This book chapter examines the construction of global culture and the wide-ranging appeal of global film stars such as Shahrukh Khan through a small sample of the Bollywood films of the 1990s and the new millennium. Using an analysis of Khan’s appearance in the dance sequences of films such as Dil Se (1998), Kuch Kuch Hota Hai (1998), and Om Shanti Om (2007), I question how the Bollywood dancing body is constructed and how appeal and desire are managed and controlled for global consumption. The films of the 1990s revealed a much greater move to engage with the growing Indian diaspora as well as non-Asian audiences, and demanded of their dancers training in particular dance styles and a high level of movement competence. Khan’s place amongst the competitive world of male Bollywood dance stars Hrithik Roshan and Salman Khan for example, is considered in this light. Drawing additionally on ethnographic fieldwork carried out in Bollywood dance classes in the UK, I analyse the effect of Sharukh Khan’s performances on both male and female audiences and dancers and seek to draw some conclusions about the mixed discourses at play in his films as well as the potential ability to cross prescribed and perceived boundaries. How is the diasporic imagination fed through his films? Is there a ‘double’ exoticism at play here? The chapter attempts to unpick the ‘local negotiations of historically shifting relations of image production and consumption’ in the complex context of Bollywood film and Khan’s performances and asks whether he is perceived as the personification of Bollywood itself.