Aha, the Telugu-language streaming platform, has emerged as a major player in India’s OTT space. Launched in 2020, Aha quickly gained a loyal audience by delivering content tailored to regional tastes. With hits like Unstoppable, 3 Roses, Sarkar, and Arthamainda Arun Kumar, Aha has redefined how Telugu audiences consume digital entertainment and attained the ‘Regional No. 1’ title. In this exclusive interview, Vaasudev Koppineni, Executive Vice President for Content at Aha, offers insights into the platform’s creative process, its hits, and the evolving trends in the OTT space.
How’s a typical day at Aha for you?
It’s always dynamic. A “good day” here can mean anything—from managing a high-pressure situation to ensuring a show launches on time. The office has this infectious energy, thanks to a team full of young, creative minds. It keeps us on our toes and constantly brainstorming new ideas.
How do you approach studying trends in content creation?
Content creation is both reactive and proactive. We try to predict trends early or create them ourselves. Fiction projects take time, six months to two years, depending on their scale and complexity. So, the challenge is to anticipate what audiences will want in the future or shape their preferences.
We’re always analysing what works and adapting quickly. But it’s a game of balance; sometimes we’re catching up, and other times we’re leading the way.
Do you enjoy the content you create? What’s your personal taste?
Absolutely. I started as a consumer before becoming a creator, and that perspective stays with me. When we sample content, we’re the first audience. I’d say 70% of the time, we can predict how it’ll land with viewers because we’re immersed in the ecosystem. But the remaining 30%? Audiences surprise us.
Personally, I love shows with brilliant storytelling. Breaking Bad is a favourite because of its masterful screenplay. I also enjoy The Americans and, of course, our own Unstoppable.
Can you share an example of a show that exceeded your expectations?
Sarkar is a great example. After three successful seasons, we made tweaks based on audience feedback for the fourth season. We expected it to perform better, but it surpassed all expectations, achieving nearly 6.5 times the numbers of the previous seasons.
Another surprise hit was Arthamainda Arun Kumar. Season one performed so well that we immediately greenlit season two, which has also been a success.
What’s on Aha’s slate for the coming months?
January is packed. Unstoppable continues to set new records, thanks to Balakrishna gaaru’s energy and the amazing list of guests. Audiences loved seeing Surya and CBN gaaru in candid moments, and they’re in for a treat with Ram Charan gaaru’s upcoming episode.
We have started Vere Level Office, a Telugu remake of our own Tamil hit Vera Maari Office. Then there’s Hometown, a nostalgic fiction show about growing up in the 1990s and discovering Facebook or YouTube for the first time. In February, expect the next season of Dance Ikon and the return of our biggest hit, Three Roses.
Beyond entertainment, we’re collaborating with the Telangana government for something we’re going to announce soon. We’re also fostering new talent through initiatives like the recent Writers Hunt. We received over 700 entries, shortlisted 15, and already have three projects in development.
How do you source ideas for new content?
We have three main avenues. One is direct outreach, we approach directors or writers with a project idea. Two, the listening posts, we create opportunities for anyone with an idea to pitch to us. And thirdly, the in-house creation, where we identify trends and develop briefs based on audience data. Some of our upcoming shows, like Hometown, came from in-house briefs, while others were pitched by external creators.
Many Aha shows feature female protagonists. Is this a deliberate choice?
It’s a mix of conscious decisions and natural outcomes. For example, when we created Bhamakalapam, we knew it had franchise potential. There’s also significant interest from female actors, partly because male actors are often tied up with long-term projects.
Sometimes, the story demands a female lead, and sometimes it’s by design. Either way, it’s worked well for us.
Audiences often ask when we’ll see an Indian Breaking Bad or The Sopranos. What’s your take?
It’s an exciting prospect, and we’ve attempted it. But creating something on that scale is challenging. Episodic storytelling requires immense effort—essentially producing four or five films’ worth of content for a single season.
Theatrical projects currently attract more talent, but that’s changing. In Hindi, big stars are already embracing OTT. For Telugu, it’s just a matter of time before we see such groundbreaking shows.
Is there a standard structure for your fiction projects?
Every creator brings their unique vision. However, we provide data-driven feedback to enhance storytelling. For instance, analytics show us where audiences lose interest, and creators use that to refine their work.
How is AI a part of your Aha’s operations?
We have embraced it. We’ve started integrating AI into various processes, from subtitling to project management. Recently, our team compiled a list of the top 10 AI tools for creative tasks like scripting and music composition. It’s an exciting space, and we’re exploring its full potential.
Can audience preferences be predicted for the next few years?
It’s tricky. Preferences are diverse and ever-changing. There are too many permutations and combinations. Each person likes something. Preferences are not that easy to calculate. However, some trends are clear. Somebody told me, the current fascination with anti-heroes might fade soon. That something new might come up. We never really know.