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India’s MedTech moonshots expanding wings — but for low hanging fruits
New Delhi: While India’s medtech startups are steadily gaining ground, with rising numbers, growing funding, and stronger policy support, experts lament that many innovators are sticking to low-hanging fruit instead of pursuing the riskier bets that could drive real disruption and unlock real value.

Speaking at the Pfizer INDovation Program, Dr Shailendra Saraf, Director, NIPER-Ahmedabad, said that medtech startups in India are showing promising innovations and capabilities. Yet many remain focused on “low-hanging fruit,” such as low-risk IVD kits, instead of pursuing higher-end, transformative technologies.

“Moreover, on the broader scale, 90 per cent of all pharma and medtech firms in India are purely production units with no R&D-driven operations. To unlock real value, the industry must embrace bolder, innovation-led research,” he added.

Most startups target only low-risk Class A and B devices, which keeps them exposed to competition from global giants. Part of the challenge is the stiff competition from China, where scaling at this level is difficult, Dr Saraf told ETHealthWorld at the sidelines of the summit.

“Venturing into deeper, high-tech domains could unlock untapped opportunities, yet few startups are taking that leap. The best way to do this is by striking the right balance between industry and academia, where both are interdependent on each other, he added.

Leading countries like the UK and Ireland have built robust networks with US universities—particularly Stanford—that help startups strengthen product pipelines and access top talent. In these ecosystems, students are also required to register startups as a mandatory condition for earning a PhD, Aman Sharma, Joint Secretary Department of Pharmaceuticals, sahred.

At the event, Sanjiv Singh, Joint Secretary at the Department for Promotion of Industry and Internal Trade, pointed to limited corporate investment in R&D as a key reason why deep-tech innovation remains limited.

A senior government official at the event, speaking on condition of anonymity, said that the business of high-end medtech is highly complex. Today, global giants hold as many as 400 patents for their novel products, with up to 35 patents for each component.

“Meanwhile, existing startups in India, are largely focusing on the traditional diagnostic playbook, and importing reagents from China. As a result, they lack the scope for truly frugal innovation tag that a potential investor will look to support the their commercial stages,” it added.

Under the Biopharma SHAKTI scheme announced in the recent Budget to support biopharmaceuticals, Sharma told ETHealthWorld that of the Rs 10,000 crore corpus, Rs 1,000 crore is now set aside for injectable devices.

“Such drugs require a particular dosing mechanism, and companies will be supported to build manufacturing capacities for these products,” he said.

According to government officials, as of 2025, India’s medical device imports stand at $9 billion—almost double the $4 billion worth goods exported by the domestic industry.

Besides this, India’s export basket largely features low-risk consumables such as bandages and rubber gloves, while imports include high-end critical care technologies like surgical robots, MRI scanners, and CT scanners.

Speaking at the event, Piyush Goyhal, Minister of Commerce and Industry noted that over the last three years the government has signed nine free trade agreements (FTA) that has unlocked duty free access to around 70 per cent of the global GDP and medtech startups must look to explore this opportunity.

Outlining a trend of equity dilution Goyal remarked that, by the time startups start delivering results, their founders are often left with very “low levels of equity” and are unable to reap the rewards of their own assets.

Looking at these concerns, the Pfizer INDovation Program has selected 14 medtech startups—eight for supporting ideation and six for development.

Under its CSR initiative, Pfizer has committed Rs 60 lakh to each startup, to support clinical validation, IP filing and other related aspects.

Startups selected in the development category currently hold a Technology Readiness Level (TRL) of 6 and aim to reach TRL 9 by the end of the program, with all of them deployed in real-world settings.

One of these projects includes an AI-assisted early gastric cancer detection Software as a Medical Device (SaMD) solution developed by RNT Health Insights.

Notably, the device has recently received US FDA Breakthrough Device designation, opening the fast-track approval pathway for the lucrative device market.

