In a fiery response that has taken Bollywood by storm, television czarina Ekta Kapoor has publicly slammed filmmaker Anurag Kashyap for what she termed a “classist” remark directed at her iconic saas-bahu serials. The controversy erupted following Kashyap’s comments during an industry roundtable with Netflix CEO Ted Sarandos, where he joked that Indian TV’s long-standing soap operas were not “globally exportable content.”
The Trigger: Anurag Kashyap’s Remark
At a recent panel on the future of Indian storytelling hosted by Netflix, Anurag Kashyap — known for his gritty, realist cinema — took a dig at the country’s mainstream television culture. While discussing content that resonates internationally, he remarked:
“We can’t be exporting saas-bahu dramas to the world and expect recognition.”
Though Kashyap didn’t mention any producer by name, it was widely interpreted as a jab at Ekta Kapoor — the creative force behind some of India’s most popular soap operas like Kyunki Saas Bhi Kabhi Bahu Thi, Kahaani Ghar Ghar Kii, and Kasautii Zindagii Kay.
Ekta Kapoor’s Sharp Rebuttal
In a post shared on her official X (formerly Twitter) account, Ekta Kapoor fired back at the Gangs of Wasseypur director, calling his comments “elitist” and “classist.”
“Dear Anurag, your disdain for the ‘saas-bahu’ genre reeks of class privilege. These shows gave voice to millions of Indian women who saw their struggles and strength reflected on screen. Not all good content needs to win Cannes. Some of it just needs to win hearts.”
Kapoor emphasized that her shows have “fed families, employed thousands, and connected India in ways cinema rarely does.” She added that storytelling should not be judged solely by its global appeal or film festival success.
Industry Reactions
The spat has stirred reactions across the industry.
Hansal Mehta, director of Scam 1992, called for a more “nuanced discussion”:
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“TV, OTT, and cinema serve different audiences. Dismissing one outright is unfair. Both Ekta and Anurag have contributed to Indian content in their own ways.”
Meanwhile, Swara Bhasker voiced her support for Kapoor, tweeting:
“Let’s stop treating mass entertainment as inferior. ‘Popular’ is not a dirty word.”
On the other hand, a few independent filmmakers sided with Kashyap, defending his right to critique formula-driven content.
A Larger Debate
This clash between Kapoor and Kashyap has reignited the age-old debate in Indian entertainment — art vs. commerce, niche vs. mass, realism vs. escapism. Kapoor has long been criticized for melodramatic content, but she also commands unmatched popularity and longevity in the Indian TV space. Conversely, Kashyap is hailed for his craft but often faces criticism for his films’ limited appeal among the mainstream Indian audience.
Conclusion
The exchange has exposed not just a personal disagreement, but a philosophical divide over what constitutes “valuable” storytelling. Whether or not the two eventually reconcile, their public spat has served as a potent reminder of the evolving — and often contested — landscape of Indian entertainment.
As content platforms expand and diversify, the question remains: Can India embrace both Kahaani Ghar Ghar Kii and Sacred Games under the same umbrella of cultural pride?