Special Report
India-A hotbed for news channels
“To improve is to change, to be perfect is to change often.” This quote from Winston Churchill is in my opinion the best way to describe 2013 for the Indian television market scenario and BBC Global News, the parent company of BBC World News and bbc.com.
Let’s first take a broad look at the changes in the Indian market. While regulation forced the industry to adopt digitisation, it is commendable that the industry responded and today MSOs have had around 70 to 80 per cent success in seeding STBs in phase I and phase II. Digitisation has happened and is progressing – but at the moment that is only the technical side. Addressability remains a concern. But large changes such as this in markets as humongous and diverse as India are bound to take time. Our outlook is positive and we are hoping that once business models start to take shape, this change will be positive for all stakeholders. But there is no doubt that traditional models are being disrupted. The cable industry will have to look at differentiation, quality of service and value added services to drive revenue growth. The capacity constraint that drove carriage revenues is likely to moderate with digitization. There is demand for niche content. New launches are happening in the super-niche format. The demand for Pay-TV is growing with increase in the availability of premium content. Consumers are willing to pay for HD content. Cable operators have also started offering HD-enabled STBs.
The other major change is the pattern of consumption of content. Viewing has become personal with the consumer demanding and expecting flexibility in terms of timing, volume of content consumed and place of consumption. Increasing mobile & broadband penetrations and affordability of smarter devices are offering alternative digital distribution platforms. Consumption of live TV on-the-go and catch up TV is on the rise. All these are very positive changes that signal well for the robust growth of the industry.
It has also been a year of evolution for BBC Global News. We moved into state of the art brand new studios in the heart of Central London in what is easily the world’s largest and most advanced newsroom. Both in anticipation and in response to audience trends, we have successfully converged our news operations to deliver the best multimedia, multi platform international news. Our improved look on TV, our website, our apps – all these make for a greatly enhanced experience for the consumer. Our new brand campaign ‘Live the Story’ is not just an advertising tool, it is an ethos for the way we approach content and we want to reinforce that message in the market. It is in recognition of this ethos that World News America received an Emmy award for “Best continuing coverage of a news story” for Ian Pannell and Paul Wood’s reports from Syria. And among our many editorial highlights was the 100 women season with Mishal Husain’s exclusive interview with Malala featuring not just on BBC World News but across all BBC platforms domestic and international. Indeed one of the catalysts for 100 Women was the Delhi gang rape attack in December last year.
It is great to see the audience responding to us. In India, BBC World News has maintained its status as the leading international English news channel among the country’s affluent, influential opinion leaders, business decision makers and frequent international travellers, according to the latest Ipsos PAX survey. BBC World News also beats India’s domestic news channels to take the number one spot amongst the highly desirable, upscale audience. BBC Global News, including BBC World News and bbc.com is the only news brand across TV, online and mobile to show quarter on quarter growth. Social media is equally important for us to improve our engagement and we continue to achieve important audience milestones on Twitter. @bbcworld now has more than 5 million followers and @bbcbreaking has passed the 8 million follower mark.
As economics and politics in India become even more interesting with the country entering election mode, we have just announced a season of programmes focusing on India to air in February 2014. India Direct will delve behind the headlines to bring audiences insight on our country as we strive to be significant player on the global stage. The India Direct season will give BBC audiences around the world the opportunity to see everyday life in India. Through programmes like Fast Track, One Square Mile and Working Lives, the BBC’s unrivalled network of journalists explore the issues faced by people here – from the economic opportunities and challenges to living life at every level of society; from its traditions and history to future plans and innovations. We are looking forward to what promises to be a really insightful coverage of India. We also hope to bring an international perspective to the coverage of the elections. As the world focuses on India, our journalists will also showcase India to the rest of the world with our global coverage.
The world of media and journalism is very dynamic and India is a vibrant market. We believe that the changes in the media landscape are all positive; we ourselves are steadily progressing in tandem with global trends and certainly have a very positive outlook for India. We believe that the market respects and appreciates our content and that our ability to provide superior international news content on multiple platforms will differentiate us and keep us growing.
(Preet Dhupar is BBC Global News COO for India. The views expressed in the above article are the author’s personal views)
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.