Ria Khurana, the startup co-founder, shared that the device works on a deep learning algorithm to detect cancer at an early stage and has outperformed gold-standard endoscopy tests in terms of efficacy.

In a trial of 250 people at PGI Chandigarh, the device demonstrated 96 per cent efficacy compared to endoscopy. The trial results are yet to be published in any peer-reviewed journal.

The other startups selected by the US giant for mentorship included Cervicheck, Utopic Tech, AiSteth and 10 others.

Pfizer also announced the launch of an IP protection program, committing Rs 2 lakh each for 20 selected startups to help cover IP filing fees and other expenses, for securing and safeguarding their innovations.
Published On Feb 12, 2026 at 07:27 PM IST
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February 13, 2026
Nurse who recovered from Nipah virus infection dies of cardiac arrest in Bengal hospital: Official
Kolkata: A nurse who had recovered from Nipah virus infection died of cardiac arrest at a private hospital in West Bengal’s Barasat on Thursday, a state health department official said.

The woman had been in a prolonged coma, which severely affected her immunity, and later developed a lung infection. She had been taken off ventilator support at the end of January.

“She died of cardiac arrest this afternoon. Though she had recovered from Nipah infection, she was suffering from multiple complications,” the official said.

Two confirmed cases of Nipah Virus disease have been reported from West Bengal since December, according to reports from the National Centre for Disease Control (NCDC). The other one, a male nurse, has been cured of the disease.

The deceased, who was a resident of Katwa in Purba Bardhaman district, also contracted a hospital-acquired infection during treatment.

“She was trying to regain consciousness, move her limbs, and speak before her condition suddenly deteriorated. She died at around 4:20 PM,” he said.

The nurse had first fallen ill in early January after returning home on December 31 for the New Year holidays and was initially admitted to Burdwan Medical College and Hospital before being shifted to the private hospital in Barasat.

The Union Health Ministry said, “Out of the two Nipah positive cases reported from West Bengal on January 11, 2026, one of the nurses who was critically ill and was under intensive medical care passed away today due to cardiac arrest in the hospital where she was under treatment.”

The ministry had earlier said that speculative and incorrect figures about Nipah Virus Disease (NiVD) cases were being circulated in certain sections of the media.

It had said that following confirmation of these two cases, the Centre, in close coordination with the West Bengal government, initiated prompt and comprehensive public health measures in accordance with established protocols.

“A total of 196 contacts linked to the confirmed cases have been identified, traced, monitored, and tested. All traced contacts have been found asymptomatic and have tested negative for Nipah Virus Disease,” the ministry had said in its earlier statement.

Enhanced surveillance, laboratory testing, and field investigations were undertaken through coordinated efforts of Central and state health agencies, which ensured the timely containment of the cases, it had added. PTI
Published On Feb 13, 2026 at 07:26 AM IST
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February 13, 2026
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January 9, 2026
Norman Conquest: A Progressive Shift in English

English has become the lingua franca of the world. It enjoys a status like no other language, but if we delve into its history, we’ll find a time when the status of English plummeted.

As a Germanic language, English shares a common ancestry with languages like German and Dutch. Yet, it consists of a large number of loanwords (words borrowed from a foreign language) from various languages like French and Spanish, which are called “Romance languages” (languages descended from Vulgar Latin). For instance, the word “cry” was derived from French.

Around a thousand years ago, the language spoken in England was Old English, which would be utterly incomprehensible to us today. Take the epic poem Beowulf, for example. This renowned work of Old English literature, likely written before the 11th century, recounts the heroic adventures of its namesake, Beowulf. The opening lines, “Hwæt! We Gardena in geardagum, þeodcyninga, þrym gefrunon, hu ða æþelingas ellen fremedon,” seem almost alien to modern English speakers. Yet, this language evolved over centuries into the English we speak today.

