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Social media algorithms have rewritten the rules of visibility in Indian public life. They do not reward traditional hierarchy, institutional experience or even consistent ideology. They reward engagement, outrage, novelty, humour, emotion and shareability. The result is a new class of algorithm-born stars who appear everywhere, regardless of a user’s political leanings. Prashant Kishor exemplifies the phenomenon. Once a behind-the-scenes strategist, he is now omnipresent after his Bankipur by-election victory. Short, sharp clips of his speeches, critiques of the status quo and youth-focused messaging travel relentlessly across feeds. Platforms amplify what keeps users scrolling; Kishor’s content delivers high retention, so the algorithm pushes it into timelines of both supporters and sceptics. Neha Bora and the Cockroach Janta Party (CJP) show how the same system can manufacture stars almost from nowhere. Founded by Abhijeet Dipke as satirical pushback against a judicial remark, CJP weaponized memes, AI-generated imagery and youth frustration over unemployment and exam scandals. Within days it amassed millions of followers. Neha Bora, an AISA activist linked to the movement’s hunger strikes and protests, became a recurring face after a viral dance video and protest footage. Algorithms detected the emotional charge and recirculated her content widely, making her unavoidable even for those who never sought her out. The same logic works in reverse. Established BJP-linked celebrities such as Ravi Kishan and Kangana Ranaut, once algorithm favourites, now face meme-driven decline when their content underperforms or invites ridicule. Platforms care little for loyalty; they care about what sustains attention. In the U.S., the 2016 Trump campaign thrived because X’s engagement-driven feed rewarded provocative posts, turning him into a constant presence. Similarly, TikTok’s For You page has elevated obscure creators into political voices, just as Instagram Reels did for CJP....
After facing intense heat from the student community, Opposition parties, and the media, Union Education Minister Dharmendra Pradhan was left with little choice but to step down following the NEET paper leak controversy, despite retaining the support of PM Narendra Modi and Home Minister Amit Shah. His resignation was the core demand of the student-led Cockroach Janta Party to end their 36-day agitation at Jantar Mantar. Following his exit, rumour mills went into overdrive. Would he be assigned a new ministry, or roped in as an election strategist for the upcoming Punjab and Uttar Pradesh polls? Against this backdrop, his recent visits to his home state of Odisha—where he received a rousing welcome from local BJP leaders—are raising eyebrows. Was it a routine visit, or is he planning to base himself back in the state? Immediate speculation suggests an organizational shake-up in Odisha, where Pradhan could be handed a larger regional mandate focused on bolstering the BJP’s grassroots presence. With state elections less than three years away, political analysts believe Pradhan could well emerge as the BJP’s Chief Ministerial candidate for Odisha.
Bhumi Pednekar’s recent statements on the Cockroach Janta Party protests reveal a deliberate pattern of dual engagement rather than ideological flip-flops. In mid-July, she backed student protesters after the ‘Sansad Chalo’ march, condemning police force, highlighting education system failures like paper leaks, and calling for dialogue while noting she did not agree with everything said at the protests. Soon after, she posted a video criticising the abusive slogans against Prime Minister Narendra Modi, calling such language un-Indian and stressing respect for the highest office and cultural values. The video drew sharp backlash for perceived selective outrage. She followed up by defending a young female protester facing rape and death threats, linking it to broader women’s harassment and her own experiences of online bullying. Pednekar was never a hardcore “Modi Bhakt.” Early in her career she supported aligned government initiatives such as the plastic ban and Swachh Bharat messaging, and donated to PM-CARES. Simultaneously, she condemned police violence during the 2019 anti-CAA/Jamia protests and defended peaceful dissent. Her consistent public focus remains gender equality, climate action, and education. She has also indicated openness to politics, saying national service is “in her blood.” No imminent film release drives the timing. Her major upcoming project, the historical epic The Pride of Bharat: Chhatrapati Shivaji Maharaj, is targeted for 2027. The statements appear aimed at sustaining a broad, responsible-celebrity brand: progressive on social issues, respectful of institutions, and positioned for constructive change rather than confrontation. This keeps her relevant across audiences without locking into one political camp
