iWorld
Screenwriters, broadcasters, and digital freedom: ISC’2016
MUMBAI: What do we really mean by digital media? When did it start? Why did it start? If you too are concerned about these questions and wanted a detailed insight, the Fourth Indian Screenwiters’ Conference 2016’s session on ‘The Digital Explosion’ was the place to get all your answers. Held last week, it saw writers, producers, film makers, broadcasters get together to discuss the issues plaguing the writing community today.
The panelists included ‘newcomers’ such as the screenwriter of Masaan, standup comedian and National award winning lyricist Varun Grover, The Viral Fever (TVF) creative director Biswapati Sarkar and Y-Films senior manager Nikhil Taneja, with 16 years experience across broadcast media Youtube India operations head content Satya Raghvan and Mukta Arts strategy vice president and Whistling Woods International business development vice-president Chaitanya Chinchlikar.
Session moderator and FWA activist and Malamal Weekly and Bhool Bhulaiyya screenwriter Manisha Grover set the ball rolling by asking when did digital writing really start in the Indian context and what sparked it off.
“We initiated the web series Jay Hind when the internet was in its early stages here but it has grown so rapidly that now we have vanished, says Grover. Jay Hind was a popular Indian stand-up comedy show made exclusively for the internet platform and was launched in 2009.
Grover recalls the day when he pitched the show to NDTV Imagine. “In those time there were only two comedy shows – Movers and Shakers and Aisi Taisi Democracy – which were also written by me. The broadcasters were very excited about the script. We made the pilot and they loved it and sent it to their focus group. The focus group didn’t like our host as they couldn’t relate to him. The channel asked us to shoot the pilot again with a different host. But it was my arrogance that didn’t allow me to do what the broadcaster wanted me to do.”
Other writers on the panel to narrated how rejection by broadcasters led them to move on to digital. A move that turned out to be a boon for them as it allowed their ideas to come to fruition as completed episodes for the web.
“My seniors were pitching a show for which I wrote a few episodes,” recollected Biswapati. “We went to MTV and after reading the script, they said the content is too intelligent for Indian audiences. We didn’t understand what they meant but i guess our timing was better at that time because YouTube was growing and it slightly became easy to make the series. For me digital is not a ‘also’ medium.”
In the digital world, Youtube is pioneer, which has given a creative platform to many writers, was the consensus of the panel. “I think the big conclusion that we have drawn that digital Youtube is a ‘writers’ first’ platform. It’s probably the only medium where the writer can dictate the entire product that will come out,” added Raghvan.
Raghvan went on to explain that in the Youtube ecosystem the web series revolution was sparked off over a year and half ago and the biggest series we saw was Permanent Roommates season one which is a TVF product. The latter has also produced some formats but Permanent Roommates was the first finite story. “Till now we have seen 40 series on the platform in different shapes and sizes not only in Hindi but also in Tamil,and Telugu,” revealed Raghvan. “We are also waiting for some Marathi productions this year and people are working on it. We will also start doing this in Bengali in couple of months.”
Till 2014, in India some 150 million internet connection were there that too from the big metros. Between 2014 -2015 we saw a lot of growth in south India, expounded Raghvan.
“We are doing shows for a certain kind of audience that is there on the internet. The question that arises is what what can we give to them on the internet that they can’t find on television and in films. Digital is mostly about good writing,” adds Taneja.
The panel concluded that writers need to hone the fine art of writing for digital, as in the future, it is going to emerge as the medium and not as an “also” medium.
iWorld
Netflix celebrates a decade in India with Shah Rukh Khan-narrated tribute film
MUMBAI: Netflix is celebrating ten years in India with a slick anniversary film voiced by Shah Rukh Khan, a nostalgic sprint through a decade that rewired how the country watches stories. The campaign doubles as both tribute and reminder: streaming did not just enter Indian homes, it quietly rearranged them.
Roll back to 2016 and television still dictated schedules. Viewers waited weeks, sometimes months, for favourite films to appear on prime time. Family-friendly filters narrowed options further, and piracy often filled the gaps. Then Netflix arrived, softly but decisively, carrying a catalogue of international titles rarely seen in Indian theatres and placing them a click away. Old blockbusters and new releases suddenly coexisted on the same digital shelf.
The platform’s real inflection point came in 2018 with Sacred Games, a breakout series that refused to dilute India’s grit for global comfort. Audiences embraced its unvarnished tone, signalling readiness for stories that did not need box-office validation or censorship compromises. What followed was a steady procession of relatable narratives. Competitive-exam anxiety fuelled Kota Factory. College relationships unfolded in Mismatched. Everyday pressures, not grand spectacle, proved bankable.
Language barriers thinned as foreign series arrived with Hindi, Tamil and Telugu dubbing, expanding viewership beyond urban English-speaking pockets. Marketing mirrored the shift. For global releases such as Squid Game, Netflix leaned on regional creators and influencers to localise buzz and make international content feel native.
The library widened beyond fiction. Documentaries stepped out of festival circuits into living rooms. Stand-up comedians found scale. Established filmmakers, including Sanjay Leela Bhansali with Heeramandi, embraced the platform’s long-form canvas. Subscriber numbers swelled to 12.37 million in India, according to Demandsage, and behaviour followed suit. Late-night binges became routine. Friday release rituals loosened. Watch parties turned solitary screens into social events.
Economics demanded adjustment. Early subscription pricing carried a premium aura that deterred many households. Over time, Netflix recalibrated plans to align with Indian spending sensibilities, conceding that accessibility is as critical as content. To extend momentum around marquee titles, the platform also experimented with split-season releases, stretching anticipation and watch time.