Beowulf manuscript from the British Library / Source: Wikiemedia Commons

This brings us to the Norman Conquest, which resulted in the assimilation of French words into English. Nearly a millennium ago, the Vikings settled in northwest France and established the Duchy of Normandy under a treaty with the King of France. These settlers, known as Normans, adopted French culture and began speaking French in a distinctive dialect called “Norman French”.

English took a dramatic turn when William, a descendant of these Viking settlers, became the Duke of Normandy. After the death of the King of England in AD1066, Edward the Confessor, William claimed that he was named the heir to the English throne by Edward, his distant cousin. However, Harold, Earl of Wessex, assumed the throne instead. As a result, William launched a bold invasion of England and defeated Harold at the famous Battle of Hastings, which completely altered the fate of English. The reign of William brought significant political, economic and social change to England.

Years after the beginning of his rule, he commissioned the Doomsday Book, a country-wide census to record the details of all land in his kingdom. This was written in Latin, and the meanings of many rights and laws were changed. Additionally, words and concepts that were new to England were used. However, the book was never translated into English, so any explanation of the changed meanings of the rights and laws was almost inaccessible to the English speakers of England.

William established Anglo-French as the language of public state business and the court, along with Latin. Law codes written in Old English were altered by adding French phrases, paving the way for French in English legal practice. William brought the French aristocracy to England, which created a French-speaking upper class. They could not affect the general speech but could influence the elite class, as the literacy rates in England were low at that time. Eventually, English became the language of the commoners as the nobles switched to French. Nonetheless, French was the official language, so French loanwords found their way into English. For example, the word ‘throne” was derived from the French word “trône”.

Nearly 200 years later, French gained more momentum in England. French became attractive to the general public as it was the primary language of the aristocracy, leading to more French words and expressions being included in the English lexicon. Moreover, new words were coined from combinations of French and English words. Similarly, words were formed by adding French affixes and roots to Old English words. For instance, the combination of the English verb “hinder” and the French suffix “-ance” created the noun “hindrance”. In the evolution of English, the Norman Conquest resulted in the beginning of a new era of English – Middle English, that lasted until around AD1500, and it was around this period that English started gaining prestige.

December 22, 2025
Devakoothu: How women are challenging norms in a male-dominated art form

Amid the wailing sounds of children crying, the shrill kuzhal being played, and the rumbling sound of a chenda, the loud footsteps echo. As the crowd gathers at the Koolom Thayakavu temple in anticipation, a red figure makes her way through the swarm. While she performs in front of the people, Ambujakshi looks majestic; the performance is divine. She is no longer herself; Valliamma, the goddess, has taken over.

In the artistically rich state of Kerala, Theyyam is performed predominantly in the North Malabar region. Although Theyyam has been traditionally practised by men since ancient times, there exists one form which is performed solely by women. Devakoothu , performed in the Thekkumbad Kulom temple in the district of Kannur, is based on a myth about a goddess who got lost in the island.

Due to a lack of records, the exact period during which the art was developed is unknown, but according to the people, it is believed to be centuries old.

Legend has it that devakoothu is rooted in a tale that tells the story of injustice towards a goddess. According to the tale, once, while a group of devathas (goddesses) were walking through devalokam (heaven), they came across an island on earth filled with intoxicating flowers. While the goddesses were making their way through the creepers in search of the flowers, they got lost. All goddesses except one made it out. The trapped godess, who was saved by a villager, prayed to Narada, who took the deity to Koolom. Even after returning to devalokam, her fond experiences on Earth stayed with her. Once in every two years, in the month of Dhanu, she visits the island to meet and bless the people.

Among the few women who choose to practice Devakoothu, Ambujakshi of Malayanvalappi is a woman who holds a special place to the people of Thekkumbad. She started performing at the age of 45, after Kattuparambil Lakshmiyamma, who performed the art for almost fourteen years, decided to retire from the stage. Ambujakshi, who was a sweeper at the Post Office, took on the mantle and performed for the first time in 2012. She had to observe a 41-day penance, during which she would wake up early, recite the mantras to evoke the god and practise for the performance. Currently, MV Ambujakshi is the only woman who is practicing the art form.

