Vihaan Kohli is Head of Content at Edit II. It was co-founded by Sanjay Kohli and Binaiferr Kohli. In Indian television for over a decade it has created content that looks to balance mass appeal with longevity. The production house has delivered like ‘FIR’, ‘Bhabiji Ghar Par Hain’ and ‘Happu Ki Ultan Paltan’.
Sanjay Kohli is a producer. Binaiferr Kohli is known for her hands-on creative leadership and ability to deliver character-driven stories at scale. Together, they have built Edit II.
As the entertainment ecosystem evolves, Edit II is entering a new chapter, one that builds on its strong television legacy while expanding its creative and business footprint across digital platforms, OTT, feature films, and new-format storytelling. In line with this growth roadmap, the company’s leadership structure reflects a generational transition with Vihaan Kohli as Head of Content and Co-Producer of the ‘Bhabiji Ghar Par Hain’ film, underscoring a renewed focus on long-term, future-facing growth.
In his expanded role, Vihaan Kohli will strengthen the production house’s content vision while driving expansion into newer formats and platforms beyond television. His leadership brings fresh creative energy while building on the solid foundation established by the founders as Edit II scales into a larger, multi-platform entertainment company.
Medianews4u.com caught up with Vihaan Kohli Head of Content Edit II
Q. What goals has Edit II set for this year? What is the gameplan to get there?
Edit II’s goal this year is to really ramp up its OTT and film business. The gameplan is already in play – the company has ‘Bhabiji Ghar Par Hain! – Fun on the Run’ releasing on 6th February 2026.
We also have a show starting with a major OTT platform, and a strong development slate with some of the best creators, directors, and writers in the industry. The focus continues to be on leading strong, creator-led stories.
Q. TV ad revenue is under immense pressure. OTT platforms are commissioning fewer shows. Media companies are doing audits and consolidation is happening like JioStar. Is the P&L of production houses like Edit II under pressure as a result? Have show budgets tightened?
The industry has gone through a challenging phase, with clear downward pressure on budgets and costs. As a company, Edit II is quite accepting of this reality because the industry needs to remain sustainable as a business model.
We have always believed that something which is purely creative is a hobby – this industry is a mix of creativity and commerce, and the two must go hand in hand. There is a fiduciary responsibility to everyone involved to ensure profitability and continuity. Anything functioning at a loss cannot survive forever. Coming from a strong TV background, Edit II knows how to work within tight budgets, which often brings out greater imagination in storytelling. Budget constraints are not something the company looks at as an obstacle but rather an exciting challenge.
Q. When Edit II talks to broadcasters, OTT platforms what are they looking for? What are their concerns?
When it comes to broadcasters, the brief has remained fairly consistent – to cater to most of India and remain massy in appeal. On the OTT side, there is an interesting shift underway. Initially, platforms were focused on acquiring Tier 1 city audiences with higher discretionary income.
That is now changing, with platforms increasingly targeting the heartland of India and looking for more rooted stories, whether set in Lucknow, Kanpur, or similar regions.
Q. Emotionally rooted storytelling continues to work in Hindi entertainment. Is this going to be a key focus area for Edit II in 2026?
Without emotions, no story works. People generally view crying, anger or pain as powerful emotions, but laughter has the ability to override them. Comedy is a tough genre to crack and that, along with character driven storytelling have always been a core focus for Edit II.
When characters work, audiences connect with them deeply – they live and breathe with them, and the characters almost become part of their lives. This is why Edit II’s shows have run for so long and become part of families across India.
While the company is expanding into romantic thrillers, horror comedies, and even an army film, comedy remains its core strength. In an industry dominated by family dramas, Edit II stands out as one of the biggest players in comedy entertainment, with a strong track record across multiple hit IPs like FIR and Happu Ki Ultan Paltan.
Q. What are some of the new IPs that Edit II is working on?
Edit II is expanding into multiple genres, including romantic thrillers, horror comedies, and an army film, among several other projects in development. However, comedy continues to remain the company’s primary focus area as a genre Edit II has specialised in and consistently delivered success in.
Q. TV broadcasters are increasingly relying on nostalgia and bringing back shows that worked in the past. Does this show an unfortunate risk averseness? Does nostalgia still hold commercial and emotional value?
This is not unique to Indian television – it is a global strategy that has existed forever. Mickey Mouse, for instance, continues to hold emotional value worldwide, and has evolved into a 360-degree IP spanning cruises, merchandise, food products, and more. Nostalgia is a powerful reminder that keeps consumers emotionally invested.
Similarly, nurturing long-standing IPs and taking them to the next level is not about risk aversion. Bhabhiji Ghar Par Hai is a great example – in its tenth year, the film was launched, and in its eleventh year, it is releasing in theatres worldwide. At the same time, there is plenty of original content being made, making it a healthy mix of nurturing existing IPs while creating new ones.
Q. One reason for relying on nostalgia is that a lot of new fiction shows over the past couple of years have collapsed within weeks. Is this due to a lack of differentiation, lack of audience testing, too much predictability in story arcs?
While many shows haven’t succeeded, several others have done extremely well. The key differentiator is offering something new. When Edit II did Season 2 of Jijaji Chhat Par Hai, it could have easily continued with the same set and storyline, but instead chose to introduce a fresh horror-comedy twist, which audiences loved.
A similar approach was taken with Bhabhiji Ghar Par Hai, where Season 2 saw revamped sets, refreshed storytelling, and a new treatment to elevate the viewing experience.
Q. Is regional a big whitespace for Edit II? Kindly elaborate.
Edit II has immense respect for regional storytellers. Filmmakers like Pradeep Ranganathan (writer, director, actor in Love Today), Jithu Madhavan (Romancham and Aavesham), and Amarjit Singh Saron (Ikk Kudi and Jhalle), consistently deliver work that feels rooted, imaginative and engaging.
At present, Edit II is not creating original content in regional languages. However, the company is actively collaborating with regional talent – including discussions with leading directors from the Punjabi and Malayalam industries – to work on Hindi films and shows. The focus currently is on expanding within the existing market across formats, while continuing to back strong talent, regardless of where in India they are from.
Q. There is a debate on what the way forward should be in terms of the TV ratings system. Where does Edit II land on this?
Edit II believes the evolution of the TV ratings system is an ongoing industry-wide conversation, and any changes should be made thoughtfully, keeping in mind the interests of broadcasters, producers, advertisers, and, most importantly, viewers.
Q. How is Edit II leveraging AI across the company to make better decisions?
Edit II places high value on its creative talent and does not believe in replacing them with technology. That said, AI is being explored selectively in areas where it can help make manual workflows more efficient, without the power of creativity being taken away from the artists.
Q. Microdramas are growing in popularity. Does Edit II have plans in this area?
Edit II had previously explored the microdrama space heavily – we had multiple stakeholders on board, and we were planning to launch our own app and original content. However at the moment, given the strong growth seen in our premium content business, the focus will remain there. Microdramas may be revisited in the future, but there are no immediate plans.
