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Finally, some news to cheer. Google announced it would invest a whopping $15 billion (approx. Rs 1.34 lakh crore) in India over the next five years (2026-2030), the biggest to date in the country. The announcement was made at the Bharat AI Shakti event hosted by Google in New Delhi on October 14. This was revealed in the presence of Union Ministers Ashwini Vaishnaw (IT), Nirmala Sitharaman (Finance), Andhra Pradesh CM Chandrababu Naidu and Google Cloud Chief Thomas Kurian. The tech giant revealed that it will open India’s first Artificial Intelligence (AI) Hub in Visakhapatnam (Andhra Pradesh), touted to be the company’s biggest such centre outside the U.S. Ahead of the announcement, Sundar Pichai had held talks with PM Modi about the opening of an AI Hub in India. The Google AI Hub in Visakhapatnam represents a landmark investment in India’s digital future. “This partnership reflects our shared commitment to the Indian and U.S. governments to harness AI responsibly and drive transformative impact for society,” said Kurian. In addition to the new international subsea gateway, Google AI will connect with multiple international subsea cables in Visakhapatnam on India’s eastern coast. This will connect to Google’s more than two million miles of existing terrestrial and subsea cables. This will establish Visakhapatnam as an AI and connectivity hub that not only serves India but the rest of the world. Once operational, it will join Google’s network of existing AI data centres that spans 12 countries. In a post on X, PM Modi cheered the launch of AI Hub as something that aligns with “our vision to build a Viksit Bharat and hoped it would secure India’s place as a global technology leader!”
Inasmuch as one would like to pat the selection committee for facilitating Indian cricket skip a few steps ahead by naming Shubman Gill as captain of the men in blue one-day international team, the committee refused to state its position on the status of Virat Kohli and Rohit Sharma vis-a-vis their selection for the 2027 World Cup. Ajit Agarkar was right in saying that that October 2025 is not the right time to take an affirmative call for an event that’s going to happen in October-November 2027. Surely Agarkar and his committee could no way have “blocked” Virat and Rohit’s seats well in advance to leave the other contenders short-changed. The selection committee may or may not remain the same after next year’s BCCI AGM but a matter of vital importance is whether Virat and Rohit would continue to be picked for all one-day internationals — in all 21 ODIs after the three-match series in Australia. India is scheduled to play South Africa, New Zealand, Afghanistan, West Indies and Sri Lanka (all a three match series at home till November 2026 and England and New Zealand, all a three-match away series) and indeed by end of 2026, a few more cricketers would be pressing hard for a place in the one-day team for the World Cup. India’s Test team will be occupied with a five-Test series at home in January-February 2027 before the scheduled WTC final in London, after which the focus will be on a round of a 50 over matches/tournaments. The million $ question is whether the selection committee and head coach Gautam Gambhir will allow the Virat-Rohit thorn to be in their flesh for that long.
After successfully pushing through GST-2 reforms, PM Modi had been looking for innovative ideas for governance. It was this search for ideas to further fuel his Viksit Bharat that led to him to interact with about 85 secretary-level officers of the government on October 6. About two dozen secretary-level officers heading various ministries and departments actively participated in the discussions. It is learnt officers were thrilled with the personal interaction they had with the PM. Three days after the meeting, Cabinet Secretary TV Somanathan was already acting on their suggestions. On October 9, he wrote to the secretaries and asked them to roll out their ideas. Among the key points of action was promoting “indigenous development” of digital and social media platforms. The directive on digital platforms is significant as the number of internet subscribers in India as on March 2025 stood at 969.1 million, with most using foreign platforms like Instagram, Facebook, WhatsApp, YouTube and X. Significantly, PM Modi pushed for use of local platforms coinciding with the launch of Arattai, the messaging app developed by Tamil Nadu-based Zoho Corporation. Earlier, IT Minister Ashwini Vaishnaw posted on X that he was switching to Zoho’s homegrown office suite software. Likewise, Home Minister Amit Shah too switched his official email service to Zoho Mail. In his letter, the Cabinet Secretary had also dissuaded ministries/departments from avoidable litigation and filing unnecessary court cases and wasting resources. Officials were also told to reorient PhD programmes to promote innovation and development of new ideas, and technologies, through topics that fit the emerging needs of the country – and conceptualise awards at the international level to recognise excellence in various fields. Overall, the ministries have been asked to promote “Atmanirbharta” and reduce imports.
