listen to these two shows, you will understand that, like, while AI can do good, but there's still a huge gap to fill if you really have to meet Primal Hunter benchmark or Solar Leaping benchmark, right? Which people really, really love, right?

And that's the gap that we feel that Pocket can fill because of the sheer amount of data we have for this specific domain knowledge, right? You must have heard that there's a lot of DTS companies out there, but the focus of those companies is generally transactional DTS, solving for call centers, solving for enterprises, right? Very few companies are focusing on the storytelling, very high quality DTS, right?

So, yeah, I think you can tune into some of our shows, Primal Hunter for one, Solar Leaping second, and you can just compare the impact of high quality human voices, human production, as opposed to the AI production.

Utsav Somani: I'm curious to get your thoughts on video. Microdramas is a category that we've covered on this live stream as well. And it's a topic that keeps on coming up again and again.

Different models are being innovated there. There's AI versions of it. There's human shot and edited versions of it.

What are your thoughts on video and microdramas?

Prateek Dixit (Pocket FM): Yeah, I think it's a pretty good category with very high time for sure. But the fact is that the mode is still missing, right? Let's say a very simple question to ask is that there are 20 players in India who are doing microdrama.

There are 20 players in the US who are doing microdrama. Now, if I have to select a winner, I can't do that, right? Because every single platform serves the same content.

They have the same model. They have the same retention, right? So now, as a consumer, as a VC, as anyone, right?

How do I pick who's the winner, right? Because there's no mode. There's no differentiation, right?

So while the category is very hot, I think the winner is still not there, right? Because the retention of this category is still pretty poor, right? So I think and we're still like closely observing this category.

But so in terms of the pocket has innovated the long-form storytelling, right? So we will be, I think, betting on the long-form videos as opposed to short drama, which is two hours. Pocket is going to bet on the long-form video drama itself, right?

Which could range from, let's say, 20 hours of video drama to 100 hours of video drama, right? And this is going to be a pure AI video product itself, right? So we don't want to compete on the short drama side because again, as I mentioned, it's very crowded.

There's no mode. Again, the category is pretty exciting, but it's very hard to pick one winner, right? There's no differentiation.

So pocket is going to play, I think, the long-form video.

Utsav Somani: What do the economics look like? 20 hours of AI-generated video, I think that's going to be expensive, right? So the subscription price or the transaction price has to be higher.

Prateek Dixit (Pocket FM): Yeah, I think that's where I think, again, we're also innovating internally on building platform and the video harnesses, which takes per hour pricing cheaper to most of the other platforms that offer video production in AI, right? So we are seeing, I think, we have some of the initial numbers as well. We can produce video dramas as low as $400 per hour in some of the recent experiments, right?

Which is 7 to 8x cheaper than some of the other platforms. And if we can scale this up, I think we can really, really kill this something long-form video drama itself, yeah.

Dhruv Sharma: Prateek, so you guys are absolutely clear on your identity, right? Which is long-form audio storytelling. But for some of these blockbusters, which, I don't know, are icons in their own right, do you collaborate with people to replicate them across formats? I'm talking, I don't know, books, comic strips, and we covered video already. Yeah, I think so.

Prateek Dixit (Pocket FM): So if you think about, let's say, all the formats that exist in entertainment, right? The core of all the formats is the underlying script, right? If the script is good, right, you can actually create any format, right?

Audio is a layer on top of a good script, right? I took that example of My Vampire System, right? So My Vampire System is a really, really good script, right?

I'm not saying it's a good audio series as well, but audio series work because the script itself is so good that audio had to work, right? This MVS now can be created in video format as well, long- form video drama. It can be converted to comics as well.

It can be converted to a game as well. We can also, if we own the content, we can also license this to OTT platforms, let's say, for example, right? So that they can create and produce web series and movies, right?

Now, what Pocket Focus is at this point is to build this foundational layer of UGC content, right, which is the text content, right? And if you can scale this platform, which basically produces really high-quality scripts, I think creating other formats is just a matter of time with AI, right? As I mentioned, we're also, we're anyway like innovating on the video production side.

Comics can be done easily as well, right? Even, you must have seen this category called interactive stories, which is also one of the hottest category in SF, right? Interactive stories where you have to pick an option and you can just like, you can actually hyper personalize the story, right?

Based on the what users pick, right? You can also create that as well for MBS or saving data, right? So I think we want to focus on fewer formats to start with like audio and video.

But the sole focus of Pocket is to build this foundational UGC platform, scale this globally, have a million creators writing for Pocket. And once this scales, I think we'll look for launching more formats. We'll look to partner with more and more players to license our content to create, let's say, different formats, games, comics and whatnot, right?

Dhruv Sharma: Got it. So a related question, Pratik, would be if the script is the core IP, what is your philosophy in protecting the IP?

Prateek Dixit (Pocket FM): Yeah. So I think in terms of when you talk about UGC platform, Pocket generally owns 80% of those IPs, right? We share royalty with our writers, right?

In certain cases, of course, writers do also own the IP. But in case of 80% of IPs, Pocket owns the IPs of all the UGC content, especially the derivative formats as well, like video, comics, games as well, right?

Utsav Somani: So for other UGC platforms, like the biggest one being YouTube in the world? It is, right?

Prateek Dixit (Pocket FM): Especially for like fiction writing platforms, because like Instagram is like a very short-lived product, right? I mean, like when you create a short or when you create a YouTube video, you don't expect that to work for 10 years, right? Unlike a fiction story, in Pocket, a story can have a lifespan of 10 years, 20 years, right?

So in case of like other UGC platform, it might not make sense, right? But because the content is very short-lived, right? A reel or a TikTok is like, it has lifespan of maximum one month, right?

