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Hindustan Times
13 hours ago
- Business
- Hindustan Times
Vacate Sassoon Dock, port authority tells fishers, traders
MUMBAI: It's well before dawn but the dock is already alive with handcart-pullers, porters, exporters – and, at the heart of it all, the Koli women. As the early catch is hauled ashore, a pungent aroma settles over the landing sites, anointing the daily ritual. Moments later, several tonnes of seafood slip into a supply chain that starts right here, at Sassoon Dock, on the city's eastern waterfront, in Colaba. Fish on sale at Sassoon dock (Hindustan Times) But the dock will fall eerily silent if the Mumbai Port Authority (MPA) follows through on its verbal ultimatum to fish traders and the fishing community – 'vacate the MPA's godowns within 15 days, or face eviction', they have been told. The threat has triggered alarm for thousands of fishermen, seafood suppliers, shopkeepers and restaurant owners who rely on the sale of fish for their livelihood, not to mention the thousands of workers who populate the supply chain, at the dock and beyond. Matters have boiled over again in a dispute that has dragged on for decades. At the core of the clash is a disagreement between the MPA and the state-run Maharashtra State Fisheries Development Corporation (MFDC) over rental payments for godowns owned by the port authority. While MFDC rents the godowns to seafood processors, the latter have allegedly defaulted on payments to the MPA over Ready Reckoner rates. The confrontation has lasted 30 years. The last serious face-off took place in 2014, when MPA had told godown users to vacate. However, a meeting with ministers in 2015 resulted in a consensus to protect the fishing industry by forming a tripartite agreement among stakeholders. Fisher groups claim that despite that meeting, no formal steps were taken over the next decade. Now, without implementing the promised agreement, the MPA is once again threatening eviction. The directive has led to a grassroots movement to 'Save Sassoon Dock'. Operators of the dock's 80-90 godowns say the move will dismantle an economic ecosystem. For each godown, at least 50 to 100 labourers are employed, rendering them jobless. Ruksana Khan, who owns Harbour Exports and supplies seafood to restaurants, says: 'I've been working here since I was very young. My entire family, including my daughter, is involved. We pay ₹ 15 lakh annually in taxes. We handle 200-300 tonnes of seafood daily. This eviction will render us jobless.' According to Krishna Pawle, president of the Shiv Bharatiya Port Sena, a federation of 14 fisher associations, a shutdown would impact a nationwide supply chain. 'This is not just about Mumbai. Seafood from Sassoon Dock is sent to Gujarat, Kerala, Alibag and beyond. Workers from Uttar Pradesh, Bihar, Karnataka and Andhra Pradesh have been working here for decades. They will all be unemployed,' said Pawle. The dock area also supports communities such as the Banjara Samaj, who specialise in shelling prawns and fish. 'We contribute to foreign exchange earnings,' Pawle added, underlining the broader economic implications of the dock's operations. He says there is no reason the fishing community should be held responsible. 'We were given these godowns to use by the MFDC. If the MPA wants to reclaim them, they should take possession from MFDC. Why are we being dragged into this?' Vasant Bhuchade, president of the Marine Products Auctioneers Association (MPAA), points out that the godowns have been operational before independence, and some families are now in their fourth generation managing them. 'Without these processing units, the seafood supply chain will collapse, and the government will lose crucial revenue.' For now, the MPA is adamant. Despite repeated attempts, a senior official from the MPA was unavailable for comment.