In the last 14 India-West Indies Tests there were 25 centuries and all but two of them were by Indian batsmen. Making hundreds against the West Indies has become almost routine but the remarkable feature is that the Indian youth brigade is coming regularly to the party these days. Shubman Gill, just 26, who made his fifth Test century in just 12th innings as captain, was only a few innings behind Alastair Cook (9) and Sunil Gavaskar (10) in recording the feat. Even Sir Donald Bradman took 13 innings to make that fifth hundred as captain of Australia. Having also assumed responsibility as captain on the tour of England, Gill has five hundreds in the calendar year in his 10 Test centuries overall as he emulates Virat Kohli in making merry when hitting a purple patch of batting form. Pushing him hard in making Test centuries is the opener Yashasvi Jaiswal whose hunger for runs has become a lot more famous than his satiating his physical hunger by helping out at a Pani Puri stall outside the tented ground that was his home in Mumbai. The anger he showed in seeing his captain turn his back on him as he sought a quick single when in his 170s is evidence of how run-hungry Jaiswal is. Not yet 24, he joins South African Graeme smith as a quick collector of seven Test centuries as opener. Run making may get more difficult when Team India plays tougher opposition like South Africa in a home series, but the fact remains that there is a youth brigade that is making India proud again since the halcyon days of Gavaskar in 1971 when the breakthrough victory came in the Caribbean.
In a watershed year for Indian cinema, Kannada and Malayalam industries are leading the charge with blockbuster epics that blend cultural depth with universal spectacle. Rishab Shetty’s Kantara: Chapter 1 has shattered records, amassing Rs 500 crore worldwide, fuelled by its raw portrayal of Karnataka’s ‘Bhoota Kola’ rituals and environmental folklore. Shetty’s dual role as the fierce Panjara— a forest guardian clashing with modernity—delivers visceral action and spiritual resonance, backed by immersive folk music and stunning Udupi landscapes. The film’s grassroots appeal exploded through dubbed versions in Hindi, Tamil, and Telugu, turning rural myths into pan-Indian anthems and earning global acclaim at festivals like Busan. Hot on its heels, Malayalam’s Lokah Chapter 1: Chandra released on August 20, 2025, surged past Rs 300 crore in just six weeks, heralding a superhero saga rooted in Kerala’s matrilineal heritage. Director Dominic Arun masterfully fuses high-octane VFX with emotional intimacy, as producer Dulquer Salmaan crafts a universe where heroine Chandra (Kalyani Priyadarshan) wields ancestral powers against cosmic threats. Priyadarshan’s nuanced turn — from vulnerable orphan to empowered icon — fills a void in female-led genre tales, while spicy dialogue controversies sparked viral debates, boosting theatre footfalls. Salmaan’s bold vision promises spin-offs, blending local lore with Marvel-esque flair. This duo’s dominance underscores a broader renaissance: Gujarati’s Chhello Show 2 breached Rs 100 crore with its heartfelt immigrant saga; Marathi’s Dashaavtar hit Rs 50 crore via satirical family dramedy; and Tamil’s Coolie topped Rs 250 crore in labour-rights thriller mode. Smart OTT tie-ups, dubbed releases, and culturally authentic narratives propel these beyond regional silos, outshining Hindi’s faltering Param Sundari and Sunny Sankari ki Tulsi Kumari. As indigenous voices claim centre stage, Indian cinema evolves into a vibrant mosaic....
