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Renowned actor Aamir Khan emphasized the need for Indian movie-makers and producers to focus on building distribution channels across different countries to expand the global viewership of Indian cinema. He was speaking at a panel discussion titled “Studios of the Future: Putting India on the World Studio Map” held on Friday at the Jio World Centre, on the second day of the World Audio Visual and Entertainment Summit (WAVES) 2025.

The session, moderated by film critic Mayank Shekhar, brought together a stellar lineup of film industry stalwarts, including producer Ritesh Sidhwani, Namit Malhotra of Prime Focus Limited, film producer Dinesh Vijan, PVR Cinemas’ Ajay Bijli, and acclaimed American producer Charles Roven.

Speaking about the untapped global potential of Indian films, Aamir Khan stressed the importance of thinking internationally from the outset. On the topic of OTT platforms, he highlighted how the narrow window between theatrical and streaming releases discourages audiences from going to cinemas.

Charles Roven, producer of global blockbusters including Oppenheimer, underscored the enduring appeal of theatrical releases. “Despite the rise of TV and OTT platforms, the theatrical experience remains irreplaceable,” he said. Roven also encouraged Indian studios to move beyond a domestic focus and adopt a global mindset when approaching new projects.

Dinesh Vijan emphasized the power of authentic storytelling and the need for cross-border collaborations. “It’s not just about budgets,” he noted. “Smaller cities are more cinema-friendly. But to go global, we must focus on quality content and international partnerships.”

Namit Malhotra spoke about the transformative role of technology—particularly artificial intelligence—in enhancing storytelling and enabling Indian talent to connect with global audiences.

Ritesh Sidhwani highlighted the expanded opportunities offered by OTT platforms. “OTT has given Indian content global visibility,” he said. “It allows us to experiment with formats and narratives.”

Ajay Bijli raised concerns about declining theatre footfalls in the post-COVID era. He emphasized the importance of managing release windows strategically to optimize monetization across both theatrical and digital platforms.

Dinesh Vijan also noted that technology could help overcome language barriers through authentic lip-sync translations, enabling culturally specific content to resonate with broader audiences.

The panel concluded with reflections on the role of government in supporting the industry's global expansion. Commenting on the WAVES summit, Aamir Khan said: “This is the first time I’ve seen a government take such a keen interest in our industry. WAVES is not just a dialogue—it’s a bridge to policy. It’s a promising start. I’m confident our discussions will translate into impactful policies.”

Also Read: <a href="https://www.storyboard18.com/brand-makers/we-want-to-build-with-india-for-india-openais-pragya-misra-on-ais-expanding-role-in-storytelling-business-and-innovation-64295.htm">“We want to build with India, for India”: OpenAI’s Pragya Misra on AI’s expanding role in storytelling, business and innovation</a>

WAVES 2025 gathers industry leaders to discuss Indian cinema’s international expansion

WAVES Bazaar, the flagship global market initiative of the WAVES Summit, has emerged as a powerful catalyst for international collaboration in the media and entertainment industry. 

Created to connect content creators with investors, buyers, and collaborators across borders, WAVES Bazaar is set to position India as a strategic hub for global content commerce.

At the 2025 edition held in Mumbai, Sanjay Jaju, Secretary, Ministry of Information & Broadcasting, announced that WAVES Bazaar had already facilitated over Rs 250 crore in confirmed deals—with expectations of surpassing Rs 400 crore by the summit’s close.

In its inaugural edition, WAVES Bazaar brought together leading stakeholders from 22 countries—including South Korea, Japan, the USA, Germany, Russia, the Netherlands, and New Zealand. 

The event saw participation from 95 global buyers and 224 sellers. Key buyers included Netflix, Amazon Prime Video, Meta, Disney Star, Zee Entertainment, Banijay Asia, Warner Bros. Discovery, Sony LIV, YRF, Dharma, Jio Studios, Rotterdam Film Festival, and Rushlake Media.

Viewing Room & Market Screenings:

A total of 115 filmmakers showcased completed works to international buyers. From these, 15 standout titles were selected as “Top Selects” and screened live. 

These filmmakers were felicitated by renowned casting director Mukesh Chhabra, with actor Tiger Shroff lending support to one of the selected films. Additionally, Market Screenings featured 15 notable projects from emerging talent.

Pitch Room: From 104 project submissions, 16 curated projects were selected to pitch live over two days, offering early-stage creators a rare opportunity to engage directly with industry stakeholders.

