For Kunal Roy Kapur, OTT has become a space where simple, grounded stories actually work. Audiences no longer need loud or stylized drama to stay hooked. “People connect with honest, relatable moments. It doesn’t have to be blood, gore or drug cartels every time. A show can make you pause and think,” he says. He believes streaming platforms are strongest when they capture the tiny, real moments of everyday life. “That’s where OTT storytelling is now—showing the micro realities around us.”
Even with years of experience, Kunal admits he still doesn’t have the luxury of turning down too many roles. “OTT has grown fast, no doubt. But has it reached a point where everyone has endless options? Not for me,” the 47-year-old says. “Sometimes you have choices, sometimes you don’t. I can’t always say no.” He explains that if he only aimed for top directors or big banners, he wouldn’t get enough work. So he picks from what’s genuinely available.
For him, the main goal is consistency, not attention. “It’s not about being seen. It’s about working. If this is your main profession, you have to keep going.” His recent show, Thode Door Thode Paas, with Mona Singh and Pankaj Kapur, revolves around digital detox. And Kunal points out how social media now plays a huge role in how newcomers get noticed—very different from the days when casting directors discovered talent in theatre spaces.
“Earlier, people would watch actors perform at Prithvi or NCPA and say, ‘Hey, this actor is good.’ Now the casting pipeline has shifted to Instagram. That’s the new playground,” he says. “Casting directors look at your profile, scroll through a reel, and decide if you fit. You may even get a DM. It’s easy to access, but it’s a different skill altogether.”
While he understands the shift, he also stresses that actual acting demands patience and discipline—qualities that online fame doesn’t always prepare you for. “There’s a gap between digital popularity and the craft of acting. Sometimes you wait four hours on set for ten minutes of work,” he sums up.