Time of India
a day ago
- Entertainment
- Time of India
'Bold, Culturally Rooted, and Scalable Storytelling for a Young, Diverse India'
Asia Pacific Video Operators Summit At the Asia Pacific Video Operators Summit (APOS) 2025, hosted by Media Partners Asia (MPA), JioStar Entertainment leaders Alok Jain and Krishnan Kutty laid out a compelling blueprint for the future of Indian storytelling — one that's bold, emotionally resonant, culturally rooted, and built for scale. In a fireside session titled 'Inside the Next Wave of Indian Storytelling', moderated by Vivek Couto, Executive Director and Co-Founder of MPA, Jain and Kutty outlined JioStar's ambitions to champion local voices, innovate across formats, and program for India's young, diverse, and multilingual audiences. Redefining the Role of the Platform 'In a country as creatively diverse as India, it's no longer about scaling content — it's about resetting the creative ecosystem,' said Alok Jain, Chief of Content at JioStar. 'At JioStar, we're committed to ensuring creators are not boxed in by platforms, formats, or legacy structures. Today's storytellers move seamlessly — from short-form to long-form, social to television, digital to streaming. Our role is not to act as gatekeepers, but as collaborators.' He added that JioStar is building infrastructure that allows storytellers to move fluidly across mediums, giving them room to evolve while staying authentic. 'That's how we grow the ecosystem — by empowering creators, not restricting them. That's also how we expand its impact.' Boldness, Redefined: From Spectacle to Substance 'What was considered bold five or six years ago is not what's considered bold now,' said Krishnan Kutty, CEO of JioStar. 'Back then, it was about scale and visual spectacle. Today, boldness is about pushing societal norms, asking deeper questions, and doing it within the Indian context. We're not in California; we're in India. Our job is to push boundaries, but also to carry our audience with us.' This ethos is reflected in JioStar's programming — where boldness is not a matter of provocation, but of emotional depth, authenticity, and local resonance. Programming for a Young, Demanding India Jain emphasized that Indian consumers are evolving rapidly, and with them, so must formats and strategies. 'It's a young country. People are exposed to new things and they're demanding and unforgiving. If the story isn't great, they won't watch — regardless of who stars in it.' He cited Thukra Ke Mera Pyaar, a 19-episode show with 50-minute episodes, a debut director, and a debut cast, which turned into a hit from day one. 'That's proof the audience will embrace newness if the content speaks to them.' JioStar is also experimenting with non-fiction, micro-dramas, and hybrid formats. 'Innovation isn't a tactic for us — it's the baseline,' Jain said. The Untapped Youth Opportunity — Especially in the South While platforms like MTV have made inroads with younger audiences, Kutty pointed out that broadcasters and streamers have largely under-programmed for Gen Z. That's about to change. 'For the South, we are committed to increasing our programming volume for that audience by 7 to 10 times.' Jain echoed that youth-focused storytelling is both a creative and business imperative. 'If the industry is to run in a sustainable manner, we must drive content profitably — and focusing on youth is a big one for us.' Embracing the Multilingual, Multi-India Landscape Krishnan Kutty highlighted India's unique advantage: a multilingual, culturally rich ecosystem that fosters endless creative possibilities. 'The diversity of India is a gift from a content creator perspective — every state, every region is a source of different perspectives. What's remarkable is how audiences embrace content beyond their own language or state.' He gave the example of Kerala,"A small state like Kerala creates stories that travel nationwide. 80% of the consumption on JioHotstar for Malayalam content is outside the state. Great stories truly transcend borders.' India's digital video ecosystem is also vast — with 500–600 million users consuming 4–5 hours of content daily. 'The real challenge isn't what to do — but what not to do. There's significant headroom for both subscription and ad growth. And between premium long-form dramas and social storytelling lies a massive untapped space.' Resetting the Economics of Storytelling Kutty was candid about the systemic challenges facing the streaming industry: 'In streaming, we've escalated prices to a point where producers have become B2B entities, creating primarily for the platform, not the end consumer. That has led to a disconnect. Unless the model is reset, I believe it's deeply broken.' Reflecting on the state of theatrical entertainment in India, Alok Jain observed -'We've been in a difficult period where people aren't coming to theatres unless the movie is really, really good. Watching a film now is a three-hour commitment — and that's a big ask.' He argued that both storytellers and exhibitors must reinvent. 'Creators need to tell more authentic stories. Theatre owners must rethink pricing, experience, and value delivery. Theatrical viewing must feel like an experience - not just a screening.' The Great Reset — and the Great Opportunity Jain believes Indian content is poised for a reset — but one filled with possibility. 'Consumers are adapting to multiple formats, and I believe the space will settle. The industry is very cognizant of that. This reset is happening across content types — theatrical films, television, digital-first. And with that comes the opportunity to rethink, reformat, and rebuild.' With 320,000 hours of content across JioStar's network, the common thread, he said, is human emotion and shared experience. 'Our focus is to tell authentic stories from every corner of the country — stories that resonate universally. That emotional truth is what allows Indian content to scale and even travel globally.' India: A Strategic, Youth-Driven Market India remains one of the most strategic markets globally, said Jain. 'With a billion young people, 22 languages, and a thriving economy, India is unmatched in scale and diversity. What makes it exciting is not just its size — it's the scale, youth, and openness to change.'