B2B Buyer-Seller Market: WAVES Bazaar launched India’s first dedicated B2B buyer-seller meetings in partnership with the Federation of Indian Chambers of Commerce & Industry (FICCI), held from May 1–3. The initiative enabled targeted deal-making and creative business development across film, TV, music, animation, radio, and VFX.

Early Business Outcomes

WAVES Bazaar recorded confirmed transactions worth Rs 250 crore across film, music, animation, radio, and VFX sectors within the first day and a half of the market. This figure is expected to rise significantly over the next two days and expected to cross more than 400 crores.

Notable deals and Landmark Announcements on May 2, 2025

• “Khidki Gaon” secures post-production & VFX support
One of the “Top Selects,” Khidki Gaon, clinched a post-production and VFX deal with the Asian Cinema Fund (ACF)—a prestigious support program from the Busan International Film Festival.

• 30 Million Euros Indo-European Animation Alliance
Broadvision Perspectives (India) and Fabrique d’Images Group (Europe) signed a 30 million euros co-production agreement for four animated features, each budgeted at 7–8 million euros. The alliance—finalized by Mark Mertens (COO, FDI Group) and Sriram Chandrasekaran (Founder & CEO, Broadvision)—will operate under Indo-French and Indo-Belgian treaty frameworks.

• India–UK Co-Production MoU
Amanda Groom (Founder & CEO, The Bridge, UK) and Munjal Shroff (Co-founder, Graphiti Studios, India) signed an MoU to co-develop a slate of factual series exploring India’s colonial history. The partnership, years in the making since its origins at Film Bazaar, was finalized at Content India.

• “Shin Chan India Year” Initiative by TV Asahi
TV Asahi announced a special initiative to celebrate the popularity of Shin chan in India. Key highlights include:
– Theatrical release of Shin chan: Our Dinosaur Diary on May 9
– Diwali 2025 release of The Spicy Kasukabe Dancers in India
– Fan events at Anime India (August) and Mela Mela JAPAN (September)

This initiative cements India’s growing significance in the global anime ecosystem and further strengthens Indo-Japanese cultural ties.

Also Read: <a href="https://www.storyboard18.com/how-it-works/eam-jaishankar-union-minister-ashwini-vaishnaw-urge-for-cultural-pluralism-tech-collaboration-at-waves-global-media-dialogue-64187.htm">EAM Jaishankar, Union Minister Ashwini Vaishnaw urge for cultural pluralism, tech collaboration at WAVES Global Media Dialogue</a>

WAVES Bazaar 2025 secures Rs 250 crore in deals, unveils major global alliances: MIB Secretary Sanjay Jaju

Artificial intelligence is no longer the future— it's rapidly becoming the engine powering the next wave of creativity, productivity, and innovation. At the forefront of this movement is OpenAI, and its India story is only just beginning. 

Speaking exclusively to Storyboard18 at the WAVES 2025, Pragya Misra, Public Policy and Partnerships Lead, OpenAI in India, and a first hire for OpenAI in the country shared the company's vision and ambition for one of its most dynamic markets.

“India is now OpenAI’s second largest and fastest growing market with active users more than tripling over the past year,” Misra revealed. “We are very, very invested and very, very committed to what’s happening in India.”

From content creation to MSME adoption, OpenAI sees India's diversity and scale as a massive opportunity— one it’s keen to approach through meaningful collaboration, local contextualisation, and powerful storytelling tools like Sora.

“Our tools are really going to democratise how storytelling happens in India and around the world,” she said, noting a strong uptake in the use of storyboarding tools and multilingual capabilities. “Many people are waiting to tell their stories but haven’t had the tools. Our tools will empower them to actually write and tell the stories the way they would like to.”

"Our ambition is to be able to collaborate and work with everyone in India because we want to build with India and for India... and for the world."

With text-to-video model Sora and other AI tools, OpenAI aims to not only enable new forms of artistic expression but also make them relevant and authentic to India. “There is always this feeling that if you go to an AI model and ask something India-specific, it gives you global images,” Misra acknowledged. “We’ve made a conscious effort to ensure our tools serve the contextual needs of Indians far better.”

This intent to "build with India, for India" also extends to the business and startup ecosystem. With ChatGPT Enterprise and APIs, OpenAI aims to make its AI stack accessible to everyone, from top enterprises to grassroots entrepreneurs.

“I think MSMEs are really where a very large part of the India opportunity is,” said Misra. “We want to do much more in taking the MSME sector along with us in our AI journey,” she added.

The company is also seeing traction in software engineering, with companies coding more efficiently using OpenAI models. “That’s really bringing in a lot of productivity and efficiency,” she said. “I’m sure you’ve heard Sam (Altman) talk about how the world is not far from a single founder running a billion-dollar company.”

