Executive Dossier
“Media today is suffering from ideological corruption”: Tulsidas Bhoite
Mi Marathi, a Marathi news channel has been working hard to gain cognizance since its revamp from an entertainment channel to a news channel in March 2014. The channel, after a year of constant endeavour to connect with the viewers, has become the chart topper in the Marathi news space.
At the forefront of Mi Marathi is a team of veteran journalists and among them is the channel’s managing editor Tulsidas Bhoite.
Bhoite started his career in 1992 in print media. It was in 2000 that he moved to electronic media with his debut stint at ETV. He has worked with leading channels like Zee Marathi, IBN7, Star Majha, Zee 24 Taas, TV 9 and Jai Maharashtra.
Indiantelevision.com’s Seema Singh spoke to Bhoite about the transition of Mi Marathi from an entertainment channel to a news channel, the challenges and much more.
Excerpts:
What was the reason behind converting the entertainment channel Mi Marathi to a news channel?
I think it was a wise decision by the management. I travel a lot with all segments of people, be it with commoners or professionals from different field. As per my analysis, there is space for more than 10 news channels in Maharashtra. The market here is quite weak in terms of both revenue and TRP, and so far, not a single channel has tapped the market fully. Currently with seven players in the region, we have only just managed to tap 50 per cent of the market.
How did the transition take place? What happened to the GEC employees?
We haven’t removed a single employee from any department because we didn’t want to write-off any people. Everyone has their own talent, and it was our duty to cultivate that talent for the betterment of the channel. We decided to use GEC talent for news and fortunately the management allowed us to do that. As the pace of work in a news channel differs from that of a GEC, we do face the problem of speed but our employees are coping and trying to change their functioning style.
When the management decided to relaunch the channel as a news channel, they started hiring best professionals from the industry. The hiring process is still on and we have on board the three best faces from the industry in Kumar Ketkar, Nikhil Wagle and Bharatkumar Raut.
We are hiring more talent from the news industry now. Even today, we do not have any technical backup like the other news channels, because of the space crunch. Plans are also afoot to shift to a new office and buy more technical equipments. With no technical support and just 60 per cent workforce as compared to the other news channels, I think we have been doing a fairly good job.
How is the management-employee relationship in the company? Are employees involved while taking decisions?
We ask our employees to give ideas. We may or may not accept the ideas, but we always ask people to participate in the ideation process. In fact, Jhingroo, the icon created by the channel during elections, was the idea of our creative team, which is still being appreciated by many.
Being the seventh player in the market, what was the strategy to attract viewers?
Yes, we entered the market as the seventh player in the regional news space in March 2014. In order to remain relevant in the space, we had to create a new market for ourselves. As I mentioned, there is a large part of Maharashtra, which is still uncovered by news channels. So our strategy was to create a new segment for ourselves in the news market and also grab existing viewers of other news channels.
We decided to cover news differently. For example in Mumbai, channels generally cover Mantralaya when it comes to politics, stock market for financial and a select two or three theatres or multiplexes when it comes to entertainment news. We changed this. We sent our cameras to that part of the society, where others hesitated. The news industry generally works on a myth of the up market and down market. But if you see, only 10 per cent of the news channel viewer comes from the so called up market strata.
Even in the rural parts of Maharashtra, channels focus on the sugar belt of Pune or Nasik. We completely changed that. We always cover every news right from rural to urban, from upper to middle to lower middle class. And I’m not saying this because I’m a journalist, but this is the most practical approach. Even advertisers want to cater to the rural markets these days.
What were the challenges you faced when you entered the market?
The first challenge that came our way was that no one wanted to accept us as we weren’t big faces, when we launched. Traditional leaders thought we could not carry on the channel. But when we applied our strategies to run the channel, after four months they started taking cognizance of the channel.
What did you do right to get to the number one position?
Firstly, the selection of issues and subjects to cover. Secondly, we consider the opinion of each person in the team as important. Thirdly, when others are trying to think on an issue, we have already acted on it. We connect our channel directly to viewers, from all segments. We are always trying to give them a say in each and every programme. To understand the pulse of the audience, we never forcefully apply our views on the audience. We give the audience a chance to express their opinion.
What’s your Target Group?