So licensing or that sort of thing doesn't work there. But in case of fiction story or fiction writing, it does make sense a lot, right? And we have to, in those cases, I think we have rights to produced derivative formats and Pocket owns the rights of these IPs.

Dhruv Sharma: Have you guys ever delivered a sleeper hit, Prateek, if the average shelf life for fictional stories is 8 to 10 years? Has a story ever been discovered way after it was first written and uploaded to the platform?

Prateek Dixit (Pocket FM): Yeah, I think so. I think these are, like, I have lots of examples where I think stories, especially the blockbuster ones, were actually discovered two and a half years after they were launched within Pocket platform, right? There's this show called, this show called Weakest Be Stable.

It's a beast-taming show. You must have seen this movie called How to Train Your Dragon, right? It's also a beast-taming show, right?

Series, movie. So this show was launched a couple of years back. And it's, at times, like, it's also about having right audience for that show.

So maybe, like, two years back, we did not have the right audience for that show. So we couldn't predict that this show would become blockbuster. Now, in last two years, as we started getting right audience for that specific category, we saw that this show actually starting having crazy numbers, right?

And we discovered that, hey, this show could be one of the next blockbusters. And now it's, like, it's, like, one of the best shows, one of the biggest shows in Pocket after MBS, right? So in Pocket, I think, as I mentioned, I think you can discover shows after three years as well, four years as well, because lifespan is 10 to 15 years in general.

Utsav Somani: I think we're almost coming to the end of time. But I think zooming out a little bit, you're the co- founder of a content company. And building AI-native tools and taking the company to an AI- native stage as well.

When it's becoming so easy to create content, like, how does good content differentiate itself from, like, general mass content? Or AI slots, basically?

Prateek Dixit (Pocket FM): I think this is one of the most important, I think, questions to us as well. Because although, like, a lot is about creating platform and scaling data, but the consumers have to like the content, right? If they don't like the content, then it's very hard to scale the platform, right?

So I think the way it works, basically, is that any UTC platform, any UTC content, right, gets through a sampling algorithm, right? Let's say if you are producing 110,000 series in a month, all of that series basically goes through multiple levels of multiple stages of sampling, right? Now, that sampling layer basically makes sure that the content actually meets certain criteria, right?

Now, the sampling could have an LLM evaluation level, right, where we don't have to give that content to real users, but LLMs can generally evaluate that through itself, right? Now, if the LLM evaluation meets the criteria, then it goes to the next stage of, let's say, testing on real users, right, of, let's say, 50, 60 users, right? And then after that, it gets propagated to, let's say, millions or thousands of users, right?

So this multi-layered sampling is something that we have built to make sure that the content of high quality, be it PTC, be it UTC, gets a lot of users, and the content which is of, let's say, of lower quality, doesn't get a lot of exposure, right? And that's fine as well, because writers do learn very frequently, right? So in Pocket, you will see a lot of writers iterate through their shows, right?

So they will launch a show, they'll get feedback from sampling layer, they will iterate and fix those issues, they will launch another show. So at times, I have seen writers writing Blockbuster after seven, eight attempts as well, right? So while this works for users, it's very important to basically make sure that we're giving sufficient data back to our writers as well, so that they can learn and improve their content over time as well.

Utsav Somani: I have seen people who've done books or are celebrated authors come to your platform and write content for you.

Prateek Dixit (Pocket FM): Yeah, I think we are seeing that influx now. I think one of the most amazing things that we have seen is that the distribution is a global distribution, right? Let's say, if you think about Indian writers, they had a very, very difficult time in basically getting their novels published to US audience, right?

And with Pocket, they can actually distribute their content to global audience, right? Without any gatekeeping, right? So we see, in fact, like one of the writers we have is earning $100,000, $68,000 to $80,000 per month, right?

He's a Hathaway based writers. He has written a show for US and UK audience. That show is earning half a million dollar revenue.

And then writer earns 70, 80 lakh rupees per month, right? So with these examples coming up, because of the distribution that we have, a global distribution, we see a lot of top writers now getting attracted to write for Pocket and then get this global distribution for free.

Dhruv Sharma: Yeah, I'm wondering if we can do a live brainstorm. So I'm going to bring up the founder manual. Prateek, this is a book that, this is the offline book authored by Utsav and it covers the stories of all offline members.

And of course, you know, it's a work of nonfiction. It's founder journeys. But I'm wondering if there's a way we can fictionalize parts of it and export it to a global audience.

You think something like that could work?

Prateek Dixit (Pocket FM): For sure. I think we are actually working with a lot of other partners as well to bring these older stories to life and basically adapt it to global audiences. We can for sure do that.

I think do reach out to us. All right.

Utsav Somani: So maybe a final philosophical question again from a YouTube chat. A question from Alexandra. When you're at this scale, what does the win mean for you?

Is it like the next revenue milestone, a blockbuster series, a territory expansion or something completely different?

Prateek Dixit (Pocket FM): I think numbers aside, numbers is always again like there. I think numbers is something that again are pretty common for all the companies. But for us, I think the mission is to basically create one of the largest creative platform globally where we enable local talent.

Right. Which is not possible till now because local talent, again, as I mentioned, had to go through this gatekeeping process and it was not democratized, especially the fiction writing part. So I think our core mission is basically to create the world's largest AI platform where we can find local talent, give them a platform which by using that they can distribute their content globally.

And of course, they change their lives.

Utsav Somani: Awesome. I think that's a solid note to end the show on. Thank you so much for coming on our live stream.

Thanks so much. All right, folks, we're tuning out. We'll see you on Wednesday at four o'clock.

Bye.