iWorld
IAMAI requests TRAI to recognise OTT services as “digital applications”
MUMBAI: The Internet and Mobile Association of India (IAMAI) has reiterated that the term over-the-top (OTT) does not justify the innovation in the digital applications at the application layer. In its submission on counter comments to the OTT communication services consultation paper by industry body Telecom Regulatory Authority of India (TRAI) it has asked the regulator to recognise OTT communication services as ‘digital applications’.
“Using the terminology of OTT paints digital applications as free-riding over telecom networks, as they are accessible to all users with internet service without any arrangements / agreements with TSPs. Using the internet to offer services to consumers does not amount to free-riding, as consumers pay TSPs for the data that they use,” IAMAI said.
The industry body has also added that digital applications provide different services with diverse functionalities that do not merely replicate legacy telecom services. It has also noted that the use of the term “over the top” tries to equate the services while differentiating the mode of their accessibility. According to IAMAI, the services provided by digital service providers in the areas of communication, e-commerce, news, social media etc., do not provide substitutable services.
While submitting comments on the OTT consultation paper, some of the telecom operators and COAI sought to qualify the services provided by some of the digital applications to be similar or substitutes for telecom services. IAMAI is of the view that digital applications are qualitatively very different from telecom services.
“Identifying Rich Interaction Applications (“RIAs”) as comparable to telecom services is highly reductionist and unjustified. Moreover, digital applications are not available to those telecom subscribers who do not have access to the internet. While internet penetration in India is increasing with the rapid adoption of smartphones, this number is still a very small percentage of the Indian population. On the other hand, users can access telecom services without internet access or even smartphones,” it commented.
Some of the stakeholders also spoke about the regulatory gap between ISPs and digital application providers. In response to that, IAMAI has said that the digital applications are duly governed by the IT Act under the Ministry of Electronics and Information Technology. It added that any new regulations under a different regulatory authority will only convolute the existing regulatory regime and adversely affect the ease of doing business in the country.
“The argument of “same services same rules” was laid to rest in previous TRAI consultations on the matter. TSPs, with access to scarce national resources like spectrum and having restrictive access over physical infrastructures cannot possibly be compared to services being provided at the application layer, and any discussion of regulatory imbalance between the two would be comparing apples with oranges,” it highlighted.
IAMAI thinks all arguments of service or functional substitution by the telcos ultimately stem from a narrow perception of revenue substitution. In this context, it has highlighted that earlier some telcos acknowledged that the rise of digital applications has actually led to a rise in data revenues for these service providers.
“IAMAI would like to request the authority not to encourage TSPs to cherry-pick digital applications that help raise their revenues while choose to clamp down those they perceive as a threat for their revenues. Regulations should be based on principles and using regulations as restrictive tools for protecting business interests is a myopic outlook that harms the greater interest of the nation at large,” it commented.
iWorld
Why Peaky Blinders is one of television’s biggest hits that still deserves more attention
Six seasons, multiple awards and the release of Peaky Blinders: The Immortal Man bring the Shelby saga back into the spotlight
In the crowded universe of streaming content, only a handful of shows manage to leave a lasting cultural footprint. Peaky Blinders is overwhelmingly considered one of the biggest global hits of the past decade. Yet many viewers still haven’t fully explored the dark, gripping world of the Shelby family.
Originally produced for the UK’s BBC and later finding a massive global audience through Netflix, the series quietly grew from a British period drama into a worldwide streaming phenomenon.
Created by Steven Knight, the show follows the rise of the Shelby crime family in post-First World War Birmingham. What begins as a gritty street-gang story gradually expands into a sweeping narrative about ambition, politics, power and survival.
At the centre of the saga is Thomas Shelby, portrayed with extraordinary depth by Cillian Murphy. The casting of Murphy is widely regarded as perfect for the role. With piercing eyes, restrained dialogue and an almost hypnotic screen presence, he transforms Shelby into one of the most unforgettable characters in modern screen storytelling.
Murphy’s brilliance lies in his restraint. He rarely shouts or performs theatrically. Instead, a quiet stare, a calculated pause or a subtle shift in expression conveys the emotional storms within the character. Beneath the ruthless gang leader is a war veteran carrying trauma, guilt and loneliness. Murphy captures this complexity with remarkable precision, making Thomas Shelby both terrifying and deeply human.
Beyond its central performance, Peaky Blinders stands out for its unfiltered portrayal of reality. The show does not romanticise crime. Instead, it exposes the harsh social conditions of early 20th-century Britain, from poverty and class struggle to political extremism and the psychological scars left by war.
The series also presents powerful female characters who hold their own within the Shelby empire. Polly Gray, played by Helen McCrory, is the strategic backbone of the family and one of the most formidable figures in the story. Women in the series shape decisions, influence power structures and challenge the rigid social norms of the time.
Across six seasons, the narrative grows dramatically in scale. What begins in the smoky streets of Birmingham evolves into a story involving political conspiracies, fascism and international criminal networks.
The series has also earned significant critical acclaim. It won the BAFTA Television Award for Best Drama Series in 2018 and multiple National Television Awards for Best Drama, cementing its reputation as one of Britain’s most celebrated modern shows.
Another defining feature of the series is its iconic music. The show’s opening theme, Red Right Hand by Nick Cave and the Bad Seeds, became instantly recognisable and widely associated with the Shelby universe. Combined with a powerful soundtrack featuring artists such as Arctic Monkeys and Radiohead, the music helped shape the show’s dark, stylish identity and became hugely popular among fans.
And the Shelby story is not over yet.
In fact, its legacy is unfolding right now. The long-awaited feature-length continuation, Peaky Blinders: The Immortal Man, was released on March 6, 2026, bringing the Shelby universe from streaming screens to cinemas and giving fans a new chapter in the saga.
For viewers who have not yet stepped into this world, the timing could not be better.
Six gripping seasons are ready to binge on Netflix. A new film has just arrived in theatres. And at the heart of it all stands one of the most magnetic performances in modern drama by Cillian Murphy.
So if Peaky Blinders has been sitting on your watchlist for years, this weekend is your moment.
So, by order of the Peaky fookin’ Blinders, consider this your cue to finally step into the ruthless world of Thomas Shelby. Pour yourself a drink, clear your schedule and press the play button. Because when the Peaky Blinders give an order, you listen.