India, Misra believes, is uniquely positioned for that leap, given its entrepreneurial spirit and policy support. “We are fundamentally a very entrepreneurial society. With Startup India and the government’s focus on job creators, AI can really help the next generation achieve their aspirations.”

On the creative front, Misra recalled how the Ghibli art trend exploded in India, from cricket legend Sachin Tendulkar to Bollywood actors and even government accounts. 

“It really showed us that we have a lot to learn about India and what sticks,” she said. “People came in for something fun, like a Ghibli image, but stayed to explore what ChatGPT can actually do.”

Earlier in February, Sam Altman highlighted India's growing importance in the global AI landscape.

Altman on X posted that the pace at which India was integrating AI into various industries made it stand out on a global level. He wrote, "What's happening with AI adoption in India right now is amazing to watch. We love to see the explosion of creativity--India is outpacing the world."

"India is a very important market for AI. It is our second biggest market. Models are still not cheap, but they are doable. India should be a leader there of course," he said.

“We want to build with India, for India”: OpenAI’s Pragya Misra on AI’s expanding role in storytelling, business and innovation

Lumikai, the media and gaming VC fund, has officially released its consumer survey report titled, “From Swipes to Stories: India’s Interactive Media 
Consumer Unlocked" at WAVES 2025. With a respondent pool representing all geographies and demographics, the report was presented by Salone Sehgal, Founder and Managing Partner, and Aditya Deshpande, Vice President at Lumikai. 


Lumikai’s report reveals how new media platforms are driving a lean-forward, participatory experience, leading to the rise of the new age media consumer. 

Key findings highlighted the growing gender diversity in gaming communities, with 44% of players now being women, up from 41% the year prior. This shift, coupled with the fact that 66% of players hail from non-metro cities, reshapes India’s interactive entertainment landscape, with a broader, more inclusive audience, validating the country's emergence as a tier-2+ interactive entertainment powerhouse. 

• In the South, 77% of users pay for interactive media services, compared to just 51% in the North. 

• Users in South also spend the most time on interactive media platforms (Instagram, Music, OTT etc.) clocking in at 1.6x the baseline usage, compared to 1.3x in the West, and just 1x in the East and North. 

• Social media is the top alternate entertainment category across all regions, with platforms like Instagram dominating user attention. 

• Interestingly, dating apps (such as Tinder) rank as a top three entertainment apps, only in the North, suggesting a unique regional preference for dating platforms there. 

• Gaming now consumes 13 hours per week on average (up by 30% since FY23), nearly double the time spent on social platforms. 

• 99% game on smartphones; consoles and PCs are niche (only 21–30% in any region). Yet, data consumption, ads, and hardware issues are top blockers. 

• Primary motivations for gaming in India are relaxation (75%), social connection (51%), and self-expression (45%), placing gaming on par with music and storytelling as a form of emotional release and creative outlet. 

• Only 32% make in-game purchases immediately after installation. But within a week, 56% of users convert to paid models via microtransactions. 

• Top motivators to pay include unlocking new levels (50%), improving performance (49%), and ad-free experiences (48%). 
 

Read More:<a href="https://www.storyboard18.com/special-coverage/kraftons-srinjoy-das-and-ddb-mudras-rahul-mathew-on-how-gaming-has-evolved-into-a-cultural-and-social-movement-60683.htm" rel="noopener" target="_blank">Krafton's Srinjoy Das at GPS 2025: Future of gaming marketing is symbiotic, social, and surprise-driven</a>

Commenting on the report launch, Salone Sehgal, Founder and Managing Partner, Lumikai, said, “One of the report’s most defining conclusions is the evolution of the Indian user from player to creator. Interactivity has emerged as the core currency of engagement, and platforms that enable connection, competition, and expression will lead this next chapter. It is deeply meaningful to have presented the report at WAVES 2025, a global stage that reflects our shared vision for India as a global powerhouse in new media and gaming. It is evident how India is building its own interactive entertainment paradigm where UPI-powered microtransactions meet mobile-first storytelling. With improved access and infrastructure, India’s interactive media market touched $12.5 Bn in FY24, driven by vernacular content, microtransactions, and social gaming experiences that resonate with Bharat's cultural fabric.” 

Doubling down on interactivity as the way forward, Aditya Deshpande, Vice President, Lumikai, said, “The report delineates how the opportunity to build lasting value in India’s interactive media ecosystem lies in building sustainable, culturally resonant models. These are ecosystems where monetization aligns with user psychology, discovery is inherently social, and localization drives depth of engagement. For developers, this means designing experiences that optimize for low-data usage and micro-transactional access. For investors, it means backing models that prioritize long-term retention over viral spikes. And for policymakers, the signal is clear: gaming is no longer peripheral. Interactivity is the language, and systems of play are the engines driving this economy forward.”

