Dupahiya actress Shivani Raghuvanshi has questioned why Bollywood frequently gives its strongest comic material to male characters. The actress also discussed beauty stereotypes, the challenges of comedy, fleeting OTT fame, influencer-led casting and her reservations about microdramas.
Bollywood has produced countless memorable comic performances, but actress Shivani Raghuvanshi believes women are still not being given enough opportunities to explore humour on screen.
The Dupahiya actress has raised questions about the way female characters are written in Hindi films and web series, arguing that the problem is not a lack of funny women but an industry that often struggles to understand their sense of humour.
In an interview with ThePrint, Raghuvanshi spoke about the imbalance between male and female comic roles, the pressure on actresses to maintain a glamorous image and the creative limitations she sees in some emerging entertainment formats.
Her observations offer a wider perspective on an industry where female performers may be central to a storyline without necessarily receiving its most memorable comic moments.
Shivani Raghuvanshi questions Bollywood’s approach to writing funny women
According to Raghuvanshi, writers often approach female comedy with assumptions that restrict how characters behave and what they are allowed to say.
She believes the industry needs a better understanding of women’s everyday conversations, relationships and humour instead of attempting to reproduce comic styles traditionally associated with male characters.
“Writers lack an understanding of women. They don’t know women, they don’t sit with them and crack jokes,” she told ThePrint.
The actress suggested that some writers underestimate women’s ability to be funny and occasionally turn to popular online content for ideas rather than developing original character-driven humour.
Her criticism points to a distinction between writing a woman who happens to deliver jokes and creating a fully developed female character whose personality naturally produces comedy.
For Raghuvanshi, convincing humour begins with understanding the character, not simply inserting punchlines into a script.
Why the Dupahiya actress wants better comedy roles for women
Raghuvanshi used her experience with Dupahiya to explain the imbalance she has noticed in comedy writing.
She recalled watching the first season and questioning why the male characters appeared to receive more of the entertaining dialogue, even though her character played an important role in the central story.
“The story revolves around this girl who is getting married, but all the funny parts were given to the boys. What am I doing? I am crying, right?” she said.
The actress explained that she raised the issue with the director because she wanted to understand why the female lead was carrying much of the emotional material while male performers were receiving the comic highlights.
Her concern was not about removing humour from male characters. Rather, she wanted female performers to have comparable opportunities to contribute to the comedy.
The observation reflects a larger question in screenwriting: whether women are being allowed to participate actively in comic situations or are primarily written as emotional counterparts to funny men.
Kajol and Andaz Apna Apna show what female comedy can achieve
While discussing memorable performances, Raghuvanshi identified Kajol’s character in Kabhi Khushi Kabhie Gham as an example of humour that emerges naturally from characterisation.
In the 2001 film, Kajol plays Anjali, whose personality, mannerisms and interactions become important sources of comedy.
Raghuvanshi appreciated how the performance feels believable rather than depending on the actress deliberately trying to make every moment funny.
She also referred to Raveena Tandon and Karisma Kapoor in Andaz Apna Apna.
Although she praised their performances, she observed that the film’s most widely remembered comic exchanges predominantly involve Aamir Khan and Salman Khan.
The comparison illustrates her argument that talented female performers can be present in a successful comedy without receiving an equal share of its defining moments.
For Raghuvanshi, giving women stronger comic material requires writers to treat them as complete personalities rather than supporting figures within a male-driven comedy.
Why Shivani Raghuvanshi finds comedy more challenging than emotional scenes
Despite her criticism of the industry’s approach, Raghuvanshi acknowledged that comedy does not come as easily to her as emotional acting.
She said that crying or performing emotionally intense scenes has generally felt more natural.
Comedy, by contrast, requires an actor to commit completely to the circumstances of a scene without becoming overly conscious of the audience’s reaction.
She believes that an effective comic performance depends on sincerity. The performer must believe in the character’s actions, even when the situation itself is absurd.
Simply delivering a scripted joke is not always enough to create humour.
This approach places considerable importance on timing, character consistency and the chemistry between performers.
It also explains why Raghuvanshi admires performances in which the humour feels like an extension of a character’s personality rather than a separate attempt to entertain viewers.
The pressure to look beautiful can limit female comedians, says Raghuvanshi
Another obstacle, according to Raghuvanshi, is the expectation that actresses must maintain an attractive appearance throughout their performances.
Physical comedy frequently involves exaggerated expressions, awkward movements and situations in which looking glamorous is not the priority.
The actress believes some female performers may find it difficult to embrace such roles because of the industry’s long-standing emphasis on beauty.
“You have to stop worrying about how pretty you look all the time,” she said.
Raghuvanshi argued that male performers are often given greater freedom to appear ridiculous for comedic effect, while leading actresses face different expectations.
She also questioned the tendency to associate funny female characters with a particular body type or appearance.
In her view, comedy should not be restricted to characters who are presented as overweight, unconventional or outside traditional beauty standards.
A conventionally glamorous actress, she suggested, should be just as free to play an outrageous comic character.
The underlying issue is not appearance itself, but the narrow assumptions that determine which performers are considered suitable for comedy.
