The concept of a "shared universe," where multiple films exist in the same narrative universe and characters interact across cinema, is not new to Hollywood; Marvel Studios' MCU and Warner Bros. ' DCU are among the most prominent examples. Nevertheless, this filmmaking model has recently gained traction in the Indian film industry, particularly in Bollywood. Film studios are beginning to think of their films not as one-off stand-alone stories but rather as the first link in a much larger chain.

In Hindi cinema, we see an example of this in the YRF Spy Universe (initiated by Yash Raj Films and films such as Ek Tha Tiger, Tiger Zinda Hai, War, and then Pathaan); or the Maddock Horror-Comedy Universe (initiated by Maddock films and includes Stree, Roohi, Bhediya, Munjya); or the Cop Universe initiated by director-producer Rohit Shetty with his films Singham, Simmba, and Sooryavanshi.

This article examines why Bollywood is rushing to create its own cinematic universes — driven by brand loyalty, guaranteed returns, and the allure of fan culture. It traces the development of cross-timeline narratives, crossover characters, and shared mythologies in Bollywood films and how these developments are blurring the boundaries between marketing and storytelling. The exciting tension in the "universe" between sequel and spin-off is the tension of creative stagnation and commercial security. As studios prioritise familiarity over freshness, one wonders whether Bollywood's fixation on universes signifies a promising future for its storytelling tradition or if it indicates a growing reliance on formulas and financial certainty at the expense of genuine audiovisual imagination in the film industry.

What is a Cinematic Universe (and Franchise) in this context?
A "cinematic universe" refers to a series of films (and sometimes related media, series, or spin-offs) that feature characters, locations, backstories, or narrative logic shared across cinema, and in which the presence of characters interacting with each other, through crossovers or multiple plots, contributes to a larger universe. A "franchise" is closely related, but refers to a series of films that share one character or storyline that connects them (for example, Harry Potter or James Bond), rather than a single multi-world. In Bollywood's previous decades, films were primarily stand-alone. Each movie had its own plot and characters, and sequels were often based on the success of the last film or on the popularity of a particular actor. Shared universes, where characters from Film A appear in Film B, or the world of Film C has connections to the world of Film D, were less frequent.

In a different vein, the new approach in Hindi filmmaking is to release a film, establish a brand, and then consider sequels, spin-offs, cameo crossovers, and a larger cinematic universe. For example, the Spy Universe extends beyond Tiger → Tiger 2; Tiger also exists in the worlds of Pathaan and War, allowing these characters to cross paths. The brand is expanding. As the Times of India stated: “Jumping into each other’s world… that’s what the Spy Universe, the Cop Universe is doing, adding characters, adding faces.”

Here, the distinction is important: a "series/sequel" is a continuation of the same character and story; a "universe" is a different set of characters, other films, but the same world, with the potential for interfilm interaction. Bollywood is now adapting the Hollywood model: the MCU, DCU, The Conjuring Universe, etc. The rationale is simple — shared worlds include potential scale, brand recognition, and cross-pollination of audience interest. At the same time, they require more planning (or should) in narrative architecture: characters, continuity, and world logic — a hurdle Bollywood is still struggling to overcome.

Why Are Production Houses Creating Film Universes?
Production houses in Bollywood are increasingly building film universes due to a combination of commercial logic, changing audience behaviour, star-power dynamics, and creative experimentation.

a) Commercial Logic & Risk Mitigation
When a world and characters become known, they bring “recall value”. Audiences know the brand, see the vibe, and understand the world. The Times of India states that, “Recall value is significant for a producer... If there is a product established... the audience will like to come back.”

With rising film budgets and marketing costs, as well as increasing competition from streaming and regional cinema, a well-established brand means less risk. As an article in India Today states, “Filmmakers keep doubling down on part twos, threes..., the next parts... are the new gold rush... even if the audience does not always buy into them.”

A “sequel economy” has emerged: once the first movie is successful, sequels or building a “universe” are safer bets than creating something entirely original. One article noted that Bollywood in 2025 will likely see an increase in sequels and universes, as box office growth is expected to continue slowing.

