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Mohit Malik opts out of Kullfi Kumarr Bajewala

After months of speculations, Mohit Malik has finally confirmed his exit from Star Plus’ popular soap Kullfi Kumarr Bajewala. Produced by Gul Khan under Four Lions Films, Kullfi Kumarr Bajewala hit the airwaves on 19th March 2018 and became one of the top shows on the channel in no time.

The series stars Mohit Malik as the male lead. Its massive success helped the actor establish himself as a household name. But in spite of that, he has put his papers down because he is not keen to play a father to two grown-up daughters after the forthcoming generation leap.

Sharing his thoughts on the same, the actor tells an entertainment portal, “It has been an emotional journey for me. I started working on the show exactly two years ago and it is time now to say goodbye. As they say, all good things come to an end. The show explored the father-daughter bond beautifully and I guess the makers felt a leap was necessary. I liked the fact that they focused on the father-daughter bond and did not try to introduce a romantic angle for my character Sikandar after Nimrat (Shruti Sharma) died in the show. Though he married Loveleen, the show only revolved around Sikandar and his two daughters. I was fine with playing father to two small girls in the show. But I do not want to play a father to grown-up girls because I don’t think it will look convincing.”

Well, fans are surely going to miss Malik after his exit from Kullfi Kumarr Bajewala. There is no update on who has been roped in to replace him on the show. Keep visiting this space for more updates.

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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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