The fourth Himal Media Mela on Friday, 25 July coincided with the 25th anniversary of Nepali Times, and workshops throughout the day focused on how the media can increase its reach and revenue in a rapidly evolving digital landscape. In his <a href="https://nepalitimes.com/news/journalism-reboot">opening remarks</a>, Nepali Times publisher Kunda Dixit spoke about the accelerated changes in the media sphere, and how legacy media exists in the digital space. “Big Tech has gradually dismantled the structures of content moderation,” said Dixit. “Algorithmic authoritarianism has polarised society, fuelling conflict and intolerance.” “The forces undermining democracy and freedom of expression through disinformation and fake news are the same people who are also vaccine and climate deniers, warmongers who cheer genocide, fan flames of ultra-nationalism and sectarianism,” Dixit continued.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250725050756_cf765c9e446e9a9b325ba8562b57446112e8751b8cf8d546b5d75031a46554f3.jpg" data-media-id="editor_1" data-image-id="20250725050756_cf765c9e446e9a9b325ba8562b57446112e8751b8cf8d546b5d75031a46554f3" data-rendition-name="original" width="2048" height="1385" loading="lazy" alt="Himal Media Mela 2025"> <figcaption>Welcome address by Nepali Times publisher Kunda Dixit. All photos: SUMAN NEPALI</figcaption> </figure>  However, even as operators of social media platforms are increasingly controlling how and to what degree the audience is able to connect with news and journalists, digital networks can also be a means of uniting against oppression and promoting public interest journalism. So controlling the internet because it has become violent is not the solution. Rather, Nepal should seek strict guidelines and their compliance, not by punishing journalists using irrelevant laws, as has been the case lately. “When we block platforms — along with the untruth, the truth also disappears,” noted Dixit. In her keynote, <a href="https://nepalitimes.com/news/journalism-will-never-be-out-of-fashion">Manisha Pande</a> of digital portal Newslaundry in India underscored the increased significance of journalism in the age of social media and AI. “In a democracy, journalism and access to clear, credible information is like access to clean water,” said Pande. “It is what allows people to make sensible electoral choices and it makes all the difference between a democracy and an autocracy.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160732_57f331e6fe568fa0b114412e69793a182e10f9f1a526ca5325fa0be2ed9f1b01.jpg" data-media-id="editor_3" data-image-id="20250726160732_57f331e6fe568fa0b114412e69793a182e10f9f1a526ca5325fa0be2ed9f1b01" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>Keynote speaker Manisha Pande of Newslaundry. </figcaption> </figure>  But the media industry finds itself in a financial crisis today, brought on by social media as well as economic collapse since before the Covid-19 pandemic. Interestingly, Newslaundry which was launched in 2012, is a 100% ad-free: no Google ads, no corporate ads, no political funding, and fully sustained by subscribers, allowing them greater independence. In an age when facts do not matter, journalism needs to be more proactive and go where the audience is. Said Pande: “We need to use the internet and social media tools we have to repackage traditional journalism in a way that is interesting to the audience.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160748_2041be8704d2347b2dedac87a4814dfa26b686808889f5b70371bf98d9a9842f.jpg" data-media-id="editor_4" data-image-id="20250726160748_2041be8704d2347b2dedac87a4814dfa26b686808889f5b70371bf98d9a9842f" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025"> <figcaption>Networking during the Himal Media Mela 2025.</figcaption> </figure>  Designing a new digital space for journalism Echoing her sentiment was Anup Kaphle of Rest of World as he led the first session, Designing a New Digital Space for Journalism. “You have to meet your audience where they are, which is on their phones and social media,” said Kaphle, also noting that social media can be a “double-edged sword that is excellent for distribution but also vulnerable to misinformation.” Kaphle was previously Chief Editor of The Kathmandu Post, and has held Editorial positions at Buzzfeed, and The Washington Post. His talk focused on how newsrooms can evolve to thrive in the new digital media environment, and the need to accept that fact that how people consume text has fundamentally changed.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160744_f332b61bdf6dc7317dd960a2682f91f3aa594347c3aec2b484b5a8654207c74e.jpg" data-media-id="editor_5" data-image-id="20250726160744_f332b61bdf6dc7317dd960a2682f91f3aa594347c3aec2b484b5a8654207c74e" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> <figcaption>Himalkhabar editor Santa Gaha Magar with speaker Anup Kaphle of Rest of World. </figcaption> </figure>  The attention economy was a big focus of the talk. Most people are watching short form content on their phones - think TikTok, Instagram Reels, YouTube Shorts. “Every journalist should be able to go on camera and summarise their story in 30 seconds,” said Kaphle, also pointing out that building a loyal community of readers comes from consistency, quality, and trust Kaphle also emphasised the need to think about revenue, beyond the obsolete model of relying only on ads, and instead build diverse income streams, such as user generated revenue. He gave examples of the New York Times' metered paywall, where users get a certain number of free articles a month, and then The Guardian, which does not have a paywell but make convincing appeals for voluntary support from readers. There are also others that put most, or all of their content behind a hard paywall. An adjacent model is memberships, where paying members get access to events, behind-the-scenes, newsletters, or early access to content.