Ayushmann Khurrana Claims Thamma Is “Massier” Than Lokah Chapter 1 — Sparks Genre Clash Over Supernatural Cinema

In a bold interview, actor Ayushmann Khurrana waded into comparisons between his upcoming film Thamma and the Malayalam hit Lokah Chapter 1 – Chandra, declaring that Thamma is a much “massier” project aimed at wider Hindi audiences — not just niche multiplex viewers. He took a jab at Lokah’s limited reach, while insisting Thamma has unique roots, tone, and appeal.

What He Said: Mass Appeal, Mythos & Markets

When asked about potential similarities between the vampire-myth narrative of Thamma and Lokah, Ayushmann replied:

“Although I enjoyed Lokah, ours is a more massy film because it penetrates down to Hindi-speaking markets also. Lokah could be a good induction for certain multiplex audiences, but we have different genesis, different situations, and it’s a different story.”

He emphasized that while Lokah may appeal to urban, multiplex viewers, Thamma is engineered to reach a broader demographic with stronger commercial instincts. He also brushed off claims of overlap, claiming “hardly any similarities” between the films.

Giving perspective to his claim, Rashmika Mandanna (his co-star) was quoted agreeing that while she respects Lokah and its team, Thamma offers a different cinematic experience — one she says will prompt new conversations post its release.

Why This Matters — The Stakes Behind the Claim

1. Malayalam Cinema vs Hindi Supermarket Ayushmann’s framing positions Thamma not just as competition, but as a challenger to regional hits claiming “pan-India” appeal. By labeling Lokah “good for multiplex audiences,” he implicitly challenges its scale and mass appeal.

2. Mass vs class cinema dichotomy The narrative pits Thamma as “mass” cinema (i.e. broader, more populist) versus Lokah as “classy” or niche. Such categorization risks undervaluing films that gather critical or cult acclaim without catering to Bollywood’s larger commercial machines.

3. Preemptive narrative control By making this declaration before Thamma releases, Ayushmann and team are signaling expectations, staking claim to dominance in the supernatural genre space. That often shapes media narratives and audience anticipation before the film is even seen.

4. Risk of backfire If Thamma fails to deliver scale or critics label it weaker in depth, the “massier” claim could be used against it. Comparisons to Lokah will persist, and the claim may be seen as overconfidence.

Final Word

Ayushmann Khurrana’s bold assertion that Thamma is more “mass” than Lokah isn’t just box office talk — it’s a cultural claim: that Hindi supernatural cinema must transcend regional busts and become big. Whether audiences accept his prediction or push back will depend on how Thamma lands—and whether Lokah’s legacy endures as more than just multiplex prestige.