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‘Taarak Mehta Ka Ooltah Chashmah' producer responds to allegations of sexual, mental harassment

‘Taarak Mehta Ka Ooltah Chashmah' producer responds to allegations of sexual, mental harassment

Taarak Mehta Ka Ooltah Chashmah, one of the longest-running sit-coms on Indian television, has been making headlines for some time now for all the wrong reasons.

It has not been long since actress Jennifer Mistry, who plays the role of Mrs. Roshan Sodhi on the show, accused producer Asit Modi of sexual harassment. Later, actress Monika Bhadoriya claimed that the makers tortured her to the extent that she had suicidal thoughts.


Some cast members even claimed of a toxic work environment with the producers forcing their actors to sign exclusive contracts.

In response to the allegations, Modi denied any wrongdoing and told a newswire, “Emotionally I feel sad. As I consider everyone like my family. And, again I am saying I have never done anything wrong to anyone. I have tried to keep everyone happy because I am giving happiness every day through my show. Hence, I try to keep my team also very happy, and in a nice and positive atmosphere.”

Despite facing several setbacks, he said that Taarak Mehta Ka Ooltah Chashmah recently completed 15 years. “Hurdles come in every successful work. And those who pass the hurdles, they only succeed in life. So, we are accepting hurdles and challenges, and whatever is happening in and around us, we are fighting it with a positive mindset. We have never done anything wrong to anyone. We have always kept everyone happy. So, we don’t bother, we are clean and pure by heart,” he added.

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Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
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  • 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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