Read More:<a href="https://www.storyboard18.com/gaming-news/hackers-are-trying-to-create-better-hacks-says-krafton-37717.htm" rel="noopener" target="_blank">'Hackers are trying to create better hacks', says Krafton</a>

Instagram tops user attention, North India favours Tinder; Gaming up by 30%: Lumikai

Prasar Bharati’s OTT platform, WAVES, is emerging as a key enabler for hyperlocal content in India, offering a democratised space for regional and niche creators who were previously excluded by traditional broadcast limitations.

In earlier years, content production and distribution were prohibitively expensive and technically complex—making television viable only for programming that could attract large, monetisable audiences. With WAVES OTT, Prasar Bharati is addressing this gap by providing a curated yet accessible platform that supports content in diverse languages and formats, particularly from creators outside tier-I cities, shared Prasar Bharati CEO Gaurav Dwivedi, in an exclusive conversation with Storyboard18.

Speaking at the sidelines of WAVES 2025, the executive shared that the platform allows localised storytelling—songs, short films, and regional narratives— to find space and scale.

Adding further on the public broadcaster's role in democratising content, and the evolving landscape of content creation and distribution in India, Dwivedi emphasised the platform’s potential to amplify regional voices and lesser-known languages. 

“The possibilities of the hyper-localisation of content have become that much easier,” he said, adding that unlike commercial OTT platforms driven by profitability, Prasar Bharati could serve underserved audience segments. “This is a gap that a public broadcaster needs to fill.”

He acknowledged the evolving landscape of content creation and distribution in India. “There is absolutely no disputing the fact that there is a lot of talent, of ability and capability available in the hinterland outside of the tier one cities. And, we hope that we are able to allow that talent to flourish on our platform,” he said.


Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-ceo-gaurav-dwivedi-calls-for-stronger-public-private-partnerships-hyperlocal-content-focus-at-waves-2025-64218.htm">Prasar Bharati CEO Gaurav Dwivedi calls for stronger public-private partnerships, hyperlocal content focus at WAVES 2025</a>



Dwivedi also touched on the Ministry of Information and Broadcasting’s advisory on improving accessibility for differently-abled viewers. He reiterated that Prasar Bharati adheres strictly to its broadcast and advertising codes across platforms. “Whether it's on radio, whether it is on television, we are extremely careful of the content which we put out, we would want to adhere to these codes/guidelines on Doordarshan and Akashvani,” he said.


Prasar Bharati Seeking Consultant to Initiate D2M Technology


Prasar Bharati, in collaboration with IIT Kanpur and Saankhya Labs, is testing Direct-to-Mobile (D2M)technology in multiple cities. D2M is a broadcasting technology that enables users to receive multimedia content on their phones without an internet connection, similar to FM radio, where signals are transmitted and received by a device’s receiver. The government plans to roll out D2M nationwide, especially in tier II and III cities.

Dwivedi shared an update on Prasar Bharati’s collaboration with Sankhya Labs and IIT Kanpur on the Direct-D2M initiative, noting that the organisation is in the process of selecting a consultant to guide the project. “We are looking at how this process will be carried out because, it’s going to be something which will involve a lot of technical elements,” he said.


Read more: <a href="https://www.storyboard18.com/television/exclusive-prasar-bharati-gears-up-for-massive-d2m-trials-bidding-to-begin-in-a-year-60554.htm">Prasar Bharati gears up for massive D2M trials, bidding to begin in a year</a>



When asked about TRAI’s remarks on regulating digital and traditional broadcasting under a uniform policy, Dwivedi called it a policy matter best left to the government. “Policies are never frozen; they are always evolving documents based on the need of the times,” he said.

Policies are never frozen, always evolving documents: Prasar Bharati CEO Gaurav Dwivedi

Ajay Vidyasagar, MD, YouTube, Southeast Asia and Emerging Markets, believes India is playing a pivotal role in the global evolution of storytelling, thanks to its deep engagement with artificial intelligence (AI), VFX, and multi-format content creation. In an exclusive conversation with Storyboard18 at the sidelines of WAVES 2025, he highlighted YouTube’s strong foothold in India’s advertising landscape and its evolving role in the broader content ecosystem.

“YouTube is one of the core parts of the advertising solution rubric (in India). And we feel that the journey of helping our advertisers understand, try, scale, and succeed is a beautiful circle that we have seen in our 16 years of existence,” Vidyasagar said, reflecting on the platform’s longstanding relationship with Indian advertisers.



