Former CBFC chairman Pahlaj Nihalani is once again in the spotlight. In a recent interview, he revisited the Udta Punjab controversy from 2016 and even fired back at actor Vivek Oberoi for a past comment about feeling relieved to move to OTT shows where he did not have to “deal with him.”
Nihalani claims that during the Udta Punjab episode, the producers were initially ready to accept the cuts he demanded, but it was filmmaker Anurag Kashyap who resisted and delayed the release until just six days before the premiere. According to him, the controversy was deliberately used as a marketing tactic to build hype for the film.
When asked about Vivek Oberoi’s 2017 remark, made while promoting Prime Video’s Inside Edge, Nihalani responded sharply. He questioned Oberoi’s career choices and accused him of supporting vulgarity, adding that if Oberoi liked such content, he should keep it in his personal life instead of showing it on screen.
These remarks, though sensational, reveal a larger truth. The CBFC no longer wields the kind of influence it once had. With the rise of streaming platforms in India, censorship rules that controlled films for decades now feel increasingly irrelevant.
Inside Edge itself was an example of this freedom. Just a year after the Udta Punjab battle, Prime Video premiered the show filled with profanity, mature themes, and morally complex characters, all without the CBFC’s approval. This was a turning point. It showed audiences and creators that stories could be told without compromise.
For traditionalists like Nihalani, the problem comes down to one word: vulgarity. For them, this includes cuss words, bold scenes, or anything that challenges cultural boundaries. But streaming platforms have changed the way people look at it. What some call vulgar, others see as authentic and necessary. Swearing can express raw emotion, and mature themes can capture the complexity of relationships. By showing life as it is, OTT platforms have created stories that resonate more deeply with audiences.
The popularity of such shows proves that viewers are not shying away from raw and real storytelling. They want content that reflects their own experiences and emotions, even if it is messy and imperfect. Today, filmmakers are also bolder about releasing films with an A certificate, knowing audiences appreciate honesty over sanitised versions.
Nihalani’s comments may spark headlines, but they also highlight a reality he cannot ignore. The CBFC no longer decides what audiences should or should not watch. That power now lies with viewers themselves, who vote with their time, attention, and subscriptions.
The age of one board controlling cinema is over. The future belongs to creators who dare to tell stories as they are, and to audiences who embrace them.
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