Star Plus: A Danger Destroying Indian Drama🤬👹❌️🚫

Star Plus has proven to be the greatest danger to the future of Indian drama. Its failed policies are no secret: its shows rely on excessive toxicity and repetitive family conflicts, yet they continue on air for years thanks to artificial support, while innovative and quality works are canceled unjustifiably despite strong audience engagement. The clearest evidence is that the channel gives no real opportunity to new ideas or rising talents, but traps them with bad time slots and lack of promotion, deliberately pushing them toward failure. Even in viewership metrics, the contradiction is obvious: weak shows secure artificially inflated TRP ratings, while quality series with unique stories are denied proper support. All this evidence confirms that Star Plus does not build the industry—it destroys it, reducing drama to nothing more than a cheap commodity ruled by favoritism and money.

Anyone who follows Indian drama today notices that something has changed drastically. Priorities have shifted, and channels have started to focus on toxic family drama and its fabricated conflicts.

Many repeat that the audience “loves toxicity” or “rejects something new.” But this is a clear injustice. The truth is that the audience – whether online or through traditional viewing – knows how to distinguish between good and bad work. People are not oblivious, nor do they naturally prefer mediocrity over quality. The real problem lies elsewhere: in the policies of the channels and production houses.

How is something new killed from the very beginning?

In recent years, the map of television drama has clearly changed. In the contemporary dramatic scene, the viewer no longer sees series competing to offer something new, but instead senses a deeply rooted crisis that has drained the screen of real diversity. For years, the television landscape has changed clearly; channels are no longer searching for quality or innovative artistic adventures, but have become prisoners of a closed system based on favoritism and production ruled by cold financial alliances. This system does not allow works the natural space to compete fairly, but rather decides in advance what will be aired and what will be excluded, even before the audience knows of its existence.Big production houses, which have deep influence in the market, have become the main players in this equation. They can impose their shows no matter how repetitive or dull, and guarantee massive promotion from the channels through their influence, while any new work that carries seeds of difference or bold innovation is marginalized. The result is that many works with real potential disappear in the shadows, while mediocrity takes center stage and continues for years.Barriers for small production houses: new projects face huge difficulties in securing funding and broadcast slots because large production houses control resources and relationships with channels, preventing innovative voices from reaching screens.Unequal promotional budgets: shows backed by powerful companies enjoy massive promotional campaigns that make the audience “aware” of them even before they air, while small but quality works remain unknown.Control over time slots: channels give the prime timings to backed series, while fixing new works in slots that don’t suit their audience, putting them at a losing position from the start.Success metrics such as TRP evaluate a show superficially and quickly, without allowing it to gradually build a fan base.Administrative decisions are now based on immediate advertising returns, not on the value of the work or its cultural impact.In this way, any different attempt is strangled before it sees the light, leaving space for repetitive works that rely on artificial family conflicts.The monopoly circleWhat happens today is that channels have lost their artistic independence and have become hostages of a closed formula, where the alliance of money and power decides everything, while the audience is left with limited options, getting bored quickly but finding nothing else available. While mediocrity dominates the scene with artificial support, real works fall into the background without impact. And here lies the most important question: how long will creativity be left unprotected and the audience deprived of the diversity it deserves?

The success of a supported series does not necessarily mean it is artistically special, but that it was protected by a strong network of influence. Its success attracts more advertisers, the power of the production house grows, and it imposes more shows, shutting the door to competition. And thus, we remain in a vicious circle: the same faces, the same formulas, the same boredom.

⚠️ Star Plus is the only failed channel that follows this system, while the other channels simply copy and follow it, which worsens the crisis and deepens the damage.The channel doesn’t care if the show is weak or repetitive ❌📺, what matters is that it serves its commercial alliances 💰🤝.

Star Plus is no longer just a channel 📺, it has turned into a direct threat to the quality and future of Indian drama ⚠️🇮🇳. It is the channel that established mediocrity as the standard 📉, turning excessive toxicity ☠️ and fabricated family conflicts 🏠⚡ into a mandatory formula for every show.This deviation not only corrupts the audience’s taste 🎭, but also destroys the entire creative environment 💔. Writers, directors, and actors are forced to submit to a dead and soulless style ⚰️. Thus, Star Plus has become the greatest danger to the quality of drama 🚨, because it not only kills good works 🌹❌, but also entrenches mediocrity as the norm 📉, silencing any different voice before it can ever see the light 🔒✨.

The cost of these policies

– Loss of young talent: writers and directors with innovative ideas abandon television and move toward digital platforms.

– Audience fatigue: viewers lose enthusiasm for television drama and shift to online alternatives in search of honest stories.

– Decline of public taste: the endless repetition of toxicity and empty conflicts reinforces the idea that this is “normal,” while genuine human stories are buried.The audience is not the obstacle. The audience is not the problem. The audience, in fact, is the victim. The problem lies in the channels and production houses that trapped themselves in a closed system of favoritism, where the new is not allowed to flourish, and quality is not given a chance to prove itself.

There is an urgent need for real reforms: to break out of this closed system, projects must be chosen with transparency, independent production must be supported, innovative works must be given screen space and trial runs, and broader metrics of success beyond immediate TRP must be adopted, while giving new shows room to grow.

🚨 Otherwise, love stories will continue to die on screen, the audience will remain trapped in a cycle of repetitive series that reproduce the same boredom year after year, and the negative consequences of this policy will only accumulate on both the industry and the viewers.