In addition, branding a franchise/universe excellently opens up ancillary opportunities: merch, spin-offs, OTT adaptations, ancillary revenue, etc. "Universe" itself can become a marketing hook.

b) Audience Behaviour and Globalisation
Modern audiences, particularly younger ones, have been conditioned to expect a steady flow of multinational cinemas. They have become accustomed to watching the MCU, the DCU, and other cinematic universes on OTT platforms. They crave “connected worlds”, Easter-eggs, crossovers and bigger canvas storytelling. Bollywood producers have recognised this shift. As noted in an article, “With YRF’s Spy Universe and the Cop Universe … Jumping into each other’s world … is a good idea” because that is what the audience wants.

Furthermore, with OTT, streaming, and pan-India cinema, films must be effective across states, languages, and platforms. A franchise/universe gives scale and repeatability beyond one language or one theatre run. Known characters and known spaces help pull these viewers across markets. Nostalgia and familiarity further entice an audience — they want to return to characters they know and like, even if those characters appear across different films. Those elements generate excitement, social media buzz, and fan engagement.

c) Brand Building & Star Power
Star vehicles continue to hold sway over the Bollywood industry. They also create a universe that enables producers to capitalise on the star across a series or universe of films, expand with new characters or spin off around the popular star or character. The casting decisions become a strategy: whether you bring back a familiar actor or introduce a new character within the same universe, that becomes brand value. "The makers have to keep the popularity of characters with the audience in mind when casting the sequel or the franchise," mentions The Times of India.

In addition, a release is categorised as an "event film" when a film is marketed as part of a larger universe, rather than just a regular release. There is an increase in anticipation, a larger-scale marketing effort, and greater media coverage.

d) Creative Experimentation And Challenges
For certain filmmakers and production companies, the universe model provides opportunities for creative exploration. Rather than simply telling one story, they can create a mythology, explore side-stories, spin-offs, subplots, and alternate characters and genres — all within a single world. For instance, the horror-comedy universe (Maddock) navigates through folklore, horror, and comedy — all within a cohesive structure. That flexibility allows them to experiment while still staying within the brand space. At the same time, it requires creators to think in terms of long arcs, cross-film continuity, character depth — a departure from the “one film = one story” model.

In conclusion, production companies are creating film universes because the economics support brand building, audiences seem universally open to complementary worlds, star/brand dynamics have shifted, and, creatively, there are new areas to explore. However, it's not without its challenges.

Key Examples in Bollywood
Let’s examine three prominent cinematic universes in Bollywood and see how they’ve been built, why they work, and where they face challenges.

1. Spy Universe (YRF)
One of the most high-profile franchises of our time is Yash Raj Films' Spy Universe. The Spy Universe grew from films such as Ek Tha Tiger (2012) and Tiger Zinda Hai (2017) to War (2019) and Pathaan (2023). Spy Universe boasts a high-stakes espionage blueprint, featuring major stars (Salman Khan, Shah Rukh Khan, Hrithik Roshan) and dazzling world settings. According to an entry titled YRF Spy Universe in the Encyclopedia Britannica: "YRF Spy Universe ... consists of separate, but related films or series of films, following different fictional agents of RAW.”

What it has going for it: star power, scale, high production values, brand awareness and the aspirational goal of being "global." Challenges ahead: sustaining depth when cameo culture and hype take precedence, and potentially becoming just another Venn diagram of intersectionality that has more spectacle than substance.

2. Cop Universe (Rohit Shetty)
Rohit Shetty's Cop Universe began with Singham (2011) and continued with Simmba (2018) and Sooryavanshi (2021), along with more instalments on the way. As mentioned in industry publications, the plans for the Cop Universe developed slowly over time, as Shetty began to think about it while promoting Simmba.

Capabilities: leveraging mass-market interest, established tropes (hero cop, buddy cop, action, masala), and establishing a unified brand identity. Limitations: possibility of formula fatigue, reshaping existing narrative conventions, storytellers may rely on star image versus story and narrative.

3. Horror-Comedy Universe (Maddock Films)
The Maddock Horror-Comedy Universe (MHCU) is intentionally a mixed-genre universe: Stree (2018) was the first, followed by Roohi, Bhediya, Munjya, Thamma, and more to come.