The anniversary film, narrated by Shah Rukh Khan, captures the linguistic shift that mirrors the cultural one: from “Netflix pe kya dekha?” to “Netflix pe kya dekhein?” The question moved from recounting the past to planning the next binge. In ten years, Netflix morphed from foreign entrant to familiar fixture, exporting Indian stories abroad while importing global ones home. The remote no longer waits; it chooses, clicks and moves on. In the streaming age, patience is out, playlists are in, and the next episode is always one tap away.
e-commerce
Tulasi Mohan Padavala elevated to Associate Director at Blinkit
Gurugram: Blinkit has elevated Tulasi Mohan Padavala to associate director, capping a three-year climb inside the quick-commerce firm and signalling confidence in an executive steeped in ecommerce, category management and on-ground sales execution.
Padavala shared the update publicly, saying he was “happy to share” the promotion, a succinct announcement that nevertheless marks a notable step up within one of India’s fastest-moving delivery platforms. The new role follows nearly three years at Blinkit, where he most recently served as senior category manager from February 2023 to January 2026, focusing on strategic sourcing and assortment planning.
The promotion places Padavala in Blinkit’s mid-to-senior leadership tier at a time when the company continues to expand its rapid-delivery footprint and sharpen category economics. His brief tenure as associate director began in January 2026, with responsibilities expected to span category growth, supplier strategy and cross-functional execution.
Before Blinkit, Padavala spent a short but intensive stint as global ecommerce manager at Wholsum Foods, the parent of Slurrp Farm and Millé, between November 2022 and February 2023. There he worked on digital marketplace expansion and online retail operations, adding a direct-to-consumer and international ecommerce layer to his résumé.
A longer stretch at Amazon shaped much of his cross-border commerce experience. As business development manager for Amazon’s India Global Selling programme from February 2021 to October 2022, Padavala helped Indian D2C brands enter the North American market. His remit ranged from seller recruitment and category revenue management to coordination with industry bodies, regulators and logistics partners. Key outcomes included launching more than 50 D2C consumable brands in the United States, driving a cumulative gross merchandise sales figure of $1m in FY21-22, tripling sales for participating brands during Prime Day through marketing and visibility levers, growing the monthly recurring revenue of more than 10 newly launched sellers from zero to an average $20,000 each, and negotiating ecommerce partnerships that reduced initial launch costs by 20 per cent.
Padavala’s earlier career was forged in the field rather than the dashboard. At Coffee Day Group, he spent close to five years across multiple sales leadership roles. As sales manager in the Greater Delhi Area from July 2019 to January 2021, he led vending-machine and consumables sales for small and medium enterprises with a team of more than 15 assistant and territory sales managers, managed over 2,000 clients, drove upselling and cross-selling, maintained channel partnerships and ensured timely collections. Prior to that, he served as area sales manager in Delhi between May 2018 and June 2019, handling south and east Delhi markets, and earlier in Hyderabad from April 2016 to May 2018, where he led Andhra Pradesh sales for the vending division, supervised service and logistics functions and managed a base of more than 600 machines with a four-member team.
His professional arc began with internships that combined analytics and process improvement. At Boehringer Ingelheim in 2015, Padavala analysed the impact of brand extension on the drug Pradaxa, identified key performance indicators through market research and assessed sales forecasts, recommendations that drew positive responses in pilot studies. Earlier, at Genpact in 2014, he automated manual sales-order backlog reporting using VBA and Excel, increasing efficiency by 800 per cent, and worked on benchmarking metrics within supply-chain planning processes.
From automating spreadsheets to scaling cross-border ecommerce and now steering quick-commerce categories, Padavala’s trajectory tracks the evolution of India’s retail economy itself. Blinkit’s bet is clear: blend data, discipline and delivery speed. The promotion formalises what his career already suggests. In the race for instant commerce, experience that moves from warehouse floors to global dashboards is no longer optional. It is the engine.
e-commerce
Bharatpe plays a super over as Rohit Sharma fronts T20 push
MUMBAI: When the stakes rise and seconds matter, even payments need a match-winning finish. That’s the cue for Bharatpe, which has rolled out Super Over, a nationwide campaign led by Indian cricket captain Rohit Sharma, timed neatly ahead of the ICC Men’s T20 World Cup.
The campaign draws a straight line between the pulse of cricket and the pace of everyday digital payments. A new brand film taps into India’s emotional bond with the game, while positioning UPI as the quiet hero that keeps daily transactions ticking along at match speed.
As part of Super Over, users making payments via Bharatpe UPI can bag daily rewards ranging from match tickets and signed merchandise to a chance to watch a T20 World Cup fixture alongside Rohit Sharma himself. Both consumers and merchants are also assured Zillion Coins on every eligible transaction, adding a little extra sparkle to routine payments.
Behind the scenes, Bharatpe is also batting for safety. The platform is backed by Bharatpe Shield, a fraud-protection layer designed to offer enhanced security, comprehensive coverage and dedicated support aimed at helping users transact with greater confidence as digital payments scale up.
Announcing the campaign, Bharatpe head of marketing Shilpi Kapoor said Super Over mirrors the aspirations of everyday Indians, combining speed, security and instant rewards to make UPI transactions feel both reliable and rewarding.
The campaign will play out across digital platforms, social media and on-ground activations nationwide, staying live through the T20 World Cup season proof that in cricket, as in payments, timing is everything.
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