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160744_a0d0029a1584fbd5367b3dc03776c16c54dd97f3a7a8164f8f0e23a1eef2ac1e.jpg" data-media-id="editor_6" data-image-id="20250726160744_a0d0029a1584fbd5367b3dc03776c16c54dd97f3a7a8164f8f0e23a1eef2ac1e" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> </figure>  “More and more newsrooms are opening up to their audience, talking to them about what kind of problems they would like to be solved,” said Kaphle, adding that publications with particularly loyal audiences may also think about merchandising —— think The New Yorker totes. In the meantime, there are a few fundamental things that make a story worth paying attention to. Can stories help readers understand complex information? Do stories add unique value? Are there news needs that are not being met? Are you tracking if, and when, your audience is reading? Do you have a journalistic mission that you are transparent about? TikTok and Journalism Meanwhile, Emad Zafar, head of communication from TikTok South Asia, said that while advertising models have put pressure on journalism, TikTok has emerged as a platform that promotes more democratised content.&nbsp; That has meant that even nations that call themselves democratic have put a blanket ban on the platform, citing concerns of privacy, national security, and safety. Nepal also banned the platform in November 2023, saying the social media platform is spreading social discord, but lifted it last year.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160748_a21a30928e26e5f4f63f6f89f4fa7fc47cbbdeb1e94b3b31a57d720ae7ead08a.jpg" data-media-id="editor_7" data-image-id="20250726160748_a21a30928e26e5f4f63f6f89f4fa7fc47cbbdeb1e94b3b31a57d720ae7ead08a" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> <figcaption>Karan Parihar of TikTok South Asia.</figcaption> </figure>  Despite being banned in numerous nations, including the most populous country in the world, the numbers that represent the platform are staggering. One in eight people across the world are on TikTok, creating 66,000 videos every minute. One billion people are on the platform every month.&nbsp; These figures make it clear why the platform is so important for journalists to get their content out to a much larger audience, said Karan Parihar of TikTok South Asia.&nbsp; Mamta Siwakoti, TikTok’s Trust and Safety Program Manager, explained the platform’s community guidelines and how journalists can use the platform, even as misinformation has become a major concern for users. TikTok has 21 fact-checking partners, which provide the platform with verified and real time information.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160732_407aeb7d1f657b6aac8451795da0353aad8baa9b6839930aa1cc9087395e29ae.jpg" data-media-id="editor_8" data-image-id="20250726160732_407aeb7d1f657b6aac8451795da0353aad8baa9b6839930aa1cc9087395e29ae" data-rendition-name="original" width="2048" height="1367" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>TikTok’s Trust and Safety Program Manager Mamta Siwakoti.</figcaption> </figure>  “Freedom of expression needs to be balanced with human rights,” said Siwakoti. “We consult experts while creating community guidelines, so that it serves our wider purpose of safety and security of our users.” Design and niche content Swarup Nhasiju Shrestha’s Design Sense for Journalists focused on shooting high quality video stories. Nhasiju is the creative head at V-Chitra advertising agency, and has done design and layout for many Nepali newspapers. “Your objective is to stop the scroll - nobody has the time to read anymore,” said Shrestha. He listed out the main types of shots and what they do for the story. A closeup of the face shows the subject’s emotions, a wide shot gives context to what is happening, and an unusual shot can show the subject in a different perspective. Cut every second that doesn’t move the story forward.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160736_b44d99be23087ee79eac0bc0fff39a75e000263a4bedc80c44eb32295bf4089a.jpg" data-media-id="editor_9" data-image-id="20250726160736_b44d99be23087ee79eac0bc0fff39a75e000263a4bedc80c44eb32295bf4089a" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>Designer Swarup Nhasiju Shrestha of V-Chitra advertising agency during his session.