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Mira Nair to serve as director for Amazon Studios’ The Jungle Prince of Delhi

Internationally acclaimed filmmaker Mira Nair has come on board to direct and executive produce Amazon Studios’ adaptation of the 2019 New York Times article The Jungle Prince. Amazon Studios has acquired the rights to develop Ellen Barry’s 2020 Pulitzer Prize finalist acclaimed story and podcast as an international web-series.

The Jungle Prince of Delhi is an expose of the three fake descendants of the royal family of Oudh, who appeared in Delhi in the 1970s and relocated to a ruined palace in the 1980s. They lived there till Barry’ discovered their true identities.


Apart from Nair, Stacey Snider, Jane Featherstone, and Kate Fenske will also executive produce the series along with Gary Foster, Russ Krasnoff, Christina Lurie, Ellen Barry, and Caitlin Roper.

Catline Roper, head of scripted entertainment at The New York Times, said in a statement: “Pulitzer Prize-winning journalist Ellen Barry’s beautifully written tale of the Oudh family revealed deeper truths rooted in the violence and trauma of the partition of India. The moving story, and the 3-part audio series for The Times’s podcast, The Daily, were the result of years of reporting and investigation across continents. Since its publication, The Times has been searching for the right partners to expand the story’s reach and we are thrilled to work with the incomparable Mira Nair, and to be producing The Jungle Prince series with Amazon Studios alongside Krasnoff/Foster Entertainment, SISTER, and Fourth and Twenty Eight Films.”

Meanwhile, Mira Nair is also working on the adaptation of Vikram Seth’s bestselling novel A Suitable Boy. The six-part BBC drama stars Bollywood actors Tabu and Ishaan Khatter in principal roles.

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  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
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  • 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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