The Media Room

From Bigg Boss to The Night Manager, how does Banijay Asia build some of India’s biggest entertainment franchises? In this episode of The Media Room from The Core, Vanita Kohli-Khandekar speaks with Deepak Dhar, Co-founder and CEO of Banijay Asia and Endemol Shine India, about the business of entertainment, the economics of content production and the strategy behind building successful television and streaming franchises.The conversation explores the extraordinary scale of Bigg Boss, its expansion across seven Indian languages and its ability to reach an estimated 500–600 million viewers cumulatively. Dhar explains why Bigg Boss has become one of India’s biggest entertainment properties and why he considers cricket and the IPL its closest competitors for audience attention. He also discusses how reality television creates daily engagement across television, OTT platforms and social media.How does a production company move from Bigg Boss to premium scripted shows like The Night Manager? Dhar discusses Banijay Asia’s expansion from unscripted entertainment into premium OTT content, including The Night Manager, Trial and Raak. He explains the fundamental differences between scripted and unscripted content, from creative development and production timelines to budgets, profitability and return on investment.The conversation also examines the business of intellectual property (IP) in India’s media and entertainment industry. How important are global formats, established franchises and original stories in a market where content budgets remain under pressure? Dhar shares how international formats are adapted for Indian audiences, explaining how Big Brother became Bigg Boss, Fear Factor became Khatron Ke Khiladi and how The Night Manager was reworked to reflect Indian cultural sensibilities.As streaming platforms and television networks rethink their content strategies, the discussion turns to the growing opportunity in unscripted entertainment, the future of MasterChef and the potential of Indian content to travel to international markets. Dhar also shares his perspective on microdramas, vertical entertainment, AI-era content opportunities, films, theatrical releases and Banijay’s expansion across Southeast Asia.Where is Banijay Asia headed next? Dhar outlines his ambition to transform the company from a content production studio into a broader entertainment hub spanning television, streaming, mobile platforms, films and live entertainment.For business leaders, investors, consultants, marketers, media professionals and anyone tracking India’s media and entertainment industry, this episode offers an inside look at the business of television, OTT platforms, reality shows, content economics and the future of entertainment in India.Watch the full conversation on The Media Room. Can Indian entertainment franchises become global successes, just as Korean and European content have? Share your views and subscribe to The Core for more conversations on business, media, technology and the forces shaping India’s economy.Chapters(00:00) - Deepak Dhar on Building Banijay Asia(04:57) - Why Unscripted Entertainment Is Growing(08:26) - Bigg Boss: 500–600 Million Viewers(10:52) - Fear Factor, MasterChef and the Power of Formats(15:36) - The Economics of Scripted vs. Unscripted Content(17:41) - Are Content Budgets Under Pressure?(19:40) - Who Owns the IP? Banijay’s Global Advantage(21:48) - Can Indian Shows Become Global Hits?(23:22) - How Bigg Boss and Khatron Ke Khiladi Were Localised(29:10) - How The Night Manager Was Adapted for India(30:19) - Microdramas, Micro-Entertainment and What Comes Next(31:40) - Banijay’s Next Bet: Films, Southeast Asia and Live Events(34:10) - Deepak Dhar’s Vision for Banijay’s Future

India’s microdrama market is growing rapidly, with millions of viewers watching short, mobile-first stories. But can the format turn its growing audience into a sustainable business?On this episode of The Media Room by Vanita Kohli-Khandekar speaks to Azim Lalani, Co-founder and Chief Business Officer of BULLET Microdrama and Trinetra AI, and Keerat Grewal, Partner at Ormax Media Pvt. Ltd, about the rise of microdramas in India, changing viewing habits, AI-generated content and the challenge of monetisation.India’s microdrama audience reportedly grew from 70 million in 2025 to 110 million in 2026. Yet, according to the Ormax data discussed in this episode, 72% of surveyed viewers had never paid for microdrama content.As platforms experiment with new business models and AI-generated stories, the big question remains: Can microdramas become a sustainable entertainment business in India?Chapters(00:00) - Introduction to India’s Microdrama Market(01:13) - India’s Microdrama Audience Hits 110 Million(04:24) - Why Reels and Algorithms Drive Microdrama Growth(06:53) - Bullet TV, Zee and AI-Generated Content(10:33) - The Challenge of Monetising Microdramas(17:45) - Can India’s Microdrama Market Become Profitable?(25:41) - Why Viewers Watch but Don’t Pay(31:00) - How AI Is Changing Microdrama Production(36:54) - AI, Mythology and the Future of Indian Stories(43:31) - When Will Microdramas Become Profitable?(47:56) - Brand Integrations and AI-Powered Advertising(50:55) - Can Microdramas Move Beyond Mobile Screens?Follow us on:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linkedin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠

