There is a fascinating family tree in the history of journalism.
It begins in nineteenth-century New York with a bald, large-eared street urchin wearing an oversized yellow nightshirt. And, if some of its critics are to be believed, it eventually arrives in twenty-first-century India wearing a television microphone, shouting at a panel of bewildered guests: “Nation wants to know!”
The first was the Yellow Kid.
The second is what critics call Godi Media.
Between the two lies more than a century of technological progress, political upheaval and journalistic evolution.
We moved from ink to television. From printing presses to satellite dishes. From newspaper boys shouting headlines on street corners to algorithms shouting them into our bedrooms. But apparently one thing has survived remarkably well: The ability to turn information into emotional entertainment. And that deserves a closer look.
Let us begin with the Yellow Kid. Because, contrary to the popular mythology, the poor little fellow did not start the Spanish-American War. He wasn't sitting in a New York newsroom in 1898, cracking his knuckles and saying: “Gentlemen, today we invade Cuba.”
The Yellow Kid was simply a cartoon character created by Richard F. Outcault for Joseph Pulitzer's New York World around 1895. He was a street urchin called Mickey Dugan, part of the Hogan's Alley comic strip. His most distinctive feature was his enormous yellow nightshirt. The colour itself was something of a technological novelty. The character became wildly popular.
And then came the newspaper industry's equivalent of a corporate bidding war.
William Randolph Hearst hired Outcault away from Pulitzer in 1896. Pulitzer, however, did not surrender. He commissioned another artist, George Luks, to continue drawing his own Yellow Kid.
So suddenly New York had two Yellow Kids. One for Pulitzer. One for Hearst. And the newspapers began to acquire a reputation as the “Yellow Kid papers”. A critic named Ervin Wardman of the New York Press eventually turned that association into the expression “yellow journalism.”
And there it was. A phrase was born. The Yellow Kid had supplied the name. The newspapers supplied the method. And the method was simple: Make the story bigger than the facts. Use enormous headlines. Use dramatic pictures. Use scandal. Use crime. Use sex. Use outrage. Use patriotism. And, if necessary, use a little imagination.
After all, facts are terribly inconvenient things. They insist upon verification. Sensationalism has no such inhibitions.
Now we arrive at Cuba.
The Cuban struggle against Spanish rule became a major subject of American newspaper coverage. Reports of Spanish brutality, suffering and atrocities were amplified through dramatic headlines and illustrations. And then, on 15 February 1898, came the event that changed everything.
The USS Maine exploded in Havana harbour. More than 260 American sailors died. The cause of the explosion was uncertain. Even today, historians do not regard Spanish responsibility as an established fact. But the newspapers did not have the luxury—or perhaps the inclination—to wait.
Spain was blamed. The famous cry became: “Remember the Maine!” And American public opinion was stirred. Now comes the striking part of the story.
There is a famous anecdote that Hearst supposedly telegraphed artist Frederic Remington:“You furnish the pictures, and I'll furnish the war.” It is a magnificent quotation. It is also almost certainly fictitious.
No original telegram has been found, and Hearst denied the story. Which gives us an amusing lesson in media history: Sometimes even the story about sensational journalism becomes sensational journalism.
The historical reality is considerably more complicated. Yellow journalism helped create a climate of public anger and pro-war sentiment. But it did not single-handedly manufacture the Spanish-American War. There were deeper forces at work. American strategic interests. Expansionism. Humanitarian concerns. Economic interests. The Cuban independence struggle. Domestic politics. The policies of the McKinley administration. The Spanish response. And the failure of diplomacy.
So the Yellow Kid did not start the war. But the newspapers helped turn a complicated international crisis into an emotionally irresistible story. And that is where the historical comparison becomes interesting. Because journalism does not always need to manufacture a fact to influence public opinion. Sometimes it only has to decide: Which fact gets the front page? Which photograph gets enlarged? Which phrase becomes the headline? Which voice gets six minutes? Which voice gets six seconds? And which inconvenient detail disappears somewhere on page fourteen?
