So the trailer of Dhadak 2 is out. And guess what? Bollywood has once again managed to recycle a powerful South film, dilute its core, and serve it back to us in shiny Dharma packaging. Starring Triptii Dimri and Siddhant Chaturvedi, the film is being touted as a bold love story tackling casteism. But the internet isn’t fooled – the reactions have been mixed at best, and for good reason.
Let’s be honest – Dhadak 2 is not just a remake. It’s a remake of a remake. The original film, Pariyerum Perumal, released in 2018, is a Tamil masterpiece that tackled caste discrimination with raw realism and zero glamour. It was already remade in Kannada as Karki in 2024. Now Bollywood, ever-thirsty for “safe” stories with built-in success metrics, has decided to rinse and repeat it under the Dhadak label.
But here’s the problem – a franchise doesn’t work without originality. Dhadak 2 might have a new cast, but the soul of the story has been squeezed out in favour of aesthetics, filters, and melodrama. Sure, caste and class divide stories are important – but when your only goal is to remake, not retell, the result is nothing but a hollow echo.
Dharma Productions, once known for launching stars and setting trends, is now known for repetitive storytelling, remixing songs, and recycling scripts. Their recent lineup—Yodha, Kill, Mr & Mrs Mahi, Bad Newz, Jigra, and Kesari Chapter 2—all failed to impress both critics and audiences. Not one of them crossed the coveted ₹100 crore mark. The audience is done being spoon-fed stale stories with glossy wrapping.
As for Dhadak 2, the chemistry between Triptii and Siddhant looks decent, but not enough to distract from the déjà vu. Critics and trade insiders predict a lukewarm opening weekend, with a lifetime collection of ₹30–40 crores at best, unless a miracle of word-of-mouth saves it. But even with Triptii Dimri’s post-Animal fanbase and Siddhant’s appeal, the plot is too tired, too done, and too late.
Dhadak 2 is not just unnecessary—it’s borderline embarrassing. A powerful Tamil film remade for the third time, dressed in designer clothes, starring “fresh” faces who still come with industry backing, and sold as revolutionary cinema? No thanks. We’ve seen it, we’ve felt it, and we’re not buying it again. Unless Dharma wakes up and starts investing in actual original storytelling, the only thing they’ll keep remaking is their own legacy—in failure.