While we don’t focus on one TG, we look at targeting the 15-45 year olds. For example, our character Jhigroo, resonates not just with politicians, but also the younger generation, who while are not too interested in politics or the news, but like the animated character. We want to catch the young audiences.
How did you ensure that you did not lose out on your viewers from the entertainment channel, while making new ones in the transition?
Most channels apply the ‘Hot Cut’ policy. But during the relaunch, we did not make the mistake of ‘Hot Cut.’ So while a show was on air, we did not cut the programme to go on air on something that was happening now because that could have harmed us. So we used the phase out process. We kept 50 per cent programming and 50 per cent news from September 2013 to March 2014. And from March, we relaunched fully as a news channel and we continue treating news in a different way. A lot of emphasis is being given to the presentation of the news, despite lacking on the technical front.
How do you plan to maintain the number one position?
When we announced the relaunch in the newsroom, I had said ‘our struggle is man vs machine.’ While content is the king, distribution plays a crucial role and we are hoping to expand our reach.
My aim is to not just get good numbers. My ultimate goal is that the channel should be cognizable, right from the top person to someone sitting in the rural area. People should know the channel and the content. Number one, two doesn’t really matter.
We would like to capture 50 per cent of the market to be able to do more experiments with the content.
What are the challenges in the Marathi news space?
In Maharashtra, people are open to other languages, and so we have to compete with Hindi news channels as well. Our strategy is to go to people, pick up their issues and give them a voice.
Do you think advertisers should put in more money in regional channels? Is there scope?
There is an untapped market in Maharashtra. However, when it comes to news genre, I don’t think any sales team in any of the channels has the potential to tap that huge market, and this includes my channel. There is a need to set up that team. We need to look at people with good ideas, who can tap that market.
The logo has remained the same even after the relaunch. Any plans to change that?
We thought on that. The creative team has created a different logo as well, but for now we will stick to the current logo. Our communication from class to mass shows that they like our current logo.
Are you looking at revamping the channel?
My team is currently struggling with the limited resource. But we need to move to a new space and as soon as we find that space, we will have two studios and better equipment and lighting. The revamp will be in the next six months.
We are also working towards bringing in more graphics in the next 15 days. We will not stick to a single rule of programming. Adding more content to the channel is an unending process. We are making rules, only to break them.
How has Nikhil Wagle’s presence helped the channel?
If you study our viewership pattern, we are equally distributed throughout the day, from 3 pm to 11 pm. We wanted to strengthen our 9 – 10 pm time band and so when Nikhil Wagle agreed to join our channel, we offered him that time band. He has his own followers in Maharashtra, and that cannot be denied. Our mood and his is the same and that helps the channel a lot.
How many journalists and bureaus do you currently have?
In all over Maharashtra, we have nine bureaus and we will increase that to 12 in the next three months.
Of the nine, seven are connected by lease lines. We will also start our studios in the next three months. We want to give our correspondents in these studios an opportunity to handle their own small shows on regional basis.
In Mumbai, we have a team of 12 reporters and 20 camerapersons and out of Mumbai we have 60 reporters and 30 camerapersons.
What’s your take on prime time debate?
When deciding the strategy for the channel, I think like a viewer and not like a journalist. People are fed up of debates and that’s a fact. Fortunately, we only have one debate showPoint Blank hosted by Wagle, who is a man of content.
We take only four people on the panel in order to give proper time to each one to represent their point of view. Media is suffering from ideological corruption. We are media, we are supposed to give equal opportunity for people to give their opinion. There should be discussion and not debate.
Vir Sanghvi had once said, “We don’t have news channels, we have low cost entertainment channels.” But I think people are fed up of such low cost entertainment and so we are trying to deliver hard core news.
If you check our ratings, we aren’t getting good ratings for any of our entertainment shows.
Have you subscribed to BARC? Will you be discontinuing your TAM subscription?
We haven’t yet subscribed to BARC, but we will. We haven’t taken a decision on whether we will continue with TAM or not. We may continue with both TAM and BARC.
Executive Dossier
Game on, fame on as Good Game hunts India’s first global gaming star
MUMBAI: Game faces on, pressure high India’s gaming ambitions are levelling up. Good Game, billed as the world’s first as-live global gaming reality show, has officially launched in India with a bold mission: to crown the country’s first Global Gaming Superstar.