Welcome to the twenty-first century.
THE AGE OF GODI MEDIA
The phrase “Godi Media”—literally suggesting “lap media” or media sitting in somebody's lap—became popular in India as a pejorative expression associated particularly with journalist Ravish Kumar. Critics use it for sections of Indian media they believe have become excessively sympathetic to Prime Minister Narendra Modi, the BJP government and its political narrative. Supporters of the outlets and journalists targeted by the term reject the characterisation.
And that distinction matters. Because not every Indian media outlet behaves in the same way. Not every television anchor is a government cheerleader. Not every newspaper is politically captured. Not every story favourable to the government is propaganda. And not every criticism of the government is automatically journalism.
But the phenomenon being criticised is worth examining. Because the underlying question is larger than Narendra Modi, larger than the BJP and larger than Indian politics. It is this: What happens when journalism begins serving an audience's emotions before serving its curiosity?
That question could have been asked in New York in 1898. It can be asked in New Delhi in 2026.
The technology has changed. The business model has changed. The vocabulary has changed. The psychological machinery has not.
Yellow journalism discovered that outrage sells newspapers. Television discovered that outrage keeps viewers watching. Social media discovered that outrage travels. And the algorithm discovered something truly magnificent: Anger is renewable energy. You don't have to import it. You don't have to manufacture it in a laboratory. Just put two people on television, give them opposing opinions, increase the volume and add a countdown clock. Congratulations. You have created prime-time democracy. And if the shouting becomes sufficiently intense, nobody notices that the original question has disappeared.
FROM “REMEMBER THE MAINE” TO “REMEMBER THE NATION”
The nineteenth-century yellow newspapers could take a complicated foreign-policy crisis and reduce it to a slogan: Remember the Maine! Modern political television can perform a similar compression.
A complicated economic question becomes: WHO IS ANTI-NATIONAL?
A constitutional dispute becomes: WHO HATES INDIA?
A communal incident becomes: WHO IS RESPONSIBLE?
A policy disagreement becomes: ARE YOU WITH US OR AGAINST US?
And suddenly there is no room for the irritating middle ground. Evidence becomes secondary. Context becomes suspicious. Nuance becomes anti-national. And uncertainty? Uncertainty is probably the most dangerous word ever invented for television news.
Imagine an anchor announcing: “Ladies and gentlemen, we don't know yet.” The programme would be over in thirty seconds.
So certainty wins. Even when certainty is not based on facts.
THE REAL PARALLEL
The most important similarity between yellow journalism and the phenomenon its critics call Godi Media is not simply political bias. It is the conversion of information into spectacle. The old newspapers had gigantic headlines. Today we have gigantic television graphics. They had dramatic illustrations. We have video loops. They had sensational crime stories. We have crime stories accompanied by music that makes the viewer feel as though civilisation is collapsing before the next commercial break. They had emotional nationalism. We have emotional nationalism in high definition. They had circulation wars. We have TRP wars.
And now we have something they could never have imagined: the smartphone.
A nineteenth-century newspaper could influence millions. A television channel could influence tens of millions. A viral clip can reach hundreds of millions before anyone has checked whether the clip is genuine.
The speed has changed everything.
A rumour that once required a printing press now requires only a thumb.
BUT THERE IS AN IMPORTANT DIFFERENCE
We should not lazily declare Godi Media to be simply “Yellow Journalism 2.0”.
The historical circumstances are different.
Yellow journalism emerged primarily from fierce commercial competition between newspaper publishers. Pulitzer and Hearst were fighting for readers. Modern Indian media operates within a far more complicated environment. There are political relationships. Corporate ownership. Government advertising. Private advertising. Regulatory pressures. Access journalism. Ideological alignment. Audience segmentation. Television ratings. Digital advertising. Social-media algorithms. And, increasingly, the economic fragility of traditional journalism.
So the comparison is useful—but only up to a point.