In this episode of The Media Room, Vanita Kohli-Khandekar speaks with Vivek Couto, Co-founder and CEO of Media Partners Asia, and Mihir Shah, Vice President at Media Partners Asia, about the biggest shifts reshaping advertising across India and the Asia-Pacific region.India’s advertising market has doubled from $8 billion to $16 billion over the last five years. But the composition of that market is changing rapidly. Retail media has emerged as one of the biggest growth areas, with the Indian market now worth around $3.1 billion and growing rapidly across e-commerce, quick commerce, food delivery and fintech platforms.The conversation explores why Amazon and Flipkart are no longer the only players in retail media, how platforms such as Zepto, Blinkit and Swiggy are attracting advertisers, and why first-party data and measurable conversions are changing the way brands spend their advertising budgets.Vivek Couto and Mihir Shah also discuss the rise of Connected TV, which is bringing together television's brand-building power with digital measurement. They look at India's 55 million active CTV homes, the growth of CTV advertising and why the market could reach $2 billion in the coming years.The discussion also looks at AI and the future of search, the growing concentration of advertising among major platforms, the importance of IPL and other mass-media moments, and whether traditional display advertising could be squeezed between retail media and video.They also examine the future of professional content as UGC, social video, microdramas and AI reshape the economics of content production — and why premium content may have to compete on emotion and memory rather than volume.In this episode:• India’s $16 billion advertising market• The rise of India’s $3.1 billion retail media market• Amazon, Flipkart, quick commerce and the next phase of digital advertising• Why retail media is growing faster than traditional search and display• The rise of Connected TV and CTV advertising in India• AI search and the future of Google and traditional search• The concentration of advertising among Meta, Google and ByteDance• IPL, live sports and the value of mass-media moments• Streaming, UGC, microdramas and professional content• How AI could reshape premium content and multilingual entertainmentWatch the full conversation with Vivek Couto and Mihir Shah on The Media Room with Vanita Kohli-Khandekar from The Core.#TheMediaRoom #MediaPartnersAsia #VivekCouto #MihirShah #IndianAdvertising #RetailMedia #CTV #Advertising #DigitalAdvertising #AI #MediaIndustry #StreamingChapters(00:00) – The APAC Advertising Market Is Changing(03:31) – India’s $16 Billion Advertising Market(07:07) – What Exactly Is Retail Media?(09:32) – Amazon, Quick Commerce & The Rise of Retail Media(3:58) – India’s $3.1 Billion Retail Media Market(17:52) – Is Performance Marketing Killing Brand Building?(21:02) – How Sports, Streaming & Retail Media Are Converging(23:45) – The Growing Concentration of Ad Spending(26:06) – How AI Will Change Search & Advertising(31:10) – CTV’s $23 Billion APAC Opportunity(34:08) – UGC, Premium Content & The Future of Media(38:08) – Why India’s $5 Billion Content Market Is Recalibrating(40:40) – Closing Thoughts

From Coldplay to Lollapalooza, can India’s concert boom become a lasting business? In this episode of The Media Room from The Core, Vanita Kohli-Khandekar speaks with Naman Pugalia, Chief Business Officer for Live Events at BookMyShow, about India’s concert economy, the growth of live entertainment and the investment needed to bring global artists to Indian audiences.The conversation explores BookMyShow’s evolution from a ticketing platform into a concert promoter, spanning international tours, music festivals and stand-up comedy. Pugalia explains how digital payments, social media, music streaming and a growing willingness to pay for experiences are reshaping demand for live events in India.What does it take to turn a cricket stadium into a concert venue? Can India build enough indoor arenas to host live