It features a unique, folklore-based horror-comedy universe, with characters and mythologies that crossover. What is notable about this series is discernible creative variation, along with genre blending, lower financial investment, and a relatively greater return. However, it too falls into the trap of exploitability vs storytelling - "the same trap as other franchises of increasing scale without increasing storytelling.”

You may also wish to consider other examples of emerging/unofficial universes or regional language, as indicators of this trend expanding (example, myth disappearing as superhero universes, regional language "universes.")

Seen together, these examples indicate that Bollywood is adapting the franchise idea into a local brand within the multi-genre universe, utilising a business model.

What’s Driving The Trend Now And Why It Feels “Recent”?
Why is universe-mania taking hold of Bollywood right now? Multiple intersecting reasons are making it feel like the moment has arrived.

First, the globalisation of content and the awareness of Hollywood have been a significant influence. Indian audiences are familiar with the MCU, DCU, The Conjuring Universe, etc., and expect that economy of larger connected worlds, even crossovers and characters that overlap. Social media enhances all the teasers, cameos, and fan theories. There is so much more content and exposure from streaming, and traditional formats have consumers used to a new form of taste.

Second, the Indian film industry is under pressure with production values tight, marketing budgets high, new competition from OTT platforms, the rise of new regional cinema, and a plateauing of growth in traditional verticals. In fact, in a recent article, India Today wrote: “Bollywood is in a crisis… they are trying to figure out what to do in terms of making films and franchises that are a safe sell.” For producers, especially in uncertain times, they don't want to take risks on something new when they've already got something established.

Finally, there are demands for more technology and spectacle. Visual effects, international shooting locations, and global aesthetic expectations have evolved to the point where audiences expect a larger-scale production to justify the increased budgets. There is a hook to a unified feeling of building a universe: “we're creating a world, not just a movie.”

The fourth point is that Hindi cinema's ambitions have expanded to become pan-Indian and global in nature. This facilitates branding and recognisable universes to gain traction in India's diverse, multilingual, and multi-regional film market, as well as overseas markets. Beyond relating a recognisable brand/universe across multiple languages, living in a connected world allows for the reuse of characters, marketing, and sets across languages.

Fifth, cross-media opportunities are becoming available, which include OTT series, spin-offs, movies, merchandise, and globally distributed foreign versions of extended universe films or series. The universe model readily allows for cross-platform extension, even if India has yet to perfect its cross-platform extension.

Finally, strategic forethought: Not every film was designed as a jump-off point for a universe, but after experiencing box-office returns, it was possible to retrofit previous films into a universe. As one producer stated: "Most of these universes are a product of late thinking, not part of the first idea."

Thus, the convergence of audience expectations, market capacity, technological scale, brand logic, and cross-genre opportunities has made Cinematic Universes the trend-forward approach that filmmakers are opting to develop, and which Bollywood is enthusiastically embracing.

What's Working: The Commercial and Creative Payoffs of Building a Film Universe
There are several clear advantages to the franchise or universe model in Bollywood.

Brand recall: When a film is branded as part of a universe or features the "Part 2/Part 3/universe" identifier, it automatically conveys a message to the audience. This helps in marketing and creates a less intimidating barrier to entry for audience members.

Built-in audience: If film A works, film B in the same universe benefits from that fan perspective. Additionally, through crossovers or cameos, fans of one character in a universe can be persuaded to see another film solely because of the character, even if it is not the lead character.

Multiple streams of revenue: A universe allows for more films in the same world, therefore providing more releases, more merchandising opportunities, and more spin-offs or extensions (OTT, streaming) in the same world.

Flexibility and experimentation: Within the same universe, you can experiment with different genres (for instance, horror-comedy vs spy vs action), or other characters (i.e. Ghostbuster team vs elements of Ghostbusters), but still have a core identity as a brand. This means you can create differing product integrity without completely new IP each time.

Engagement of the fan base: Shared worlds also allow for Easter eggs, references to other films in the same universe, and speculation about linkages, all of which create engagement and interest among the fandom when discussing their obsession and movies on social media.

