Among the laundry list of things the film industry loves—box office glory, critical acclaim, or the rare sweet spot between both—the one that decision-makers gravitate toward most is the relentless pursuit of a trend. Every season, the race is on to capture the newest, shiniest blueprint of success. Consequently, the industry’s creative mandate shifts overnight: one moment producers are obsessively converting every standalone story into a multi-part franchise, the next they are scrambling to mount massive action spectacles, before abruptly pivoting to recreate the lightning-in-a-bottle magic of Saiyaara, the romantic blockbuster spearheaded by fresh faces that caught everyone off guard.
As the first half of 2026 comes to a close, THR India spoke with leading screenwriters and representatives from the Screenwriters Association (SWA) to decode a crucial industry reality: What exactly are producers asking writers to write, and which genre is being primed for a resounding comeback?
The creative landscape this year is being heavily dictated by a handful of theatrical hits that have the potential to completely alter studio mandates. Sitting comfortably at the apex is Dhurandhar: The Revenge. Grossing over ₹1,800 crore globally, it is not merely the biggest hit of the year so far, but the definitive blockbuster that insiders claim will redefine commercial cinema metrics.
Domestically, the box office was further fueled by massive tentpoles like the Akshay Kumar-led horror-comedy Bhooth Bangla and the high-octane nostalgia of Sunny Deol’s Border 2. Simultaneously, Imtiaz Ali’s Main Vaapas Aaunga demonstrated spectacular, long-tail theatrical trending, proving that critical acclaim can still translate into sustained commercial viability.
With the first half of the year setting a high benchmark, all eyes are now on an impending slate of heavyweights to see how they disrupt or cement these patterns. The industry is closely watching the trajectories of the ensemble comedy Welcome to the Jungle, YRF’s Spy Universe offering Alpha starring Alia Bhatt and Sharvari, Ranbir Kapoor’s epic Ramayana, and Shah Rukh Khan’s King.
Meanwhile, the landscape in the streaming ecosystem remains tightly bound by data. Algorithmic success metrics have effectively replaced traditional box-office numbers as the ultimate indicator of green-lighting a project.
Alankrita Shrivastava (Lipstick Under My Burkha, Made in Heaven, Dolly Kitty Aur Woh Chamakte Sitare)
What are the trends of 2026 so far from a screenwriter's POV?
On the big screen, horror is big. Take Obsession. it’s clever, it’s subversive, it’s fun, it’s fresh. Young audiences are thronging. I also really enjoyed Tighee. I’d love to see films like Tighee in Hindi, on screen.
On streaming, it’s fabulous to see Maa Behen and Chiraiya breaking out. Stories about women, challenging the patriarchy. In terms of the indie space, I loved Shape of Momo. I wish more people would have seen that. I loved Shape of Momo and Boong, which won the Bafta this year. More stories by women from the North East is something I’m rooting for.
What is the industry, right now, asking writers to write?
I’m hoping for a resurgence of the more personal, intimate kind of films on the big screen. But nobody seems to want those! I think the slice-of-life film is definitely NOT something people are looking. I don’t know if anyone wants a quiet, gentle piece of storytelling right now. I don’t think crime is going out of fashion anytime soon. The tentpole film is still the film that most producers want, I feel.
A genre that you think is severely under-backed, which the industry is not focusing on, but could become big/bigger soon?
I think this is the time to take risks, make exciting, small budget films that push the envelope. And market them well, and try to get the audiences in. We should learn from the success of films like Obsession. Genre films with strong themes.
Saiwyn Quadras (Neerja, Maidaan, Maa)
What are the trends of 2026 so far from a screenwriter's POV?
Post Dhurandhar, producers I have met seem unsure about what to take a punt on. The only trend I see is confusion and lack of conviction —confused about what the producers want to make and lack of conviction to take a punt on an original story and to get it developed.
Any genres that producers are aggressively looking for?
Genre-wise I am hearing horror is what a lot of producers are thinking of. In my conversations, talks are about budgets and mid-size budget films. 'What else do you have? Get me something else, this will be a better fit for OTT' are the kinds of talks. Even If I am presenting a story that I personally feel has immense theatrical potential — there seems to be some sort of hesitance to accept the writer’s conviction.
A genre that you think is severely under-backed?
Horror but a psycho-horror thriller and not your regular only jump-scare kind of a film or maybe an exciting, action-packed action-adventure could be genres that could get people flocking to theatres.
