Demand for factual mythology & history genre soaring: Discovery's Sai Abishek

After the success of Legends of Ramayana, Warner Bros. Discovery has expanded its Legends series with Legends of Shiva with Amish. Hosted by author Amish Tripathi, this three-part series explores India’s rich cultural and spiritual heritage.

The network is reinforcing its commitment to history and mythology-driven storytelling with this show, along with others such as Secrets of Sinauli, Secrets of the Kohinoor, and Secrets of the Buddha Relics.

Sai Abishek, head of factual & lifestyle cluster (South Asia) at Warner Bros. Discovery, says that around 30% of the network's content is focused on this genre, adding that the appetite for storytelling rooted in mythology and history is growing in India.

He attributes the increasing popularity to a rising demand for narratives in multiple formats—podcasts, books, television shows, and documentaries. High-caliber programming, such as that of Warner Bros. Discovery, is also raising the bar for what’s possible in this space.

“From an audience perspective, this demand is driving growth. Fortunately, we now have more documentaries, emerging authors, and new talent entering the field, fueling both supply and demand.” 

Sai Abishek, Warner Bros. Discovery

"But on a broader level, Indian society is experiencing a shift—there’s a heightened sense of owning narrative on the global stage like never before," he adds. 

Discussions regarding India's status as an emerging superpower and its competitive advantages are increasingly prevalent. India consistently makes headlines globally, and there is an increasing excitement regarding its position in the world.

This reflection is not solely inward-looking. “It extends to our relationship with the world and our cultural identity. Our history and mythology play a significant role in shaping this perspective, helping us define ourselves within the broader global culture."

All of this is contributing to the surge in storytelling and content consumption rooted in mythology and history, he notes.

However, historical and mythological content faces a major challenge with research and development.

There aren’t enough people diving deep into research, which means networks often have to step in and lay the groundwork to shape a story into a viable pitch. This process is time-consuming.

Another challenge lies in talent. Viewers expect high-quality content that adapts to their shifting preferences.  

But the talent pool in the mythology and factual storytelling space is quite limited. Abishek says while Discovery has excellent partners such as Wide Angle Films for Legends and Friday Storytellers for Secrets, such specialists are rare in India.

“Unlike in the West, where a single announcement can bring in 20 fully developed pitches overnight, we often spend months waiting for strong proposals."

Many pitches the network receives are underdeveloped, which requires it to invest considerable time in developing new producers, building research teams, and nurturing talent, he adds.

Access is another key factor. Abishek says the world now feels "over-discovered". The currency of the future will extend beyond merely visiting a location; it will unveil new insights through unique perspectives, such as those offered by Tripathi.

“With smartphones, anyone can document a location, but depth and context are often missing. The challenge is to push boundaries.” 

Sai Abishek, Warner Bros. Discovery 

The core target group for the factual content in India broadly includes individuals aged 25 to 40 years. “We have a dedicated audience that expects these stories, whether from India or global explorations like Expedition Unknown or Expedition X,” he says.

Globally, much of its programming—whether on Discovery+ or the Discovery Channel—focuses on exploration and adventure, often with historical or mythological angles, both local and global.

After historical and mythological content, true crime forms another 25-30% of its content slate. True crime as a documentary genre is relatively new to India. Abishek says it brings a deeper, investigative, journalistic approach that was previously missing. 

“Over the last four to five years, true crime has evolved, and it will continue to grow and refine its storytelling."

Crime and mythology are establishing themselves in novel ways today. He says, "What has changed is the way audiences consume content, the quality of execution, and the level of talent involved."

However, while mythology and history are effective across both platforms, true crime performs better on streaming.

“Given its dark, gritty nature, true crime resonates more with streaming audiences who prefer in-depth, on-demand viewing. In contrast, TV channels thrive on high-energy, fast-paced, can't-look-away content,” he explains.

With that in mind, the network intends to produce compelling true crime narratives for discovery+, which can also air on Investigation Discovery, including its recent release, Cult of Fear: Asaram Bapu.

This will follow a similar format to its global series The Fall of Diddy, Johnny vs. Amber, and Taylor Swift vs. Scooter Braun: Bad Blood.

“Our shows are distributed based on genre-specific brands. Crime series, for example, may also air on Investigation Discovery. Some shows are streaming-led, while others are designed for linear TV—it all depends on the content and its audience,” says Abishek.