Potential longevity: A strong universe, as long as it continues to deliver, develop, and become a long-term brand, rather than a one-time experience. With potentially further opportunities for future returns, media spin-offs of the concept and worldwide opportunities.

In many ways, the universe model provides Bollywood with a framework to scale up, build brands, and create recurring audience touchpoints rather than one-and-done films.

The Risks and Pitfalls
It should be acknowledged that the universe model is not without its challenges, and in some instances, the challenges are becoming evident in Indian cinema.

Creative Fatigue & Formula Trap: One potential challenge to consider is that the moment you commit to several films in the same universe, you may experience an inability to engage creatively. Audiences’ interest wanes after the magic of the first crossover or spin-off; they start to feel like they’re watching the same arcs, cameos and expected beats of the brand. In a recent piece, the Times of India cautioned: “Indian film producers have hurriedly caught onto the universe wagon… but beware … even the Marvel Cinematic Universe seems to have lost its hold on the audience.”

Over-Extending: A brilliant first film doesn’t guarantee the next ones will be successful. Higher budgets, increasing expectations, and the proliferation of complex crossover titles may lead to backlash if the film fails to deliver.

Story Integrity: Audiences start to lose trust in the universe if it is built more as a marketing ploy than on a strong story. For example, audiences begin to understand that the “universe” is a gimmick and not a natural phenomenon. As one Reddit user recently complained, “Indian cinematic universes … feel like they’re being made up on the fly … no real plans, random cameos, unclear timelines…”

Shaky continuity: If gaps are left unplanned, crossovers can feel too forced, timelines become uncertain or unreliable, and characters may feel reused or contradictory. This can cause the audience to lose touch or disengage from the content. For instance, Ashwini Kalsekar played a journalist in Singham 2 and a judge in Simbaa. Now that these universes are overlapping, it’s necessary not to reuse characters to maintain authenticity.

Audience overload: Too many movies, too many spin-offs, too many universes all at one time, is simply too much! The novelty will wear off, and the question will change from "how many is too many?" This is precisely what The Times of India asked: "How many is too many? Where to put the stop on the universe?"

Genre conflict: Taking a universe and stretching it across too many genres (for example, an action universe transitioning into horror or comedy) runs the risk of alienating the audience for the universe if not managed prudently.

Financial risk: With the universe comes financial risk - increased budgets, increased marketing budgets, and increased expectations. If one of the films in the universe fails to meet expectations, the universe's brand can be damaged, and future films become more complicated with greater risk.

While the universe concept comes with many advantages, its success is ultimately determined by the quality of its stories, story development, planning, continuity, audience trust, and a well-managed and sustainable brand.

Impact on Storytelling, Culture and the Industry
The emergence of cinematic universes in Bollywood is likely to shape how stories are told, how the industry operates, and how culture evolves.

As relates to storytelling, writers and directors are searching for ways to go beyond a one-film arc. There is now pressure (or opportunity) to think in terms of character arcs across films, continuity within cinema, and constructing mythologies. As one article puts it: "Writing is even more difficult because you must demonstrate what audiences enjoy and what they do not enjoy… you must have some measure…"

For audiences, this shift in expectations means they are now expecting connections, Easter eggs, crossovers, and when films are stand-alone (as they would always have been), audiences may feel let down and expect films to contribute to a larger narrative.

Culturally, there are traces of the Hollywood method. Bollywood's adoption of the “shared universe” format is a means through which both global influence and adaptation occur. But is there a risk of losing a unique local identity if it is simply copied and not considered? Or in the exact words of a Reddit commentator, “Bollywood copying the surface … instead of learning the substance”.

The industry is changing as well — once, there were self-contained films, but now, the potential to create a franchise changes the green-lighting, budget and marketing process. As India Today stated: "It does not even matter what the story, the vision, the voice is... they do not matter."

The emergence of universes also promotes collaboration, higher budgets, multi-language and pan-India business operations, changing how production houses operate. The model is disrupting the business, with its focus on regional proliferation, cross-industry partnerships, and OTT (over-the-top) spin-offs.