Shivani Raghuvanshi reflects on her career from Titli to Made in Heaven
Raghuvanshi began her Hindi film career with director Kanu Behl’s Titli in 2014, appearing as Neelu opposite Shashank Arora.
The crime drama introduced her to audiences through a performance rooted in emotional complexity.
She recalled receiving appreciation from veteran actress Shabana Azmi, describing the recognition as a memorable moment early in her career.
“It was a really big moment. She told me she loved my performance,” Raghuvanshi recalled.
Over the years, the actress has taken on roles across films and streaming projects.
Her work includes Vasudha in Raat Akeli Hai, Jazz in Made in Heaven and ASI Firdaus Rabbani in Murder in Mahim.
These performances have allowed her to explore different characters, particularly in stories driven by relationships, conflict and layered emotions.
However, her recent comments indicate that she also wants opportunities to challenge herself through comedy rather than remain associated primarily with serious roles.
Why Shivani Raghuvanshi believes theatrical stardom remains special
Although streaming platforms have helped several actors reach wider audiences, Raghuvanshi believes the experience of theatrical cinema remains difficult to replace.
She acknowledged that OTT shows can create stars, but argued that the enduring audience connection associated with theatrical releases has a different impact.
Referring to Shah Rukh Khan, she suggested that a major film star can remain compelling even when viewers have watched familiar performances repeatedly.
For Raghuvanshi, that lasting recognition is an important element of stardom.
Streaming platforms, on the other hand, have created an environment in which audiences encounter a constant flow of new shows and performers.
While this offers more opportunities for actors, it can also make public attention short-lived.
“There is a new show coming out every week. How many can you possibly keep up with?” she said.
She suggested that an actor may receive enormous attention after a successful series, only for the conversation to move towards another emerging performer months later.
“Every six months, the national crush keeps updating, keeps changing,” Raghuvanshi remarked.
Her comments underline the difference between immediate online popularity and the sustained audience recognition that can develop over a longer career.
Influencer casting raises questions about acting and audience attention
Raghuvanshi also addressed the growing influence of social media popularity on casting decisions.
She acknowledged that producers may view a large follower count as commercially attractive because it suggests an existing audience.
However, she questioned whether success in short-form videos necessarily translates into the ability to sustain a performance in a film or extended web series.
Watching someone in a brief social media reel, she argued, is fundamentally different from following that performer across a two-hour movie or a multi-episode show.
Her concern reflects an increasingly relevant distinction within entertainment: online reach and long-form acting ability are not necessarily interchangeable.
At the same time, Raghuvanshi recognised the commercial reasoning behind producers considering social media popularity.
Her argument was that follower counts should not overshadow the demands of a role or the storytelling abilities required to sustain audience engagement.
‘There Is No Soul to It’: Shivani Raghuvanshi criticises microdramas
One of Raghuvanshi’s strongest opinions concerned microdramas, a short-form storytelling format designed primarily for quick viewing, often on mobile phones.
The format has attracted attention from entertainment producers as audiences increasingly consume vertical video content.
However, Raghuvanshi expressed little enthusiasm for the scripts she has encountered.
She revealed that she had been approached for microdrama projects but chose not to pursue them.
“I feel you have taken the art out of it,” she told ThePrint, criticising what she perceived as a lack of investment in storytelling.
For the actress, the problem is not experimentation with new technology or formats. It is the possibility that content may be produced primarily for rapid consumption without sufficient attention to character development or narrative quality.
She compared the trend with the rise of short-form social media videos and questioned whether the entertainment industry was moving too far towards creating stories that resemble quick online clips.
“If you want to try something, put your heart and soul into it and do it properly. There is no soul to it,” she added.
Her criticism represents one perspective in an evolving industry. Supporters of microdramas may see the format as an opportunity to reach mobile-first audiences and experiment with compact storytelling.
The challenge for creators is whether short running times can still accommodate memorable characters, coherent narratives and convincing performances.
What Shivani Raghuvanshi’s comments reveal about changing Bollywood
Raghuvanshi’s observations bring together several pressures facing performers in contemporary Indian entertainment.
Female actors continue to seek more varied roles, while the growth of streaming platforms has increased both opportunities and competition.
Meanwhile, social media popularity is influencing how performers are discovered and marketed, and emerging formats are changing expectations around storytelling.
For Raghuvanshi, the common concern across these developments is the importance of meaningful creative work.
Her criticism of Bollywood comedy is particularly significant because it questions assumptions that shape female characters before performers even arrive on set.
If women are repeatedly written as emotional anchors while men receive the funniest dialogue, actresses have fewer opportunities to demonstrate their comic abilities.
Raghuvanshi’s argument is ultimately about expanding those possibilities.
She wants female characters to be allowed the same unpredictability, humour, physical freedom and personality that have long made male comic roles memorable.
And as Indian entertainment continues to experiment with new platforms and storytelling formats, her comments raise a relevant question: will the industry use those opportunities to create more interesting characters, or continue relying on familiar stereotypes?
Have a story tip or feedback? Write to [email protected].
© Hunterfly.in. Original editorial content.
