Special Report
BCCI has shown the money, awaited is the promised dawn
When it comes to India cricket nothing is impossible! The sheer scale of revenues that the BCCI has been able to extract from its cricket property today stands at a mind-boggling $ 752 million (Rs 33.54 billion). Rs 27.24 billion for the media rights that have gone to Nimbus Communications, Rs 4.15 billion through selling the team sponsor rights to Sahara and Rs 2.15 billion for sale of kit sponsor rights to Nike. That’s a massive ten-fold jump in net worth over the the value of the same rights for the previous four years.
And with still more expected through the sale of mobile telephony rights, IPTV rights, all future technologies including ADSL, archive rights after a 72-hour period and public exhibition and film rights, it will take some courage to bet on just what the final tally will be.
First off, kudos to the new dispensation that lords over India’s national passion led by Maratha strongman Sharad Pawar. The BCCI has pocketed a sum that its founding fathers or its administrators, even as recently as five years ago, could never have ever imagined possible.
The richest cricketing association in the world is now arguably among sports’ richest bodies in annual turnover with the magical Rs 100 billion mark expected to be crossed this year. All the more ironic then that a visit to BCCI’s headquarters in India’s commercial capital Mumbai reveals what a wag likens to being little better than a mofussil post office. That’s how shabby and decrepit the seat of power of the BCCI is.
Pay a visit to any of the cricketing stadia in India (Mohali in Punjab being an honourable exception). There are those who compare many of them to zoos (and bad ones at that) in the way spectators are fenced in with no amenities and horrendous conditions that the paying public have to bear with typical Indian stoicism.
The latest issue of leading news weekly India Today makes for interesting reading. A report in it titled “Gone For a Toss” highlights the fact that if the Indian cricket board does not clean up the Delhi cricket body, the stink of mal-administration will spread. “The DDCA is beset with crooked administrators, compromised selectors and insecure players” reads the picture caption in the article.
Which brings us to the main point of this article. Now that the numbers have been tallied, it is time for the administrators to take over from the accountants. If one were to make political comparisons (very apt considering the amount of politics that goes on in the BCCI), it could well be likened to the overthrow of Bihar strongman Laloo Prasad Yadav by Nitish Kumar late last year. There has been much hope and expectation but till now little to offer by way of positive news. People are however, still willing to give the new Bihar chief minister time because 15 years of Laloo raj will take some undoing.
Such luxuries need and should not be given to the Pawarful BCCI in terms of delivery time frames. Much has been promised, the first of which is professionalising the way the board is managed, with a CEO to be installed. The mess in the different associations needs to be sorted out, stadia seriously improved and the paying public given the treatment they deserve.
And most of all, letting the moolah as it were flow down to the smaller centres. Because if there is one thing that has come through loud and clear in the way the new energised and vitalised Indian cricket team is performing, it is that the real stars are coming from smalltown India.
If the BCCI can bring all this into its functioning now that it has the finances to literally reach for the sky, then even the most carping of critics will truely appreciate vice-president and marketing panel chairman Lalit Modi’s comment made at a recent media briefing — that he and the other office bearers in the board were working only for the love of the game. …and without even taking any remuneration for it, he was at pains to point out.
The BCCI has shown India the money. The question now is, how long will the country have to wait to see the reaping of the cricketing harvest?
MUMBAI: Some friendships are made in heaven; others are coded in Mumbai. Hamara Vinayak, the first-ever digital original from Siddharth Kumar Tewary’s Swastik Stories, turns the divine into the delightful, serving up a story that’s equal parts start-up hustle and spiritual hustle.
Some tech start-ups chase unicorns. This one already has a god on board. Hamara Vinayak takes the leap from temple bells to notification pings and it does so with heart, humour and a healthy dose of the divine.
At its core, the show asks a simple but audacious question: what if God wasn’t up there, but right beside you, maybe even debugging your life over a cup of chai?
The show’s tagline, “God isn’t distant… He’s your closest friend” perfectly captures its quirky soul. Across its first two episodes, screened exclusively for media in Mumbai, the series proves that enlightenment can come with a good punchline.
The series follows a group of ambitious young entrepreneurs running a Mumbai-based tech start-up that lets people around the world book exclusive virtual poojas at India’s most revered shrines. But as their app grows, so do their ethical grey zones. Into this chaos walks Vinayak, played with soulful serenity and sly wit by the charming Namit Das, a young man whose calm smile hides something celestial.
He’s got the peaceful look of a saint but the wit of someone who could out-think your favourite stand-up comic. Around him spins a crew of dream-driven youngsters – Luv Vispute, Arnav Bhasin, Vaidehi Nair and Saloni Daini who run a Mumbai-based tech start-up offering devotees across the world the chance to book “exclusive” poojas at India’s most sacred shrines. It’s a business plan that blends belief and broadband – and, as the story unfolds, also tests the moral compass of its ambitious founders.
