Netflix’s latest web series ‘IC 814: The Kandahar Hijack’ has encountered significant backlash early this week following social media uproar over the portrayal of the hijackers’ names in the critically acclaimed series. Responding to this growing unrest, the Information & Broadcasting Ministry has summoned Monika Shergill, the head of content at the OTT platform. Furthermore, a public interest litigation has been filed before the Delhi High Court by the president of ‘Hindu Sena,’ an outfit that claims the series misrepresents the religious identities of the hijackers by naming two of the five hijackers as Bhola and Shankar. The plea calls for the revocation of the series’ certification.
Directed by Anubhav Sinha, the six-episode series depicts the hijacking of Indian Airlines Flight IC-814 on December 24, 1999, shortly after it took off from Kathmandu for Delhi. The Airbus 300 was diverted to multiple locations including Amritsar, Lahore, Dubai, and finally to Kandahar in Afghanistan, which was then under Taliban control. After six days of intense negotiations, the hijacking concluded with the Atal Bihari Vajpayee-led NDA government agreeing to release three notorious terrorists—Masood Azhar, Omar Saeed Sheikh, and Mushtaq Ahmad Zargar—in exchange for the safety of the passengers and crew on board.
The series draws inspiration in part from ‘Flight To Fear,’ a first-hand account written by the plane’s pilot, Captain Devi Sharan, in collaboration with journalist Srinjoy Chowdhury. A disclaimer in the series stipulates that it is a work of fiction set against the backdrop of certain real-life events.
At the heart of the controversy is the creative liberty taken by the series’ makers, who have not clearly indicated that the terrorists used codenames during the hijacking. Many feel this omission could lead to misinformation. Several historical accounts clarify that the hijackers employed aliases during the incident. A press release from the Union Home Ministry on January 6, 2000, revealed the actual names of the hijackers as Ibrahim Athar, Shahid Akhtar Sayeed, Sunny Ahmed Qazi, Mistri Zahoor Ibrahim, and Shakir.
. It confirmed they used names such as Chief, Doctor, Burger, Bhola, and Shankar when addressing each other during the hijacking.
The public outrage appears to stem from concerns that future generations might misinterpret this historical event, mistaking the terrorists’ aliases for their real names. BJP leader Amit Malviya took to X (formerly Twitter) to voice his concerns, stating, “The hijackers of IC-814 were dreaded terrorists, who acquired aliases to hide their Muslim identities. Filmmaker Anubhav Sinha legitimized their criminal intent by furthering their non-Muslim names. Result? Decades later, people will think Hindus hijacked IC-814.”
While the series does not explicitly state that Bhola and Shankar are code names, it does reveal the true identity of Chief when negotiations threatening to stall. In a post on X, journalist Neelesh Misra, who has also authored a book on the subject, specified that Chief was, in fact, the brother of Masood Azhar. Within the narrative of the series, Bhola and Shankar are considered minor characters and are referred to by their code names only once throughout the six episodes.
This series has sparked debate and raised questions about the balance between historical accuracy and creative freedom in dramatized retellings of real-life events. Some argue that the dramatic choices made by the creators help to heighten the tension and emotional impact of the story. Others contend that such liberties can distort public perception and historical truth, leading to potential misinterpretation of crucial events in the future.
As the series continues to gain attention both for its storytelling and its controversy, the larger discourse on responsible media representation and historical integrity remains paramount. Viewers, historians, and policymakers alike are likely to watch closely, eager to see how this unfolding narrative will influence future representations of critical historical events in media.