</figcaption> </figure>  Shrestha also emphasised the importance of audio. “The audience may forgive shaky video, but not bad audio.” As for text on videos, short sentences, in sans serif font, in black and white, is the easiest to read. Thumbnails are the new front page of a newspaper should have faces, action, and high contrast. In the meantime, a main piece of content can be split up into 3-4 minute ‘mini’ pieces that are less than a minute long. These get the most views, and can funnel viewers to the longer videos. And counterintuitively, release trailers after the main video. This way, anyone who sees a trailer and is interested, can go watch the main video right after. Also talking about high-impact video content was Sojan Prajapati of Kathmandu ko katha who started out with an aim to inform the public about culture and heritage.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160736_822c94baf230a97d92d3dad3f77c2db47d0d987aedac5ee62c2a4dba47479f91.jpg" data-media-id="editor_10" data-image-id="20250726160736_822c94baf230a97d92d3dad3f77c2db47d0d987aedac5ee62c2a4dba47479f91" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>Sojan Prajapati of Kathmandu ko katha.</figcaption> </figure>  In his session, Niche Content Creation, Prajapati told the audience how he has also used his platform ‘Speak up Nepal’ on Instagram for social issues, went on to push 21 petitions to the House of Representatives, 11 of which are yet to be discussed, while four have been resolved. The main purpose of journalism should lie in reinstating hope and faith in citizens in a world which is constantly consumed by negative rather than positive news, he said. “Virality and vulnerability have a connection. There should be positive reinforcement for something good. You just have to be genuine for content creation, genuineness pays off well.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160748_8671ccafef079346e3fb3ae3a06129089e38be807be28d4ff63b1caec65dfada.jpg" data-media-id="editor_11" data-image-id="20250726160748_8671ccafef079346e3fb3ae3a06129089e38be807be28d4ff63b1caec65dfada" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160748_9d0f6bfeda6cfc73ed16aa2cf6308a67d2e58b239ac81c4cda144fa9e0cd6e62.jpg" data-media-id="editor_12" data-image-id="20250726160748_9d0f6bfeda6cfc73ed16aa2cf6308a67d2e58b239ac81c4cda144fa9e0cd6e62" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> </figure>  Future of the news In the last session of the day, The Future of News, Sundeep Narwani spoke about how AI and journalism intersect, and that AI can help journalists in copyrighting, social media captions, editing and translation that help reduce the cost of human resources. Generative AI, in turn, is getting more refined as we feed it with more data. Perplexity and Gemini in particular are competing to become real time search engines.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160748_74c59cba8159f704dadf6fe8f53532c8cbe1ccb15387da6c0788d7d2abc51085.jpg" data-media-id="editor_13" data-image-id="20250726160748_74c59cba8159f704dadf6fe8f53532c8cbe1ccb15387da6c0788d7d2abc51085" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="HImal Media Nepal 2025"> <figcaption>Sundeep Narwani spoke about AI and the future of journalism.</figcaption> </figure>  “Agents are beyond bots. A lot of things will become automated, making things serious and sensitive, even leading to loss of jobs,” said Narwani while also urging users to be careful of biases. Even search engines such as Google have been found to favour certain subjects while powerful figures have had the platform remove or clean their names. This was in line with a session earlier in the day where Naresh Newar showcased a fake video demonstrating the power of AI, and how it could be misused, urging media institutions to come up with guidelines, to not rely overly on these tools.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160736_9270a6f0c5b70d6ce5dccb78bc1d24682b28cf0008ea4aadea689eb3ecececa3.jpg" data-media-id="editor_14" data-image-id="20250726160736_9270a6f0c5b70d6ce5dccb78bc1d24682b28cf0008ea4aadea689eb3ecececa3" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>Tech writer Naresh Newar.</figcaption> </figure>  Pollster Madhu Acharya of Sharecase Data Initiative had sobering but optimistic insights. Comparing Nepal Media Survey results of the past year, Acharya deduced that tv had the most viewership in Nepal, but 20% of its revenue was coming from YouTube, while radio was the most trusted, even though it is seeing a rapid decline in audience, and those who remain are mostly older men. Newspapers, on the other hand, was still one of the most trusted sources, however, it is the source of news for only a little over 5% people. More surprisingly, it is the younger crowd between 18-24 who are reading newspapers the most. On the other hand, online outlets are the new mainstream with most readers between 35-59. Social media has the largest engagement with YouTube, Facebook and TikTok leading the race. In fact, 11.1 million Nepalis are watching YouTube daily, but these platforms have the lowest level of trust.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250726160736_c08e5abacdf87f66f21bd4f1ff05567d9dcd63271e34adce04b121dbeafdcc4b.jpg" data-media-id="editor_15" data-image-id="20250726160736_c08e5abacdf87f66f21bd4f1ff05567d9dcd63271e34adce04b121dbeafdcc4b" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025 NT"> <figcaption>Madhu Acharya of Sharecase Data Initiative presenting the latest findings of the Nepal Media Survey.</figcaption> </figure>

