The nepotism debate in Bollywood has become as predictable as the box-office trajectory of a star kid’s debut film—loud, cyclical, and ultimately futile.

With the two 2025 releases, Loveyapa and Nadaniyaan, the discourse has reignited, yet again drawing attention to the age-old argument: does Bollywood favour lineage over talent?

The answer, of course, is obvious. Nepotism exists, just as it does in politics, business, and nearly every other field where power is passed down like a family heirloom. And much like corruption, it is endemic. The real question is, are we asking the right questions?

Instead of the usual outrage over privileged actors getting plum roles, perhaps we should turn our attention to the films that do things differently.

Let us now divert attention to two other releases this year. Take Super Boys of Malegaon, for instance—a spirited, inventive film that showcases raw, homegrown talent, made on a shoestring budget. Or Crazxy, which pushes against formulaic storytelling, offering a refreshingly grounded perspective with actors chosen for their ability rather than their surname.

Laapataa Ladies, released in 2024, too, was a testament to the kind of casting that prioritises skill over legacy. These are films that should be championed, yet they remain largely ignored by the very audience that decries nepotism.

While we debate the merits of Loveyapa, how many of us have watched Super Boys of Malegaon, Crazxy, or Laapataa Ladies in theatres—films that exemplify genuine casting, built on the foundation of talent rather than connections?

These films do not just tell stories; they stand as quiet rebukes to an industry obsessed with dynastic succession. And yet, they barely make a dent in the mainstream conversation.

The hypocrisy is glaring. We demand fresh talent, yet flock to the multiplex to watch the latest star-kid vehicle, helping cement the very system we claim to despise.

If the real concern is the stranglehold of nepotism, then the solution is simple: support the alternatives. Independent and regional films, debutant directors working outside the industry’s rigid hierarchies, actors who are carving a space without family endorsements—these are the voices that deserve amplification.

Of course, this is not to say that every industry-born actor lacks merit. There are star kids who can act, just as there are outsiders who stumble.

There are new-breed actors with a lineage in the industry who have amazed us with their acting talents.

Ranbir Kapoor, Alia Bhatt, and Shraddha Kapoor, among others, have proven their mettle. But the catch here is that they get far more opportunities even if their previous films were unimpressive.

For instance, Ananya Panday, before she proved her calibre in films like Kho Gaye Hum Kahan (2023) and CTRL (2024), had to cross a series of underperforming films. So, the problem is not the existence of nepotism; it is the disproportionate space it occupies in the industry’s ecosystem. The only way to challenge it effectively is not through outrage but by shifting our focus.

Ultimately, we can keep lamenting nepotism’s presence in Bollywood, but it is not going anywhere. It never has, and it never will.

The more productive conversation is about the films and filmmakers pushing against the tide. If we want change, we have to vote with our wallets, our viewership, and our conversations.

The question, then, is this: the next time an outsider’s film releases, will you be in the theatre? Or will you be too busy debating nepotism online while booking a ticket for the next big-banner debut?

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