entertainment throughout the year? And can ticket sales and brand sponsorships sustain the business beyond a handful of blockbuster shows?Coldplay’s India concerts and Lollapalooza India offer a window into the economics behind the stage. Pugalia shares BookMyShow’s estimate that Coldplay’s two Ahmedabad shows generated ₹641 crore in economic impact. He explains how concerts and music festivals drive spending on hotels, airlines, restaurants, merchandise and local transport, creating opportunities beyond ticket revenue.The discussion also covers concert infrastructure, crowd safety, international artists’ production requirements, Sunburn, the expansion of live music beyond major metros and the differences between cinema ticketing and live event economics. Pugalia examines the role of brand partnerships and why moving beyond expectations of free tickets matters for the industry’s growth.For business leaders, investors, consultants, marketers, media professionals and anyone tracking India’s media and entertainment economy, this episode offers an inside look at the business behind the concert boom.Watch the full conversation on The Media Room from The Core to understand India’s big concert bet and what BookMyShow’s experience with Coldplay, Lollapalooza and live entertainment reveals about its future.Chapters(00:00) – How BookMyShow Built Its Live Events Business(01:02) – From Ticketing Platform to Event Promoter(06:21) – What Is Driving India’s Live Events Boom?(10:37) – How India Is Building Infrastructure for Global Concerts(15:16) – Why India Still Needs More World-Class Venues(21:36) – Live Events Are Growing Exponentially at BookMyShow(23:35) – The Business and Economics of Lollapalooza and Live Events(27:51) – Tickets vs Advertising: How Live Events Make Money(30:01) – Why India’s Live Events Market Is Just Getting Started(31:03) – Coldplay’s Record Ticket Sales in India

Can AI save the news business? INMA CEO Earl J. Wilkinson joins Vanita Kohli-Khandekar on The Media Room to discuss AI in journalism, digital subscriptions and why getting readers to pay remains a challenge for Indian news publishers.When news is available everywhere, what makes journalism worth paying for? And can artificial intelligence help publishers build a sustainable business?In this episode of The Media Room from The Core, Earl J. Wilkinson, Executive Director and CEO of the International News Media Association, explores how the news business is being reinvented as print economics give way to digital media.He explains why India’s inexpensive newspapers make digital subscriptions harder to sell, why blanket paywalls may not work and why publishers need to look beyond copying The New York Times.Yet Wilkinson sees reasons for optimism. AI could help newsrooms analyse vast amounts of information and develop journalism they previously lacked the resources to produce. The opportunity extends beyond cutting costs to creating something readers value.In this conversation* How AI is changing journalism and newsroom jobs* Why digital subscriptions and paywalls need a different approach in India* What makes readers willing to pay for news* Why global news brands can grow while local newspapers struggle* How events, e-commerce and reader revenue support media businesses* AI copyright and the debate over paying publishers for their content* Why adapting to technology requires a change in newsroom cultureDrawing on examples from India and international markets, Wilkinson examines what the news business needs to become commercially sustainable and where AI could make a difference.What would make you pay for news? Tell us in the comments.Subscribe to The Core for more conversations on business, media, technology and the forces shaping India and the world.#AI #FutureOfJournalism #TheMediaRoom(00:00) – The State of the Global News Media Business(01:58) – The Biggest Challenge: Adapting to Constant Technological Change(03:18) – Why News Media Companies Will Converge by 2030(11:14) – Earl Wilkinson on the Evolution of India’s News Media Market15:08 – Why Publishers Need to Rebuild Their Digital Businesses(18:27) – Finding New Revenue Beyond Advertising(22:24) – Can Indian News Media Build a Sustainable Subscription Business?(25:00) – AI, Content Rights and the Future of News Publishing(30:55) – Earl Wilkinson’s Favourite News Media Markets