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The present and future of news

हिमालमिडियाले हरेक वर्ष मनाउँदै आएको हिमाल मिडिया मेलाको यो चौथो संस्करणमा उपस्थित सबैलाई स्वागत ।&nbsp; महिनै पिछे विश्वव्यापी सूचना र सञ्चार प्रणालीले अर्को फड्को मारेको हुन्छ। विगत २ महिनामा नै एआई-संचालित उपकरणहरू अचम्मसंग फैलिएका छन।&nbsp; सामाजिक सञ्जालका प्लाटफर्महरुले पाठकहरूलाई परम्परागत समाचार प्रदायकहरूसंग जोडिदिने क्रम जानिजानि घटाउँदै छन।&nbsp; बिग टेकले कन्टे्ट मोडरेसनको संरचना एक पछि अर्को गर्दै हटाएका छन ।&nbsp; यो एल्गोरिथ्म-मय अधिनायकबादले समाजलाई ध्रुवीकृत गर्दै, द्वन्द्व र असहनसिलतालाई बढावा दिएको छ। कलम चलाउने बितिक्कै झम्टी हाल्ने, बोल्योकि क्रोध र ईर्ष्या बर्षिहाल्ने। &nbsp;पत्रकारहरुलाई शत्रु ठान्ने, “१२ भाई” भनेर चिढ्याउने, “डलरबादी” भन्दै धम्क्याउने, “पत्रुकार”को बिल्ला लगाएर ट्रोल गर्ने क्रम बढ्दै छ । तर त्यही नै डिजीटल संजालहरु फेरि उत्पीडनसँग लड्न एक्यबद्यता जुटाउने, र सार्वजनिक हितको पत्रकारिता फैलाउने माध्यम पनि हुन। त्यसैले, अब इन्टरनेट उग्र भयो भनेर त्सलाई नियन्त्रण गर्दा, प्लाटफोर्महरु ब्लक गर्दा — असत्यसंगै सत्यपनि गुम्छ ।&nbsp; कसरी डिजीटल माध्यमहरुमा उपलब्ध अवसरलाई रक्षा गर्दै सामजिक संजालमा हुने उपध्रोलाई नियमन गर्ने। नेपालमा कडा गाइडलाइन र त्यसको पालना खोजिनुपर्छ, बिद्युतिय कारोबार एन प्रयोग गरेर पत्रकारलाई सजाय दिएर होइन। अंग्रेजीमा भन्ने गरिन्छ, अहिलेको नेपालमा सान्दर्भिक होला: “The exercise of my freedom should not violate yours”. Welcome everyone to this fourth edition of Himal Media Mela. The fact that most of you have paid to be here is proof that you value these interactions at a time of accelerated change in the media sphere.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250725060748_949591d168fbf38f0e1d39b377b1cba0daeabd526ec387e64cc7eb7820ac9802.jpg" data-media-id="editor_0" data-image-id="20250725060748_949591d168fbf38f0e1d39b377b1cba0daeabd526ec387e64cc7eb7820ac9802" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="Himal Media Mela 2025"> </figure>  On World Press Freedom Day this year, Reporters without Borders published a map of the world in which each country was colour coded in varying shades of red to match the degree of press freedom there. Most of Asia was a sea of red. Only Japan, Korea — and Nepal — stood out as lonely white islands. Even so, we in Nepal cannot take our freedoms for granted. The forces undermining democracy and freedom of expression through disinformation and fake news are the same people who are also vaccine and climate deniers, warmongers who cheer genocide, fan flames of ultra-nationalism and sectarianism. Swimming against this tide, and fighting the good fight through brave, independent journalism is Manisha Pande of Newslaundry from a neighbouring country to our south with a name that begins with the letter ‘I’.&nbsp; Manisha, we are honoured to have you here, eager to listen to you, and be inspired by your journalism. Welcome.&nbsp; This year’s Media Mela will not dwell too much on the challenges faced by journalism. We all know what they are. So, instead of talkshops, we will have workshops. How can we cover the most important stories that affect the daily lives of Nepalis in such a way that it is watched and read to build public opinion and spur policy reform?&nbsp; In an age when facts do not matter, journalism has to be more proactive and go where the audience is. यसै अवसरको उपयोग गर्दै हिमालमिडिया र यसले लिने नयाँ बाटोको विषयमा अलिकति कुरा पनि राखि हाल्छु। हिमालमिडिया अब मुनाफा वितरण नगर्ने कम्पनीको रूपमा परिणत भएको छ। यसले अझ धेरै &nbsp;व्यक्ति, संस्थाहरूसँग जोडिन र सहकार्य गर्न सहज हुन्छ भन्ने विश्वास लिएका छौँ। यो नयाँ non-profit company मार्फत् हाम्रो पत्रकारिता अझै फराकिलो हुनेछ। समावेशी बन्नेछ। An advance thank you to all the workshop speakers for your time, thank you everyone for participating, and thank you to TikTok for powering this year’s Himal Media Mela. There was a social media post the other day in which someone said (and I quote): “Himal Media Mela powered by TikTok? TikTok requires no attention span, while Himal articles require substantial attention span. This is a bit like a Diabetic Convention powered by Lumbini Chini Karkhana.” जे भएपनि, अन्तमा: आजको कार्यशालाहरुले हामी मिडियाकर्मीहरूलाई एउटा नौलो मौका दिने अपेक्षा राखेका छौँ – कसरी डिजिटल औजारले पत्रकारलाई दिएको उपायहरु सिक्न । धैर्य गरेर सुनिदिनु भएकोमा धन्यबाद। एक पटक फेरि सबै सहभागीहरूमा हार्दिक नमन र स्वागत।&nbsp;

