'Adding governing body might restrict filmmaker's voice': Siddharth Malhotra on OTT censorship, launching Junaid Khan & more [Exclusive]

If you are an avid television viewer and love binge-watching series, you must have watched medical dramas like Mill Gayye, starring Karan Singh Grover, and Sanjivani, starring Mohnish Bahl. But do you know the creative mind behind these cult series? It's Siddharth P. Malhotra—an ace writer and director who has helmed films like We Are Family (2010), Hichki (2018), and, most recently, Maharaj, which also marked the debut of Aamir Khan's son, Junaid Khan.

Siddharth began his career in the late '90s, collaborating with cinematic stalwarts like Karan Johar and Vidhu Vinod Chopra before launching his own production company, Alchemy Films, alongside his wife, Sapna Malhotra.

Most recently, he directed Doctors, which is currently streaming on JioCinema.

In an exclusive conversation with International Business Times, India, Siddharth P. Malhotra opens up about his deep admiration for the medical profession, reflected in many of his shows, and how television has evolved over the years. He also shares insights on how Doctors stands apart from his previous shows, Sanjivani and Dill Mill Gayye. Additionally, the acclaimed writer-director discusses launching Junaid Khan in Maharaj, the competitive edge of the South Indian film industry over Bollywood, and whether OTT platforms should have censorship regulations.

Excerpts from the conversation.

IBT: How has the response been for your web show Doctors, does the show feature real doctors?

The response has been overwhelmingly positive. The medical community, in particular, has embraced the show wholeheartedly. We launched it with minimal publicity, and Jio introduced it at the end of December 2024. The New Year started on a high note when Allmax ranked it as the number one show at the turn of 2025. What's most gratifying is that the success is purely driven by the power of content. Watching 10 one-hour episodes back to back and completing them is a testament to audience engagement. Jio was so thrilled with the reception that they had already commissioned a second season, something that wouldn't have happened if the response was anything less than exceptional. We're all incredibly excited about what's next.

IBT: What led you to conceptualise a show like Doctors?

Having worked on five medical dramas before, I saw Doctors as an opportunity to create something fresh for OTT, something I couldn't fully explore on television due to regulatory constraints. When Jio Cinema approached me for another medical series, I knew this was my chance to showcase the professional and personal lives of doctors in a way never done before in India. I wanted to depict real surgeries, complex medical procedures, and cases that TV restrictions wouldn't allow. So, I collaborated with my writers and developed a layered narrative centred around a young woman with a mission, intertwined with a love story, and supported by compelling characters. We carefully mapped out each character's journey, ensuring strong arcs that could extend into multiple seasons. That's how Doctors was born.

IBT: What were the challenges you faced while filming Doctors?

Filming Doctors was full of challenges. Firstly, we shot in a real hospital, right after the COVID-19 pandemic. At the time, the hospital was available for filming, but now it isn't granted for such shoots anymore, making our production even more special. We wanted to create large-scale emergency room sequences with 30-40 people, which required meticulous choreography. Another major hurdle was ensuring authenticity, actors had to deliver complex medical jargon convincingly. To achieve this, we had real doctors on set, training them on how to handle medical instruments and interact like professionals. Since we shot mostly on real locations rather than sets, logistical issues like managing multiple actors, coordinating schedules, and maintaining the show's vision were daily battles. Despite these difficulties, our production and direction teams overcame them, and we're immensely proud of the final result.

 

IBT: Dill Mill Gayye was a massive success and continues to have a loyal fanbase. Do you think Doctors will resonate with the audience in the same way? What sets it apart from your previous medical dramas?

Dil Mil Gaye was a romantic comedy, while Sanjivani was also rooted in romance shows like Zindagi Wins and Ayushman slightly delved into the professional aspects of a doctor's life, but they still weren't as grounded in realism as Doctors. I wanted to create something that felt more like Grey's Anatomy, The Resident, or Chicago Med, an intense, character-driven medical drama that India had never successfully done before. The overwhelming response to Doctors proves that audiences were craving something like this. Unlike Dil Mil Gaye, which was lighthearted and fun, Doctors takes its characters' struggles seriously, delivering raw and emotionally charged storytelling. It leaves an impact that stays with the viewers.

 

IBT: How involved are you in the casting process?

I'm deeply involved in the casting process, whether as a producer or director. Casting the right actors is half the battle won. You can see this in H.K., We Are Family, Maharaj, and all my television shows, we always ensure the best possible cast, which elevates the story. Also, since we work with actors for extended periods, sometimes a year or more, it's crucial to collaborate with people who align with the vision and bring the right energy without baggage. Casting is one of the most critical aspects of storytelling, and I take it very seriously.

IBT: From Ek Hazaaron Mein Meri Behna Hai to Maharaj, how has the industry changed over the years?

The industry has undergone a massive transformation, especially post-COVID. With global cinema and international content becoming more accessible, audiences now have higher expectations. Merely being "good enough" is no longer sufficient. Viewers are exposed to high-quality storytelling on platforms like Netflix, Hotstar, and SonyLIV, meaning Indian creators are competing on a global scale. Today, audiences don't have the patience for slow narratives, if the first episode doesn't grip them, they move on. This shift has impacted all mediums, TV, OTT, and theatrical releases. For theatres, the challenge is to convince audiences that a movie is a cinematic experience worth watching on the big screen. On OTT, stories must feel real yet fast-paced. Television, on the other hand, still thrives on character-driven narratives, but even there, the pace has quickened. The entire storytelling landscape has evolved significantly.

