2025 might just be crowned the mega year for the release of some of the biggest OTT sequels. Massive titles such as The Family Man 3, Delhi Crime 3, Panchayat 4, Maharani 4, and Paatal Lok 2, which struck a chord with the masses upon the release of their first seasons, had viewers waiting with bated breath for their continuation. What's next?
The excitement? Doubled.
The buzz? Equally resounding.
However, the reverberating buzz around these celebrated franchises might have dimmed as new seasons dropped. A wave of mixed opinions washed over social media.
In a complex mix of how fans expected these titles to progress, clashing with how the makers perceived the stories, a thin line of disappointment emerged.
2025 seems to have several examples of sequel fatigue setting in, with back-to-back releases on streaming platforms.
While Maharani 4 opened to satisfactory reviews, led steadfastly by Rani Bharti (Huma Qureshi) as she takes Bihar politics to Delhi, Delhi Crime 3 and Panchayat 4 were met with lukewarm responses despite loyal fanbases rooting for them.
Huma Qureshi in Maharani 4.
Manoj Bajpayee's The Family Man 3 achieved record-breaking commercial success, but the critical reception was mixed, with audiences feeling there was a dip in content compared to the engaging previous plotlines.
Manoj Bajpayee in The Family Man 3 (L) Shefali Shah in Delhi Crime 3(R)
One could say that Jaideep Ahlawat as Hathiram Chaudhary in Paatal Lok 2 was the only sequel praised for masterclass acting and nuanced handling of tender and grim moments, befitting its strong storytelling-and as NDTV reviewed, "As good as Season 1."
Jaideep Ahlawat in Paatal Lok 2
Same Same, But Different
This brings to mind filmmaker Neeraj Pandey's comments on herd mentality after the blockbuster success of Mohit Suri's Saiyaara. Neeraj Pandey highlighted how, when Stree opened a new genre of horror comedies as a hit formula, everyone began to follow suit. The same happened with Saiyaara, as filmmakers turned towards making hardcore love stories that seemed to capture the audience's pulse.
A similar routine was evident in all the OTT sequels released this year, which had once told success stories.
The charm and most impactful recall factor of shows like The Family Man and Delhi Crime lay in their roots: socio-political storylines, gripping narratives, and complicated family dynamics. Panchayat had an instant likeable factor, with highly relatable characters and one of the best ensemble casts seen in a recurring OTT series.
Panchayat Season 4 Poster.
Somewhere, a core was formed, and the makers seemed to rotate the same tried-and-tested formula that worked once now comes across as rusty.
For instance, viewers complained about repetitive story arcs and a shift in focus that failed to sustain their interest.
The Family Man, which once thrived on suspense and dramatic build-up, no longer maintained its USP in the third season. Delhi Crime, which led with a blood-thumping investigation that solved its cases, became mellow and turned rather simplistic in its third season, which revolved around unraveling a human trafficking network across India. Despite significant potential and a menacing Huma Qureshi in an antagonistic role, it did not live up to the hype.
Maharani was considered different for its unexpected twists. In the new season, an overdose of dramatic moments grew repetitive in every episode, as did the dialogues. Fans felt it might be time to wrap up rather than stretch the story further.
One of the biggest heartbreaks came for Panchayat fans, where the once crisp, character-driven humour shifted towards a politically-focused narrative, losing the franchise's essence centred around rural life explored with a feather-light touch.
Terrific performances by the leads? Certainly.
But somehow, the characters seemed frozen in time. The bar appears to be lowering with every season, where beloved characters return, but not with the same vigour.
When There's A Will, There's A Way
Still, despite the heartbreaks, loyal fans keep coming back. The recall factor is such that they return with renewed hope, only for it to be diminished. This takes us back to the earlier point: as makers keep replaying the same characters and storylines that once worked, it unknowingly pulls viewers to give them one more chance, one more season.
What probably fuels the outrage over disappointing seasons is the longer hours invested in watching these shows compared to films. With every new season stretching over 7-8 hours, it feels exhausting when viewers' hopes are unmet.
There's also a strong emotional quotient linked to attachments to beloved characters like the ordinary looking but extraordinary intelligence agent Srikant Tiwari (The Family Man), the righteous top cop Vartika Chaturvedi (Shefali Shah) from Delhi Crime, or the courageous demeanour of Rani Bharti from being a mother to a mukhya mantri (chief minister), in Maharani.
It all boils down to that key character who once impressed you; the momentum does not continue, but the audience's attachment does not fade either.
Loved To Love Them
The newer seasons of 2025's OTT sequels took viewers back to why they had fallen in love with them in the first place.
When fans watched The Family Man 3, they still saw Srikant Tiwari (Manoj Bajpayee) as the low-paid government employee balancing the dangers of a world-class intelligence officer's job along with middle-class family drama. The new season's biggest drawback was the viewer response to the cliffhanger involving Srikant's crash. After waiting four years, fans deserved closure they weren't given.
A still from The Family Man.
Delhi Crime Season 1 was based on the horrific 2012 Delhi gang rape. The unflinching portrayal of such a sensitive story was widely embraced. It brought raw authenticity often missing from crime dramas, with Shefali Shah as the maverick DCP navigating system flaws, male-dominated workplaces, and public and political pressure. All this was diluted by predictability in the third season, with team members like Neeti Singh (Rasika Dugal) and Bhupendra (Rajesh Tailang) reduced to sidekicks and half-baked subplots that added only chaos.
Delhi Crime Season 1.
As for Panchayat, people connected with the subtle humour of simple village life in the early seasons. In the fourth season, the show's unique comedic charm went missing. Election drama and political manoeuvring replaced the relatability factor that made the franchise so loved.
Panchayat Season 1.
Thus, a constant clash remains between what once connected with fans and what now falls short each new season.
While these sequels still trend before each new season, they seem to be running out of steam.
Despite the audience's trust in these franchises, they look forward to another The Family Man season, with Manoj Bajpayee confirming season 4. Panchayat season 5 has also been officially confirmed, while an official announcement for Delhi Crime 4 is yet to surface, though the buzz remains strong, with a significant gap between releases.
The hope reignites before every season, as do the expectations. With another wave of sequels expected in the coming years, fans clearly need a gamechanger - guess we have our New Year's wish.