Time of India
2 days ago
- Entertainment
- Time of India
JioStar's Alok Jain, Krishnan Kutty call for creative, commercial reset in Indian entertainment
JioStar Entertainment leaders Alok Jain and Krishnan Kutty have called for a reset of the Indian entertainment industry's business model, emphasizing the need for profitability and a sharper focus on youth to ensure long-term sustainability. Speaking at the Asia Pacific Video Operators Summit (APOS) 2025 in Bali, hosted by Media Partners Asia (MPA), Jain, President – Entertainment at JioStar, and Kutty, Head of Cluster, Entertainment – South, shared their views during a session titled 'Inside the Next Wave of Indian Storytelling', moderated by MPA Co-Founder Vivek Couto. Jain underlined the need to rebuild the creative ecosystem. 'In a country as creatively diverse as India, it's no longer about scaling content. It's about resetting the creative ecosystem,' he said. 'If the industry is to run in a sustainable manner, we must drive content profitably, and focusing on youth is a big part of that.' He added that JioStar is committed to ensuring creators are not confined by platforms, formats, or legacy structures. 'Our role is not to act as gatekeepers, but as collaborators. That's how we grow the ecosystem and expand its impact.' Kutty spoke about how the definition of bold content has evolved over time. 'What was considered bold five or six years ago is not what's considered bold now. Today, boldness is about pushing societal norms, asking deeper questions, and doing it within the Indian context. We're not in California. We're in India, and we need to be rooted in our cultural values.' Addressing changing audience expectations, Jain said, 'If the story isn't great, they won't watch, regardless of who stars in it.' He cited the success of 'Thukra Ke Mera Pyaar', a show with a debut director and cast, to illustrate how strong storytelling can drive engagement. 'Innovation isn't a tactic for us. It's the baseline.' On attracting Gen Z audiences, Kutty pointed to a gap in current programming. 'Broadcasters and streamers have not done enough for Gen Z. In the South, we are committed to increasing our programming volume for that audience by seven to ten times.' He also highlighted India's regional diversity as a creative strength. 'Every region offers a wealth of stories. Eighty percent of Malayalam content consumption on JioHotstar comes from outside Kerala. Great stories truly transcend borders.' Kutty expanded on the vast scale of India's digital video market. 'India has 500 to 600 million users consuming four to five hours of content daily across all formats. The real challenge isn't what to do, but what not to do. There's significant headroom for both subscription and ad growth.' JioStar, he added, is backing stories rooted in universal human themes. 'Identity, aspiration, family, and justice. These are the kinds of narratives that connect deeply and scale widely.' Kutty also raised concerns about the current streaming economics. 'Producers have become B2B entities, creating for platforms instead of consumers. That has led to a disconnect. Unless the model is reset, I believe it's deeply broken.' Turning to the theatrical business, Jain spoke about shifting audience behavior. 'Every industry goes through phases of change, and the theatrical space is no different. We've been in a difficult period where people aren't coming to theatres unless the movie is really, really good.' He continued, 'Creators need to tell more authentic stories, and theatre owners must reinvent, whether through pricing, experience, or value delivery. Watching a film today means a three-hour commitment, and that's a big ask. Theatrical viewing needs to feel like an experience, not just a screening.' Jain also commented on the scale of India's content ecosystem. 'TV and digital coexist, with 800 million viewers on the JioStar network and 400 million on JioHotstar.' With more than 320,000 hours of content across multiple languages, Jain said the common thread is human emotion and shared experience. 'That emotional truth is what allows Indian content to scale and even travel globally.'
New Straits Times
2 days ago
- General
- New Straits Times
RMAF to get new defence assets from October
SHAH ALAM: The Royal Malaysian Air Force (RMAF) will begin receiving several new defence assets and systems in stages starting this October, continuing through to the end of 2028. Outgoing RMAF chief General Tan Sri Mohd Asghar Khan Goriman Khan said the acquisitions include unmanned aerial systems (UAS), FA-50 Light Combat Aircraft (LCA), maritime patrol aircraft (MPA), air defence radars and new helicopters. He said these procurements are part of the RMAF Capability Development Plan 2055 (CAP55), as outlined in the Defence White Paper, and are expected to significantly boost the nation's overall defence capabilities. "In summary, several systems and platforms such as UAS, FA-50 LCA, MPA, air defence radars and new helicopters are currently in the procurement process and will begin entering the RMAF inventory from October this year, with more to follow in 2026, 2027 and by the end of 2028. "These assets will enhance RMAF's ability to defend our national airspace," he said at the new RMAF chief pinning-of-ranks and change-of-command ceremony at Subang Air Base. Asghar, who is set to end his service this Dec 26, is succeeded by his deputy, General Datuk Seri Muhamad Norazlan Aris as the 21st RMAF chief. Asghar said that since taking over leadership of the RMAF on March 7, 2022, various efforts have been undertaken to ensure the airforce remains a credible, modern and capable force in defending the nation's skies. "All the policies and directions laid out in my Commander's Order were based on six core pillars – capability enhancement, organisational excellence, empowerment of personnel, resource management, industry collaboration, and welfare sustainability. "Alhamdulillah, during my tenure, we successfully implemented several of the planned initiatives outlined in CAP55," he said. He added that strengthening the training structure and human capital development was also prioritised, with officers and personnel sent for various courses both locally and abroad to ensure operational readiness remained at the highest level. He said the RMAF's active role in humanitarian assistance and disaster relief (HADR) operations, along with hosting international exhibitions such as the Langkawi International Maritime and Aerospace Exhibition 2023 and 2025, had effectively showcased its capabilities on the regional and global stages. These achievements, he said, have elevated the RMAF's standing as a key driver of air defence diplomacy and helped strengthen military ties with friendly nations. Asghar said the welfare of RMAF personnel was never sidelined, with various initiatives implemented, including housing, mental health care and family support programmes. "The well-being of our personnel, who form the backbone of the force, has always been given due attention," he said. Asghar also expressed his appreciation to all RMAF personnel, whom he credited for their unwavering cooperation in ensuring the success of all plans during his tenure as the service's top commander.
