There are a handful of entertainment journalists in Bangladesh interested in generating views rather than reporting meaningful news. In today’s digital media landscape, clicks often translate directly into revenue. As a result, sensationalism frequently takes precedence over editorial judgment. A recent example is the extraordinary media attention surrounding Madhumita Sarcar. Thanks to the popularity of one of her television dramas, she has gained a recognisable audience in Bangladesh. However, the level of publicity she has received here recently creates the impression that one of India’s biggest film stars -someone of the stature of Aishwarya Rai – has arrived in the country for acting in a film.
Madhumita is not even among the biggest female stars in West Bengal’s film industry. She is neither comparable to long-established names such as Srabanti Chatterjee or Subhashree Ganguly, nor to some of the more recent breakout stars. Yet Bangladeshi entertainment media treated her arrival in Dhaka as a ‘landmark’ cultural event.
This is not the first-time actresses from Kolkata have worked in Bangladesh. Since the 1970s, numerous Indian performers have appeared in Bangladeshi productions. Yet very few, if any, received the kind of overwhelming coverage now being devoted to Madhumita. Ironically, during those decades, Bangladeshi actresses themselves enjoyed considerable fame in Kolkata, even though that popularity was not always reflected in the way their media covered them. Veteran actresses such as Moon Moon Sen, Debashree Roy, and Satabdi Roy never generated this level of excitement in Bangladesh, despite their impressive and years-long careers. Among actresses from Kolkata, perhaps only Rituparna Sengupta achieved sustained popularity on both sides of the border.
The same imbalance can be seen in the opposite direction. Bangladeshi actresses such as Babita, Shabana, Rozina, and Nuton, Champa have worked in joint productions, and several even appeared in Hindi-language films. Nevertheless, they rarely received comparable attention from Indian media. In many cases, their names were even misspelled or inconsistently presented in publications. However, one notable exception is Ferdous, who established a successful career in both Bangladesh and West Bengal, and later appeared in Hindi cinema.
The issue, therefore, is not whether foreign artists should be welcomed. Art has never respected geographical borders, nor should it. The real concern arises when admiration turns into disproportionate hype, overshadowing the achievements of a country’s own artists. Cultural exchange should be based on mutual respect and professional balance – not on one-sided fascination.
Another troubling aspect is the behaviour of a section of the entertainment press during celebrity visits. Press conferences often become opportunities for repetitive and superficial questions rather than meaningful conversations about an artist’s work. On one occasion, a reporter asked an Indian actress what she had already explored in Bangladesh – although she had arrived only hours earlier by road. Such questions reflect a lack of preparation and professionalism rather than genuine journalism.
The rise of YouTube-based entertainment channels has only intensified this trend. Today, anyone with a smartphone and a YouTube account can present themselves as an entertainment journalist. While digital platforms have democratised media, they have also encouraged a culture where sensational headlines, exaggerated praise, and viral clips frequently outweigh thoughtful reporting. This naturally raises a question: if an actress with a relatively modest film career can receive such extraordinary publicity in Bangladesh, how would the media react if internationally recognised stars such as Aishwarya Rai, Deepika Padukone, or Alia Bhatt were to work here?
The imbalance becomes even more apparent when viewed from the opposite direction. How many Bangladeshi actors or actresses receive comparable attention from mainstream media in Kolkata? Outside a few exceptions, coverage is often limited, and when it does appear, it is frequently associated with controversy rather than artistic achievement. This pattern extends beyond a single actress. Bangladeshi media have repeatedly transformed internet personalities and controversial public figures into celebrities simply because they generate clicks and online engagement. Such editorial choices reveal a deeper problem: when popularity is measured primarily by algorithms rather than artistic merit, journalism gradually loses its responsibility to inform and functions mainly as a tool for attracting traffic.
Ultimately, the question is whether the media should create artificial hype at the expense of credibility and fair representation. Entertainment journalism should help audiences discover talent, provide context, and celebrate genuine artistic achievement – not simply chase the next viral headline.
Actresses such as Joya Ahsan, Nusraat Faria and Bidya Sinha Saha Mim, who appeared opposite major Bengali film stars in Indo-Bangladeshi co-productions, were seldom treated as headline artists by Kolkata’s media. More recently, performers like Tasnia Farin and Rafiath Rashid Mithila have earned praise for their work in films and streaming platforms, yet they have not received the sustained spotlight that local actresses in West Bengal routinely enjoy. This highlights a long-standing tendency within sections of Bangladesh’s entertainment media: whenever a foreign artist visits Dhaka, the coverage often exceeds what is justified by professional achievement. There is nothing wrong with celebrating international artists. The problem begins when that enthusiasm comes at the expense of recognising and valuing our own artists.
If the practice of undervaluing local talent while excessively glorifying moderately known foreign celebrities continues, the long-term cost will be borne by Bangladesh’s own film industry. Audiences gradually begin to perceive foreign recognition as inherently more valuable than domestic excellence, weakening confidence in local artists and productions.
Bangladesh is home to an impressive generation of talented actresses, including Mehazabien Chowdhury, Tasnia Farin, Tanjin Tisha, and Nazifa Tushi. Through their brilliant performances, they have demonstrated artistic abilities that can confidently stand alongside performers from any neighbouring industry. Their careers deserve equal enthusiasm, thoughtful coverage, and sustained critical attention from their own country’s media. Healthy cultural exchange should be built on mutual appreciation rather than one-sided admiration.
Perhaps the most important change must come from the media itself. Entertainment journalism should aspire to protect and promote the dignity of Bangladesh’s film industry rather than being driven primarily by clicks, algorithms, and viral headlines. Journalists should invest more effort in telling the stories of the country’s film directors, actors, writers, and technicians whose contributions shape the industry.
Bangladesh possesses many other talented performers capable of achieving international recognition. Creating an environment where their performance is celebrated, critically appreciated, and fairly promoted is not merely the responsibility of the artists themselves -it is also a responsibility of the media that represents them.
The views expressed in this article are solely those of the author
The writer is a senior journalist