Ankur Pathak (Modern Love Mumbai, Family Business)
From a streaming perspective, what are the trends so far?
I don’t think there has been a substantial shift from where we started out in 2016. In fact, earlier, the palette was much more diverse as streamers tried everything to see what landed, and the filmmakers, long struggling under the chokehold of box-office, discovered their unique voices. But lately, there has been a sense of homogeneity on our screens, and a blinding reliance on the algorithm that overrides instinct, curiosity, and surprise. The desperation for certainty kills creative detours. Algorithmic success has replaced the box-office yardstick. When a certain show performs well, it becomes the gold standard: the ultimate barometer for measuring the quality and success of another show, even if they might be completely different genres.
What is the industry asking writers to write?
It’s not too far from the usual. Crime, mystery, cartel, thriller. The wounded cop haunted by his past. Spooky North Indian town that hides dark secrets. The ordinary man navigating local politics, corruption and prejudice, only to emerge as an unlikely saviour while redeeming himself along the way. These are enduring templates, and perhaps for good reason, but they can be restrictive. Our collective imaginations rarely permit us to be more adventurous with other stories, sub-genres, or to tackle anything different — a politically charged subject is too risky, an absurdist comedy too experimental, and so on. Of course there are exceptions, but this is the general expectation.
That said, I’ve been fortunate to find that some streamers, at least in my experience, have been remarkably encouraging about writers telling the stories they genuinely want to tell, rather than simply reverse-engineering a script to fill a programming gap. I hope we see more of that.
Is there a genre the industry is not focusing on?
I’ve always felt that rom-coms and romantic dramas are our core storytelling strength, and we’ve almost forgotten how to make them. And I mean sweeping big-scale romances, not just hormonal teen dramas (nothing against those, I’m a huge fan of Never Have I Ever and Off Campus and would love to write one). Our screens have largely replaced love stories with narratives fetishising war and rewarding violence, while a disturbing element of crude machismo has crept into mainstream storytelling. It’s perhaps a fitting parable of our times as our everyday discourse and reality are engulfed with violence: not just physical, but emotional and subliminal.
What's also the need of the hour, I’d say, are urban stories that reflect the lives, times, and crisis of contemporary India. The way, a Dil Chahta Hai or Wake Up Sid did. Not “big issues” necessarily but stuff that we are all affected by but don’t see depicted enough. Slice of modern life is something that we see less and less of, and while stories from inner towns are intriguing, there can be a balance between the two where hinterland noir can coexist with modern capsules of millennial life. Something like The Four Seasons, Master of None, Normal People or Scenes from a Marriage. A well-crafted love story will always find an audience, because ultimately, beneath all the cynicism, outrage, and doomscrolling, we’re always rooting for love.
Satyanshu Singh (Black Warrant, Chintu Ka Birthday)
In the current climate of the industry, what should be the advice to writers?
If you start writing today, by the time it gets finished and made, it's a few years down the line. By then, the current in-demand genres will be dated and there will be a lot of bad films in that genre. So, any genre that is currently not big is a great bet for tomorrow. But, a more practical answer is that as writers we should keep these things in mind but ultimately, instead of looking outwards, we should look inwards!
Because you can't design your scripts based on trends, that never works out. What the industry wants to make shouldn't be the biggest factor determining what we are writing! Writers should be aware, sure, but pick the idea that they are most passionate about.
Most likely that won't get made—it happens with everyone—but that process is extremely challenging, demanding and crushing. You go through dark phases as well, but if it is a story you want to tell, then all the emotional challenges feel worth it. Even if there's uncertainty on whether the project will be made or not, the story will make you a better writer and help you evolve. More than a script you are writing only because you think it will work in the market. It shouldn’t be the case.
Charudutt Acharya (President, Screenwriters Association)
It seems like the situation has vastly improved from what it was two years ago for writers, as more productions are on floors. What role is the SWA playing to help writers find a stronger footing?
As a Screenwriters Union, we wish to see our writers hone and sharpen their voices and express themselves freely in genres of their choice. To advance their professional skills and find a foot in the door of the industry, we have our yearly Script Lab and Pitch Fest. The projects selected and mentored are from multiple genres, of varied budgets and designed for different markets.
In the second half of the year, we wish to see our Basic Minimum Contracts coming into force. We would also like to see the Screenwriters Rights Association of India actively collecting royalties for writers. These two features would empower and secure our writers to reach their full potential.