I&B Ministry
No exemption for mainstream media from new IT rules, says MIB
New Delhi: The ministry of information and broadcasting has refused to grant an exemption to the digital news content of mainstream television channels and print media from the ambit of the new IT Rules, 2021 and asked all the digital news publishers and the OTT platforms to comply with the new rules without any misapprehensions.
Asserting that the rationale for bringing the websites of the organisations under the ambit of the law is well-reasoned, the ministry said, making an exception of the nature proposed “will be discriminatory to the digital news publishers who do not have a traditional TV/print platform.”
The order dated 10 June provides clarification to digital news publishers, publishers of online curated content or OTT platforms, and associations of digital media publishers who had requested the government for an exemption under the new rules, highlighting that they are already “sufficiently regulated.”
“Since the code of ethics requires such digital platforms to follow the existing norms/content regulations, which are in vogue for the traditional print and TV media, there is no additional regulatory burden for such entities,” the ministry stated, “Accordingly, the request for exempting the digital news content of such organisations from the ambit of digital media rules 2021 cannot be acceded to.”
The ministry also took note of the fact that traditional TV and print media are already registered with the government either under the Press and Registration Books Act or the Uplinking and Downlinking Guidelines of 2011, and added, that they can request the same self-regulatory bodies to serve as the Level II of the self-regulatory mechanism. But, before that, they need to ensure consistency with the Digital Media Rules, 2021, it added.
The Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules 2021 that into effect on 26 May recommend a three-tier mechanism for the regulation of all online media. Under the rules, the digital publishers are required to take urgent steps for appointing a grievance officer, if not done, and place all relevant details in the public domain. “They also need to constitute self-regulatory bodies through mutual consultation so that the grievances are addressed at the level of publishers or the self-regulating bodies themselves,” the ministry said. More than 500 publishers have already submitted their details in the requisite format, it added.
The News Broadcasters Association (NBA) which had earlier sought exemption from the new IT rules, issued a statement on Friday stating that all current and prospective members have fully complied with the requirements of new rules.
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.