Kunda Dixit

Journalism Reboot

During the 2022 election, populist candidates campaigned with algorithms and were elected mayors. In 2026, they are campaigning with AI-generated memes and videos. Four years ago, the idea that the most potent weapon in the next election in Nepal would be artificially generated clips of politicians beating each other up would have been science fiction. Yet, here we are: at a fever pitch of AI-based political content. Some are generated by the IT cells of political parties, while most are just produced and posted by young tech-savvy supporters of the new candidates. Most of them ridicule older leaders, and the predominant target is former prime minister K P Oli who was forced to resign after the September protests. On 20 January the TikTok account ‘iamfunnyman88’ posted a slapstick video in which former Kathmandu Mayor Balendra Shah is seen accosting ex-prime minister K P Oli with a giant bell (pictured), swinging it in Kung Fu Hustle style in what looks like Patan Darbar Square. Oli is sent splattered on the ground. K P Oli has become a symbol of the legacy parties and their aged leaders, and everything that is wrong with them. Balendra Shah represents the new protest candidate. The two are contesting from Jhapa-5, and it is turning out to be a prime ministerial race for 5 March. In another video, the RSP vs UML clash played out as a high-stakes war from the Mahabharat. Oli is a young warrior with a chiselled jaw and wearing a heavy golden armour ready to lead his followers to battle (pictured). A stylised Nepal flag flutters above him to the accompaniment of filmy dialogue.&nbsp; The videos are everywhere on TikTok, YouTube and Facebook. Many of the posts are hitting over 200,000 likes and 5 million views. Such content seems to be engaging more voters than speeches and door-to-door campaigning at the hustings. The videos are fake, but the numbers, and the attention they command, are very real.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013014010_ed52fe3248b54eb4f9f391ee718e874a86c1b98297dde203800ad7b114bdacda.jpg" data-media-id="editor_0" data-image-id="2026013014010_ed52fe3248b54eb4f9f391ee718e874a86c1b98297dde203800ad7b114bdacda" data-rendition-name="original" width="2000" height="1000" loading="lazy" alt="Nepal election memes"> </figure>  At first, it looked like the RSP’s digital media presence was a joke aimed at getting easy-to-access publicity via the far-reaching arms of the algorithm. But it is looking like a carefully designed strategy promoting Balen Shah as the RSP’s star player in this election.&nbsp; In 2022, it was just for the mayor of Kathmandu. This time, Balen Shah is already being promoted in these videos as a winner who has defeated the legacy politicians.&nbsp; In previous elections in Nepal, political parties used to spend lavishly on the ‘masu bhat’ strategy — feeding heavy plates of mutton curry and rice to constituents in return for votes. Ideology was swapped for immediate caloric gratification often accompanied by free-flowing alcohol.&nbsp; But surely, the new voter is too sophisticated for this. Politicians insist they have rebooted their operating systems to serve this enlightened demographic. We are talking, after all, about the generation that brought down a government over 36 hours in September.&nbsp; The assumption is that young voters today are too aware and far too proud to trade democratic agency for something as crude as a plate of steaming mutton curry and rice.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013014014_983476ba334f895b64cd8ea34bd0ad79c1632c428feb119c84477d8e929eb057.jpg" data-media-id="editor_1" data-image-id="2026013014014_983476ba334f895b64cd8ea34bd0ad79c1632c428feb119c84477d8e929eb057" data-rendition-name="original" width="2000" height="1000" loading="lazy" alt="Nepal elections meme"> </figure>  But the question is: are voters today any different? Aren’t these social media memes digital versions of the masu bhat that delivers a dopamine rush to voters? Watching the videos is entertainment that delivers a state of bliss, a protest against what is old but no enlightenment about how to get to the new. &nbsp; The I-cannot-go-a-single-minute-without-checking-my-phone demographic has leaned firmly towards politicians whose main focus is to be a social media star first, and an accountable politician second. More than 70% of Nepalis have smartphones now and most are hooked on data plans. The public has acquired a taste for a different kind of masu bhat - the digital kind. Instead of being made to slurp up the free spicy, fatty goat curry with deep guttural satisfaction, voters are being made to swallow easy-to-digest online clips to make serious voting decisions.&nbsp; After all, it is more fun than paying attention to a candidate’s policy proposals and actually thinking critically about the candidates.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013014014_eb3a9e0c50f4a47706a6695e78ae41556c3d9754c15d564d42fb0de3f4199999.jpg" data-media-id="editor_2" data-image-id="2026013014014_eb3a9e0c50f4a47706a6695e78ae41556c3d9754c15d564d42fb0de3f4199999" data-rendition-name="original" width="2000" height="1000" loading="lazy" alt="Nepal elections meme"> </figure>  TURNING POINT An important moment for the evolution of this digital masu bhat is the 2020 pandemic. It was just six years ago that the entire population was cut off from physical interaction. The phone screen became the sole mediator of social existence.&nbsp; Technology changes what we see as important, and this prolonged immersion fundamentally alters our perception of reality, training us to accept the flattened, binary logic of the algorithm as a substitute for the complex, multisensory texture of political reality. What is on the phone has started to dictate the questions we ask and the answers we accept. If it is not on the phone, it is starting to look irrelevant. The memes manufacture consent. Gerontocratic politicians habituated to legacy media have not fathomed the implications of this new virtual world. Everyone has been swayed by a good story since the beginning of time. Now, the phone has allowed millions of Nepalis to tell, retell, consume, and remix stories that would traditionally have huge barriers to entry. Consider the vegetable vendor killing time between customers, Gen-Z youth with no memory of the Maoist conflict, or the grandad who cannot distinguish an AI video from real footage.&nbsp; When they finally step into the voting booth, what is guiding their hand? Is it a careful calculus of policy proposals, demonstrated competence, and leadership integrity? Or is it the cumulative impact of those AI-generated dopamine hits they have been fed on a loop? This digital fog of war cuts both ways. In a twist of supreme irony, actual footage of candidates behaving badly is now routinely dismissed as ‘AI-generated’ by their PR teams. This was a convenient get-out-of-jail-free card that Balen’s camp used when a video of him shoving cadres went viral.&nbsp; Meanwhile, completely fabricated tear-jerkers of old leaders like Prachanda weeping are consumed by the public as gospel truth. We have arrived at a point where the inconvenient real is dismissed as a glitch, and the emotional fake is embraced as history.&nbsp; In Society of the Spectacle, Guy Debord argued that images eventually replace real life. Today’s voters in Nepal and elsewhere are not even consuming the actual meat-and-bones of mutton curry; they are swallowing the 15 second digital imitations of it.&nbsp; Welcome to the age of digital मासु भात.