The Yellow Kid papers were not permanently aligned with one political party in the manner critics sometimes allege about contemporary outlets. Indeed, the old newspapers could be simultaneously sensational, populist, investigative and politically opportunistic. Their first loyalty was often to circulation. And perhaps that is the uncomfortable lesson. A newspaper does not necessarily have to love a politician to become useful to one. All it needs is an incentive.
THE LAPDOG PROBLEM
The watchdog is one of journalism's oldest metaphors. The watchdog watches power. It barks when power misbehaves. It wakes the neighbourhood. It annoys the burglar. It occasionally annoys the owner too. That last function is rather important.
A watchdog that only barks at the neighbour is not much of a watchdog. It is a security advertisement.
Journalism has the same problem. If a government makes a good decision, journalists should report it. If it makes a bad decision, journalists should report that too. If the opposition makes a good argument, journalists should report it. If the opposition makes a foolish argument, journalists should report that too.
The job is not to maintain political balance by artificially giving every claim equal weight.
The job is to verify. To question. To contextualise. To distinguish allegation from evidence. To distinguish opinion from fact. And, occasionally, to utter the most unpopular sentence in modern media: “We don't know yet.”
THE GREAT MEDIA MAGIC TRICK
The most sophisticated form of propaganda does not necessarily involve inventing facts. Sometimes it involves arranging real facts into a misleading emotional narrative. That is much harder to detect.
Every individual fact may be technically correct. But the overall picture can still be distorted. Imagine a camera pointed at a massive crowd. Move it five degrees to the left. The picture changes. Move it five degrees to the right. It changes again.
The camera has not lied. The camera has simply chosen where you should look. That is why journalism needs more than factual accuracy. It needs context. Proportion. Transparency.
And intellectual honesty.
AND HERE IS THE IRONY
The Yellow Kid was a cartoon. Yet he acquired enough cultural importance to give an entire style of journalism its name. More than a century later, our screens are filled with far more sophisticated cartoons.
Some have expensive studios. Some have dramatic music. Some have animated maps. Some have enormous LED walls. And some even have journalists.
But the central temptation remains the same: If reality is complicated, simplify it. If the audience is bored, dramatise it. If the facts are uncertain, speculate. If the story is weak, enlarge the headline.
And if the audience becomes angry? Excellent. Engagement! The algorithm is happy. The advertiser is happy. The politician may be happy.
And somewhere, Joseph Pulitzer and William Randolph Hearst may be looking down at us and wondering why everyone is pretending they invented this.
THE FINAL QUESTION
So was yellow journalism responsible for the Spanish-American War? Not by itself.
Did it intensify public emotion? Yes, historians generally recognise that role.
Did the Yellow Kid cause the war? No. He was simply the mascot of a newspaper circulation battle.
And is every Indian media outlet that criticises the government or supports it automatically “Godi Media”? No. That label remains a contested political characterisation. But the larger warning deserves attention.
Whenever journalism becomes more interested in mobilising an audience than informing it, the distance between news and propaganda begins to shrink.
And that danger is not confined to the political Right. It is not confined to the political Left. It is not confined to India. It is a permanent danger wherever media organisations discover that outrage is more profitable than accuracy.
The nineteenth-century newspaper asked: How do we sell more newspapers?
The twentieth-century television channel asked: How do we get more viewers?
The twenty-first-century platform asks: How do we keep you from leaving?
And the answer, increasingly, seems to be: Give them something to be furious about.
So perhaps the real descendant of the Yellow Kid is not one particular Indian channel. Perhaps it is an entire media ecosystem in which attention has become the currency and outrage has become the business model.
The Yellow Kid wore yellow. Today's media comes in every colour imaginable. But the oldest lesson remains unchanged: When journalism stops asking, “Is this true?” and starts asking, “Will this sell?”—the public doesn't merely get news. It gets a show.
And the most dangerous thing about the show is that sometimes we mistake the applause for the truth.
Stay curious. Stay sceptical.
And above all, don’t let anyone, on television or anywhere else, do your thinking for you.
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