Why do new writers struggle to break into Bollywood despite the industry’s constant search for original stories? Viraf Patell joins Vanita Kohli-Khandekar to examine the barriers separating aspiring screenwriters from Bollywood producers and decision-makers.In this episode of The Media Room, Viraf explains how limited access, an oversupply of writing talent and a shortage of serious buyers make breaking into Bollywood difficult. He also reveals how Frame Your Idea, the pitching platform created at FICCI Frames, is making Bollywood’s talent market more accessible.What began with 115 writers and 650 meetings has grown into a curated marketplace involving more than 450 writers, around 75 producers and over 3,300 structured pitch meetings.But how often does a pitch lead to another opportunity?Viraf says only 5 to 7 percent of meetings result in producers asking to meet a writer again. Yet that conversion rate is comparable to what studios achieve through months of conventional talent scouting. Frame Your Idea compresses the process into two days while giving screenwriters from across India direct access to producers, studios and industry executives.The conversation explores why new writers struggle to enter Bollywood, what producers look for in a script and why even promising stories can take years to reach the screen. Viraf also shares success stories connected to Netflix’s Choked, Disney, Colour Yellow Productions and Dharma Productions.Viraf reflects on his own journey from the Merchant Navy and Mr India to YRF television, screenwriting, Gujarati cinema and acting in Pathaan. He discusses learning screenwriting from Boman Irani through Spiral Bound and working on the National Award-winning Kutch Express.He also recalls Shah Rukh Khan’s generosity on the Pathaan set and speaks about his role in Hansal Mehta’s Gandhi, starring Pratik Gandhi with music by A.R. Rahman.Watch the full conversation to learn:•⁠ ⁠Why new writers struggle to break into Bollywood•⁠ ⁠How to pitch a script to Bollywood producers•⁠ ⁠How Frame Your Idea works at FICCI Frames•⁠ ⁠Why most film pitches do not progress•⁠ ⁠How producers discover new writing talent•⁠ ⁠What makes stories work across languages•⁠ ⁠What Viraf Patell learned from Boman Irani•⁠ ⁠What Shah Rukh Khan was like on the Pathaan setThis episode offers screenwriters, filmmakers and media professionals a candid look at Bollywood’s closed networks, its demand-and-supply imbalance and the difficult journey from a promising script to a finished film.Subscribe to The Core for informed conversations on Indian business, media, technology, financial markets and the forces reshaping the economy.Chapters(00:00) – Viraf Patell’s Journey from Merchant Navy to Acting(05:55) – From Acting to Storytelling: Why Viraf Looks Beyond One Discipline(09:31 – How Frame Your Idea Was Born(13:58) – Frame Your Idea: 650 Meetings and 115 Writers in Three Days(17:43) – How Do You Measure Success in Finding New Writers?(23:05) – The Business of Frame Your Idea and the Cost for Writers(27:05) – From Frame Your Idea to Films: Success Stories(32:19) – How Learning Screenwriting Changed Viraf as an Actor(37:45) – Boman Irani’s Spiralbound and Viraf’s Screenwriting Education(40:50) – Why Good Stories Are Universal(43:20) – Frame Your Idea Returns: A New Door for Writers(44:13) – Viraf Patell on Shah Rukh Khan’s Generosity on Pathaan(49:31) – What’s Next for Viraf Patell

Sony India is betting on television, SonyLIV, KBC, streaming and sports to drive its next phase of growth. Gaurav Banerjee, Managing Director and CEO of Sony Pictures Networks India, explains why he believes Indian TV is far from dead and how Sony plans to compete for audiences across screens.In this episode of The Media Room, Vanita Kohli-Khandekar speaks with Gaurav Banerjee about Sony India’s television and streaming strategy, the growth of SonyLIV, the future of Indian television and the changing economics of the media and entertainment business.Banerjee explains how Sony is reinventing some of its biggest entertainment properties. KBC is being reworked for the age of AI, Indian Idol has been adapted for a new generation of musicians, and established franchises such as Crime Patrol are being refreshed for changing audiences.The conversation also looks at what really works on streaming in India. Banerjee argues that mass entertainment, live sports and strong intellectual property can travel across television, SonyLIV, YouTube and connected TVs rather than existing as separate viewing worlds.SonyLIV sits at the centre of that strategy. From live cricket and interactive viewing to originals such as Scam, Maharani and Gullak, Sony is looking to expand SonyLIV while retaining its premium positioning and building stronger engagement across digital screens.Sports is another important part of Sony’s growth strategy. Banerjee discusses the economics of sports broadcasting, cricket rights, the Asia Cup and why sports must generate reach, revenue and profit rather than simply attract large audiences.The episode also tackles a larger question facing India’s media industry.Is