When Karan Johar recently admitted that Bollywood’s PR machinery is in “overdrive” and that “everything is available at a price,” it struck a nerve. Not because it was shocking, but because it was familiar. His remarks didn’t expose any secret; they simply confirmed what has been sensed by audiences for years: They have felt the hype that appears to be too unnatural, how uniformly the film is praised, and that what they are being shown isn’t completely true. Because somewhere along the way, Bollywood stopped just promoting stories and started creating them.
The manufactured narrative economy
The perception of a film today is no longer created organically; it’s assembled. The way that film is promoted today includes a standard set of marketing tactics, including direct payment for reviews, influencer campaigns, planted press features, and staged timed releases, and they are becoming increasingly difficult to spot.
For example, a glowing review from a critic may not be an honest opinion, but rather a part of a larger PR effort. A viral reel might not be spontaneous fandom; it might be a paid collaboration. Outrage can be manufactured, then hyped sufficiently to create a trending topic, then quietly redirected.
This is what Johar was hinting at when he spoke about excess. Public relations has expanded so much that it has become indistinguishable from the actual content it promotes.
When mediocrity gets a megaphone
One of the biggest consequences of this system is that it distorts merit. If enough amplification occurs strategically, a mediocre film can feel like a ‘cultural event’. Influencers can create relatable ‘moments’ on cue. Early reviews create a tone before genuine audience reaction has time to emerge.
The problem is not just with bad movies receiving attention; audiences begin to question their own judgment. What does a hit really look like when every movie appears to be a hit online?
The quiet burial of criticism
If PR has the ability to create noise, it can also silence it. Negative reviews are rarely removed; they are just drowned out. Drowned out beneath an artificial tsunami of ‘organically’ generated positive buzz. Critics who have contrary views face boundaries within an ever-changing environment that rewards access over truth.
Over time, this leads to a place where criticism does not disappear but instead loses its relevance. And when honest criticism no longer has a role, the industry loses one of its most valuable types of feedback.
Image management as damage control
The world of PR extends beyond just promoting movies; it’s also a tool for maintaining a celebrity’s reputation. Rather than allowing their controversies to play out naturally, we now have PR reps managing them until all is resolved. To flip the narrative, they use strategic leaks, interviews, and selective amplification.
What audiences remember most about a controversial issue is how well PR has managed the spin, versus the actual event itself. In this way, PR isn’t just selling films; it’s editing reality.
The system beyond the stars
Although it would be simple to blame only celebrities and filmmakers for their overreaching and excessive use of public relations, a more in-depth examination reveals that there’s more to the picture.
Media platforms thrive on engagement, and influencers rely heavily on brand deals. Audiences reward visibility with their attention. PR sits in the middle of this cycle, giving each aspect exactly what they need to continue to survive.
Karan Johar’s suggestion to either slow down or stop PR sounds appealing; however, it creates a second issue: can an industry built on visibility afford to? Because as long as attention is currency, perception will always be up for sale.
Where promotion becomes propaganda
While no one can dispute that marketing has its place, it is essential to understand that film & celebrity promotion are mutually beneficial. That said, the two can exist in harmony, provided that their boundaries are clearly established.
For instance, the idea of “shaping opinion” by using promotion as a tool is something that is becoming more frequent in the Bollywood film industry. The ability to pay for this type of influence (i.e., PR) raises serious questions regarding whether any type of paid PR should still be considered marketing. As such, when this type of influence is paid for and shrouded in mystery, it clearly borders on propaganda. That’s the real issue. Not PR itself, but what it’s turning into.
Final thought
While it is refreshing to see that Karan Johar has identified the promotional excess that has occurred in Bollywood, the bigger problem is not limited to one voice or one moment in time. Paid PR is now embedded in how Bollywood functions, quietly shaping narratives, amplifying some truths while muting others.
And if everything is, as KJo put it, “available at a price,” then the question isn’t just about ethics, it’s about authenticity.
