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Jennifer Winget on steering clear of saas-bahu sagas

Jennifer Winget needs no introduction! Ever since beginning her acting career on television, she has been a part of several successful shows, including Dill Mill Gayye, Saraswatichandra and Bepannaah. But if one talks about that one show which gave a meteoric rise to her popularity and fanbase in India and around the world, it has to be Sony Entertainment Television’s thriller Beyhadh.

After impressing the audience with her shrewd, sharp and evil character of Maya in Beyhadh, Jennifer has just returned to reprise the same role once again in Beyhadh 2, the second season of the series. The show premiered on 2nd December and has been performing extremely well ever since its launch.

If you look at the kind of shows that Jennifer Winget has done so far, you would agree that her roles have always been different and far away from being ordinary. During a recent interview, when the talented actress was asked as to why does not she takes up shows which are the quintessential saas-bahu sagas, she said that it is important that when she does a TV show, there is clarity and a defined start and end to it.

“It is not that I have kept away from the usual TV shows but when the entire team is in sync with a particular concept, there is a certain satisfaction in working. Also, I am very lazy, so I take up something only when I really like the concept,” said the actress.

When was about her fascination for picking up complex characters, Jennifer Winget said, “I would love to play a housewife, a psychopath, do comedy, action or take up any other kind of role. After I played an obsessive lover in Beyhadh, I did Bepannaah where the woman is cheated on by her husband. So, they are two different characters,” concluded the actress.

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5 mythological picks now streaming in the UK — and why they’re worth watching

Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
  • UK viewers can access some titles now, though licensing varies.
  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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