The arrest of former Tamil Nadu deputy CM Udhayanidhi Stalin by the Tamilaga Vettri Kazhagam (TVK) government under chief minister C. Joseph Vijay marks the latest chapter in TN’s long tradition of political vendetta. Booked for alleged sexually suggestive remarks linking Vijay and actor Trisha during a Cauvery protest, Udhayanidhi was detained from his Chennai residence, taken to Thanjavur for questioning, and released on station bail after Madras High Court intervention. The episode reveals how even a fresh political force quickly absorbs the state’s established grammar of power. This pattern is not new. The bitter rivalry between M Karunanidhi and J Jayalalithaa institutionalised revenge as governance. The 1989 Assembly clash, in which Jayalalithaa’s saree was pulled, poisoned relations for decades. After the DMK returned to power in 1996, Karunanidhi’s government filed multiple corruption cases against Jayalalithaa, leading to her arrest and the creation of special courts. In 2001, after AIADMK’s victory, Jayalalithaa repaid the debt with theatrical force: a midnight arrest of the 77-year-old Karunanidhi in a flyover scam case, complete with physical resistance, media cameras, and the detention of Union ministers who tried to intervene. Subsequent regimes followed the same script: raids, selective prosecutions and public humiliation of rivals whenever power changed hands. Vijay’s TVK, which ended nearly six decades of DMK-AIADMK dominance in the 2026 elections, was expected by many to break this cycle. Instead, it has deployed the identical toolkit. In TN, control of the police and prosecution remains the quickest way to assert dominance and settle old scores. Vijay’s early resort to this method shows that star power and outsider status offer no immunity. The train of revenge politics continues, simply with a new driver at the helm.
Though DMK president M K Stalin has lashed out at the TVK government after his son and Leader of the Opposition, Udhayanidhi Stalin, was detained by the police over his allegedly misogynistic remarks, which were seen as targeting a Tamil film actor Trisha, reports from Chennai say Stalin was quite upset with the DMK cadres for taking an anti-woman stance. He reportedly had a strong word for party cadres that had taken part in Udhayanidhi’s Thanjavur meeting. He felt an anti-woman perception about the DMK could put off women voters in the state. Stalin is one DMK leader who is always known to be moderate in his language. It is being said he did not expect the DMK cadres to get involved in his son personal brawl with CM Vijay. Before the Parliament Session, Stalin had even advised DMK MPs also not to directly confront PM Modi. Oddly, Lok Sabha MP Kanimozhi took a position in Udhayanidhi’s support. She dubbed his arrest by the TVK Govt as “blatant cowardice” done with the purpose of preventing him from attending the Legislative Assembly, whose Budget Session begins on August 5. At the same time, Stalin said the TVK government, lacks the resolve to safeguard Tamil Nadu’s rights in the Cauvery water issue and showed no regard for Udhayanidhi’s position as LoP when it arrested him and took him to Thanjavur. He alleged that the government was attempting to intimidate Udhayanidhi by registering cases against him under multiple sections. He questioned the government’s actions, asking, “If the objective was merely to conduct an inquiry, why couldn’t it have been done in Chennai? Why was he taken to Thanjavur?
A day after cabinet expansion on August 3 when he inducted 19 ministers, Karnataka chief minister D K Shivakumar was heard talking tough as sulking MLAs who were left out of the gravy train threatened to quit the Congress party. He declared that he would have no hesitation in accepting their resignations. Interacting with the media, he said those who wish to continue in politics should remain with the party as “if there is a party, everything else follows.” What is the basis for DKS’s confidence in adopting a tough stand? Party sources insist that it is not just that Gandhis have decided to back DKS for now. It is also because the entire cabinet reshuffle exercise was fine tuned in Delhi with inputs of who should be included were filtered by two party functionaries or apparatchiks close to the Gandhis. It may seem odd but the buzz is that two people who helped DKS finalise the cabinet list are: Sunil Kanogulu and Sasikanth Senthil Kumar, a former Karnataka cadre IAS, who is now a Lok Sabha MP from Tamil Nadu. An election strategist, Kanogulu was appointed as advisor by CM Siddaramaiah. This courtesy was extended to him for bringing the Congress to power by strategising its campaign in 2022. Of course, it may be one thing to reward a poll strategist with a plum post but to let him call the shots in cabinet making! Many Congress leaders feel that perhaps the party bosses were perhaps going over the top. Or it is quite possible that Kanogulu may have only been a front; he was being used by a well-oiled machinery to make money for cabinet posts for a section within the party. Or else why would the Cabinet expansion have come exactly two months after DKS took oath as the CM?
