Pushpa2 Tragedy: A journey from story centric movies to market driven entertainment

The tragic death of 35-year-old M Revathi and the critical condition of her nine-year-old son in the ICU, along with the grief of her husband M Bhaskar and their seven-year-old daughter, have brought the spotlight onto the nexus between politics and the entertainment industry. Meanwhile, the loss of wife and child has left M Bhaskar devastated, as he grapples with the aftermath of this heartbreaking tragedy. This incident, stemming from a stampede during a benefit show premiered at night on December 4, for actor Allu Arjun’s latest film Pushpa 2, has ignited a fierce debate across media platforms, with every development—from the actor’s arrest to his subsequent release—feeding into a volatile news cycle.

Polarising Public Opinion

In the midst of this tragedy, Chief Minister Revanth Reddy’s statements in the State Assembly and in Delhi, coupled with Congress leaders condemning stone-pelting at his residence, have further polarised the public opinion. While some rallied in support of Allu Arjun, others blamed the actor and the film industry for prioritising profits over human lives. The fallout of this episode has not only exposed fault lines in the entertainment industry but has also underscored the political machinery’s growing grip on cultural production.

The Inside Story

On December 26, talks were held between CM Revanth Reddy, Dy CM Batti Vikramarka, Home Secretary Ravi Gupta and DGP Jitender and 46 prominent figures from Tollywood. It included 21 producers, 13 directors, and 11 actors. This resulted in a significant decision of banning benefit shows and restrictions on ticket price hikes. This agreement signifies a shift in how the industry must navigate its operations moving forward. But this is not just about ticket prices or special screenings. It is a story of deeper control and exploitation within the Telugu film industry.

A Historical Perspective

Historically, Congress has maintained strong relations with the Telugu film industry, particularly during the 1960s and 1970s. Many actors and filmmakers served as Members of Parliament for Congress during this period, strengthening the party’s influence over the industry. However, this dynamic shifted dramatically with the advent of NT Rama Rao (NTR) into politics.

NTR’s entry in the early 1980s disrupted Congress’s long-standing ties with the film industry. His charisma and larger-than-life persona created a seismic shift, dividing Telugu film industry into two factions—those who remained loyal to Congress and those who aligned with Telugu Desam Party (TDP), which NTR founded. Under NTR’s leadership, TDP rose to prominence and Congress Party’s grip on the film industry began to wane.

Unlike BRS, which cultivated strong ties with the film industry during and after the Telangana statehood agitation, Congress has historically struggled to maintain good relations with Telugu cinema’s power players. BRS leaders like K Chandrashekar Rao (KCR), KT Rama Rao, Harish Rao, frequently attended industry events and vice versa, fostering mutual support. This cordial relationship helped solidify Hyderabad as the epicentre of Telugu cinema. However, after YS Jagan Mohan Reddy became Chief Minister of Andhra Pradesh in 2019, the dynamics began to shift. Jagan maintained a cautious distance from the film industry. This lukewarm approach left the industry, which had considered relocating to Andhra Pradesh, stuck in a limbo. Plans to move production hubs to Andhra Pradesh never materialised and Hyderabad remained the industry’s de-facto home.

With Congress’s return to power in Telangana in 2023, the party has signalled its intent to bring the Telugu film industry under its influence. Unlike BRS’s approach, Congress’s strategy appears more focused on control and creating a level playing field. This latest episode, marked by negotiations between Congress leaders and industry representatives, seems to represent an attempt to sort out longstanding differences and establish a new power dynamic.

In the last 30 years, the Telugu film industry has become synonymous with a handful of powerful families—those of Chiranjeevi, Nagarjuna, Venkatesh, and Balakrishna—who dominate every aspect of filmmaking. These families, backed by financial and political clout, control not only the production and distribution of films but also the theatres themselves. Independent theatres have been systematically brought under their fold, ensuring a monopoly that stifles competition and innovation.

This monopoly extends beyond the big screen. These industry titans own stakes in TV channels, both news and entertainment, creating a 24/7 promotional loop that ensures their films dominate public discourse. Dedicated portals and social media campaigns orchestrated by these families further cement their influence.

