iBomma Ravi becomes social media ‘Tagore’

The arrest of Immadi Ravi, the alleged mastermind behind the piracy websites iBomma and Bappam, has triggered an unexpected—and troubling—trend across social media. What began as a law-enforcement breakthrough has now spiraled into an online wave where Ravi is being hailed as a “social media Tagore,” drawing comparisons to Chiranjeevi’s vigilante hero from the 2003 film Tagore. But this glorification of a criminal figure exposes a deeper problem in the digital age: public frustration turning into misguided hero worship.

With movie ticket prices skyrocketing during festival seasons and major releases, many viewers have expressed that piracy became “the only affordable option.” This resentment has fueled the narrative that iBomma Ravi was “doing a service” by making movies accessible for free—a deeply flawed and dangerous interpretation.

Authorities have repeatedly warned that piracy not only causes massive losses to the film industry but also endangers users’ privacy, as many illegal websites steal personal data. Yet the glorification of Ravi is growing, boosted by memes, fan edits, and online debates.

The divide in public opinion is clearly visible:

“Ticket rates have become unbearable. At least he made movies reachable to middle-class people,” said Kishore, college student.

“We don’t support crime, but the industry should learn why people are praising him,” says Lavanya, Housewife.

“Calling him Tagore is ridiculous. He’s not a hero; he’s a criminal hurting thousands of workers in cinema” says Mahesh Allena, Advocate.

Sunitha from Warangal says, “Piracy kills creativity. Glorifying him shows how badly social media is influencing people.”

The real danger lies not just in piracy, but in how quickly the internet can elevate someone with a criminal background into a cult figure. This trend reflects growing public frustration, but misdirected admiration risks normalizing illegal activity and undermines the livelihoods of thousands working in the film ecosystem.

As the debate intensifies, one thing is clear: addressing ticket hikes and the widening gap between industry and audience is crucial—but romanticizing crime is not the solution.