The time has arrived for Indian cricket to cast its net far and wide to find fast bowlers and their ilk. The non-availability of the phenomenal achiever Jasprit Bumrah for the two-Test series in Sri Lanka — part of the ICC World Test Championship cycle — is, to put it euphemistically, a massive blow. India is placed fifth on the WTC points table, and the Shubman Gill-led team will be hard-pressed to get its act together in the absence of Bumrah as the spearhead. Talking about the larger picture, and given Bumrah’s plight in the last couple of years, India should embark upon an undertaking to unearth talents for multi-day examinations at the highest level. Bumrah’s limbs are constantly asking questions after eight remarkable years of sending down 1671.5 overs (10031 balls) in 52 Tests, with returns of 234 wickets at a mind-boggling economy rate of 2.77 an over! After his debut in 2018, the fast bowler with a unique action has missed 28 Tests for various reasons; 18 in the last five and a half years. With Mohammed Shami also out of contention, India’s fast bowling stock consists of Mohammed Siraj, Prasidh Krishna and young Gurnoor Brar, who is yet to be capped. The selectors have options for white-ball cricket, but clearly the basket doesn’t have many for the rigours of Test match cricket. Since January 1, 2021, the selectors have chosen 15 fast bowlers, giving opportunities to achievers in domestic tournaments, but only Krishna appears to have made the cut with 25 wickets in seven Tests. And so Krishna is a tyro in a way; he needs a lot more under his belt to play the lead role. With Bumrah laid low, sort of alarm bells are ringing for Indian cricket.
They were a far cry from their best. Yet, the likes of high jumper Anil Sarvesh Kushare, long jumper Murali Sreeshankar, and triple jumpers Praveen Chithravel and Selva Prabhu Thirumaran set the field events on fire during the Commonwealth Games in Glasgow. Decathlete Tejaswin Shankar brought joy by winning a bronze. After the jumpers sustained the interest for a few days, India’s premier achiever in track and field for close to a decade, Neeraj Chopra, was the cynosure of all eyes in the Javelin throw The champion thrower of the spear was not a firm favourite to win the gold, with Sri Lanka’s Rumesh Pathirage closing the contest in the final with an 89.75 m in his second attempt, the only legal effort in six in the showdown. Chopra won the silver and Yash Vir Singh the bronze. Elsewhere in the track events, Gulveer Singh clinched the 5000m bronze and 10000m silver to prove that India has the wherewithal to shine in the long distance running events. He was the first Indian to win two medals in individual events at the Commonwealth Games. While the men picked up nine medals, only Seema Kaliramna (Bhiwani, Haryana) in the women’s progressed for a podium finish – in the discus throw. Only seven of the 29 entered (without the 4×400 men’s relay) ended up winning medals. The sprinters Gurindervir Singh and Animesh Kujur found the going tough within the 100m and 200m dash. India’s medal count, in track and field, at Glasgow was a modest 10 without the yellow metal. Very soon the athletes will compete in a difficult competition at the Asian Games in Japan. Gurindervir and Animesh will get a big opportunity to showcase their gifts.
Following his surprise win in Bihar’s Bankipur bypoll, Jan Suraaj Party founder and election strategist Prashant Kishor described his win as a “message to the BJP.” PK, who had arrived on the election management scene in 2014 by handling the election of PM Narendra Modi, has now managed to enter the state legislative assembly in his home state exposing the underbelly of the BJP. Responding to his win, Kishor asserted that he could succeed only because “people of Bihar want a good CM” someone who can improve education, create employment opportunities for the youth, and ensure that the children of Bihar do not have to migrate elsewhere for work. He even suggested that the BJP leadership should change the Bihar CM before the 2029 Lok Sabha elections. PK’s Jan Suraaj Party which drew a blank in November 2025 assembly elections has suddenly seen an upswing in its fortunes? The NDA had won 202 of 243 seats. So what has happened in the intervening nine months that has altered the mood of people in Patna? According to PK the reason for the change in people’s mood is because BJP leadership opted for Samrat Choudhary, son of former RJD leader Shakuni Choudhry and habitual party hopper, as CM. Modi-Shah zeroed in on Samrat because of his backward Koeri caste. This has resulted in a huge resentment among upper castes who have traditionally backed the BJP. PK had cited Samrat’s alleged criminal antecedents as an election issue. Bankipur has a sizable student population and could have also been swayed by Jantar Mantar protests. Many may have been influenced by PK’s promises to create better educational facilities. Patna, being a Kayastha dominant seat will any day value creation of an equipped education hub. BJP sources, however, insist that Bankipur was lost mainly because the RJD actively transferred its votes to the JSP.