Finally, fan culture is changing too. A viewer reference has shifted from simply watching one film to considering it as part of a "whole world." Social media engagement, including discussion, tracking fandom, exploring the universe's lore, and speculation, has become an integral part of the film experience. That shift transforms a casual viewer into an engaged franchise fan. This difference has affected the marketing and consumption of films. There is a potential risk that local stories, small films, or experimental narratives may be sidelined in favour of "brand safe" universe additions.

Looking Ahead: What to Watch For
What does the future hold for Bollywood’s cinematic universes? Several trends and challenges are worth tracking.

First, there must be a shift away from quantity and towards quality. If universes continue to produce films lacking sufficient weight and narrative substance, audiences will no longer be engaged. The lesson from Hollywood is clear — even the MCU is recalibrating.

Second, playing with genres of all sorts (action, horror, folklore, and comedy) within one universe can be a lot of fun. Cross-language universes and theatrical vs. streaming spin-offs are ways to maintain freshness.

Third, integration with OTT and digital platforms is imperative. A universe can be much larger than films, including web series, streaming spin-offs, and even interactive content — allowing for models that survive beyond a theatrical release.

Fourth, audience fatigue is a very real concern. At some point, the novelty of a connected film universe will be off. Bollywood needs to be aware of saturation and ensure that each film justifies its production value, rather than relying solely on a fan base.

Fifth, the emergence of regional cinema and cross-industry universes is a positive development. However, the universes that connect Hindi with Tamil, Telugu, and Malayalam cinema will expand and diversify, but complexity will also increase. Sixth, sustainability is a concern, as India’s cultural diversity (in terms of languages, regional tastes, and star systems) will likely not allow for a one-size-fits-all model. Models will need to be adapted to suit local tastes, rather than simply reproducing an American model. Seventh, innovation in the universe-building concept is critical; for example, engaging with Indian mythology, folklore, and/or genres that are uniquely Indian, rather than simply reproducing a derived model of Hollywood superhero universes. Some analysts also suggest this is the hybrid future of the cinema space.

Ultimately, the interplay between local and global factors will be a significant factor. Indian cinematic universes may wish to work towards competing globally, with the overseas marketplace, and developing international audiences streaming in. However, if they are to compete effectively, they must not lose authenticity as storytellers in the telling of their scale narratives. The coming decade will determine whether Bollywood has developed a sustainable universe model that supports a long-term business model or if it will collapse under the typical formula fatigue of the Toronto International Film Festival.

The Takeaway
Bollywood's foray into the world of cinematic universes and franchises is a consequence of various commercial imperatives, shifting audience behaviour, the dynamics of stars/brands, and the influence of global cinema. Production houses are creating universes as a mechanism for scaling, enhancing brand recall, and fostering cross-platform engagement. The Spy Universe, the Cop Universe, and the Horror Comedy Universe, among others, demonstrate how the model is applied across various genres. The pros are obvious: simple marketing, built-in audience, flexible storytelling, fan involvement, and revenue potential over multiple instalments.

However, the cons are just as real: creative fatigue, the potential for formulaic repetition, flimsy narrative scaffolding, confusing continuity and storytelling, audience fatigue/saturation, and financial peril. The larger impact on storytelling and culture is profound — writers are thinking in terms of "worlds" rather than films, audiences are expecting interconnectedness, and the industry’s strategy is adapting. For Bollywood, the central question is: will the "universe" become a tool for storytelling, or merely a branding tag? Will the decade see the Hindi film industry portrayed through sprawling, interconnected worlds? Or will the next decade revert to rich standalone films with unique authorial voices?

The universe is a means, not the objective. The objective is to craft a compelling story that features characters, conflict, emotion, and cultural relevance. The productive potential is as follows: If the Bollywood universe model is executed correctly and connects scale with substance, brand with story, it can produce powerful franchises and other long-term movie projects. If the model is not executed correctly, fulfilment will wear thin. For content writers, storytellers and movie enthusiasts, the current time is both exciting and concerning. The future of Indian film universes will depend on the evolution or collapse of this cinematic storytelling model.

As a viewer or writer, are you more likely to support the next blockbuster film that is part of a cinematic universe, or the non-universe standalone film that is surprising and memorable? The answer is now in the creator's hands — and the audience's.