In an exclusive conversation with The Pioneer, Danish Husain delves into his role as a chief editor in Crime Beat and the broader themes of journalism, integrity and truth-seeking. He also discusses how his performance was shaped by real newsroom dynamics
fatima hasan
Many dream of becoming journalists, but only a few possess the traits required for the profession. This is what banker-turned-actor Danish Husain, as he goes by his screen name, reflected upon in his latest series Crime Beat, streaming on Zee5.
In an exclusive conversation with The Pioneer, Husain traces his journey in Crime Beat and shares what drew him to the project. “When the director told me about the story and the novel that inspired the series—The Price You Pay—it immediately caught my attention,” he says.
Husain was particularly drawn to the depiction of journalism in the series, especially the role of the editor and the character of Abhishek Sinha. “I liked the way journalism was portrayed, the editor’s role, and how Abhishek’s character was written. That, along with my experience of interacting with journalist friends, played a big part in my decision to take up the role. I admire the professionalism the job demands—the objectivity and authenticity required. All of these factors made me want to do the series.” Playing the chief editor of a newspaper was a challenging experience for Husain. “Maintaining objectivity while getting the news, understanding what the real news is and then presenting it properly—these are the key responsibilities of an editor. I think that’s a huge task.”
He adds, “The script also delves into how an editor decides which stories make it to the front page and how to differentiate those stories from how other newspapers treat them. It’s not just about professionalism—it’s also about the emotional side of the job, which I had to bring into my performance.”
To prepare for the role, he relied on the expertise of Jairaj Singh, a seasoned journalist who served as a consultant on the series. “Jairaj’s guidance was invaluable. His observations were extremely relevant and helped me shape my character. He helped me understand how an editor operates—how they carry themselves, the fast-paced nature of their work, and the perspective they bring to news.”
Interestingly, he did not model his performance on any specific real-life journalist or detective. Instead, he focused entirely on the inputs from Jairaj, the director, and conversations with other actors. “I did not base my performance on any real-life journalist. I simply worked with the insights and feedback I received,” he emphasises.
One of the most compelling aspects of Crime Beat is how it navigates the fine line between entertainment and responsible journalism. When asked about this balance, he responds with a thought-provoking counter-question: “Who decides how much is entertainment and how much is responsibility? What one person sees as responsible storytelling might seem irresponsible to another, and vice versa.”
He acknowledges that making a series for a platform involves a significant entertainment component. “At the same time, you want the series to be credible. It shouldn’t be so implausible or outlandish that it loses touch with reality, especially when it’s set in a very real socio-political landscape,” he explains.
Quoting a dialogue from the series—“As it becomes more and more corrupt and democratic, the world that you are living in becomes harder and harder”—Husain raises critical questions: “Can we really do meaningful crime journalism today? What happens when journalists expose big corruption and scams? What happens to whistleblowers?”
He points out that crime journalists are increasingly at risk. “When they bring major scams to light, they become targets. Many have even lost their lives for it,” he notes. “Journalists are constantly threatened. So, in such an atmosphere, how can crime journalism continue to evolve?”
Having worked in theater and film for over two decades, he has gained a deep understanding of how different mediums shape storytelling. “What works on stage isn’t the same as what works on screen, and that’s different from how a story is told in a book. Each medium has its own limitations and advantages. Understanding how to adapt a story to the medium is crucial.”
He elaborates, “If I have a story, I need to know how to make it compelling for the screen. If it’s for the stage, I need to understand how it can be adapted theatrically. The medium dictates how the story is told.” As for his future projects, Husain remains tight-lipped but assures fans that exciting work is on the horizon. “There are a handful of series I’m currently working on, including a Netflix series. Some of my projects are in the production stage, waiting to be released by the producers,” he concludes.
