If the first wave of pan-India films created hysteria, the second wave has met with sobering reality. The sheen of cross-industry casting is fading, exposed by projects that could not match their own hype.
The most striking case is Yash Raj Films’ War 2. On paper, it looked unmissable — Bollywood’s Hrithik Roshan paired with Telugu megastar NTR Jr, wrapped in the sheen of the YRF Spy Universe. The film opened strong, but within a week the numbers were sliding. Despite its global release and multi-language promotions, the film ended up bleeding money. What stung more than the financial loss was the collateral damage: YRF’s ambitious spin-off centered on NTR’s character, pitched as the South’s gateway into the Spy Universe, was quietly shelved. The promise of a long-term partnership dissolved overnight.
THIS IS WAR There will be CARNAGE in theatres today. Proud of #War2 and can’t wait to see your reactions to this entertainer. Only in cinemas near you in Hindi, Telugu & Tamil.
— Jr NTR (@tarak9999) August 13, 2025
Book your tickets now! https://t.co/5uc5EmwumW | https://t.co/lXCDuadpTC @ihrithik… pic.twitter.com/QSIry9JRN9
Down south, a similar story unfolded. Rajinikanth’s Coolie was meant to be more than another superstar vehicle; it was also a platform for Aamir Khan to step into Tamil cinema, if only for a cameo. The plan was clear — build momentum for a larger project between Aamir and director Lokesh Kanagaraj, a fusion of Bollywood perfectionism with Tamil storytelling bravado. But the cameo landed with a thud, failing to ignite either hype or box office fireworks. Soon after, the much-hyped Aamir–Lokesh project was shelved.
And then came the tremors from Kalki 2898 AD. The sci-fi epic was perhaps the most ambitious Indian production in years, and Deepika Padukone was its beating heart on the Bollywood front. But as the sequel geared up, news broke that Deepika had walked away. The producers issued a polite statement about “commitment,” but trade whispers told a murkier tale — a reduced role, fee disputes, and working condition demands that clashed with the production’s scale. What was intended to be a flagship pan-India saga suddenly found itself stripped of its leading lady.
Also Read: The Pan-India Dream | Part 1
These are not small hiccups; they are symptoms. Together, they suggest that the very model of pan-India filmmaking — built on inflated budgets, cross-industry star casting, and franchise planning — is facing resistance. The cracks are now visible, and the industry is watching closely.
Stay tuned for Part 3