<blockquote>Expressing appreciation for the market, he added, “We are very grateful to India's brands and advertisers for how leaned in they are, and how much trust they have with us.”</blockquote>



He noted that YouTube’s success lies in its comprehensive offering.

“We come in with a very solution-oriented approach. We help products and services succeed in generating their sale or generating their trials, and YouTube has a full funnel solution for that.” He emphasised that the combination of YouTube’s content diversity and Google’s strength in ad measurement creates a powerful value proposition.


Read more: <a href="https://www.storyboard18.com/how-it-works/youtube-to-invest-rs-850-crore-into-indian-creators-neal-mohan-64109.htm">YouTube to invest Rs 850 crore into Indian creators: Neal Mohan</a>


“On one hand, it is the richness of our content diversity and format diversity. On the other hand, it's the advertising measurement richness that Google is a world leader in. And when those two fuse—that's the reason why it works.”

Turning to India’s growing influence in content and technology, Vidyasagar discussed the role of AI and VFX in storytelling. “AI is a very material sort of movement in the content industry. But if you think about a lot of the research from users that you are seeing in this country, 72% of Indians recognise that AI is very important to enhance productivity. While that's a very significant number, and India is actually one of the most committed and enrolled sets of users in AI.”

He noted, however, that AI’s impact has limits— especially in storytelling. 

“India also has a lot of desk research that is telling us that one of the few industries where AI may not be able to really shape the core work is storytelling. Storytelling is about human connections, human emotions, and human stories. And so I find this topic very fascinating because on one hand, AI is about productivity. On the other hand, AI is not so much about core storytelling. So it is about human experiences.”

Comparing India’s storytelling style to the West, he said, “If you take Hollywood in the film industry, which is fundamentally the content industry, you would have clear explanation in the story that Iron Man had plutonium, or Spider Man had a particular spider bite, and he became Spider-Man. But if you take Indian cinema, you will see that Baahubali Katappa is larger than life, and there is no explanation why he's like that. 



<blockquote>Indians live a hard life. 95% of India live a very hard life. They come to consume content, to experience something that is a different world.</blockquote>



"In India, larger than life is organic. I would say in the Western world, there is some context given to something that happened that led to that change happening.”

Vidyasagar also spoke about India’s booming creator economy. 

“India is one of the largest creator economies in the world. YouTube's largest market in the world is India. And what we are seeing in India is that Indian creators are extraordinarily rich storytellers.”

He pointed out that Indian creators excel in making the most of YouTube’s format diversity. 


Read more: <a href="https://www.storyboard18.com/how-it-works/its-the-dawn-of-the-orange-economy-pm-modi-at-waves-2025-64000.htm">It’s the dawn of the Orange Economy: PM Modi at WAVES 2025</a>



“They use storytelling in its truest sense, and they also are able to leverage YouTube's multiple formats, including long form, mid form, short form, and live podcast. And I would say India is one of the markets where the multi-format richness of YouTube is leveraged in its best way in the world.”


It is to be noted that in just the last three years, YouTube has paid over Rs 21,000 crore to creators, artists, and media companies across India. On May 1, day one of the Summit, Neal Mohan, YouTube, CEO shared that in the next two years, YouTube will invest over Rs 850 crore to accelerate the growth of Indian creators, artists, and media companies.

Further into the conversation, Vidyasagar also pointed out the beauty of YouTube is that it allows users the experience in a multi-format manner, and the ability to be very dexterous in how one can choose.

According to Vidyasagar, India continues to play a crucial role in shaping how storytelling, technology, and commerce converge on YouTube.

YouTube is a core part of India’s advertising ecosystem: Ajay Vidyasagar of YouTube

At WAVES 2025, Adam Mosseri, Head of Instagram started his session with the evolution of Instagram and India's role in it. “When I first started at Meta—then Facebook—data was expensive in India, and networks were slow. Over the last 5 to 8 years, that’s changed dramatically. As data costs dropped, time spent online skyrocketed, especially with short-form video. Instagram, which started as a feed of square photos, is now mostly video-driven. In fact, more time is spent watching videos on Instagram than anything else—and this is even more true in India. India’s changes in usage patterns are leading indicators for global trends.”

On what India is doing right, Mosseri revealed, “We see much higher sharing, more time spent, and greater engagement from Indian users compared to many other regions. India's diversity in language and culture is reflected in its content. The country has led in areas like subtitle translation and audio dubbing. There’s a lot the world can learn from how India bridges linguistic and cultural gaps across states and languages.”