Blending esports with mainstream entertainment, the show brings together competitive gaming, creativity and on-camera performance in a format that tests more than just joystick skills. Contestants will be judged on gameplay, screen presence and their ability to perform under pressure, reflecting how gaming has evolved from pastime to profession and pop culture currency.
Fronting the show are three high-profile ambassadors: actor and entrepreneur Samantha Ruth Prabhu, Indian cricket star Rishabh Pant, and gaming creator Ujjwal Chaurasia. The winner will take home Rs 1 crore ($100,000) among the largest prize pools for any Indian reality show along with the chance to represent India on a global stage.
Backed by a planned annual investment of up to Rs 100 crore, Good Game is also courting brand partners, promising a minimum reach of 500 million among India’s core youth audience. The creators position the show as a bridge between entertainment and interactive culture, offering long-format content, community engagement and commercial scale.
Auditions are now open to Indian citizens aged 18 and above, inviting amateur and professional gamers, creators and performers alike. Shortlisted candidates will be called for in-person auditions in Mumbai on 14 and 15 February, and in Delhi on 28 February and 1 March 2026.
With big money, big names and even bigger ambition, Good Game signals a shift in how India views gaming not just as play, but as performance, profession and prime-time spectacle.
Digital
SpotDraft hires new CMO and CFO to fuel global push for its AI contract platform
INDIA: SpotDraft has strengthened its senior ranks as it gears up for faster global expansion, naming Alon Waks as chief marketing officer and Amit Sharma as chief financial officer. The appointments follow the firm’s $54 million Series B round earlier this year and mark a push to scale across the Americas, EMEA and India.
The AI-powered contract-lifecycle-management platform has posted 100 per cent year-on-year growth in customer acquisition, counting Apollo.io, IPSY, Mixpanel, Oyster and Panasonic among its global clients. The firm processes more than one million contracts annually, with volumes up 173 per cent and nearly 50,000 monthly active users.
Waks, a veteran of Kustomer, Bizzabo, CreatorIQ, LivePerson and ZoomInfo, will steer global marketing and category positioning as legal teams adopt AI-driven tools. Sharma, who has led finance across scaling tech firms since 2016, will guide financial strategy, investor relations and market expansion.
Both hires aim to sharpen SpotDraft’s bid for a larger slice of the fast-growing legal-tech market, expected to exceed $63 billion by 2032. Co-founder and chief executive Shashank Bijapur said the company is focused on scaling go-to-market operations in the Americas, deepening leadership in EMEA, and accelerating AI capabilities for general counsels and legal-operations leaders.
Clients report shorter deal cycles and better alignment between legal and business teams. “What used to take weeks now happens in days,” said Abnormal Security senior legal operations manager Susan Koenig. DeepL head of legal operations André Barrow, said SpotDraft has helped reframe legal “from a cost centre to a generator of revenue”.
Executive Dossier
Outdoor Ads Get Smarter as LOC8 Shifts OOH from Visibility to Attention
MUMBAI: Out-of-home ads were once the wallflowers of marketing seen by everyone, noticed by few. But in an age where attention has become the world’s most fought-over currency, even billboards are getting a brain upgrade. Enter LOC8, OSMO’s AI-powered attention engine, quietly reshaping the old OOH playbook by measuring not just who could have looked at an ad, but who actually did. The shift is subtle but seismic: impressions are out, impact is in and data, not gut instinct, is calling the shots.
In a landscape where marketers question every rupee spent outdoors, LOC8 is turning lampposts, flyovers and traffic islands into precision-mapped attention laboratories. By crunching dwell time, visibility zones, perceptual size and real-world obstructions, the platform is dragging OOH into a future where creativity meets computer vision and where the best ideas aren’t just eye-catching, but eye-measured. From automotive facelifts to FMCG novelty and real estate trust-building, the message is clear, outdoor has stopped shouting and started listening. Indian Television Dot Com explores more about it in an Interview interview with OSMO co-founder Nipun Arora.
On how OSMO is shifting outdoor advertising from a visibility-led medium to an attention-led one through LOC8.