As the Independence Day weekend of 14 August 2026 approaches, two films stand locked in a high-stakes clash: Emraan Hashmi’s Awarapan 2 and Sunny Deol’s Batwara 1947. One rides on 19-year-old cult nostalgia; the other on patriotic scale, Aamir Khan’s production muscle and AR Rahman’s score. Yet trade circles and social chatter note a striking imbalance. While Batwara 1947’s trailer, dropped on 28 July, generated immediate heat and “Gadar vibes,” Awarapan 2 has struggled to sustain comparable mass visibility despite a planned promotional runway. Hashmi’s lead track record largely explains the caution. Since Raaz 3 in 2012, his films have largely underperformed. Selfiee in 2023, Ground Zero and Haq in 2025 were disappointments. Supporting turns in Tiger 3 and the Telugu hit They Call Him OG earned praise and box-office association, but they did not restore the “opening power” once associated with the serial-kisser phase. Audiences have grown selective; nostalgia alone no longer guarantees footfalls when recent leads have disappointed. Against this backdrop, Awarapan 2’s campaign has been steady but restrained. The teaser arrived on 29 June and drew warm fan response for its brooding tone and reworked Toh Phir Aao. Songs followed: Ve Junoon on 7 July and Yeh Awarapan by Arijit Singh on 21 July. A motion poster on 29 July teased the return of Tera Mera Rishta. Vishesh Films had signalled a month-long push centred on music and character. Yet the music has not delivered the expected chart dominance the original album still enjoys. Has Emraan lost hope? Awarapan 2 still holds the advantage of an emotional core and a loyal following that turned the 2007 original into a cult phenomenon long after its theatrical failure. Whether that converts into theatre numbers is a moot point. For now, the marketing gap is real and it mirrors the star-power gap Emraan has been trying to close for over a decade.
Ajay Devgn’s recent trajectory at the box office has raised concerns about his ability to draw audiences to cinemas. While films like Shaitan achieved sleeper hit status, others, such as Auro Kahan Dham Tha were significant disappointments. The much-anticipated Maidan which faced numerous delays, also underperformed upon release, further complicating Devgn’s box office appeal. His filmography in recent years reveals a troubling pattern: while Singham was just average at the box office, it too fell short of expectations of the masses. As audiences increasingly gravitate towards larger-than-life spectacles like Pushpa, RRR or the Marvel franchise, there’s a growing sentiment that they prefer to experience such grand narratives on the big screen. In contrast, Raid 2, a sequel to a content-driven film, may struggle to capture the same level of excitement. The film, while part of a successful franchise, lacks the extravagant elements that draw crowds. Today’s viewers are more inclined to enjoy nuanced storytelling and character-driven narratives from the comfort of their homes on OTT platforms rather than making the effort to visit cinemas for films that don’t promise a spectacular experience. The current cinematic landscape is shifting, and Raid 2 may find it challenging to achieve the box office success that Ajay Devgn once enjoyed. The trailer, while satisfactory, does not evoke the mass appeal needed to draw large audiences. It seems that the class-driven appeal of such films may resonate more with multiplex audiences, but this demographic alone may not suffice to meet the financial expectations that filmmakers have for a big box office return.