Devakoothu is not merely a spiritual form of expression. Being the only form of theyyam performed by women out of the 456 forms that exists, Devakoothu breaks barriers and challenges the norms set by theyyam itself. The presence of women in male-dominated art forms has been showing a shift in the recent times, and this specific form of art challenges the sanctimony of certain art forms. Women like Ambujakshi being in the forefront, reclaiming their places in the cultural forms, gives a reminder that women have also been an integral part of it and will continue to be.

December 22, 2025
Beyond the Myth: The Living Power of the Maha Kumbh

Life is filled with curves and circles, looping through birth, death, and rebirth. Each soul is affected by karma and longs for release, Moksha. In this journey for liberation, only once every 144 years comes a moment when the heavens align. This moment is the Maha Kumbh Mela, a spiritual phenomenon where millions gather to cleanse their sins, dissolve their egos, and connect with something far greater than themselves.

At the heart of this divine convergence is Triveni Sangam in Prayagraj, the sacred convergence of the Ganga, Yamuna, and Saraswati. According to ancient scriptures, this Sangam is not just a sacred place where these rivers meet, but it is a doorway to spiritual awakening. A dip in these holy waters during the Maha Kumbh is said to wash away lifetimes of accumulated karma, breaking away from the very cycle of life and death.

When the Sun, Moon and Jupiter align, it is believed the rivers become charged with Amrit, the divine nectar of immortality. There existed a time when the universe itself was in a state of instability. The Devas (gods) and Asuras (demons) joined forces to churn the cosmic ocean in pursuit of Amrit. As the pot of Amrit emerged, chaos unfolded. To protect it from falling into the wrong hands, Lord Vishnu, in the form of Mohini, whisked it away. In the celestial fight that followed, four drops of Amrit fell on Earth, Prayagraj, Haridwar, Ujjain, and Nashik. These four cities became sites of sacred convergence. And thus, the Kumbh Mela was born.

“In the eternal churn of the cosmos, gods and demons wrestled not for gold or land, but for a drop of immortality.”

But the Maha Kumbh is not just about myths. It is also a breathtaking display of humanity. Over 400 million people visited from all corners of the world, rich and poor, saints and sceptics, to participate in this unfathomably vast gathering. Temporary cities rise on the riverbanks, complete with roads, clinics, tents, and sanitation, all for a few sacred weeks. The air hums with chants, conch shells, and the scent of incense, forming a sensory experience unlike any other.

Leading the way into the waters are the Naga Sadhus, warriors devoted to Lord Shiva. Covered in ash, with matted hair and tridents in hand, they march nude and unbothered, a living challenge to the materialistic world. For many pilgrims, witnessing the Nagas is as transformative as the dip itself.

And then there is the spirit of seva, selfless service. Bhandaras, or community kitchens, are set up on every lane of the city. Here, everyone eats for free. Volunteers, often anonymous and unpaid, serve hot meals from sunrise to nightfall. There is no caste, no status, only humanity sharing a meal together. It is extraordinary kindness on a massive scale, showing that devotion does not just lie in prayer, but in action.

The Maha Kumbh Mela might appear, at first glance, like overwhelming chaos – crowds of people surging into muddy rivers, noise echoing in every direction, giving one no space to breathe. Yet, for those who stand on the riverbank, it becomes something else entirely. It feels like everything has a purpose, as if there is a deeper meaning beneath the surface.

When you step into those cold waters, you are not just taking a bath. You’re letting go of stress, guilt, regret, or even ego. You’re washing off layers of your past. And in that moment, as the river flows around you, you don’t just feel clean, you feel light, open, and somehow… free.