Traditional OOH has long been measured by visibility and impressions i.e how many people could see an ad. OSMO, through its proprietary AI platform LOC8, is shifting that narrative more towards likelihood of being noticed. Using computer vision and machine learning, LOC8 analyzes real-world video data to measure visibility zones, obstructions, dwell time and perceptual size; bringing precision to how attention is quantified outdoors. It moves the focus from mere impressions to quality of impressions, making OOH a data-verified, attention-led medium comparable to digital in accountability.
On how marketers can use LOC8’s dwell-time, visibility and perception insights to craft more effective, emotionally resonant OOH campaigns.
LOC8 helps brands understand how people truly experience outdoor media how long they look, from what distance, and under what conditions. By quantifying dwell time, visibility duration, and perceptual size; marketers can plan campaigns that align with real human viewing behavior. This empowers creative and strategy teams to design emotionally resonant storytelling where messaging, visual hierarchy and placement are optimized for how people actually notice and process OOH creatives.
About what LOC8 has revealed through campaigns like Renault Triber and Namaste India on how categories such as auto, FMCG and real estate use attention metrics to drive outcomes.
Each category uses attention data differently but all share one common goal: to convert outdoor visibility into measurable engagement.
• Automotive | Renault Triber
For the new Renault Triber facelift, bold creative met data-led planning through LOC8. By analyzing on-ground video data, LOC8 measured real audience attention across placements factoring in visibility zones, obstructions, traffic speed and perceptual size. This enabled Renault to identify corridors that delivered maximum reach, saliency and engagement, optimizing media efficiency and ROI.
• FMCG | Namaste India
In OOH, innovation is the hook and assets are the bait. But bait often hides the hook. With Loc8’s attention metrics, we ensured the bait wasn’t a hurdle, rather it became the perfect stage for innovation to deliver its full impact! The insight proved that creative novelty, when validated by attention data, drives deeper engagement and measurable brand lift.
• Real Estate
For luxury and real estate campaigns targeting HNI/UHNI audiences, attention patterns differ especially between front and rear passengers, who are often the core audience segment for premium sites. LOC8’s ability to distinguish rear vs. front visibility plays a critical role here. It helps identify sites that offer longer viewing windows and stronger perceptual dominance from the rear seat where decision-makers are most likely seated making it a key differentiator for premium and trust-led categories. Together, these insights prove that auto optimizes for impact, FMCG for recall, and real estate for trust visibility showing how attention metrics adapt to category goals while ensuring measurable outcomes.
On how attention analytics will shape the future of brand storytelling and media planning as OOH becomes more digitised and data-driven.
As outdoor digitizes, attention analytics will inform not just where to advertise but how stories are told in public spaces. This evolution transforms OOH from a static broadcast channel into a dynamic attention ecosystem, where creativity is optimized through evidence-based insight.
On how LOC8’s data-led framework helps marketers quantify OOH impact and make outdoor a more accountable, ROI-driven medium.
LOC8 bridges the gap between intuition and evidence. By quantifying metrics like visibility duration, attention opportunity index, and visual saliency rank, it allows brands to benchmark site performance and justify investment. This data-led approach brings transparency, comparability and ROI measurement to a medium historically driven by perception.
On how OSMO ensures AI and computer vision enhance creativity rather than reduce it to numbers.
OSMO believes that technology should enhance creativity, not overshadow it. LOC8’s attention models reveal what naturally draws the human eye helping creative teams refine design cues, contrast, and visual hierarchy for greater impact. By merging art and science, LOC8 empowers creativity with intelligence.
About the creative best practices and design cues LOC8 has uncovered regarding what truly captures consumer attention outdoors.
LOC8’s visual cognition analysis has surfaced clear patterns across campaigns:
• High contrast and minimal messaging outperform cluttered designs.
• Motion cues draw significantly longer dwell times.
• The first two seconds are critical, creatives must establish focus instantly.
• Contextual alignment between the creative and its environment increases attention by over 30%.
These learnings offer a scientific foundation for creative effectiveness helping brands design OOH that’s visually magnetic and emotionally memorable.
On how attention metrics will integrate into omnichannel planning where OOH, digital and social work together for unified brand impact.
Attention can become the unifying KPI across OOH, digital and social to creates seamless storytelling continuity, where outdoor triggers digital engagement. The future of omnichannel planning lies in attention-led integration ensuring that campaigns don’t just reach audiences everywhere but truly capture and hold their focus.
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