The recent failure of Sikandar serves as a significant blow to Salman Khan, particularly given its release during the auspicious Eid season — a time when he has historically been a major crowd-puller with hits like Wanted, Bajrangi Bhaijaan and Kick. Unfortunately, the film’s lacklustre performance is just the latest in a string of disappointments that have plagued his recent projects including Dabangg 3, Race 3, Tubelight, Bharat and Kisi Ka Bhai Kisi Ki Jaan. This trend suggests a worrying decline in his box office appeal. Khan’s portrayal in Sikandar has been criticized for its apparent laziness and lack of enthusiasm. His signature mannerisms, which once captivated audiences, now come across as repetitive and uninspired. Even during emotional scenes, his performance fails to resonate, leaving viewers feeling disconnected. This perceived disinterest in his craft raises questions about his commitment to selecting compelling scripts and delivering performances that capture the audience’s imagination. The essence of Khan’s on-screen persona seems to have shifted towards a brand of “toxic masculinity,” where his attempts to appear effortlessly cool have become tiresome and unoriginal. This disconnect between his star power and the expectations of his audience is becoming increasingly evident, as fans seek more meaningful narratives and authentic performances. The unfortunate fate of Sikandar serves as a stark reminder of the consequences of complacency in the film industry. The film has been rejected by both the masses and critics alike, highlighting a growing sentiment that Salman Khan’s current approach to filmmaking and performance is out of sync with contemporary audience preferences. If he hopes to reclaim his status as a box office titan, a re-evaluation of his acting choices and a renewed commitment to the craft may be imperative.
The simultaneous release of three films, Tumko Meri Kasam directed by Vikram Bhatt, Pintu Ki Pappi by Shiv Hare and Baida by Sudhanshu Rai seems to have skidded at the box office. These films are emblematic of a troubling trend in the industry, characterized by poor marketing, lack of visibility, and minimal audience excitement. Tumko Meri Kasam features Adaah Sharma, Ishwak Singh, Isha Deol and Anupam Kher. However, it suffers from a lacklustre promotional strategy that fails to generate buzz. The film’s dark and dull poster does little to entice potential viewers, making it feel like a B-grade production rather than a cinematic offering worth watching. Similarly, Pintu Ki Pappi is struggling with a title that fails to convey its essence, leaving audiences confused and uninterested. With Ganesh Acharya as the producer and newcomers Sushant and Jaanya Joshi in leading roles, this film too lacks the marketing push to draw the audience. A title like Pintu Ki Pappi may be catchy, but without context or appeal, it risks alienating potential viewers. In the case of Baida, a supernatural thriller that despite its intriguing premise, has not garnered attention. Directed by Sudhanshu Rai who also stars in the film, it suffers from a lack of awareness and visibility. All three films represent small-budget productions that have entered the market without effective marketing strategies or brand recall. The absence of excitement and visibility raises serious questions about how these films expect to attract audiences to theatres. The only commonality among these releases is their dismal box office performance, highlighting the urgent need for filmmakers to prioritize marketing and audience engagement if they hope to succeed in an increasingly competitive landscape.
The legendary trio of Bollywood—Aamir Khan, Shah Rukh Khan, and Salman Khan—continues to command the spotlight as they gracefully embrace their sixties this year. Recently, Aamir celebrated his 60th birthday (Mar 14), generating headlines not only for this milestone but also for announcing a new relationship, which underscores his enduring appeal and the public’s fascination with his personal life. This news resonated throughout Indian media, highlighting the unmatched influence these three superstars wield over the industry. Whenever Shah Rukh, Salman, or Aamir makes a statement or announcement, it instantly becomes a headline, reinforcing their formidable presence in the entertainment landscape. They are not merely actors; they are cultural icons whose words and actions resonate deeply with fans across generations. SRK, with his recent box office triumphs, has reaffirmed why he remains one of the most sought-after stars, effortlessly drawing audiences to theatres. Salman, the perennial Eid favourite, consistently reigns at the box office, with even his less successful films crossing the coveted Rs 100 crore mark—a testament to his box office magic. Though Aamir faced setbacks with his last two films, he remains undeterred, gearing up for exciting projects like Sitare Zameen Par and a collaboration with Lokesh Kanagaraj. Each Khan possesses a unique charm and business acumen that keeps them relevant in an ever-evolving industry. Their timeless appeal mirrors that of legends like Amitabh Bachchan and Rajinikanth, who have crossed 60 long ago, yet remain socially and culturally relevant through their work. As they continue to redefine success, it’s clear that the magic of the Khans remains undiminished, proving that age is merely a number in the realm of Bollywood stardom.
