I&B Ministry
European trust in media: radio outshines social networks, TV falls steeply
NEW DELHI: This one will make radio fans go ga-ga with delight.
Radio still remains the number one trusted source of news for European citizens even as the overall perception of the trustworthiness of the media has decreased over the last five years.
The European Broadcasting Union (EBU) also found that social media, increasingly the primary source of news, is the least trusted, and even a distrusted medium in Europe.
The annual Eurobarometer survey showed that although trust has decreased for radio as well, it remains by far the most trusted source of information. Most countries show a positive attitude towards radio and it came out as the primary trusted source in 20 countries, with an average of 55% positive response. Particularly high scores came from Sweden (74%), Finland (66%) and Denmark (57%).
Television, the second most trusted medium, is still the number one source in 11 countries but trust in television has decreased much more rapidly over the last year than the other media – with 10 points as opposed to radio, which only fell by three points, and the written press, the internet, and social media which decreased by only one point.
In only one out of 33 countries surveyed, Albania, the number of people who trusted social media as a source of news outweighed those who tended not to. In all other countries people “tend not to trust” social networks, with those in Sweden, Luxembourg, and Britain having the least trust in social networks as a source of information.
The internet also scored particularly low, as in the majority of countries, people “tend not to trust” it. Only 12 countries had positive results, most of which are in Southeast Europe.
The written press is not perceived to be much more trustworthy than the internet.
Only 13 countries showed positive results, mostly in Nordic and Benelux regions where people have more trust in the press. In 14 countries it is regarded as the least trusted medium.
Roberto Suárez Candel, head of Media Intelligence Service at EBU, told The Guardian that the results did not come as a surprise: “People maintain a strong relationship with radio and TV, which are still their primary sources of information and entertainment.”
“It is also not surprising that in countries with a high level of funding for public service TV and radio there tends to be more trust in the media in general – they produce good quality content and provide valuable information for society,” he told The Guardian.
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.
