In the hustling and bustling landscape of Indian OTT over the last 2–3 years, an interesting, but also highly concerning, pattern has surfaced. Yes, the country’s OTT viewers have broadened their exposure to content, thanks to the vast and seamless availability in recent years. But during this time, they didn’t get too many amazing, flawless, masterpiece-level shows. In fact, they got far too many projects that leaned almost entirely on the shoulders of their actors, often at the expense of crucial elements like taut writing, consistent direction, or polished production values.
“Wait, we’re facing issues with our writing, narrative structure, direction, editing, and other key production aspects? But hey, don’t worry! We’ve got insanely talented actors ready to save the day for us!”
This trend is both a testament to the immense talent pool of Indian actors and a potential warning sign for the industry’s sustainable growth.
Take Surveen Chawla, for instance, an epitome of this scenario. In Rana Naidu Season 2, her portrayal of a woman navigating a chaotic, crime-ridden family often stands out amidst a narrative that, at times, feels convoluted, dragged, and inconsistent.
Similarly, in Mandala Murders, despite the series struggling with its overall storyline, several character arcs, and abrupt genre shifts, it’s Chawla who steals the show with her mesmerizing portrayal of a cunning politician.
Or take Kay Kay Menon in Special Ops 2. As RAW officer Himmat Singh, Menon delivers a sensational performance. In other words, he pretty much carries the entire sophomore season. However, reactions from critics and audiences were polarized, with many finding the plot disappointing and stale compared to the debut season.
Pankaj Tripathi, another exceptional talent, continues this narrative in Criminal Justice Season 4. As advocate Madhav Mishra, Tripathi blends wit and weary charm effortlessly, making his character immensely watchable. While the latest season was praised for its gripping plot and emotional core, it still suffered from slow pacing and tonal inconsistencies, especially in the middle episodes.
Even veteran actor Ram Kapoor couldn’t save Mistry from being an average one-time watch. The show overfocused on his character’s OCD instead of his crime-solving abilities.
Then there are those projects that didn’t even benefit from their acting talents. Look at The Royals. Despite the lack of chemistry between Ishaan Khatter and Bhumi Pednekar and multiple failures in other key areas, the only reason the show performed on Netflix India was its cast—good-looking, talented, and popular.
Hai Junoon, for example, worked solely because of the star power of Jacqueline Fernandez and Neil Nitin Mukesh, not because of their actual work in this Hotstar Special.
And this pattern keeps repeating. We could list plenty more examples.
This over-reliance on exceptional acting or actors’ popularity is a double-edged sword. On one hand, it showcases the substantial amount of sheer talent within the Indian acting fraternity and the hype that comes with their names. On the other hand, it highlights a critical gap in the Indian OTT space.
For Indian web shows to truly compete on a global stage and leave a lasting impact, they must strive for excellence not just in front of the camera, but behind it as well. Only then can they move beyond being “star-driven” vehicles and evolve into compelling, well-rounded narratives. Stay tuned for more updates.