The bads of bollywood

Why does this darkness land now? Psychologist and leadership coach Dr Kanan K Chikhal points inward. Carl Jung’s “shadow self,” she explains—the traits we suppress—finds safe expression through villains. “The pull isn’t about glorifying violence,” she says. “It’s emotional recognition.” Familiar faces intensify it. When actors associated with romance step into darkness, the rupture fascinates. “The violence isn’t admired—it’s the truth beneath it.”

That truth is reshaping Hindi cinema’s power structure. Villainy is no longer a detour taken late in a career; it is the destination that restores relevance. “People often draw a line between a hero and a villain. But I’ve never believed in that distinction,” says Shah Rukh Khan, tracing a throughline from Darr to Don, Anjaam and Baazigar. The darkness was always there; what’s changed is the industry’s willingness to meet it halfway. “If we, as actors, don’t explore interesting shades, films will just become predictable—the hero arrives, sings songs, fights, and leaves.” The character in his upcoming film King is, in Khan’s words, “flawed, violent, even a killer… ruthless, unapologetic, and fascinating.”

Film analyst Girish Wankhede cautions that the dark turn is not a guaranteed win. Miscasting or half-hearted writing, he notes, can alienate audiences who grew up idolising these stars, breaking trust without offering anything compelling in return. But when the gamble pays off, the impact is disproportionate. “A single powerful negative role can recalibrate a career, invigorate franchises, and leave a lasting impression,” he says. “For Bollywood, such departures from type remain some of the most exciting moments in cinema.”