Nepal’s AI-generated election

We walk past familiar neighbourhoods and wonder how much it has changed. An ongoing exhibition at The Kalā Salon titled Changing Times by The Pagoda Group aims to do just that -- capture ever-changing society within a captivating display of colourful canvases. Brick-lined houses, local tea shops, ancient temples, quiet devotion are themes in Pradhumna Shrestha’s series Shangri-La, much of which is an imagined past filled with nostalgia of the place he grew up in. By keeping people out of the frame, he allows space for what he calls a divine aura to surface.&nbsp; “I was born and brought up here and my canvases echo the nostalgia of cities like Kathmandu, Bhaktapur, and Lalitpur which are dense with myth, folklore, religion, and an ever-present divinity. All of this is truly what is ours, and we must treasure it,” says Shrestha. “Whatever I truly felt in my heart, I translated it into my work.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_32a8f9e9816595f12ec0da357528feffbb249fd19adbb658c18e72e2b721f9df.jpg" data-media-id="editor_0" data-image-id="20260128100132_32a8f9e9816595f12ec0da357528feffbb249fd19adbb658c18e72e2b721f9df" data-rendition-name="original" width="1280" height="1036" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  The swirling clouds that drift across Shrestha’s canvases borrow from thangka and paubha traditions, lending the scenes a sense of mysticism and otherworldliness. Within this dreamscape are red circular forms which represent wheels of chariots. &nbsp;The presence of divinity dominates from above, its presence asserted in soft blue brushstrokes below, as if the deity’s gaze itself has seeped into the land. Gods linger as guardians and temples hum with enigma in his paintings. In his much earlier work, Cultural Bond, a lakhe masked dancer bursts forward in vibrant red, dancing against a backdrop of molten gold clouds. The lakhe’s trance signifies protection and where it steps, the evil cannot follow. Hence, the skulls that surround but never fall beneath its feet but, one leg hangs suspended in midair, suggesting uncertainty, raising questions.&nbsp; Is this a symbol of culture and tradition, secure, or is it endangered by modernity? The work captures a society at a crossroads, honouring tradition while grappling with the risk of drifting away from it.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_c78307920acc7b14fb9f469a011043661accec66c230b5e7587bcba0199bcbf1.jpg" data-media-id="editor_1" data-image-id="20260128100132_c78307920acc7b14fb9f469a011043661accec66c230b5e7587bcba0199bcbf1" data-rendition-name="original" width="979" height="1280" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  In Panchatatva Mandala, Pasang Bikram Lama fuses two mandalas into a single visual meditation, suggesting unity where each colour carries symbolic weight: yellow evokes the soil of the earth, blue flows as water, red burns with fire, and black opens into the vastness of the spatial sky. Together, these elements form a quiet cosmology that speaks of creation and dissolution, of life folding endlessly into death and returning again. Says Lama, “Everyone has a mandala of their own being, and the elements represent their cycle of life.” Mala Shrestha’s works Water of the Divine Mother and The Spirit of Serenity unfold in a dreamy and delicate fusion of nature and religion, suggesting that divine forms are not separate from the natural world. Trees and branch-like motifs appear as origins of sacred sculptures and spiritual presences.&nbsp; Her goddesses, adorned in alluring ornaments, emerge from trunks and streams, painted in aqua green, pink pastels, and rustic browns, as if grown rather than created, affirming that the divine is inseparable from nature and present everywhere.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_1f8cce84b4515a0d6d8b8fc169367bf5d39a7479c2c30038dafe90ec2bb3c4c9.jpg" data-media-id="editor_2" data-image-id="20260128100132_1f8cce84b4515a0d6d8b8fc169367bf5d39a7479c2c30038dafe90ec2bb3c4c9" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  Kishor Nakarmi’s Essence of Nepal, where Gautam Buddha appears embedded within leaves, brick walls, birds, and wilderness, dissolving boundaries between the sacred and the earthly. These canvases radiate calm and their subtlety is enriched by finely observed details. Similarly, Rudra Bahadur Pun captures the vitality of mask dances and ritual movements found in the monasteries of Mustang, weaving together tradition, landscape, and daily life. The essence of the exhibition comes together in Roshan Pradhan’s works. His paintings reflect a contemporary tension where technology collides with ancestral myth and the power of tradition. A fierce Garud rises within a landscape saturated by technological apparatuses, while at its feet a human form representing AI clings tightly, attempting to assert control.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_dc2c1ad4a4cefea6c6c7d02e9ed500309b7c862535247fe6451038e1d053d6b2.jpg" data-media-id="editor_3" data-image-id="20260128100132_dc2c1ad4a4cefea6c6c7d02e9ed500309b7c862535247fe6451038e1d053d6b2" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  In another work, Bhairab confronts a human embodiment of AI in a theatrical standoff, with the deity ultimately prevailing, reaffirming endurance over technological dominance. The human figures in Pradhan’s paintings are drawn from life with his friends volunteering as models, photographed and later translated onto canvas.&nbsp; “Technology has taken over our lives. Many can probably not even imagine life without it now. But, culture, too, is integral to human existence. Our life would be much different without our culture; it is a part of us,” notes the artist. Rather than framing technology as purely antagonistic, Pradhan explores coexistence, and while acknowledging its destructive potential, he affirms his belief in the power of our myths and traditions.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20260128100132_bc831a663ca8977c39979a363a95bcae5e41cfe624d78152c546579caa3e680f.jpg" data-media-id="editor_4" data-image-id="20260128100132_bc831a663ca8977c39979a363a95bcae5e41cfe624d78152c546579caa3e680f" data-rendition-name="original" width="4032" height="3024" loading="lazy" alt="The Kala Salon exhibition NT"> </figure>  Pradhan adds, “These paintings are also an archive of its time. Viewers centuries from now may read these paintings as records of the age we inhabit. While technology is important, cultural continuity must walk alongside it. Festivals must still be celebrated, oral traditions must be sustained, and our roots must be remembered, especially by future generations.” Curator Sophia L Pande says the exhibition took more than a year to put together:&nbsp; “It responds to a shifting world, seeking to capture both transformation and the quiet fear of loss. Its themes move fluidly across environment, technology, artificial intelligence, and climate change, reflecting the diverse yet interconnected practices of the artists, providing a glimpse into the evolving landscape of contemporary Nepali art.” Changing Times The Kalā Salon Chhaya Centre, Thamel 11AM-8PM

