Lalit Parimoo is a famous actor. He says the Bollywood movie system is not fair.

Lalit Parimoo 是一位著名的演員。他說寶萊塢電影系統並不公平。

Some actors have famous parents. These actors do not work hard because they have a lot of money. They do not study acting for a long time. They only look good on social media.

有些演員的父母很出名。這些演員並不努力，因為他們擁有大量金錢。他們不會花很長時間學習演技。他們只在社交媒體上看起來很出色。

Lalit says the movie system is a lie. It helps famous names but it does not help talented people. He wants old, rich actors to retire. This gives new actors a chance to work.

Lalit 說電影系統是一個謊言。它幫助名聲顯赫的人，卻不幫助有才華的人。他希望年長且富有的演員退休，這樣才能給新演員工作的機會。

There is also a money problem. Big stars get a lot of money. Other experienced actors are poor. This is not right.

此外還有金錢問題。大明星獲得很多報酬，而其他有經驗的演員卻很貧窮。這是不正確的。

The movie industry is still unfair. People want a system where talent is more important than family.

電影業仍然不公平。人們希望有一個才華比家庭背景更重要的系統。

Veteran actor Lalit Parimoo has criticized the Bollywood star system, focusing specifically on the problems of nepotism and the wide gap in financial earnings.

資深演員 Lalit Parimoo 批評了寶萊塢的明星制度，特別聚焦於裙帶關係以及財務收入巨大差距的問題。

The discussion regarding 'star children'—such as Janhvi Kapoor, Ananya Panday, and Shanaya Kapoor—focuses on how family influence can reduce the motivation to develop artistic skills. Parimoo asserts that because these actors do not face financial hardship, they often lack the professional 'hunger' needed to master their craft. He emphasizes that formal acting education over several years is necessary, noting that while social media can create a polished image, it does not equal professional skill. This point is supported by the different results of recent films, where some achieved high global earnings while others received mixed reviews.

關於「星二代」——例如 Janhvi Kapoor, Ananya Panday 與 Shanaya Kapoor——的討論，聚焦於家庭影響如何降低開發藝術技巧的動力。Parimoo 主張，因為這些演員沒有面臨經濟困難，他們往往缺乏精進演技所需的專業「飢渴感」。他強調正式的演藝教育需要經過數年時間，並指出雖然社群媒體可以營造出完美形象，但並不等同於專業技巧。這一點在近期電影的不同結果中得到了支持，部分電影獲得了極高的全球收益，而其他電影的評價則褒貶不一。

Furthermore, Parimoo identifies a systemic failure in how the industry operates. He describes the current star system as a deceptive front that ignores genuine talent in favor of famous names. To solve this, he previously suggested a new set of rules to the Cinema and Television Artists Association (CINTAA), including mandatory retirement ages based on how much money an actor has earned. He argues that when high-earning veterans stay in power too long, they block new talent from emerging. Additionally, Parimoo highlights a serious economic imbalance, pointing out the extreme difference in pay between top stars and experienced character actors, many of whom remain financially unstable despite decades of experience.

此外，Parimoo 指出該產業運作存在系統性失效。他將目前的明星制度描述為一個欺騙性的外殼，為了名氣而忽視真正的人才。為了改善此狀況，他先前向電影與電視藝術家協會 (CINTAA) 建議了一套新規則，包括根據演員的獲利金額設定強制退休年齡。他認為當高收入的資深前輩把持權力太久，會阻礙新人才的湧現。此外，Parimoo 強調了嚴重的經濟失衡，指出頂級明星與經驗豐富的資深配角之間存在極大的薪酬差異，許多配角儘管擁有數十年經驗，財務狀況依然不穩定。

The industry continues to struggle with a tension between old family-based systems and a growing demand for professional standards based on merit.

該產業持續在舊有的家族制度與日益增長的基於實力的專業標準需求之間掙扎。

Veteran actor Lalit Parimoo has articulated a critique of the Bollywood star system, specifically addressing the intersection of nepotism and systemic financial disparity.

資深演員 Lalit Parimoo 對寶萊塢的明星制度提出了批評，特別是針對裙帶關係與系統性財務差距的交集。

The discourse regarding 'star children'—specifically individuals such as Janhvi Kapoor, Ananya Panday, and Shanaya Kapoor—centers on the perceived correlation between familial influence and a diminished impetus for rigorous artistic development. Parimoo posits that the absence of socio-economic precariousness often precludes the cultivation of the professional 'hunger' necessary for mastery of the craft. He suggests that a multi-year commitment to formal acting education is requisite, noting that while digital visibility and aesthetic curation are attainable via social media, they do not constitute artistic proficiency. This observation is contextualized by the varied commercial and critical reception of recent projects, such as the high global earnings of 'Peddi' contrasted with the mixed reception of 'Chand Mera Dil'.

關於「星二代」——特別是如 Janhvi Kapoor、Ananya Panday 和 Shanaya Kapoor 等人——的討論，焦點在於家庭影響力與缺乏嚴謹藝術發展動力之間的相關性。Parimoo 認為，由於缺乏社會經濟上的不安定感，往往導致無法培養出精進專業技巧所需的「飢渴感」。他建議必須投入多年時間接受正式的演技教育，並指出雖然透過社交媒體可以獲得數位曝光度與美學形象塑造，但這並不等同於藝術造詣。此觀察是以近期作品不同的商業與評論反應為背景，例如《Peddi》的高全球票房與《Chand Mera Dil》評價兩極的對比。

Beyond individual performance, Parimoo identifies a systemic failure in the industry's labor structure. He characterizes the prevailing star system as a deceptive facade that marginalizes genuine talent in favor of established names. To mitigate this, he previously proposed a regulatory framework to the Cinema and Television Artists Association (CINTAA), suggesting the implementation of mandatory retirement thresholds based on financial accumulation. This proposal draws a parallel to corporate retirement structures, arguing that the continued dominance of high-earning veterans inhibits the emergence of new talent. Furthermore, Parimoo highlights a profound economic asymmetry, citing the extreme variance between the remuneration of marquee stars and that of seasoned character actors, the latter of whom may possess decades of theatrical experience yet remain in financial instability.

除了個人表現之外，Parimoo 識別出業界勞工結構的系統性失效。他將現行的明星制度描述為一個欺騙性的假象，為了維護既有名氣而邊緣化真正的才華。為了緩解這一點，他先前向電影及電視藝術家協會 (CINTAA) 提出了一套監管框架，建議根據財富累積量實施強制退休門檻。此提案類比於企業的退休結構，主張高收入資深藝人的持續主導地位阻礙了新人才的湧現。此外，Parimoo 強調了深刻的經濟不對稱，引用頂級巨星與資深性格演員之間報酬的極端差異，後者可能擁有數十年的劇場經驗，卻仍處於財務不穩定狀態。

The current state of the industry remains characterized by a tension between entrenched legacy systems and a growing demand for meritocratic professional standards.

目前業界的狀態仍以根深蒂固的傳統制度與對功績主義專業標準日益增長的需求之間的緊張關係為特徵。