The article argues that the Overton Window in Hindi cinema has shifted, moving away from a decades-long dominance of secular-liberal narratives. Historically, filmmakers with nationalist and dharmic sentiments were marginalized. The piece contrasts this with a period of underworld influence and the continued promotion of a one-sided secular agenda in films, citing examples that allegedly portrayed Hindus negatively while favoring Muslim characters. The author suggests a recent change, allowing nationalist voices to gain more prominence.