Read More:<a href="https://www.storyboard18.com/how-it-works/imagine-a-world-where-ai-meets-ancient-intelligence-nita-ambani-at-waves-2025-64193.htm" rel="noopener" target="_blank">It’s the dawn of the Orange Economy: PM Modi at WAVES 2025</a>

Addressing how Instagram ranks content types, Mosseri emphasized, “We don’t try to boost one type of content or suppress another. But we do observe trends—video, particularly short-form, is generally more engaging than static photos. It gets more likes, shares, and watch time. So on average, it ranks higher. That said, for some creators, static content performs better. Instagram is a diverse ecosystem—there’s room for everything from reels to poetry pages.”

On building a content strategy, he pointed out, “If you're using Instagram professionally, be clear about your goal. Are you building a community, selling something, or advocating for a cause? Align your content with that goal, but make sure it still resonates. For me, I try to explain what Instagram is doing and why, in a way that’s engaging and transparent.”

Reflecting on personal content, he said, “Early on, people didn’t care much for personal posts from me. But as my following grew, interest in personal updates increased. Now I balance it—most of my content is still about features and creator tips, but I’ll sprinkle in some personal moments to humanize the platform.”

Speaking about the content creation process, he said, “We often just put the camera on and talk—like about the Close Friends feature. We might do one or two takes. Even if there are small mistakes, we leave them in. If it's too polished, it doesn’t feel real, and people don’t respond as well.”

Read More:<a href="https://www.storyboard18.com/how-it-works/imagine-a-world-where-ai-meets-ancient-intelligence-nita-ambani-at-waves-2025-64193.htm" rel="noopener" target="_blank">Imagine a world where AI meets Ancient Intelligence: Nita Ambani at WAVES 2025</a>

Instagram's Adam Mosseri on India setting global benchmarks in social media habits

At a panel discussion on day two of WAVES 2025, Prasar Bharati CEO Gaurav Dwivedi traced the evolution of India’s public broadcasting landscape and emphasised the importance of strengthening public-private partnerships and hyperlocal content creation to meet the demands of a rapidly changing media environment. He also highlighted how Prasar Bharati's WAVES OTT will be an enabler in doing so, while also broadcasting vast volume of information, new, and entertainment content.


Reflecting on the broadcaster’s legacy, Dwivedi said, “ When All India Radio was set up in 1936, right from the beginning, there was this approach that as new radio stations came up in different parts of the country, all of the content was not always internally produced.”


He highlighted how landmark programmes like Binaca Geetmala and Bournvita Quiz Contest were externally produced but found national platforms through Akashvani. “These were all programs that were not really produced in-house, but came in from outside. And Akashwani provided this platform to them, which took them forward,” he said.


Read more: <a href="https://www.storyboard18.com/how-it-works/eam-jaishankar-union-minister-ashwini-vaishnaw-urge-for-cultural-pluralism-tech-collaboration-at-waves-global-media-dialogue-64187.htm">EAM Jaishankar, Union Minister Ashwini Vaishnaw urge for cultural pluralism, tech collaboration at WAVES Global Media Dialogue</a>



Dwivedi also recalled the golden age of Doordarshan in the 1980s and ’90s, where classic shows like Ramayan, Mahabharat, Buniyaad, Hum Log, and Karamchand became cultural touchstones—again, many of them produced externally and aired via Doordarshan’s platform.

Fast-forwarding to the present, Dwivedi detailed Prasar Bharati’s massive reach with “23 languages, 180 dialects, 12 foreign languages, 250 plus radio stations, 30 channels.” Yet, he pointed out the limitations of linear broadcasting: “Only one programme can go at a time… But then we also have the possibility of having multiple programs and infinitely scalable number of programs across languages, across genres, on the digital platform.”


He pitched WAVES OTT, Prasar Bharati’s own streaming service, as a natural next step.

“Why do we need our own streaming service? There is also the requirement to take a very vast volume of usable content to the audiences- not just entertainment content, not just news content, but information content.”

Dwivedi emphasised the continued relevance of educational programming, citing examples like Turning Point, a science show presented by Naseeruddin Shah. He also defended the long-running program Krishi Darshan, calling it “the longest running television program anywhere in the world” that still maintains strong audience engagement.


Read more: <a href="https://www.storyboard18.com/how-it-works/waves-iict-to-further-strengthen-mumbais-role-as-key-centre-in-global-creative-ecosystem-ashwini-vaishnaw-64003.htm">WAVES, IICT to further strengthen Mumbai's role as key centre in global creative ecosystem: Ashwini Vaishnaw</a>


Highlighting the evolution of news broadcasting, he said, “When we started with allowing private partnerships in an area as sensitive as news, Doordarshan and Akashvani had the monopoly… This monopoly was also gradually relaxed."