Business Model’s Ugly Side

The rise of benefit shows and tiered ticket pricing has turned cinema into a highly profitable venture for producers and stars, regardless of a film’s actual quality. By inflating ticket prices during the first few weeks of release, filmmakers ensure substantial profits within a short span, minimising financial risks. This model, however, relies heavily on cultivating fan hysteria—aided by media leaks, viral videos, and aggressive marketing.

The tragic incident at the benefit show for Allu Arjun’s film exemplifies the human cost of this relentless profit-driven model. The industry’s prioritisation of revenue over safety has now led to irreversible consequences, forcing both the public and policymakers to question its ethical foundations.

Political Aspirations of Actors

In 2008, Chiranjeevi formed the Praja Rajyam Party (PRP), dreaming of replicating NTR’s success and challenging the dominance of established political factions. Though the PRP eventually merged with the Congress in 2011, Chiranjeevi’s foray into politics set a precedent for other actors. After the merger of PRP into Congress party, Pawan Kalyan, Chiranjeevi’s younger brother, formed Jana Sena Party (JSP) in 2014. Over the past decade, Pawan Kalyan has remained active in politics, focusing on issues such as farmer welfare and youth empowerment. Unlike Chiranjeevi, who returned to cinema, Pawan Kalyan has reached a point of no return to the movie industry, cementing his identity as a political leader. In recent years, BJP has made inroads into the Telugu film industry, aligning itself with prominent actors and filmmakers. Chiranjeevi’s Padma Vibhushan award and Allu Arjun’s national recognition are seen as indicators of BJP’s strategy to win over key industry players. Pawan Kalyan, who has maintained a close relationship with the BJP, further underscores this trend, with his Jana Sena Party acting as a bridge between BJP and the industry.

Congress, known for its vengeance politics, appears to be targeting this alliance. By taking on Allu Arjun during the recent benefit show controversy, the party seems intent on sending a message to Pawan Kalyan and his supporters. The underlying caste dynamics, particularly the influence of Kapu, Kamma, and Reddy factions, add another layer of complexity to this power struggle. The emergence of second-generation actors like Allu Arjun, Jr. NTR, Ram Charan and Prabhas have reshaped the industry’s Telugu political and cultural dynamics. These actors, who command massive fan followings, are increasingly becoming symbols of regional pride and identity. Post the bifurcation of Andhra Pradesh, the Congress’s strategy appears to be leveraging sub-regional sentiments to divide the industry and dilute its alignment with the BJP and TDP.

Congress’s New Strategy

With the Congress’s recent resurgence and its attempt to regain power in Telangana and Andhra Pradesh, the party is reportedly seeking to bring the Telugu film industry under its influence once again. The recent controversies surrounding benefit shows, ticket price hikes and the tragic stampede at a film event have provided Congress an opportunity to position itself as a mediator and regulator.

Consolidating Power Through Cinema

The overlap between politics and the entertainment industry is not accidental. It reflects a calculated effort by powerhouses to control not just the narrative but society itself. From managing media coverage to engineering public perception, these efforts function like a well-oiled machine designed to produce outcomes favorable to those in power. Is this nexus a threat to democratic values? By monopolising cultural and political spaces, these powerhouses risk undermining diversity and fostering a culture of conformity. The recent crisis in the Telugu film industry is a reminder that unchecked control—whether in cinema or politics—comes at a significant cost. ­­­The death of Revathi and the injury to her son have catalysed a moment of reckoning for the Telugu film industry. While the Pushpa 2 team has announced a compensation of Rs 2 crore to the bereaved family, such gestures cannot absolve the industry of its systemic flaws. If meaningful reforms are to emerge from this tragedy, they must address the exploitative practices of benefit shows and also the broader monopolistic tendencies that stifle creativity and endanger lives. As Hyderabad remains the epicentre of this ongoing saga, the collision between politics and the entertainment industry continues to raise pressing questions: Who truly benefits from this nexus? And at what cost? The answers will shape the future of Telugu cinema and its role in society for years to come.