Vignesh Shivn recently suggested that LIK crashed after a promising start because of targeted trolls and negative reviews and that audiences did not fully give a chance to its new-age approach. But cinema has repeatedly shown that audiences do not reject films for being different. They reject films when they fail to emotionally invest in the world being created. 

Futuristic love stories are not new either. Films like Love Story 2050 already showed that setting a story in the future alone does not make it fresh or engaging. Interestingly, even Singeetham Srinivasa Rao once reflected similarly about Aditya 369. Despite referring to science-fiction books and theories while creating the future portions, he openly admitted that they pushed audiences to suspend disbelief too much. Many still remember the Krishna Devaraya portions more strongly because they felt more emotionally grounded.

At the same time, audiences have embraced films with eccentric settings and unusual worlds when conviction worked. Films like Shankarabharanam and Paruthiveeran found acceptance despite demanding audiences enter unfamiliar spaces. Even imaginative films like Ayirathil Oruvan (Yuganiki Okkadu) continue to divide opinion despite gaining admiration over time.

On top of that Indian audiences have been welcoming to far stranger worlds in Hollywood films when storytelling convinces them. Trolls may amplify reactions. But before blaming them, filmmakers may have to ask whether audiences truly believed in the world they created. Introspection can yield much better results than blame game.

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