“The question is not whether we need this whole public-private partnership,” he concluded. “Hyperlocalisation is just a matter of finding out what is the right way of doing it… Whatever you are creating, bring it to us. Prasar Bharati will run it to the audiences and have everybody watch it.”

Prasar Bharati CEO Gaurav Dwivedi calls for stronger public-private partnerships, hyperlocal content focus at WAVES 2025

India’s External Affairs Minister S. Jaishankar and Union Minister for Railways, Information and Broadcasting, Electronics and Information Technology, Ashwini Vaishnaw jointly opened a Global Media Dialogue at the World Audio Visual Entertainment Summit (WAVES) on day two of the event, calling for a cultural and technological renaissance in the global media and entertainment space.

Speaking to an audience comprising global policymakers, content creators, artists and technologists, Jaishankar emphasised the need to democratise global narratives and empower cultural diversity. “The truth is that the world is essentially intrinsically and essentially diverse, and that pluralism has been suppressed in the past by both colonialism and big power dominance,” he said. “Each one has a right to express itself and must be facilitated to do so.” The Minister also expressed confidence that WAVES will serve as a platform to deliberate on the key issues before the global media, entertainment and creative worlds.


Five-Point Case for Redefining Global Engagement Through Creativity, Innovation - Jaishankar


EAM Jaishankar made a five-point case for redefining global engagement through creativity and innovation. He advocated a fusion of technology and tradition, highlighting that “modernity is not a rejection of the past, but a constant quest built on human achievements.” 


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First, it is vital to recognise that the process of change has a strong cultural dimension. The truth is that the world is essentially intrinsically and essentially diverse, and that pluralism has been suppressed in the past by both colonialism and big power dominance. 


"As we seek now to democratise the international system, it is not enough to just assert political and economic independence. It is equally essential that we give voice to our traditions, to our heritage, to our ideas, to practices, and to our creativity. There are many voices, many experiences, and many truths that make up our world. Each one has a right to express itself and must be facilitated to do so," the Minister shared.



<blockquote>"Secondly, we must be guided by the belief that modernity is not a rejection of the past, but a constant quest built on human achievements. For that reason, technology and tradition must go hand in hand."</blockquote>



The Minister further added that in many ways, technology can strengthen awareness of our vast heritage and deepen even consciousness about it, especially for younger generations. "We also bear in mind that innovation is key to the leapfrogging that will create a developed India by 2047, what we call mixed parent.



Read more:<a href="https://www.storyboard18.com/how-it-works/waves-iict-to-further-strengthen-mumbais-role-as-key-centre-in-global-creative-ecosystem-ashwini-vaishnaw-64003.htm">WAVES, IICT to further strengthen Mumbai's role as key centre in global creative ecosystem: Ashwini Vaishnaw</a>


 
As the world comes closer, he added that we can contemplate both a global workplace and a global workforce. "Both digital connectivity and physical logistics make this a growing reality. But we need accompanying shifts in mindsets, frameworks, policies, and practices. Remember, neither talent nor tasking will be stationary. Smoother mobility can certainly contribute to stronger creativity, for every era has its own mode of communication, of storytelling, of entertainment, and of its pastimes. We have seen it evolve from the oral and the written to the visual and the digital."

He highlighted how there is a surfeit of information today, and the challenge is actually how to get attention. "This challenge is what will make ours an age of creative forms, of creative sports, of creative collaboration. And young talent must be made ready for it, including through skills diffusion."


The Minister concluded his speech, sharing his thoughts on the rise of AI and related challenges.

 
"We all know that the era of AI holds possibilities beyond imagination. Never before have we visualised such deep changes across such vast domains. Our very sense of the past and the present can be redefined even as we are working for the future, with all its accompanying consequences...every advancement comes with its own issues, and AI will be no different."


EAM pointed out that even as the politics of this era will grapple with the concerns of authenticity, businesses will have to deal with new intellectual property challenges as they promote innovation and creativity.


<blockquote>"For all, the responsible use of emerging technologies will be an increasing preoccupation. Reducing bias, democratising content, and prioritising its ethics are all part of the emerging discourse."</blockquote>


Creativity, Culture and Collaboration- Vaishnaw


Echoing similar themes, Vaishnaw underlined the importance of three anchors- creativity, culture and collaboration. “Technologies are reshaping how we tell stories, how we create content, and how content is consumed,” he said, noting that while the global media and entertainment industry is valued at around $3 trillion, “its true value lies in the empathy that it creates, in the ideas that it conveys, and in the future that it helps us imagine.”


