In an age where audience behaviour is decoded in real time, content creators walk a tightrope between data and daring. But Vikram Malhotra, Founder and CEO of Abundtantia, isn’t one to see these forces at odds. To him, the real breakthrough lies in harmony—where data fuels creative ambition rather than limiting it.
In a freewheeling conversation with e4m, Malhotra reflects on the ever-evolving tastes of Indian viewers, the changing definition of stardom, the promise of regional and short-form storytelling, and why surprise still reigns supreme in entertainment.
As someone who’s backed everything from Shakuntala Devi and Toilet: Ek Prem Katha to the chilling Chhorii franchise, his insights offer a compelling look at how to build stories that don’t just work—but last.
“It’s the number one question globally in the world of content,” he says. “But let’s not put more emphasis than is actually required on this question—because it’s always been there. Even centuries ago, storytellers would’ve been asked what kind of stories would work. Audience tastes have always been evolving, unpredictable, even fickle. That’s the nature of our business,” says Malhotra without minced words.
So what’s the formula for success? “There isn’t one,” he smiles. “But what consistently works is high-quality content—stories that resonate with audiences. If you look at what’s worked over the last 20 years, both in Indian cinema and streaming, it’s the content that has emotionally connected with the viewer—whether in theatres, on personal devices or living rooms. That’s what delivers value for time and money.”
Malhotra acknowledges that second-guessing what mood the audience will be in when a show drops is inherently impossible. “It’s like predicting the course of the wind,” he says. “What we can do is focus on creating sincere storytelling that entertains and leaves an impact.”
But in a data-rich environment like OTT, where platforms are driven by algorithms and consumption insights, where does creative ambition fit in?
“I don’t see it as a need for balance. I see it as a need for harmony,” Malhotra explains. “For the first time, creators have access to real-time insights—what’s being watched, how much, when, what’s liked or disliked. That’s powerful.”
To him, data is not the enemy of creativity. In fact, it’s quite the opposite.
“Data unshackles imagination,” he says emphatically. “If used well, it helps creators fine-tune their instincts. Imagination will always drive the audience into uncharted territory—and that’s where disruptive success lies.”
At Abundantia, Malhotra has built a culture that embraces insights. “We collaborate strongly with data providers. I’m constantly asking our studio and streaming partners for feedback—not just on our own shows, but on the industry at large. I want to know what worked for them, what trends they’re seeing, what languages or formats are gaining traction.”
He doesn’t stop at streaming either. “I talk to programmers at multiplexes, box office managers, anyone who can give me insight into what audiences are gravitating toward. I carry all that back to our writers and directors—not to instruct them, but to empower them. Not just to give people what they want, but to anticipate what they might want next.
However, Malhotra offers a timely reminder: “The audience doesn’t always know—or say—what they want to watch.”
Speaking about the fine balance between consumer insights and creative instinct, Malhotra argues that much of entertainment’s magic lies beneath the surface. “You have to scratch deeper to uncover that latent demand,” he says. “And then build something unexpected. If audiences could articulate what they wanted in advance, something like Avatar wouldn’t have blown them away.”
The conversation, layered with references to both legacy and modern content, highlights the dual role data now plays in content creation. “It’s both a guardrail and a catalyst,” says Malhotra. “At Abundantia, we’re constantly working to harmonise insights with imagination—using data to inform but not to limit.”
Great storytelling must still surprise and delight
He believes that great storytelling must still surprise and delight. “The very genesis of creativity is to offer something the audience hasn’t seen before,” he notes. Referencing stories that have travelled generations—from folklore to Mughal-era tales—Malhotra says it’s not just the story itself but how it’s told that matters. “The way you fire the audience’s imagination is as important as firing the creator’s.”
This ethos translates into how he guides his team at Abundantia. “Clutter-breaking content that surprises the audience is a sure-shot marker of success,” he tells them. “Audiences are open to being taken for a surprising ride—they welcome it, even expect it.”
Drawing parallels from India’s television history, Malhotra refers to the landmark shows of the 1980s and 1990s. “Look at Buniyaad, Hum Log, Tamas, Kalyug—these shows introduced storytelling that was new and nuanced for their time, yet they connected deeply with viewers. And that was at a time when exposure was far more limited than it is today.”
