Delhi | Bihar’s politics has long been India’s most fascinating laboratory—where caste, power, alliances, and ambition create new equations with every election. But this time, the battlefield isn’t just on the ground—it’s streaming online. SonyLIV’s Maharani Season 4, released on November 7, has blurred the line between reel and real politics. The timing is striking: the release coincided with the Bihar Assembly Elections 2025—just a day after the first phase of polling on November 6, which saw a record 64.66% voter turnout, the highest in the state’s history, and days before the second phase on November 11.
The show’s narrative may appear fictional, but its undertones are unmistakably political. Set in Bihar, it projects the state’s struggles as being rooted in Delhi’s policies. The message is subtle yet sharp: Bihar’s backwardness is not self-inflicted but imposed by the Centre’s neglect. Maharani 4 thus transforms from a political drama into an instrument capable of shaping public perception—portraying the Chief Minister as a champion of Bihar’s “dignity” against central domination.
At the heart of the series is Rani Bharti (played by Huma Qureshi), the Chief Minister of Bihar, who locks horns with the powerful Prime Minister Sudhakar Srinivas Joshi (Vipin Sharma). Joshi, an assertive yet manipulative leader, uses central agencies like the CBI and ED to control state politics. When Rani rejects the PM’s coalition offer live on television and demands special status for Bihar, the Centre retaliates by halting development funds. The storyline evokes a sharp question in the viewer’s mind—has Bihar really been a victim of central politics?
The “special state status” debate is not new in Bihar’s real-life political discourse. By tapping into this emotional chord, the series mirrors the grievances of millions who feel their state has been denied its due. The parallels become even clearer as the series depicts PM Joshi’s party securing 232 seats—eerily close to the NDA’s tally of 234 in the 2024 Lok Sabha polls. Moreover, while real-world leaders like Nitish Kumar and Chandrababu Naidu back the Centre, the series features fictional Chief Ministers from Bengal and Tamil Nadu lending similar support. Even Joshi’s obsession with appearance and wardrobe—traits strongly resembling Prime Minister Narendra Modi—has sparked social media debates about deliberate political mimicry.
While the first half of Maharani 4 walks the fine line between fiction and realism, the second half unapologetically paints the Centre in negative light. The Prime Minister is portrayed as an autocrat and a manipulator of institutions. On social media platform X (formerly Twitter), BJP supporters like @UpendraMPradhan have called the show “pure propaganda timed for Bihar elections,” accusing it of depicting the PM as the villain of Bihar’s misery. Opposition-leaning users, on the other hand, hail it as a bold reflection of truth, exposing how dissent is allegedly silenced by investigative agencies.
Adding to the realism, the character of Roshni—Rani’s daughter—echoes the rise of young leaders like Tejashwi Yadav, while Naveen Kumar’s role bears resemblance to Nitish Kumar or similar coalition-driven politicians. The show further explores dynastic politics when Rani resigns, paving the way for her daughter to become Chief Minister. The narrative reframes political inheritance as familial responsibility rather than nepotism—an idea that could resonate with audiences sympathetic to legacy politics in Bihar.
The deeper question the series raises, however, is not just about representation but influence. With over 63 million internet users in Bihar (as of 2024), and 72% of rural youth consuming OTT content on smartphones, the impact of such politically charged storytelling cannot be underestimated. In an era when entertainment meets electioneering, a show like Maharani 4 has the potential to subtly influence perceptions—and perceptions, in politics, often decide votes.
India’s entertainment industry has witnessed similar patterns before. From Tandav to The Kerala Story, releases timed around election seasons have sparked debates about intent and narrative manipulation. The premiere of Maharani 4 right between two polling phases seems no coincidence. The makers themselves have called it the “most emotional and controversial season yet”—a statement that now seems prophetic.
Whether one sees it as art or agenda, Maharani Season 4 is undeniably a commentary on the power play between Centre and State. It reignites the conversation around Bihar’s development, special status, and federal relationships. But it also blurs the boundary between storytelling and political messaging. When art becomes a vehicle for political thought, democracy must pause and ask: are we watching a drama, or are we witnessing a new kind of campaign?
In that sense, Maharani 4 doesn’t just entertain—it provokes, questions, and perhaps even participates in shaping the narrative of Bihar’s elections.
