Television actor Aashiesh Sharrma has observed that the industry is undergoing a cyclical shift, returning to finite storytelling formats after years of open-ended narratives. In an exclusive conversation, Sharrma noted that audiences today increasingly prefer limited series with clear narrative arcs, a trend he believes will catalyse more meaningful and intentional content creation across the medium.

Television's structural reset

"Television has come full circle," Sharrma explained. "Earlier, we had finite storytelling formats, and now we are returning to that structure. Audiences today prefer limited series with a clear beginning and end. This shift is encouraging better storytelling and more meaningful content." The actor's observation reflects a broader industry pattern: as streaming platforms fragment viewership, traditional broadcast television and digital platforms alike are gravitating toward closed narratives that demand tighter writing and character arcs.

Why limited series matter

The move away from open-ended daily soaps toward anthology and limited-run formats addresses a structural problem that plagued Indian television for two decades — the pressure to sustain ratings forced writers to stretch thin plots, introduce implausible twists, and sacrifice narrative coherence. Limited series, by contrast, enforce discipline: a story must earn its runtime and deliver resolution. This constraint, Sharrma suggested, naturally elevates storytelling quality.

Sharrma's choice: 'Khejri' and authentic trans narratives

Aashiesh Sharrma recently appeared in the drama Khejri, playing a transgender character. The actor revealed that the project's foundation — a short story titled Sanjha — had resonated with him for years after his father introduced it to him. "The story deeply reflected the truth and emotions of society," he said.

What distinguished Khejri from prior trans-focused narratives, Sharrma emphasised, was its refusal to impose external framing. "Stories about trans individuals are usually told from a very subjective lens," he observed. "This was the first time I encountered a narrative that felt like a pure human journey. It was not influenced by conditioning or external perspectives. It was open, honest, and deeply personal."

Universal identity, not identity politics

Rather than treating the character's transgender identity as a plot device or a vehicle for social messaging, Sharrma described Khejri as a story about belonging and self-discovery that transcends categorical identity. "This is not just the story of one trans person; it is a universal story about identity and belonging. Every individual struggles to find their place in society, and this narrative captures that journey beautifully," he concluded. The framing underscores a shift in how Indian cinema and television are beginning to approach marginalised identities — not as subjects to be explained, but as protagonists within fully realised human stories.