The recent release Mere Husband Ki Biwi has bombed at the box office, collecting less than Rs 5 crore in its opening three days against a hefty making cost of around Rs 60 crore. This underwhelming performance marks yet another flop for producer Vashu Bhagnani. Bhagnani, once celebrated for his successful films, has seen a string of failures such as Ganpat, Mission Raniganj and Bellbottom. He has faced financial setbacks with projects like Bade Miya Chhote Miya and is currently embroiled in a legal dispute with its director. The direction of Mere Husband Ki Biwi was helmed by Mudassar Aziz, known for his earlier works like Khel Khel Mein, Pati Patni Aur Woh and Happy Phirr Bhag Jayegi. The film’s lead actor, Arjun Kapoor, has struggled to find success as a solo performer, with his recent projects—including The Lady Killer, Kuttey and Bhoot Police — failing to make a mark at the box office. Similarly, the leading actresses, including the likes of Bhumi Pednekar, have also faced a streak of underwhelming films like The Lady killer, Afwaah, Bheed, and Rakshabandhan and thus making it difficult for Mere Husband Ki Biwi to generate excitement among viewers. Rakul Preet Singh is known for other disappointments like Thank God, Doctor G, Runway 34, Attack and Marjaawan. With a cast and crew associated with a series of unsuccessful films, the expectations from Mere Husband Ki Biwi were understandably low. Despite attempts to engage audiences with remixed songs, the film has failed to captivate, illustrating that audiences are no longer willing to watch films that lack compelling narratives and star power.
A 30-year-old man from Bengaluru, Abhishek MR, has made headlines after winning Rs 65,000 in compensation from PVR Cinemas, INOX, and BookMyShow for what he described as a waste of time due to lengthy advertisements before a movie screening. The consumer court ruled in his favor, highlighting the principle that “time is money” and labelling the practice as “unfair trade.” This landmark decision has resonated with many moviegoers who often voice their frustrations over ticket prices, the cost of food and beverages, and the excessive time spent watching ads before their favourite films. In 2023, Abhishek booked three tickets to see the film Sam Bahadur, scheduled to start at 4:05 pm. However, the screening was delayed by nearly 30 minutes due to a barrage of advertisements and trailers, prompting him to take legal action. His case has sparked a conversation about the growing dissatisfaction among consumers regarding the overall cinema experience, which often feels marred by high costs and lengthy pre-show content. This ruling has instilled confidence in the average consumer who frequently complains about the escalating expenses associated with a trip to the multiplex. With cinema chains like PVR INOX already facing criticism for their pricing strategies, this decision may serve as a wake-up call for these establishments to reconsider their advertising practices. Many patrons feel that after paying a premium for tickets, they should not have to endure an extended advertising session before the film begins. As multiplexes continue to generate revenue from box office sales, food and beverages, the pressure to provide a more satisfying experience for customers is mounting. This ruling could potentially lead to restrictions on the length and frequency of advertisements, ultimately enhancing the movie-watching experience and restoring consumer trust in the industry.
Thirty six year old Vicky Kaushal is rapidly emerging as the new superstar of the Indian film industry, particularly following the phenomenal success of Chhaava directed by Laxman Utekar. The film has made waves at the box office, grossing over Rs 400 crore plus in just 10 days, marking a significant relief for the exhibition industry, which has been in dire need of such a blockbuster. Chhaava’s success reinforces Kaushal’s status as a leading figure in contemporary cinema. Examining his filmography reveals a trajectory of impressive versatility. While his previous film, Bad News was met with average reviews, his performances in Sam Bahadur and Zara HatKe Zara Bachke showcased his ability to connect with audiences. Kaushal’s breakout role in Uri: The Surgical Strike catapulted him to commercial success, and he has since delivered commendable performances in supporting roles in films like Sanju, Dunki and Raman Raghav 2.0. Vicky’s filmography is a testament to his range, encompassing biopics like Sardar Udham Singh anthology films like Lust Stories and commercial ventures such as Govinda Mera Naam. His journey began as an assistant to Anurag Kashyap, and he has since evolved from art-house films to mainstream cinema. As the veteran superstars — Aamir Khan, Shah Rukh Khan and Salman Khan — become increasingly selective with their projects, and with contemporaries like Ranbir Kapoor and Ranveer Singh also taking fewer roles, Vicky Kaushal stands poised to fill that void. His versatility and consistent performances suggest that he is not just a rising star but a potential new pillar of the industry.
