The rise of OTTs leads to the decline of the Big Star era.

 Cinema is a dream for common man in which he can imagine things. Cinema has given humans the ability to express their thoughts and ideas. It allows people to momentarily forget their worries and experience happiness. Cinema is also an essential contributor to economic growth and a powerful source of inspiration. In India, in particular, cinema plays a significant role in everyday life. It often serves as a source of motivation and, at times, as a mirror reflecting people’s own lives. Hero worship is a widely practiced cultural phenomenon in India. Film stars are celebrated like gods, and people draw inspiration from them, aspiring to become like their idols.

The rise of Indian cinema began after independence. Since a large portion of the population was illiterate, cinema became a medium that voiced the thoughts and struggles of the masses.

                Indian Cinema began in the early 19th century, where films were based on mythological narratives. As early filmmakers believed it was the most effective way grab audience attention based on religious sentiments. Early films such as Raja Harishchandra (1912) and Kaliya Mardan (1919) portrayed moral values and visualized the divine form in humans. Later in the 1940s onwards, post-partition trauma led to the production of multiple films that portrayed moral values. Since the early stages, the protagonist was often associated with divines and high moral characters. Seeding   the narrative into the audience that the protagonists are gods who must be worshipped. Particularly, in southern states, cinema was weaponised by political movements. In Tamil Nadu, M.G. Ramachandran (MGR) was titled “Puratchi Thalaivar” (Revolutionary Leader) for influence in Dravidian Movement. In Andhra Pradesh N.T. Rama Rao (NTR) portrayed as Hindu gods in multiple films. Both had influence in mass, turning it into political party. In Karnataka Dr.Rajkumar was highly influential in masses as he had played a key role in Gokak movement which was against backdrop of protecting the Kannada identity, language.

                In 1970s witnessed the Angry Young Man by Amitabh Bachchan expressing the poor economic conditions and suppression. Post-liberalization was a period of transition and contrast .While the mainstream cinema was focused on maximizing the revenge drama, and exaggerated heroism this decade also witnessed the parallel  cinema. Filmmakers like Shyam Bengal focused on realism, social issues and human emotions often challenging the mainstream movies. The regional industries- Kannada, Tamil, Telugu, Malayalam won various awards and acclaim for their unique storytelling and strong performances.

The 2000s marked a new beginning which saw the rise of multiplexes which gave a chance to both content driven and commercial cinema together. Filmmakers explored urban life, youth culture, nationalism, identity, resulting in improved standards of realistic and globally appealing narratives. Improved technology, more monetary investment and international exposure brought more nuanced filmmaking. Movies such as Rang De Basanti, Swades, and Robot showcased experimentation in storytelling, advancement in technology and changing mindset of the Indian audience. Late into the 2010s movies were more focused on bold themes like corruption, violence, mental health and political power. This period of time saw a slight change in power dynamics as actors were more valued for their performances than their star image.

However due to the Pan Indian cinema movement the stars got their power back with humongous  larger than life hero stories which were set in the regional backdrops aided with great storytelling.

The Indian Cinema had shaped narratives of people, which were based on the Masala formula, a mix of songs, dance and action. Korean films are human interest stories, and Hollywood has diverse films that range from Sci-fi to action-thriller. Contrastingly, Indian films were dependent on the Masala formula, neglecting storytelling and editing elements. The audience often preferred hero worship and watched films only for the stars to perform actions.

In 2018, the OTT revolution began, with Netflix initially leading the race. Netflix produced one of the first major Hindi original web series, Sacred Games, directed by Vikramaditya Motwane and Anurag Kashyap. The series was a massive success and demonstrated that Indian audiences were ready for OTT content. Amazon Prime Video soon responded with The Family Man, which gained popularity due to its humor and relatability. Subsequently, series such as Panchayat and Mirzapur achieved widespread success across OTT platforms, creating a significant impact on the industry and further proving that content is king.

OTT platforms benefited immensely during the COVID-19 pandemic, as audiences turned to binge-watching, providing a major boost to streaming services. OTT exposure introduced Indian audiences to global cinema, diverse storytelling techniques, and region-specific narratives. This shift reduced dependence on big-star films and encouraged exploration of multiple storytelling formats. However, the traditional film industry was slow to adapt and continued to rely heavily on star-driven projects.

This period encouraged audiences to prefer innovative content over generic, formula-driven films. It significantly raised audience expectations, leading viewers to analyze films more critically across various aspects such as storytelling, writing, and execution. Consequently, the dominance of the big-star era began to decline gradually. Audiences started demanding that stars experiment with new roles rather than repeating conventional formulas. Films like Vikram and Jailer were well received due to strong narratives and age-appropriate character portrayals. In contrast, films such as Coolie, Adipurush, and War 2 failed despite massive star power, largely due to weak storytelling and poor visual effects. Prior to the pandemic, such films might have survived, but in the post-COVID era, audiences have evolved and now prioritize quality storytelling over star presence. This shift is evident across various segments of Indian cinema. 

To overcome this decline, the industry must adopt new storytelling techniques, prioritize skilled writers and strong narratives, improve the quality of visual effects, and make greater use of real locations to enhance realism and cinematic impact. Film stars can sustain their relevance only by adapting to evolving industry trends; failure to do so ultimately lead to a decline in their star power.