“The first time I read the script, I found the character very pretty,” Namit joked at the post-screening interaction. “It’s a beautiful thought that God isn’t distant, he’s your closest friend. And playing Vinayak, you feel that calm but also his cleverness. He’s the friend who makes you think.”
The reactions to the series ranged from smiles to sighs of wonder. Viewers were charmed by the show’s sincerity and sparkle, a quality that stems from its creator’s belief that faith can be funny without being frivolous.
Among the cast, Luv Vispute shines brightest, his comic timing adding sparkle to the show’s more reflective beats. But what keeps Hamara Vinayak engaging is the easy rhythm of its writing – one moment touching, the next teasing, always gently reminding us that spirituality doesn’t have to be solemn.
Luv spoke fondly of his long association with Swastik. “Since my first show was with Swastik, this feels like home,” he said. “Every project with them is positive, feel-good, and this one just had such a different vibe. I truly feel blessed.”
Saloni Daini, who brings infectious warmth to her role, added that she signed up the moment she heard the show was about “Bappa.”
“We shot during the Ganpati festival,” she recalled. “The energy on set was incredible festive, faithful, and full of laughter. It’s such a relatable story for our generation: chaos, friendship, love, kindness, and faith all mixed together.”
Vaidehi Nair and Arnav Bhasin complete the ensemble, each representing different shades of ambition and morality in the start-up’s journey. Their camaraderie is easy and believable, a testament to how much the cast connected off-screen as well.
This clever fusion of mythology and modernity plays to India’s two enduring loves, entertainment and faith. Mythology has long been the comfort zone of Indian storytellers, from the televised epics of the 1980s to the glossy remakes that still command prime-time TRPs. For decades, gods have been our most bankable heroes. But Hamara Vinayak tweaks the formula not by preaching, but by laughing with its characters, and sometimes, at their confusion about where divinity ends and data begins.
Creator Siddharth Kumar Tewary, long hailed as Indian television’s myth-maker for shows like Mahabharat, Radha Krishn and Porus, explained the show’s intent with characteristic clarity, “This is our first story where we are talking directly to the audience, not through a platform,” he said. “We wanted to connect young people with our culture to say that God isn’t someone you only worship; He’s your friend, walking beside you, even when you take the wrong path. The story may be simple, but the thought is big.”
That blend of philosophy and playfulness runs through the show. “We had to keep asking ourselves why we’re doing this,” Tewary added. “It’s tricky to make something positive and spiritual for the OTT audience, they’ve changed, they want nuance, not sermons. But when the purpose is clear, everything else aligns.”
For the creator of some of Indian TV’s most lavish spectacles, Hamara Vinayak marks a refreshing tonal shift. Here, Tewary trades celestial kingdoms for co-working spaces and cosmic battles for office banter. Yet his signature remains: an eye for allegory, a love for faith-infused storytelling, and an understanding that belief is most powerful when it feels personal.
Hamara Vinayak, after all, feels less like a sermon and more like a conversation over chai about what success means, what faith costs, and why even the gods might be rooting for a start-up’s Series A round.
As Namit Das reflected during the Q&A, “Life gives us many magical, divine moments we just forget to notice them. Sometimes even through a phone screen, you see something that redirects you. That’s a Vinayak moment.”
The series also mirrors a larger cultural pivot. As audiences migrate from television to OTT, myth-inspired tales are finding new form and flexibility online. The digital screen lets creators like Tewary reinvent the genre, giving ancient ideas a modern interface, without losing the emotional charge that’s made mythology India’s storytelling backbone for decades.
In a country where faith trends faster than any hashtag, Hamara Vinayak feels both familiar and refreshingly new, a comedy that’s blessed with heart, humour and just enough philosophy to keep the binge holy.
For a country where mythology remains the oldest streaming service, Tewary’s move from TV to OTT feels both natural and necessary. Indian storytellers have always turned to gods for drama, guidance and TRPs from Ramayan and Mahabharat on Doordarshan to glossy mytho-dramas on prime time. But digital platforms allow creators to remix reverence with realism, and in Hamara Vinayak, faith gets an interface upgrade.
The result is a show that feels like a warm chat with destiny, part comedy, part contemplation. And in an age of cynicism, that’s no small miracle.
As Tewary put it, smiling at his cast, “The message had to be positive. We just wanted to remind people that even in chaos, God hasn’t unfriended you.”
With 5 episodes planned, Hamara Vinayak promises to keep walking that fine line between laughter and light. It’s mythology with memes, devotion with dialogue, and a digital-age reminder that even the cloud has a silver lining or perhaps, a divine one.
If the first two episodes are any sign, the show doesn’t just bridge heaven and earth, it gives both a Wi-Fi connection.