In his view, classics endure because they resonate across generations, while disruption thrives because it breaks patterns. He points to Adolescence, a recent international show that has sparked conversations globally, as well as Abundantia’s own just-released film Chhori 2, which hit screens on April 11.
“It’s so heartening to see how Chhori 2 has connected with the masses,” he says. “It’s rooted in Indian folklore and presents societal evil through the lens of horror. But what’s drawing people in is the originality of the story—it’s something they’ve never seen before. And that’s what makes it powerful.”
For Malhotra, the takeaway is clear: technology, data and insights may change the tools, but the fundamentals of storytelling—surprise, emotion, imagination—remain the same.
On star power
Malhotra is not one to chase stardom for the sake of it. In fact, he sees India's evolving digital landscape as a powerful equaliser—one where a compelling story trumps celebrity status. “The definition of star power has changed,” he asserts, reflecting on the shift in audience behavior since the rise of social media and streaming.
"Earlier, stars were these out-of-reach, larger-than-life icons we only saw on the big screen. Today, relatability is the new aspiration," he says, emphasizing how audiences now look for icons whose values they identify with, not just admire from afar. The term ‘star’ today could apply equally to a film actor, a cricket hero, a YouTuber, or a stand-up comic.
This philosophy underpins Abundantia’s choices. Their horror thriller Chhorii, which gained acclaim in 2021, featured Nushrat Bhrarrucha, in a lead role without the crutch of blockbuster stars or extravagant budgets. The success of the original led to a sequel, Chhorii 2, with Soha Ali Khan joining the cast. “The win is that Chhorii didn’t follow conventional tropes—no massive budgets or megastars—and yet it struck a chord with the audience,” Malhotra says.
When asked about audience appetite for traditional intellectual properties (IPs) versus adaptations of true stories, Malhotra sees ample room for both. “Entertainment is in the Indian bloodstream,” he quips. “There’s never a day when an Indian doesn’t want to consume some form of storytelling—whether it’s a movie, a show, or a 10-minute scroll through Instagram reels.”
Abundantia’s portfolio is a testament to this diversity. On one hand are completely original IPs like the Chhorii franchise. On the other hand, there are celebrated true-story inspired films like Shakuntala Devi, Toilet: Ek Prem Katha, and Airlift. “We maintain a healthy mix of original and adapted stories,” he says.
On branded content
Despite the growing trend of brand integrations in streaming content, Abundantia has been selective about venturing into branded entertainment. “We’re not averse to it. But it has to be a natural fit—for our storytelling sensibility and also economically,” Malhotra explains.
He cites the film Chef, starring Saif Ali Khan, as an example of successful brand integration. “The story revolved around food innovation and discovery. A brand like Haier fit in seamlessly—it felt organic, not forced.”
That said, Abundantia has consciously kept brand-funded content outside its core operations. “It’s a completely different content and business vertical,” he says. “You need a specific skillset that blends advertising and storytelling. That’s not something we’ve prioritized.”
Malhotra believes OTT platforms themselves are navigating their own branded content strategies. “Each platform has different goals and different types of stories to tell. Branded content works when there’s alignment between the story, the brand, and the platform.”
Still scratching the surface of Bharat
On the growth of OTT in India, Malhotra is optimistic but pragmatic. “We’re just beginning to penetrate the real belly of the Indian market,” he says. With affordable data and rising smartphone penetration, he believes the reach of streaming platforms is only going to deepen—eventually competing head-on with traditional television.
“The content is there. The audience is hungry. What’s needed is the right platform strategy to bring them together,” he says.
As for the buzz around short-form content, he’s paying close attention. “Micro-dramas, 5 to 10-minute episodic content—these are being done brilliantly in countries like China and Korea. It’s a different beast altogether, and not just an extension of long-form storytelling,” he says.
While Abundantia isn’t producing short-form shows just yet, Malhotra reveals it’s an area of growing interest. “It will need to be a full-fledged business stream for us—one that makes both creative and commercial sense.”