Image Source: Official Instagram Handle/ @mahakumbh_25

December 22, 2025
A Journey through Chettinad Heritage and Craftsmanship

Legend has it that within the walls of the mansions of Karaikudi lie hidden treasures, carefully concealed by the wealthy Chettiars to protect their fortunes from invaders. Rumours of ghostly apparitions drifting through the corridors only add to the intrigue as residents and visitors share stories of eerie encounters and unexplained phenomena. But it’s not just the supernatural that lurks within the walls of these opulent homes. Behind the façade of wealth and splendour lies a darker history of family feuds and betrayals. Sibling rivalries, clandestine affairs, and secret alliances are whispered in hushed tones, their echoes reverberating through the halls. Yet amidst the tales of curses and hexes, there is also a sense of awe and wonder at the architectural marvels that testify to the craftsmanship and ingenuity of the Chettiar builders. Each mansion tells its own story through its unique blend of indigenous and colonial styles, its hidden symbols and motifs hinting at mysteries yet to be unravelled.

Initially a part of the Pandiyan Dynastry and later under the rule of various dynasties such as the Cholas, Cheras and Pallavas, Karaikudi is tied to the Nattukottai Chettiar community. The Chettiars were renowned for their business astuteness, engaging in trade and banking across Southeast Asia. They established a network of businesses, bringing wealth and prosperity to Karaikudi and the surrounding areas.

The profuse mansions of Chettinad stand as a testament to the region’s prosperous past and architectural prowess. At first, these houses might seem compact from the outside; however, hidden behind the exterior walls are spacious inner courtyards adorned with luxurious Burmese teak furnishings and majestic Italian marble columns. Beneath your feet lie the Athangudi tiles, whispering tales of a past long gone. The spaces above the window frames are adorned with miniature paintings of everything ranging from different flowers and patterns to even paintings of gods and goddesses.

Each mansion is a work of art, reflecting a unique blend of indigenous and colonial influences. These architectural marvels offer a glimpse into Chettinad’s illustrious history and cultural heritage. The Atthangudi Palace in Karaikudi stands tall to attest to the region’s rich cultural heritage. This magnificent palace is a sight and portal to the past, beckoning visitors to step back in time and experience the grandeur of a bygone era. A personal visit to Karaikudi exposed me to these architectural marvels. I vividly remember a younger version of me staring up at the tall ceiling, the geometric tile pattern below and the timeless elegance of the window and its paintings.

The Athangudi tiles felt so perfect yet simple at the same time. Witnessing the tile-making process, one will realise why they are popular and how sustainable they are, making them stand out. First, the glass base is placed on a foundation, followed by the outer frame and a brass pattern mould. Colours are poured into the design grill according to the desired pattern, and after laying the colour layer, a dry mixture of sand and cement is spread on top, and then the mould is filled with wet mortar. The tile is left to dry, soaked in water, and dried again before removing the glass and sanding the edges. This process makes these tiles economically affordable, sustainable, and durable, representing a blend of tradition and modernity without the need for firing or electricity during manufacturing.

The spiritual wealth of Karaikudi is not to be underestimated either. With each clan having their respective temples built, only nine clan temples are considered the most auspicious and are also known as the ‘Nine Temples of Chettiars’. The Karpaka Vinayakar Temple, popularly known as the Pillayarpatti Temple, dedicated to Lord Ganesha, is a revered temple 12 km from Karaikudi. It is well-known for its magnificent rock-cut images of Ganesha, Siva linga, and other splendid carvings. The temple’s history dates back to the 7th century, with some parts possibly even older. The temple has a colourful gopuram, intricately designed mandapams, and shrines that follow Agamic texts and Shilpa Sastras, still attracting devotees, particularly

women during annual festivals and chariot processions like Vinayaka Chaturthi and Brahmothsavam in Vaikasi month.