Time, transience, transition

In December we headlined an analysis in this paper that the election was going to be a fight between <a href="https://nepalitimes.com/news/old-vs-new-in-2026-eyyt3itl">Old and New</a>. With just a month to go for polls, it is now looking more like New vs New.
The symbolic Balendra Shah vs K P Oli struggle has now been replaced by a face-off between Shah and Gagan Thapa, the new leader of the Nepali Congress (NC).
The Tarai with its vast vote bank has become the battleground for this fight with Shah contesting against Oli in Jhapa and Thapa standing in Sarlahi. And social media is the arena for this epic clash of personality cults.
Which means that instead of finding solutions to problems like health, education, jobs, inflation and social welfare, it is all about optics and stunts. AI-generated and algorithm-driven memes are influencing people’s choices.
“This is not democracy but a very morphed form of political consumerism where political men are selling their brand, and people are lapping that up,” says political scientist Sucheta Pyakuryal.&nbsp;
“Democracy is a way of life, it is not one size fits all, it doesn’t bully opposing voices, it is civilised, personable, tolerant.”
To be sure, Shah and Lamichhane claim to represent GenZ aspirations for cleaner and more efficient government, much like they did in 2022. But elections are expensive, and that is the root of corruption. Shah driving around Nepal in a flashy Defender SUV loaned by a noodle tycoon is proof to some that despite all the rhetoric of ‘new’ it is the same old crony-driven politics.
Author Mohan Mainali says party cadre used to mobilise voluntarily during campaigns, but Nepal’s elections have long stopped being about issues and ideology,
“But political parties lost their morality, and when their actions opposed their avowed principles, the spirit of elections was lost too,” Mainali says. “Cadre and crowds have to be rented, making elections more expensive, and it looks much worse this time around.”
Parties both old and new have moved so far away from what they promise in their manifestos, that it makes little sense to have them. All this means that this election is not so much about what the new candidates can do, but a protest vote against the tried, tested and failed legacy parties.
And that decision is made on the basis of ‘who’ rather than ‘what’. Who wins in Jhapa 5, for example, will determine the future course of Nepal. The winner there will eliminate one prime ministerial candidate, and then set up the possibility of a contest with Gagan Thapa.&nbsp;
“The real question is, can the RSP and NC, which have already declared their prime ministerial candidates muster majorities in Parliament?” Mainali muses. “In all likelihood no. The proportional representation vote is very important so people are tempted to vote based on who will be the next prime minister. But that is not how our system is supposed to work.”&nbsp;
Madhes Province has over 3.6 million voters, and more than half of Nepal’s population is in the Tarai. That can make or break the election for candidates. In the past parties have canvassed in the polls only to ignore the region once in power. And that goes for many Madhesi leaders themselves.
It was only after the 2015 federal republican Constitution that Madhes saw some representation, but it has been mostly sidelined in the GenZ protests.
In his analysis for the Annapurna Post this week, Birganj-based political commentator Chandrakishore writes that the Madhes should not just be a vote bank, but a political conscience for the nation.
‘Federalism has not favoured the Madhes, but it is the duty of the state. The parties that made the Constitution should tell us why federalism was weakened. The RSP should answer why it ignored the provincial structure in the past. The Madhes only wanted identity, representation, rights, and good governance,’ he wrote.
Indeed, it is ironic that the RSP that has been ambiguous on federalism, is now actively campaigning in the capital of federalism with Balendra Shah now capitalising on his plains ancestry — something he has not emphasised in the past.&nbsp;
“On one hand you say you want to remove provinces because there are too many positions which have become extremely costly for the state but you are also assuring your aides that there are plenty of positions to be doled out in the current federal structure,” says Sucheta Pyakuryal.
She adds: “You could forgo the ideology which we have done in Nepali politics for a long time now, you don’t even have to be a diehard socialist or liberal to enter the political arena but when even the lowest benchmarks such as basic decency and honesty are not met, how can you represent the people? We want representatives who look like us, sound like us, think like us, not brand names and saviours.”&nbsp;