The recent release of Chaava, featuring Vicky Kaushal and Rashmika Mandanna, has ignited significant discussions around the intersection of art and political scrutiny in India. While the film has garnered considerable buzz and attention at the box office, it has also faced backlash from various political groups, often dubbed as the “moral police.” This scrutiny particularly intensified around a promotional song featuring a traditional lezim dance that depicted the historical figure Sambhaji Maharaj in a manner some deemed inappropriate. Critics argued that the portrayal of the king dancing was historically inaccurate and disrespectful, prompting Maharashtra Minister Uday Samant to advocate for a review by historians to preserve the dignity of the Sambhaji Maharaj. In response to this pressure, director Laxman Utekar met with political leader Raj Thackeray and ultimately decided to remove the contentious scene. This incident reflects a growing trend where political entities feel entitled to intervene in Bollywood productions, raising concerns about the freedom of expression for artists. This pattern is not new; previous controversies, such as the uproar over the song “Besharam Rang” from Pathaan and the backlash against the song “Malhari” from Jodha Akbar which faced criticism for its use of the phrase “Vaat Laavli,” underscore the inconsistent responses from the industry and authorities. Sanjay Leela Bhansali, known for his grand historical narratives, has frequently found himself at odds with political outfits, from Jodha Akbar to Padmaavat to Gangubai Kathiawadi. This trend illustrates a troubling reality where the creative landscape is increasingly shaped by political agendas, often at the expense of artistic integrity and historical representation. As the lines between art and politics blur, it raises critical questions about the future of creative freedom in India.
The re-release of Sanam Teri Kasam, a 2016 romantic drama starring debutants Harshvardhan Rane and Mawra Hocane,has been surrounded by an intriguing wave of drama and fanfare. Recently, a passionate group of fans gathered outside the office of producer Deepak Mukut, accompanied by actor Harshvardhan Rane, fervently urging him to re-release the film. In a surprising turn of events, Mukut not only confirmed the film’s re-release but also announced a sequel, generating significant buzz in the industry. Initially launched to lacklustre box office performance, Sanam Teri Kasam was deemed a disaster upon its first release. However, the film’s soundtrack, featuring hit songs, kept it alive in conversations, gradually transforming it into a cult favorite. Now, with its re-release across 400 to 500 screens, Sanam Teri Kasam finds itself in direct competition with two fresh titles: Loveyappa, starring Junaid Khan and Khushi Kapoor, and Himesh Reshammiya’s Badass Ravi Kumar. Interestingly, while both new films struggled to make a significant impact at the box office, Sanam Teri Kasam has shown promising advance bookings, leading many exhibitors to consider increasing its showtimes over the weekend. This resurgence is particularly noteworthy for a film that was initially dismissed, highlighting a curious trend in the industry where previously overlooked content receives a second chance. Adding to the irony, the film’s popular music was composed by Himesh Reshammiya, who is simultaneously competing with his own project, underscoring the unpredictable nature of audience preferences and the evolving landscape of Bollywood.
In recent times, Bollywood has seen a noticeable shift, with many newcomers struggling to leave a lasting impression on audiences. This decline can be traced back to a variety of factors, including the selection of projects that fail to resonate with viewers. Gone are the days when iconic films like Betaab, which introduced Sunny Deol or Rocky which launched Sanjay Dutt, captivated audiences and launched the careers of these stars. So too Jackie Shroff with Hero. In contrast, today’s newcomers like Suraj Pancholi, Siddhant Kapoor and Sasha Agha find themselves lost in films that do not provide them with the platform to showcase their talents effectively. The recent film Azaad featuring Aaman Devgan and Rasha Thadani serves as a case in point. Aaman Devgn, nephew of Ajay Devgn has struggled to make a significant impact, while Raveena Tandon’s daughter Rasha Thadani managed to capture some attention with her performance. Many of the films do not offer the newcomers a fair opportunity to shine; often focusing more on star power than on storytelling. For instance, in Azaad, the narrative centres around the titular horse rather than the lead pair, which diminishes the impact of the human characters. This misalignment can lead to a lack of engagement from the audience, making it difficult for the actors to connect with viewers. Aaman’s performance, despite being camera-friendly, lacks the emotional depth and histrionics that are often necessary to truly engage the audience. In contrast, Rasha stands out with her strong screen presence and impressive dance moves, showcasing a talent that could potentially elevate her career. Ultimately, even when a film does not resonate with audiences, a standout performance can create opportunities for newcomers to prove themselves.