During my stay at the Bangla and Heritage Resort, I took a cooking class and watched the chefs expertly prepare local Chettinad dishes, and it became evident why this cuisine is so beloved. What sets Chettinad cuisine apart is its masterful use of freshly ground masalas, incorporating a blend of spices like fenugreek, star anise, and peppercorns. Combined with onions, tomatoes, coconut, and aromatic herbs, these masalas transform regional dishes into gastronomic delights. Chettinad cuisine is particularly renowned for its non-vegetarian offerings, including Nattukozhi Kozhambu (country chicken), Aatukari Kozhambu (lamb), and Karaikudi Eral (prawn) masala. These dishes are commonly enjoyed alongside staples like idli, dosa, parotta, and appam, enhancing their flavours and elevating the dining experience.

Photo Credits: A Chettinad House in Karaikudi /Poornima Narayan

December 22, 2025
Rainbow Washing or Allyship: Brands and Their Campaigns During Pride Month

Every year, the month of June is marked by the colourful embrace of the queer community that celebrates how far the LGBTQ+ community has come. This year marked the 55th anniversary of the 1969 Stonewall uprising in Manhattan. The Stonewall uprising was a turning point for the Gay Liberation Movement, which was prominent throughout the late 1960s.

In a contemporary context, Pride Month is celebrated through pride parades that promote inclusivity, donations and volunteering while protesting against inequalities. Apart from the members of the community celebrating, even other members and the public participate in such parades. This shows the support and brotherhood that they have for their fellow society members. Nowadays even brands have started showing support during this month through different campaigns, pride-special events, products and much more. Brands have faced major criticism for following the brand and not understanding the cause behind it or rather not committing to it.

Recently, with the increase in commodifying any sort of awareness campaign, brands have hopped on the bandwagon to commercialize Pride Month by coming up with their own campaigns and merchandise. These initiatives might look like genuine efforts to show support but a lot of brands have been taking part in ‘rainbow washing’ or capitalising off of queer communities by showing apparent support to them while actually not providing substantial support.

Some famous brands were under fire for alleged ‘rainbow-washing’. An example of this is the pride sandwich that was released by Marks and Spencer, called LGBT; “Lettuce, Guac, Bacon & Tomato”. They were criticised for reducing the entire community and their struggles into a basic sandwich.

As a response to backlash from conservative groups faced by companies for supporting the LGBTQ+ community, this Pride Month, the number of brands showing outward support towards the community has decreased. This can be observed in the case study of the American retail corporation Target as well as the beer brand Budlight. The aforementioned companies, due to a backlash from conservative groups, were forced to keep a low profile this June. Budlight, a top beer brand, faced backlash following their collaboration with a transgender influencer Dylan Mulvaney. The situation became a focal point when they started gaining criticism even from Pride supporters when it came to light that the beer brand donates huge amounts to conservative lawmakers who are not supportive of the community.

Although a lot of brands faced criticism for slacktivism (supporting a political or social cause by putting in minimal effort without actual commitment), there are a number of brands that have been promoting the community with true spirit.

Accenture has been going over and beyond to support the community and provide a safe space for them within the working environment. The company has its own ‘Pride Means More’ campaign, which aims at ensuring an inclusive workspace for all employees.

The Lego Group, a toy company, launched the ‘A-Z of Awesome’ campaign which aimed at families to have meaningful conversations about different identities. The company instead of painting the existing products with rainbow colours introduced a whole new product. This campaign was really appreciated and liked by the public and the LGBTQ+ community.

Hindustan Zinc Limited also took a step towards inclusivity and has introduced a policy that will provide financial support to transgender employees. It was launched in association with the company’s Pride Month celebrations. They had interviewed their employees, where their employees were sharing their experience of having such a supportive and inclusive work space regardless of their gender and identity.

In summary, Pride Month serves as a major annual observance for the LGBTQ+ community, celebrating milestones like the Stonewall uprising while fostering inclusivity and awareness. However, along with genuine efforts to support and celebrate, there always exists a notable trend of superficial gestures and commercial exploitation. The challenges faced by companies navigating these waters underscore the importance of authenticity and sustained commitment in advocating for LGBTQ+ rights. The main focus should remain on meaningful actions that contribute positively to the community’s progress and well-being and not for a brand’s own welfare

December 22, 2025
Bollywood’s Dearth of Fresh Ideas: Is it Paving the Way for OTT Content?

