Filmmaker S S Rajamouli's "Baahubali" films and "RRR" have been blockbuster hits, but the director, who has often been accused of pandering to the majoritarian view, says he distances himself from "either Hindu or pseudo-liberal propaganda".
In an interview with the US publication The New Yorker, the filmmaker took on questions related to the politics of his film, which is nominated in the best song category at the Oscars 2023 for "Naatu Naatu".
He was asked whether there was any political pressure on him to tell certain kind of stories from the Bharatiya Janata Party (BJP) or the Rashtriya Swayamsevak Sangh (RSS).
"No, never directly, never. No one's ever approached me to make an agenda film, whatever the agenda is. Still, for a long time, less prominent people sometimes found objections to my films. Sometimes Muslims have had objections, sometimes Hindus, sometimes different castes," the director told the publication.
The Telugu filmmaker said his agenda is to provide "entertainment" to the audience coming to theatres, irrespective of what their ideology may be.
"I distance myself from either Hindu or pseudo-liberal propaganda. I know there are audience members from those extreme groups in my audience. I know that, but I'm not catering to them. I'm just catering to the emotional needs of the audience," Rajamouli said.
Released in March 2022, "RRR" is a pre-Independence fictional story focusing on two real-life Indian revolutionaries in the 1920s -- Alluri Sitarama Raju (portrayed by Ram Charan) and Komaram Bheem (played by Jr NTR). It also featured Alia Bhatt and Ajay Devgn in pivotal roles.
Rajamouli also responded to the criticism that his films are nationalistic in nature and distort history.
"First of all, everyone knows the 'Baahubali' movies are fictional, so there is nothing for me to say about whether it is a distortion of history to portray historic characters to suit the present BJP's agenda. As for 'RRR', this is not a documentary. This is not a historical lesson.
"It's a fictional take on characters, which has been done many times in the past. We also just talked about (film) 'Mayabazar'. If 'RRR' is a distortion of history, 'Mayabazar' is a distortion of the historic epic," he added.
The director said those who have accused him of supporting BJP or the party's agenda in his cinema forget that a BJP leader had threatened him for showing Jr NTR's Bheem in a skullcap.
"So people can decide for themselves whether I'm a BJP person or not... I hate extremism, whether it is the BJP, Muslim League, or whatever. I hate extreme people in any section of society. That is the simplest explanation that I can give," he added.
On the allegations that he deliberately omitted Mahatma Gandhi's picture in "Etthara Jenda", the final song of the movie, Rajamouli said he was tired of answering that question.
"There are numerous freedom fighters who laid down their lives to attain liberty for our country. I have heard many stories about these freedom fighters from childhood onward. Whichever stories touched me, made me cry, or made my heart swell with pride, those are the historic figures that I chose for that scene," he said, adding that there was room for only eight photos in that song.
"Still, I respect all of the revolutionaries that I chose, and, if I didn't put Gandhiji's portrait there, it doesn't mean I disrespect him. I have huge respect for Gandhiji, no doubt about that," he said.
On a question about whether there was a rise in anti-Muslim sentiment in India, the director said he does not think in those terms.
"I don't know. I don't think in those terms. I always feel like films reflect the society that created them, whatever that society's feelings are. Films reflect the pace of society because filmmakers have to cater to audiences. They'll see what audiences like, what their present mood is, and make films for that.
"If there is a rise in that kind of sentiment in society, those kinds of films will come out. But I always stay away from that. I go a completely different route," he added.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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