People
Renowned novelist and OTT creator Amit Khan is now ready to capture the micro-drama space as well
Amit Khan is a big name in the world of Hindi detective novels. More than a hundred of his novels have been published so far. His first story was published at the age of 12, and his first novel came out when he was 15. Apart from Hindi, his novels have also been published in English, Punjabi, and Bangla.
Commander Karan Saxena and Reeta Sanyal series are his extremely popular series. Web series have been made on them and they are available on Jio Hotstar. Both series based on his novels have been superhits. Apart from this, the web series based on his novel Bichhoo Ka Khel was also very successful, which was made by Ekta Kapoor.
Now, a large number of micro-drama series are also being made based on his published novels and stories. Paagal Ishq and Gabbar Ka Game, his micro-drama series for Amazon MX Player, have already been shot, and more than 10 of his micro-drama series for different platforms will be shot soon.
What is this micro-drama series? Will you explain a little about it?
For today’s fast-moving audience, these are short and engaging series, made in reel format, and each episode is only 2 minutes long. Moreover, in every episode the story unfolds quickly so that viewers can binge-watch without stopping.
Would you like to say anything about “Pagal Ishq,” that has been recently released on Amazon MX Player?
It is a supernatural love story, filled with the extremes of madness. In this story, the hero is madly in love with a girl.
But that girl loves someone else and is about to marry him. Then the hero takes a very dangerous step — he commits suicide, and after his death, his spirit enters the body of the boy whom the girl loves. In this way, even after dying, he marries the love of his life.
It’s quite a surprising story!
Yes, when you watch it, you’ll enjoy it even more. This micro-drama series also makes extensive use of special effects and artificial intelligence.
What do you think is the future of micro-drama series?
It is very good. In China, the market is huge. According to a statistic, by 2024 nearly 576 million people around the world were watching micro-drama series, and this viewer base is increasing day by day. Besides China, micro-drama series are also being watched in large numbers in Korea and the USA. Yes, in India this market has just started, and I believe it will soon turn into a big market. Just like in cricket, after Twenty-Twenty, short-format matches are happening— ten-ten overs, and in the future even five-over matches— this is exactly the same.
Extremely fast and extremely entertaining. While scrolling on your mobile you can watch your favourite stories with amazing twists and turns.
How many micro-drama series are you doing right now?
Two shoots have been completed, and in the next three months ten more series are going to be shot.
So after three superhit web series, have you now planned to capture the world of micro-drama series as well?
Nothing like that. I only want to create premium content. Not just good stories, but they should also be shot in a spectacular manner. The cinema should meet international market standards.
People
Senior exec Madhu Soman reflects on stepping away from Indian TV news
Sometimes the toughest story in a newsroom is the one about the newsroom itself.
MUMBAI: For Madhu Soman, a media executive whose career spans more than two decades at global news organisations including Reuters and Bloomberg, the decision to step away from India’s television news industry followed conversations with several leading networks.
Soman returned to India in 2022 to take up a senior leadership role in television news.
He transitioned to the business side of the industry in 2014, joining Bloomberg in Hong Kong to lead broadcast sales, news syndication and strategic partnerships across Asia-Pacific. He held the role for nearly eight years before returning to India.
“WION and Zee Business were the reason I chose to return to India after long years with Reuters and Bloomberg, transitioning from telling stories to selling them,” Soman said.
“The landing strip back home was always narrow, but it was one I was happy to take.”
The stint at Zee Media Corporation Ltd., however, proved shorter than expected.
“It didn’t take very long to realise that my runway within Zee (Media) was going to be rather short,” Soman said.
“Let’s just say I was a cultural misfit.”
Even so, he says the experience had its rewards, including exceptional colleagues and a few good friends.
After stepping away from the organisation, Soman was in discussions about potential roles.
“I spent the better part of the last two years in conversations with a few leading networks, long enough to realise the difference between being unemployed and being unemployable.”
Some of the feedback, he says, was unusually candid.
“Two of them informally told me I’m perhaps one of the best media executives in the television news business. But someone like me fronting a television news network would be considered a business risk,” Soman said in conversation with IndianTelevision.com.
For Soman, the implication was clear.
“A news network fronted by someone whose instincts were formed in journalism rooted in independence, accuracy and editorial distance from power was unlikely to find much favour with the powers that be.”
Beyond the personal dimension of his decision, Soman says the experience reflects broader pressures shaping the news industry today.
“Journalism’s job is simple: ask hard questions and hold power accountable. Keep it honest,” he said.
Quoting former Washington Post editor Marty Baron, he added: “We’re not at war with the government. We’re at work.”
“That principle applies to anyone in a position of influence, whether in government, business, sport or entertainment.”
At the same time, he says the industry faces growing pressures.
“Authoritarian regimes that resist scrutiny, along with rapid technological change including AI, are reshaping and often undermining journalism’s traditional business model.”
“There’s also a growing credibility deficit, as the race for eyeballs rewards whoever delivers the news first rather than whoever confirms it best.”
Having worked on both the editorial and commercial sides of the industry, Soman says he is acutely aware of the economic realities media organisations face.
“Running a media organisation today means being a pragmatic P&L owner. The challenge is to keep investing in strong journalism while making the economics work at a time when a growing share of the industry’s revenue is increasingly being captured by technology platforms.”
“If we drop the ball on accuracy and trust, we do a grave disservice to the democracy we’re meant to serve.”
His experience straddling both content and commerce has shaped his view of how the industry must evolve.
“Good journalism and good business strategy are not opposites,” he said.
“The best media businesses are built when editorial integrity, audience trust and sustainable economics reinforce each other.”
“And ultimately, none of it works without strong teams. Leadership in media is as much about building people and institutions as it is about building products.”
Soman is now preparing to return to his hometown of Trivandrum, barely four years after returning to India.
“Delhi NCR has a way of testing your patience, your stamina and occasionally your sanity,” he says. “But it also leaves you with stories that will last a lifetime.”
“So as I pack up and head home to Trivandrum, I do so with no complaints and no regrets.”
“I didn’t sell my soul. Some things, after all, aren’t for sale.”
Soman’s reflections underscore the tensions between editorial independence, commercial realities and political pressures shaping television news today. His experience offers a window into the challenges facing media leaders navigating a rapidly changing industry. For him, the decision marks a moment to step back after decades spent across global newsrooms and media businesses.