Bollywood, one of the largest film industries in India and worldwide, has been struggling since the pandemic and has not had a huge comeback post that. At the beginning of COVID, it could have been owed to the theatres not functioning fully-fledged. However, even with complete recovery, the movies have failed to attain the same level of success. Even though there were some hit films last year, 2024 has failed to produce any blockbusters, with almost all films failing to hit the mark.

Does the sustenance of the industry actually depend upon recycling content and not bringing anything fresh to the table?

While exploring the motion pictures released in the past twenty years, a certain trend can be noticed in the way a blockbuster will lead to a number of other movies which have similar plots with nothing more than an illusion of uniqueness. This takes the form of either cliched movies, which are very generic in nature and lack original thought, or films, which use the same template over and over until the audience becomes bored with it.

An example of the former would be the sort of male-centric ‘hero’ movies, which are heavily focused on action sequences to showcase the lead’s masculinity, paired up with a couple of item songs and a female character who could be easily replaced by an inanimate object. Although the interest shown by audiences towards such content has considerably decreased, the conception hasn’t completely gone out of existence. The plethora of films, such as the ‘Race’ franchise, the ‘Baaghi’ series and ‘Animal’, makes it difficult to even watch any movie with such cliched plot lines without feeling a sense of deja vu.

When it comes to the latter trend, it is comparatively a newer one, which could be noticed since the early 2010s, primarily when filmmakers realised that movies related to sports are a treat to watch for an Indian audience. This led to the abundance of sports-centric material in the Indian film industry, which all follow the same formula where the protagonist has to overcome hurdles to become a sportsperson, and the films end with the main lead winning an exceptional award in their field. Even though movies like ‘MS Dhoni – The Untold Story’, ‘Sultan’, ‘Gold’ have been well received by the audience, they have saturated the genre to the point where newer sports movies and biopics trying to apply the same recipe such as ‘Maidaan’ and ‘Ghoomar’ haven’t received that level of appreciation and have failed at the box office.

Bollywood’s tendency to remake movies (that did well in the theatres) from other languages has sustained for decades now. From the so-called classic movies such as ‘Bhool Bhulaiyaa’ and ‘Hera Pheri’ to much newer hits such as ‘Drishyam’ and ‘Mili ‘, are all remakes of Malayalam films. Though taking inspiration from pictures on different celluloid is not essentially a bad thing, an excess of it showcases a lack of new ideas.

Looking through these lenses, it might seem like Bollywood is on a decline. However, the movies that are being released on OTT platforms tell a different story. Since the pandemic forced cinema halls to shut down, the OTT platforms have had a massive boost, with an increasing number of people consuming media through such platforms.

This leads to the argument that more and more people are choosing to entertain themselves through content showcased online not just because of convenience but also because of its originality and niche storytelling. A recent example would be the film, ‘Laapata Ladies’, which has been a huge success on Netflix. It is one of those stories which makes you wonder if it would have received the same amount of viewership had it been released only on the big screen.

Films like these help with the belief that there is hope for new visuals aesthetically, intellectually and emotionally.

Although movies with minimal plots are coming to the theatres, a shift can be noticed in the way audiences have been reacting to them. With the rise of pictures on OTT platforms, the standard of movies has also seen a rise, which leads to people expecting more from filmmakers than the bare minimum.

The chief factor owing to the lack of new stories in the mainstream films, in comparison to the online platforms, is the fear of the movies being a box office failure. While OTT platforms can afford to take a risk by exploring fresh ideas with a low budget and casting actors who aren’t mainstream, it isn’t the same for commercial films which depend solely upon doing well at the box office market. Such commercial movies with prominent actors and a huge budget are at a risk of failure, and hence have to adhere to ideas that apparently appeal to a larger audience rather than a niche group.