Straits Times
3 days ago
- General
- Straits Times
SCDF launches rescue vessel to tackle major incidents in Singapore waters
SINGAPORE - A new marine rescue vessel equipped to deal with fires and other emergencies in Singapore's waters has been commissioned, as larger ships with more passengers such as the Disney Cruise Line are expected here in the near future. It will be based at West Coast Marine Fire Station when it is operational from October. The 38m-long Blue Dolphin is a second-generation marine rescue vessel that is 3m longer than its predecessor, the Red Dolphin, and will be the primary vessel for major incidents such as fires, rescues and chemical incidents. The increased space on the boat allows for a heli-winch, where casualties can be evacuated by helicopters from the Singapore Armed Forces. This feature was not available on the Red Dolphin. Built by SCDF, Penguin Shipyard International, the Home Team Science and Technology Agency and Defence Science and Technology Agency, the Blue Dolphin can travel at a speed of up to 30 knots, and accommodate up to 30 seated casualties. Another of its features not available on the Red Dolphin is an integrated command post, which can draw information from the ship's cameras, detectors and operation logs to coordinate emergency responses. The new vessel's cameras provide clearer footage of surrounding waters to the operating crew, and are equipped with video analytics to help them identify potential targets in the water during search-and-rescue operations. The integrated command post can draw information from the ship's cameras, detectors and operation logs to coordinate emergency responses. ST PHOTO: MARK CHEONG Since 2012 when SCDF's Marine Division took over the maritime firefighting function of the Maritime and Port Authority of Singapore (MPA), it has expanded from two vessels and a single fire station to a fleet of seven vessels (including the Blue Dolphin), operating two marine fire stations and two marine fire posts. Building on the search-and-rescue capabilities of the Red Dolphin, the new vessel has an enhanced rigid hull inflatable boat (RHIB), which can now be used to fight fires on small stationary boats. The RHIB can also search coastlines with its sonar system, which uses sound waves to locate people and objects up to 7m underwater. The enhanced rigid hull inflatable boat can now be used to fight fires on small stationary boats. ST PHOTO: MARK CHEONG Since 2017, the Marine Division has taken on an additional role handling marine chemical, biological and radiological incidents. If needed, it supports MPA in oil and chemical spill incidents. To deal with chemical emergencies, the Blue Dolphin is equipped with a hazmat sensor that can detect and identify most chemical warfare agents, toxic industrial chemicals and volatile organic compounds in the water up to 5km away. Its chemical, biological, and radiological system can then monitor and demarcate hazardous boundaries before responders are deployed. Speaking at the vessel's commissioning ceremony at the Republic of Singapore Yacht Club on June 25, Minister for Law and Second Minister for Home Affairs Edwin Tong said: 'SCDF Marine Division's capability, I would say, is critical amid a rapidly evolving maritime landscape. Singapore's cruise industry itself is expanding, with more cruise ships calling port in Singapore. 'For example, the Disney Cruise Line will soon launch its maiden voyage from the Singapore Cruise Centre at the end of 2025, and this itself means larger vessels, with more passengers, will appear in Singapore waters. 'In addition, the Tuas Mega Port's first phase of operations has commenced. By 2040, it will be one of the largest container ports in the world, and the resulting high vessel throughput will make Singapore one of the busiest waterways globally.' Minister for Law and Second Minister for Home Affairs Edwin Tong participating in a tour of the marine rescue vessel on June 25. ST PHOTO: MARK CHEONG The Disney cruise ship can carry 6,000 passengers and 2,300 crew members. By 2030, the Marine Division will operate 10 vessels, and will be supported by the new Marine Division Headquarters in Brani, which is slated to open in 2026. Another marine fire post at Northshore Crescent in Punggol is expected to be ready by 2028. Claudia Tan is a journalist at The Straits Times covering the crime and court beat. Join ST's WhatsApp Channel and get the latest news and must-reads.