The Minister shared, "As a government, we must provide a fair chance for everyone to showcase their story to the world, we must incentivise local content promotion and enforce IP rights in a proper framework. Secondly, we must support policies that preserve and promote all cultural forms. We also have to collaborate for common success."


Calling Mumbai “the city of dreams,” Vaishnaw announced that the Dialogue aims to result in a “constructive declaration,” capturing shared global goals—bridging the digital divide, preserving cultural diversity, and fostering fair and innovative markets.


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“We believe that collaborations between government, industry, and creators, and government-to-government— these collaborations have a huge value,” he said, adding that the government will support co-production treaties, talent movement, and harmonisation of standards. He concluded sharing that a draft Media Declaration has been shared with the offices, as a constructive declaration.

Both ministers emphasised that WAVES would serve as a platform not just for conversation but for shaping global frameworks in a rapidly evolving media ecosystem.


Draft Media Declaration


The Union Minister also shared that a draft of the WAVES Media Declaration had been shared with participating nations, outlining a collective vision to bridge traditional divides, safeguard cultural diversity, and build fair, innovative markets within the global media ecosystem. The declaration is set to be one of the outcomes of WAVES 2025, which has convened over 90 countries, 10,000 delegates, and more than 1,000 creators. 

“This draft declaration captures our shared goals—bridging traditional divides, preserving cultural diversity, and fostering fair, innovative markets,” Vaishnaw concluded.

EAM Jaishankar, Union Minister Ashwini Vaishnaw urge for cultural pluralism, tech collaboration at WAVES Global Media Dialogue

Prime Minister Narendra Modi on Thursday held an exclusive CEO Roundtable with over 30 leading industry leaders, signaling the Centre’s strong commitment to nurturing the country’s Media and Entertainment sector. 

The meeting, held shortly after his keynote address at the WAVES 2025 in Mumbai, brought together a powerhouse of Indian and global leaders under one roof, from Mukesh Ambani, Sanjiv Goenka and Pirojsha Adi Godrej to YouTube CEO Neal Mohan, Instagram head Adam Mosseri, Adobe CEO Shantanu Narayen, and homegrown entrepreneurs such as Harsh Jain (Dream11), Nitish Mittersain (Nazara Technologies), and Sanket Shah (InVideo).

Also present at the roundtable were Union Minister Ashwini Vaishnaw and Maharashtra Chief Minister Devendra Fadnavis, underlining the collaborative effort between central and state governments in transforming India’s M&E ecosystem.

In what sources described as an "intimate and focused" one-hour session, PM Modi said he was personally invested in the growth of the sector and urged stakeholders to share their inputs directly with his office. “I am taking a personal interest in this sector because I believe India has the potential to become a global leader in creativity and content,” Modi told the gathering.

Participants discussed a wide range of issues, including the need for stronger intellectual property protections, clearer regulatory frameworks, and government support in scaling India’s storytelling, gaming, animation, and digital content ecosystems globally.

According to insiders, the Prime Minister assured the industry that upcoming regulations would be crafted not to hinder, but to enable innovation and growth. “We want to create laws that protect creativity, not stifle it,” he said, emphasizing that India’s policies would align with its vision of becoming a global creative powerhouse.

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Modi’s remarks at WAVES 2025 struck a chord with both Indian and international attendees. His invitation to make India a “content playground” for the world, backed by robust talent and deep cultural storytelling, was met with optimism from executives who see the country as a rapidly maturing media market.

A senior industry leader present at roundtable said, "My key takeaways from the meeting was that the Prime Minister is keen to see the growth of M&E sector. He assured us that right measures will be taken to enhance growth of the sector. It is important for us as industry stakeholders that government is not only monitoring the growth but is also eagerly investing time and money for its growth." 

"With this support, we believe that the M&E sector will grow at a faster rate and will make India the leading power globally." 

Earlier, in his inaugural speech Modi encouraged participants to think beyond platforms and focus on investing in people — creators, innovators, and storytellers who can help India export its narratives worldwide. “When global creators engage with India, they’ll find stories that echo across borders,” Modi noted, highlighting India’s unique ability to create universal connections.

This strategic dialogue marks a clear shift in how India views its soft power potential—not just as a cultural force, but as a key driver of economic growth and global influence.

As one executive present summed it up: “This is the first time we’ve seen such high-level, hands-on engagement from the Prime Minister for our industry. It’s not just encouraging, it’s energizing.”

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