I&B Ministry
Government proposes scrapping film certification fast-track scheme
Priority route may be dropped to end queue-jumping and restore fairness
NEW DELHI: The government is set to press pause on the fast lane for film certification. The Ministry of Information and Broadcasting has proposed scrapping the Priority Scheme under the Cinematograph (Certification) Rules, 2024, a move that could end the practice of paying extra to move a film ahead in the queue.
In a public notice issued on 16 February, the ministry invited stakeholder comments on the proposal, with the consultation window open until 17 March.
The Priority Scheme, introduced in 2024, allowed filmmakers to request expedited certification by paying three times the standard examination fee. Under the rules, priority applications could be slotted ahead of regular submissions, effectively reshuffling the order of scrutiny.
What began as a provision for exceptional urgency, the ministry says, has gradually become business as usual. The result has been longer waits for films in the regular queue and concerns about fairness in what is meant to be a statutory, rule-based process.
Officials have flagged the risk of a two-tier system, where producers with deeper pockets could buy speed while smaller or independent filmmakers were left waiting their turn. The proposed amendment aims to remove that imbalance by restoring a single, orderly queue for all applicants.
If approved, the changes would remove the rule that permits priority screening upon payment of higher fees, as well as the provision that allows regional officers to alter the order of examination based on such requests. In effect, every film would move through certification strictly according to its place in line, unless a separate exceptional mechanism is introduced later.
For big-budget producers, the shift may mean factoring in longer lead times before release. Marketing campaigns, festival slots and box office calendars that once relied on a quick certification turnaround may need more careful planning.
Independent filmmakers, on the other hand, could find the playing field a little more level. Without a pay-to-fast-forward option, the queue may become slower for some, but fairer for all.
The government says the move is meant to restore equity, improve predictability and strengthen the integrity of the certification process. Whether removing the fast-track option reduces bottlenecks or simply redistributes the delays will depend on how efficiently the regular pipeline is managed in the months ahead.
I&B Ministry
Prasar Bharati opens AIR to private content under new policy
NIPP introduces revenue share, sponsored and gratis models
MUMBAI: Radio may be the oldest voice in the room, but it’s learning some very modern tricks. In a bid to stay tuned to changing listener habits, Prasar Bharati has opened the doors of All India Radio to private players under a newly rolled-out content framework. The initiative, titled Notice Inviting Programme Proposals (NIPP), marks a significant shift in how the public broadcaster approaches programming moving from a largely in-house model to a more collaborative, market-aligned ecosystem. Issued by Akashvani’s Directorate General in April 2026, the policy invites private producers, content owners and aggregators to pitch programmes across formats, from radio dramas and documentaries to quiz shows, storytelling and music-led content.
At the heart of the framework lies a three-pronged participation model designed to balance creative freedom with commercial viability. The most prominent route is revenue sharing, where advertising and sponsorship income generated by a programme is split between the producer and the broadcaster. The structure tilts in favour of creators offering a 70:30 split when producers bring in advertising, and 65:35 when monetisation is handled by Prasar Bharati.
Alongside this sits the sponsored model, where producers fully fund and monetise their content, subject to compliance with advertising norms and the AIR Broadcast Code. For those less commercially inclined, a gratis route allows content to be submitted free of cost, with Prasar Bharati retaining all monetisation rights effectively turning the platform into a national distribution channel for diverse voices.
The move comes as legacy media grapples with intensifying competition from private FM networks, streaming platforms and digital audio ecosystems. By repositioning AIR as both a public service broadcaster and a content marketplace, Prasar Bharati appears to be recalibrating its role in a rapidly evolving media landscape.
Importantly, the framework does not dilute editorial control. All submissions must adhere to the AIR Broadcast Code, and proposals are evaluated through a layered process that weighs storytelling quality, production capability, audience appeal and revenue potential. Only proposals crossing a defined threshold move forward, signalling that while access has widened, the bar remains firmly in place.
Operational discipline is another cornerstone of the policy. Producers are required to maintain broadcast-ready content, deliver episode banks in advance and navigate a structured approval process. Crucially, all production costs are borne by the content provider, reinforcing Prasar Bharati’s positioning as a distribution and oversight platform rather than a commissioning entity.
What elevates the initiative further is its scale. The framework spans multiple clusters and stations across India, covering both metro and regional markets, with specific language mandates and submission channels. This not only expands the content pipeline but also deepens linguistic and cultural representation, an area where AIR has historically held an advantage.
In effect, NIPP signals a quiet but meaningful transformation. AIR is no longer just broadcasting to the nation, it is inviting the nation to broadcast with it, blending legacy reach with contemporary content economics in a bid to stay relevant in an increasingly fragmented audio universe.
