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Aditya Roy Kapur on how he deals with criticism

By: Mohnish Singh

Criticism is something that every actor has faced at some point of time in their career, and Aditya Roy Kapur is no exception. The actor, who is known for delivering strong performances in such box-office hits as Aashiqui 2 (2013) and Malang (2020), has a different method of dealing with criticism, though.


Talking to an Indian daily, the actor says, “Personally, I do not take all the criticism in and that is my method. I kind of do not really read very much at all. I am very technologically challenged so I do not have social media other than Instagram. I am not on any of that other stuff which is incessantly giving you that information. I honestly did not read any of it and hear any of it. I did hear about some of it but quite honestly it was a lot like as if it did not happen for me.”

Actors getting trolled after the dismal performance of their films is not uncommon in Bollywood. Kapur also received a lot of flak for his film Sadak 2 (2020) alongside Alia Bhatt. In situations like these, the actor says, there is nothing one can do about it.

He adds, “Some situations are just out of control. Even a film is out of your control once you have done it. There is nothing that I am going to achieve by hemming and hawing about it when there is nothing I can do. The case of the last film ignorance was bliss for me.”

Aditya Roy Kapur is currently basking in the success of his latest film Ludo (2020), helmed by Anurag Basu. He next stars in an action entertainer, titled OM - The Battle Within. Produced by Ahmed Khan, and Shaira Khan in association with ZEE Studios, the film also stars Sanjana Sanghi as the female lead. It marks the directorial debut of Kapil Varma.

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  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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