New vs New in Nepal

The car’s trunk was crammed with boxes and suitcases, almost to the roof, and I was just waiting for the inevitable heart-wrenching screech or thud from underneath as I feathered on the accelerator, trying to cross through the infamous Daunne uphill section of the East-West Highway in an MPV.&nbsp; But to my surprise, the ground clearance of 170mm did not fail. Daunne, roughly 15km long, is the landslide prone ridge between Narayanghat and Butwal section, which is perennially affected by traffic jams, thanks to ongoing (and never ending) road expansion. Traffic jams here can be tens of kilometres long. On a November 2025 trip to Bhairawa it was dry enough to wade through the dreaded Daunne where the choice on the ‘road’ is either mud or dust (or both).&nbsp; The BYD M6 MPV EV borrowed for the journey claimed a range of 440km and 580L of space at the back in an almost 4.7m long form factor.&nbsp; On board were two family members and my five-year-old dog, Kulfi (pictured) who needed frequent stretch breaks for his paws. Stopping to charge the car was most certainly not on my to-do list. Within the first 20km from Koteswor, there were already multiple DC chargers along the roadside. They were fast chargers usually between 30 to 60kWs capacities, meaning a charge to 80% would take on average less than an hour. Nepal now boasts over 1,200 charging stations, each station is often equipped with multiple charging guns. This was a stark contrast to the harsh reality of charger anxiety I faced a couple of years in our family car, the Hyundai Kona. Back then, on the way back from Pokhara there was only a single charging gun at River Side Resort in Kurintar.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013104014_d36a1ed529caa0b67424699407da8b42b51f4a4b63dd6dbeb662b0ab513b77a8.jpg" data-media-id="editor_0" data-image-id="2026013104014_d36a1ed529caa0b67424699407da8b42b51f4a4b63dd6dbeb662b0ab513b77a8" data-rendition-name="original" width="2652" height="984" loading="lazy" alt="Page 5 map"> </figure>  These were only fast AC chargers of speeds up to 6kWs, unlike today’s much faster DC chargers. This meant the car would take multiple hours to hit the 80% mark -- and the charger would sometimes (shockingly, and without explanation) be out of operation. No one to ask questions, and no one to answer either. While I never needed to charge my EV on the way to Pokhara from Kathmandu, my precautionary nature never allowed me to climb into the Valley via Naubise without a charge. One bad accident, some sort of natural disaster, and you knew the roads would be clogged with traffic and shut down for at least a couple of hours.&nbsp; Fast forward to the present. My mind was at ease. Even if one of the charging stations was crowded, there was conveniently another one 15 minutes away. But the BYD M6 did not require any of that anyway.&nbsp; Not only did it traverse the rough highway from Kathmandu to Mugling, and then onward over the Daunne pass with ease but because the car was heavy and low, it handled high speeds and corners like a champ.&nbsp; Foot down on the accelerator and it climbed to triple digit speeds without breaking a sweat. Put your foot relatively harder on the brakes and it would equally shed its momentum, all the while being economical. After multiple quick stretch stops for Kulfi, and a proper one hour lunch break, I had arrived at Bhairawa before nightfall, still with around 100km of range left in the car and most importantly, with all the luggage intact.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2026013104018_1cc05d858d14f0b83fcf586c7270be003f462d60cd19934218e271d59fef3496.png" data-media-id="editor_1" data-image-id="2026013104018_1cc05d858d14f0b83fcf586c7270be003f462d60cd19934218e271d59fef3496" data-rendition-name="original" width="1384" height="808" loading="lazy" alt="Bye-bye range anxiety NT"> </figure>  ROUNDTRIP A week later, my return trip to Kathmandu saw an additional passenger and even more luggage – but once again, I arrived back in Kathmandu with ease: both the M6 and Nepal’s charger infrastructure had exceeded my expectations and needs.&nbsp; This 600km drive to and from Bhairawa from the mountains around Kathmandu to the Tarai plains, with not-so-smooth hilly terrain in between, highlighted not only how far electric vehicles have evolved but also showed how far the charging infrastructure (once a major irritant during the Covid years) had come.&nbsp; EVs in Nepal are no longer niche products; they are available across budgets and segments, ranging in form factor from micro city commuters and family hatchbacks to compact SUVs, pickups, and even full-size MPVs.&nbsp; One noticeable improvement on the highways is that the charging infrastructure has grown from a scattered and company-installed. NEA units along major routes have now converted into full-fledged, round-the-clock networks that allow flexibility and convenience to those of us who like to enjoy our times on the road.&nbsp; What once felt like a gamble, now feels like momentum — and the road ahead for electric mobility in Nepal looks smoother. &nbsp;&nbsp; Arnav Upadhyay reviews automobiles and promotes road safety under the handle Casually Annoyed Driver on Youtube, Tiktok and IG and this monthly column Drive Line in Nepali Times.

himal-media-mela-2025

The present and future of news

Journalism Reboot

Nepal’s AI-generated election

Time, transience, transition

New vs New in Nepal

Bye-bye range anxiety