television really dying?Banerjee argues that the problem is not television itself but whether broadcasters are creating programmes audiences still want to watch. Sony is consequently increasing investment in Hindi television, regional entertainment and new channels across Tamil, Marathi, Bangla and other Indian markets.He also discusses Sony’s focus on watch time, viewership growth, advertising, connected TV adoption and why strong content remains the company’s most important growth driver.Also discussed in this episode* Sony India’s television and streaming strategy* SonyLIV growth and the future of OTT in India* The future of Indian television* KBC in the age of AI* Amitabh Bachchan and Kaun Banega Crorepati* Indian Idol and the changing music industry* Madhuri Dixit and Marathi KBC* Ajay Devgn and the reinvention of Crime Patrol* A R Rahman and Tamil Idol* Samantha Ruth Prabhu and Celebrity MasterChef* Sony’s sports broadcasting strategy* Cricket rights and sports streaming economics* Connected TV growth in India* Advertising, viewership and watch time* Scam, Maharani, Gullak and SonyLIV originals* Sony’s regional television expansion* The future of India’s media and entertainment industryWatch the full conversation with Gaurav Banerjee on The Media Room with Vanita Kohli-Khandekar from The Core.Chapters(00:00) – Gaurav Banerjee on Sony’s Next Phase in India(02:40 – How KBC Is Being Reinvented for the Age of AI(05:08) – Reimagining Sony’s Fiction and Non-Fiction IP(10:59) – Why Streaming and Television Are Converging(15:48) – Sony’s Growth Strategy: Content, Sports and Watch Time(18:05) – Sony’s Viewership Has Grown 38% in Two Years(24:24) – SonyLIV’s Strategy: Live Sports, IP and Interactivity(32:25) – Why Sports Must Drive Reach, Revenue and Profits(36:35) – Can Television Beat the ‘Sunset Medium’ Narrative?

Victoria Oakley explains how technology, AI copyright and streaming fraud are reshaping the business of music and changing how artists create, distribute and earn.Streaming has transformed the global music industry. Listeners can discover songs from almost anywhere, artists can reach fans across borders and record labels can build new revenue streams through subscriptions, digital distribution, online concerts and direct fan engagement.But the same technology is also creating new risks.What happens when generative AI companies train music models on copyrighted songs without permission? Who gets paid when bots create millions of fake streams? And are Spotify, YouTube and other streaming platforms doing enough to protect artists and their royalties?In this episode of The Media Room, Vanita Kohli-Khandekar speaks with Victoria Oakley, Chief Executive Officer of the International Federation of the Phonographic Industry, or IFPI. It represents more than 8,000 record labels globally, from independent companies to Universal Music, Sony Music and Warner Music.Oakley explains how technology is changing the music business through subscription streaming, global distribution, digital fan experiences and new ways for artists to monetise their work. She also argues that record labels remain central because every platform still depends on original music and human creativity.The conversation examines one of the biggest debates in music today. Should AI companies be allowed to train their models on copyrighted music without consent or payment?Oakley argues that companies using songs to train generative AI systems should seek permission, enter licensing agreements and pay the artists and rights holders whose work makes those models possible. She also explains why fully AI-generated music without meaningful human creativity or properly licensed training data should not receive the same copyright protection as music created by people.Streaming fraud is another major concern.Fake streams, bots, click farms and streaming farms can artificially increase the number of plays a track receives. Fraudsters can then claim a larger share of the royalty pool even when no real audience has listened to the music. This diverts money away from genuine artists.Oakley discusses why streaming fraud is difficult to detect and why Spotify, YouTube, music distributors and other digital streaming platforms need stronger safeguards, better verification and greater cooperation.The episode also looks at the future of India’s music industry. India has a vast audience, a growing creator economy and globally recognised musicians, but much of its music consumption still happens through free, advertising-supported streaming rather than paid subscriptions.Can India become one of the world’s largest paid music markets? Can technology help Indian artists reach global audiences? And can the music industry embrace AI and innovation without weakening copyright, creativity and artist income?Watch the full conversation to understand how technology is shaping the business of music and how AI copyright, streaming fraud, music licensing, artist royalties and paid streaming could define its next phase.Subscribe to The Core for conversations on business, media, markets, technology and the global economy.