IBT: If Ek Hazaaron Mein Meri Behna Hai or Dil Mil Gaye were to be remade, which actors do you think could do justice to them?

Comparing Dil Mil Gaye to Doctors isn't entirely fair because they cater to different sensibilities. Dil Mil Gaye was a rom-com with a lighthearted approach, while Doctors is a serious, high-intensity medical drama. Similarly, Sanjivani and Zindagi Wins leaned more towards romance, whereas Doctors take a raw, realistic look at medical professionals. What sets Doctors apart is that it is India's first truly successful medical drama with a well-executed narrative. That being said, if Dil Mil Gaye were to be remade, casting would depend on who can bring both charm and depth to the roles, as the show had a unique mix of humour and romance. However, Doctors is an entirely different beast driven by emotional, hard-hitting storytelling.

 

IBT: How did the cast gain medical knowledge and hands-on experience for their roles?

To ensure authenticity, we had a team of three medical experts on set almost daily. Dr. Agni, a key consultant, was involved in the scripting stage, helping with medical terminology, training actors, and conducting workshops. He even took the cast to real hospitals so they could observe doctors at work. Lead actors like Harleen and Sharad dedicated significant time to mastering their roles. The medical procedures shown in the series were meticulously planned, with some involving prosthetic organs for precision. For extremely intricate moments, actual doctors performed the procedures to ensure medical professionals watching wouldn't find any inaccuracies. The actors' dedication and the doctors' guidance played a crucial role in making everything feel real.

Do you think OTT platforms should have censorship?

I don't think external censorship is necessary for OTT platforms because they already have their own content regulations. However, censorship is a double-edged sword. While excessive explicit content needs some form of control, platforms like Netflix and Amazon Prime already self-regulate. For instance, Maharaj and Bestseller underwent internal scrutiny before release. Adding a separate governing body might stifle creativity and restrict a filmmaker's voice. Instead of blanket censorship, platforms should continue implementing content guidelines responsibly, allowing creative freedom while ensuring content remains appropriate for audiences.

IBT: What is your take on nepotism in the industry?

Nepotism is a term that's often misused. By that logic, if an engineer's child becomes an engineer, or a barber's child takes over the family business, that would also be nepotism. The reality is that while star kids might get their first opportunity more easily, their long-term success depends entirely on talent. Many actors from influential families have failed to make it because the audience ultimately decides who stays. In today's industry, even getting a second opportunity is tough without genuine merit. While connections can open doors, sustaining a career requires skill, hard work, and audience acceptance. Talent will always outshine privilege in the long run.

IBT: How was it working with Junaid Khan?

Junaid is someone I've had the privilege of launching, and he's like family to me. When you introduce a newcomer, it's about shaping and moulding them, ensuring their strengths shine while shielding them from potential weaknesses. He's Incredibly dedicated, sincere, and honest, which is reflected in his performance and even in his off-screen persona. Unlike the stereotype of a star kid, he carries himself with humility and focus. Working with him was an absolute pleasure, and I do not doubt that with each film, he will continue to refine his craft and establish himself as a top actor.

IBT: What's your take on the popularity of Pakistani dramas?

I've been a fan of Pakistani dramas since childhood. Classics like Dhoop Kinare and others left a lasting impression on me. Even today, my mother and many in my family watch them. I admire creators like Momina Duraid and writers like Farhat Ishtiaq, whose work is exceptional. Their storytelling is layered, their character development is nuanced, and they bring emotional depth while maintaining a compelling pace. If given the opportunity, I'd love to collaborate with Pakistani creators because, ultimately, storytelling transcends borders. Great content should be celebrated regardless of its origin.

IBT: What is one thing the Indian industry lacks compared to the South?

Unity, in the South, the industry functions like a close-knit community, everyone supports each other, and there's a mutual understanding about aspects like promotion budgets, release dates, and marketing strategies. They ensure that films, big or small, get equal opportunities. If Bollywood embraced this kind of unity, where everyone genuinely wished success for each other, the industry would thrive even more. Some filmmakers already follow this mindset, but if it became a widespread practice, it would make a significant difference.

IBT: What type of content does the youth prefer—drama, reality, fiction, docu-drama, or crime?

The youth gravitates toward fast-paced content, engaging and speaks their language. Drama and crime remain strong genres, but reality shows also work if they offer depth and an element of shock or intrigue. The younger generation has access to a vast array of content beyond films and OTT, social media, gaming, and even AI-driven experiences are reshaping entertainment. To capture their attention, stories must be fresh, relatable, and aligned with the way they consume content. Slow burns often struggle with this demographic; they prefer narratives that hook them instantly.

IBT: What's next in the pipeline?

We have some exciting projects lined up. A new thriller series is set to go on floors soon, and we'll announce it at the right time. We have a fantastic cast and a great platform backing it. Additionally, I'm directing a film based on Kamal Amrohi and Meena Kumari's love story, which we've already announced. Beyond that, there are two more films in the works and another show that I'm producing with a close director friend, we've just entered the writing phase. It's shaping up to be an exciting year for Alchemy, and I can't wait to share more details soon.