A strange new trend has firmly taken root in the film industry. Whether a film ends up as a flop or an outright disaster, the cast and crew are no longer slowing down or reflecting on the outcome.
Instead, they are keeping themselves busy with “success meets,” “success tours,” public speeches, and temple visits, projecting the film as if it has achieved some major milestone.
A clear example is Mowgli, a film that failed at the box office due to a severe mismatch between its budget and returns. Despite the disappointing collections, the team went all out with success tours, celebrations and media interactions.
The film starred Roshan Karthik, son of anchor Suma Kanakala, who actively participated in these so-called success events, as though the film had emerged victorious at the box office.
The next example features another Roshan...named Roshann Meka, son of actor Srikanth. His film Champion was made on a comparatively big budget but failed to translate that investment into box-office success.
Collections did not justify the scale of the project. Yet, the hero and the team continued with success meets and promotional tours, presenting an image completely disconnected from the ground reality.
Perhaps the most striking example of this trend is Akhanda 2. The film turned out to be a colossal disaster, causing heavy losses to distributors across regions.
Still, director Boyapati Srinu has been projecting it as a success and attempting to position it as a major achievement in the minds of audiences and the trade.
Almost every distributor who invested in Akhanda 2 suffered losses, yet none have spoken out publicly. The silence appears to stem from fear.
Criticizing a film associated with Nandamuri Balakrishna could be seen as inviting trouble, especially given the current political climate in Andhra Pradesh. This silence has only helped the film’s team continue their narrative of “success” without resistance.
Ultimately, this entire circus has little to do with honesty or accountability. It is all about protecting future prospects, maintaining market value, securing the next project, and keeping the illusion alive.
In today’s cinema culture, perception management seems to matter more than box-office truth.