#MusicBusiness #AICopyright #StreamingFraudChapters(00:00) Introduction: Inside the Global Music Business(00:46) What IFPI Does & How Record Labels Shape Music(01:47) Is the Music Industry Bigger Than Record Labels?(06:24) Have Streaming Platforms Overtaken Record Labels?(11:15) India's Music Market & The Subscription Opportunity(14:42) AI in Music: Opportunity or Threat?(21:08) Can AI-Generated Music Be Copyrighted?(26:39) Streaming Fraud: The Billion-Dollar Threat(31:09) How Spotify & YouTube Are Fighting Fake Streams(32:08) How Big Is the Streaming Fraud Problem?(36:22) How Streaming Created a Global Music Market(39:04) Final Thoughts

Are Indian films the next big alternative investment? In this episode of The Media Room, Vanita Kohli-Khandekar speaks with Sidharth Jain, founder of Film Money Global, and Rohit Dalmia, founder of CineNow, about how new film funds are trying to turn Indian films into a structured investment opportunity for institutional investors, hedge funds, HNIs, and global capital.The conversation explores the rise of film financing in India, the economics of the Indian film industry, and whether films can become a credible alternative investment asset. Film Money Global plans to finance genre films through international SPVs, while CineNow is building a ₹1,300 crore fund focused on capital, technology, IP monetisation, tokenisation, and structured exits.Can Indian films deliver predictable returns despite uncertain box office outcomes? Can tokenisation solve the problem of investor exits? And can film IP, theatrical revenues, streaming rights, and franchise potential be packaged like other financial assets?The discussion also covers film budgets, genre cinema, regional films, theatrical-first release strategies, investor confidence, intellectual property rights, portfolio diversification, data-led decision-making, and the challenge of deploying large pools of capital into the Indian movie business.For business leaders, investors, consultants, media professionals, filmmakers, and anyone tracking India’s media and entertainment economy, this episode offers a rare look at how finance and technology could reshape Indian film financing.Watch the full conversation to understand whether Indian films can truly emerge as the next big alternative investment.#IndianFilms #AlternativeInvestment #FilmFinancing #IndianFilmIndustry #TheCoreChapters(00:00) – Introduction(03:12) – Why films are emerging as an investment asset class(08:46) – How film funds manage risk through portfolios and slates(14:55) – Choosing projects: instinct vs structured investing(21:20) – Can independent filmmakers benefit from film funds?(27:37) – The biggest challenge isn't raising capital—it's deploying it(30:29) – Do good stories always make successful films?(32:22) – Why institutional investors have stayed away from films(35:24) – Tokenization, exits and the future of film financing(43:18) – Can intellectual property become a true investment asset?

Imtiaz Ali on Cinema’s Comeback and Bollywood’s Future, in this episode of The Media Room by The Core, is a conversation about why audiences are returning to theatres, why storytelling still wins, and what Bollywood’s next chapter could look like.Speaking with Vanita Kohli-Khandekar, filmmaker Imtiaz Ali reflects on the unexpected success of Main Wapas Aunga, the film’s box office turnaround, and how audiences took charge of its publicity when traditional film marketing fell short.From Jab We Met, Rockstar and Tamasha to Amar Singh Chamkila and Main Wapas Aunga, Imtiaz Ali has built a filmography around love, longing, memory, music and emotional storytelling. In this conversation, he explains why cinema is not dying, why audiences still want the big screen experience, and why long-form storytelling may matter even more in an age of short-form content.The discussion also explores Bollywood’s future, India’s untapped global soft power, the business of film marketing, the emotional role of cinema halls, and why Indian cinema should not lose its originality while trying to reach global audiences.Watch this episode for a deep, thoughtful and timely conversation on cinema, culture, business, audience behaviour, Bollywood, film marketing and the future of Indian storytelling.#ImtiazAli #Bollywood #IndianCinema #TheMediaRoom #FilmMarketing #TheCore