However, the shift that can be observed in the perception of the industry by the Indian audience due to the influential streaming services, can be the saving grace that Bollywood has been yearning for. Although it will take time for the industry to completely break away from the existing clutches of conventional storytelling, there is scope for improvement.

December 22, 2025
Darjeeling’s Mandarin Oranges receive the GI tag

After nearly 15 years of declining yields, pest infestations and soil-related setbacks, Darjeeling’s iconic mandarin oranges have received a much-needed lifeline. On 24 November 2025, the fruit was granted the Geographical Indication (GI) tag- a move that could potentially revive its cultivation and restore the economic confidence of farmers across the hill region. The recognition was granted by the Geographical Indications (GI) Registry, which operates under the Department for Promotion of Industry and Internal Trade (DPIIT), a part of the Ministry of Commerce and Industry (MoC&I). The GI proposal was initiated by Tulsi Saran Ghim, a former professor at Uttar Banga Krishi Viswavidyalaya (UBKV).iray in August 2022, but was shifted to the hands of Darjeeling Organic Producer Organisation (DOFPO) in August 2024; the applicant was shifted from UBKV to DOFPO so that legal ownership rested in the hands of local farmers.

The Darjeeling mandarin orange, locally referred to as ‘suntala’, is renowned for its distinctive aroma and delectable sweetness. It is grown in the hills of Darjeeling and Kalimpong due to the favourable climate and soil composition. However, the cultivation of the fruit has recently faced challenges due to infections from the virus Citrus Tristeza and pests like aphids and fruit flies, which cause more harm. The GI recognition is hoped to aid the cultivation of the fruit by enabling farmers to receive better prices and garner a greater market value, opening up doors to not just national but also international markets.

The Darjeeling Mandarin oranges are the 11th agricultural/horticultural GI from West Bengal and the latest hill product to garner legal recognition apart from the Darjeeling Tea and Dalle Khursani chilli. The oranges stand alongside globally recognised products like Champagne in France, Parmigiano Reggiano and Parma ham in Italy, Scotch whisky from Scotland, which are all GIs that have turned their origin stories into powerful brands. These examples illustrate what is at stake for Darjeeling’s oranges. If Bengal supports its GIs with strong economic and marketing strategies, the oranges can follow the same renowned path as Champagne or Darjeeling Tea, making them a brand of their own.

A GI (Geographical Indicator) tag is a form of intellectual property that identifies products originating from a specific place and possesses qualities or a reputation essentially linked to that geographical region, thereby legally protecting the product and ensuring its quality. It prevents unauthorised use, assures authenticity and boosts the economic prosperity of the local producers. The GI tag is granted under the Geographical Indications of Goods (Registration and Protection) Act, 1999, in India. The recognition is valid for only 10 years, after which the registration must be renewed; failure to do so results in the lapse of registration, stripping the product of its GI status.

GI tags allow producers to charge premium prices for their goods in domestic and international markets. The tag also grants authorised producers exclusive rights to produce the product, thereby preventing low-quality or counterfeit products from tarnishing the original product’s name – protecting the authenticity of the genuine product. GI tags also encourage traditional skills of the producers and region-specific methods, which might otherwise be lost due to mass-production alternatives. Regions with famous GI products attract curious tourists interested in local culture and goods. These products also draw visitors to lesser-known areas often overlooked by typical tours.

India currently has more than 650 registered GI-tagged products, many of which, such as Darjeeling Tea, Basmati Rice, and Madhubani Paintings, are internationally recognised. These registrations include handicrafts, agricultural products, food items, manufactured goods and other natural products which aim to safeguard the regional specialities of India. The Darjeeling Tea was the first Indian product to receive a GI tag in 2004-05, becoming a reference point for later registrations. Currently, Uttar Pradesh has the most significant number of GI-tagged products in India, with 77 GIs as of 2025, surpassing Tamil Nadu (74 products) and Karnataka (46-48 products). It is a proud moment for the Darjeeling farmers as it will provide better opportunities to remunerate their hard work

December 20, 2025