The perception that January is a challenging month for the film industry is not without merit. Historically, this month has often been viewed as a “jinx” for film releases, primarily due to the post-holiday dynamics that affect audience behaviour and box office performance. As people transition from the festive season to their regular routines, several factors contribute to the underperformance of films released in January. Films released in December often enjoy extended viewership due to the holiday season, leaving little room for new releases. Several films released in January have struggled to resonate with audiences, reinforcing the notion that this month is not ideal for cinematic success. For instance, Chhapak, which was released in January 2020, faced challenges at the box office despite its critical acclaim and social relevance. Similarly, in January 2023, films like Fighter and Mai Atal Hu failed to garner the expected audience turnout, highlighting a consistent trend of underwhelming performances during this month. The recent January releases, such as Emergency, featuring Kangana Ranaut, and Fateh, starring Sonu Sood, also struggled to find traction despite significant promotional efforts. This pattern suggests that even with star power and marketing campaigns, films released in January may face an uphill battle to attract viewers. Given the historical challenges associated with January releases, filmmakers and studios may need to reconsider their marketing and timing strategies. To mitigate the risks associated with January releases, studios could explore alternative strategies, such as targeting specific demographics or leveraging unique marketing campaigns that resonate with the post-holiday mindset. As the film industry continues to evolve, understanding the dynamics of audience behaviour and timing will be crucial for maximizing box office potential.
Salman Khan is undeniably one of the most iconic figures in the Indian film industry whose impact transcends mere box office statistics. With a career that spans over three decades, his films–regardless of critical reception — frequently surpass the Rs 100-crore mark signifying his extraordinary appeal and star power. Throughout his illustrious career, Salman Khan has found himself at the centre of numerous controversies and has come unscathed. With a net worth estimated at around Rs 2,900 crore, he is an immensely sought-after star for brand endorsements. However, in recent years, his forays into guest appearances in films such as Baby John, Singham Again, Godfather and Antim have not garnered the kind of response one might expect from the audience. While his cameo in Pathaan was well-received, his lead role in Kisi Ka Bhai Kisi Ki Jaan released on Eid, faced significant criticism and was largely snubbed by both critics and fans alike. Looking ahead, the anticipation surrounding his upcoming film Sikandar is palpable. Directed by AR Murugadoss, this film marks a significant moment in his career, as it will be his first mainstream lead release following Tiger 3. Sikandar represents a pivotal juncture in his career, especially after a series of mixed receptions for his recent projects. Rumours are rife that he is in talks with well-known south director Atlee. Despite his immense charisma and dedicated fan base, a pressing question lingers in the face of ongoing controversies, and the challenges posed by a rapidly evolving industry: whether Sallu bhai at 59 can still captivate the new generation of moviegoers?
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Editor’s Note: Short Post Is Here To Stay…
Time, they say, flies—and how true that is. Here we are celebrating our 5th Anniversary. Five years ago, when Covid-19 was wreaking havoc across the globe, I took a leap of faith and launched Short Post, India’s first website for Authentic Gossip. That was on January 31, 2021. I was convinced there was a clear gap in the market for gossip that was credible, sharp, and impactful—especially if told in just 250 words.
In this, I was fortunate. Scores of senior editors across diverse verticals bought into the idea and, in the process, gave wings to my dream. Quite honestly, Short Post could not have crossed these milestones without the unflinching support of its contributing editors. Like all start-ups, we have seen our share of ups and downs, but these editors have stood by us like a rock. I take this opportunity to doff my hat to them.
Thanks to their commitment, we have published close to 5,000 stories spanning politics, business, entertainment, and sports. I say this with pride: we made our mark as people who matter read us. “Small packs, big impact” truly captures the essence of Short Post.
We all know that Covid-19 has reset businesses worldwide, and the media sector is no exception. In the post-Covid era, investors have become more cautious and selective—and advertisers too. To compound matters, the entry of AI has disrupted the media landscape in equal measure. So far, we have managed to hold our ground, hopeful that some angel investors will take a shine to us.
What gives me confidence is this: AI cannot smell news—especially the gossipy kind. In other words, AI cannot churn out Short Post-type stories, no matter the prompt. That puts us in a safe zone. As someone rightly said, “AI is a co-pilot, not a pilot.”