IndiGo seems to have cracked it. Their experiment to introduce direct flights between Manchester and Mumbai on July 1, seems to have more than enough takers. Emboldened by such a good response the airline has chalked up plans to add one more destination, Mumbai-London from October 26, making it the 45th destination. IndiGo has direct flights to Manchester and Amsterdam from Mumbai, and now it will be in direct competition with the established British Airways, Virgin Atlantic, and Air India. IndiGo continues its code-sharing as a partner carrier with some European and Middle Eastern airlines. The tremendous traffic growth — both business and regular travellers, the latest signing of the Free Trade Agreement between India and the UK, surge in India–UK activities on all fronts, including culture, has prompted IndiGo to offer this direct service, say aviation insiders. IndiGo will provide a trendy, competitive lower price at Rs 22,000 upwards for return tickets. IndiGo aims to attract budget travellers on its long-haul service. In addition to direct flights between Mumbai-London, it will also commence direct flights between Manchester-Delhi from November 15. It will certainly be good tidings to the residents of Delhi, north India, Gujarat, and Central India. with the vast network it operates from Delhi, being its headquarters. Mumbai serves as a hub for western India pockets. It is contemplating increasing its 3-day a week frequency to its current Tuesday-Thursday-Saturday schedule between Manchester to Mumbai, thus probably making a service of 9 flights freely in a week from Manchester.
Recruitment scam seems to be the new normal. Now, the state of Odisha is rocked by the Sub-Inspector Recruitment Scam. The Opposition parties, BJD and Congress, have been staging demonstrations against the ruling BJP government demanding a CBI probe into the alleged irregularities in Combined Police Service Examination (CPSE) 2024. It is said that the written examination for recruitment of sub-inspectors conducted by the Odisha Police Recruitment Board was postponed after Berhampur Police busted a major recruitment racket with the arrest of 114 aspirants and three middlemen from the Odisha-Andhra Pradesh border on September 30. Subsequent investigation revealed the role of an “organised criminal syndicate” was in place to subvert the entire examination process and give job to people who were willing to pay speed money. Sources say such a scam cannot happen without the blessings of senior government officials. It is alleged that each Sub-Inspector post was being sold for Rs 25 lakh. Informed sources say the scam could be worth around Rs 200 crore. So far Vanik Coaching Centre in Odisha is in focus. In the last 15 months, 16 recruitment exams have been cancelled at the last moment, leaving job aspirants frustrated. The BJP-led government by chief minister Mohan Charan Majhi says the recent recruitment scam in police is the legacy of the previous Naveen Patnaik’s BJD government. When Short Post contacted DGP Y B Khurania he refused to comment saying, “he was going on leave”.
The idiom aging like an old wine seems apt for the 56-year old Bobby Deol. Finally, he has stepped out of the shadow of his father Dharmendra and brother Sunny Deol. For an actor who almost became a recluse and took to drinking, the comeback has proved all his detractors wrong. What changed his life was an innocent question by his children: why is daddy home and not going to work? This is what he said in an exhaustive interview to Times Now‘s Navika Kumar. He went out looking for a job and he was lucky. A web series came his way and his role as Baba Nirala in Aashram (2020) made audiences sit up again. Then came Animal (2023), where his near-silent performance stole the spotlight despite limited screen time. Suddenly, Bollywood’s “forgotten Deol” was the industry’s most talked-about star. Bobby made his debut in Barsaat (1995). With hit films like Gupt, Soldier, Badal and Bichhoo he had carved a niche for himself as the romantic action hero. His downfall started some time in 2010 as a lot of new faces emerged who were versatile. Now cut to current days, he seems breezing with confidence… zipping in and out of film sets or TV news studios. Sure, Bobby has bounced back but diehard industry watchers have a piece of advice for him. “Now, that films are coming the way, he should pick and choose…he should strike a fine balance between art and commerce…that’s a craft he needs to master”.
In the intensely competitive ecosystem of Kollywood, traversing 22 years and reaching Lady Super Star status is no mean feat …in the same demanding profession where beauty, fitness and a modicum of acting talent combine to make a star. Forty-year old Nayanthara has achieved this milestone, still holding steady as one of the highest paid heroines (Rs 7 crore per film) pan India. Before she turned into the legend Nayan, she was Diane Mariam Kurian, dad Kurian Kudiyattu from the armed forces and mother Omana Kurian who bestowed her beauty and grace. Maybe she carried her military disciplined upbringing to her profession. But Nayan, went through some stormy and controversial romantic hookups too…her dalliance with a married Prabhu Deva, her brief affairs with Simbu and Arya provided much chomping fodder to the media, hungry for titillating bits and bytes. From her first film, Manasinakkare in Malayalam in 2003, to playing Sarat Kumar’s lead in Aiyya in 2005 …pairing with Rajinikanth in Chandramukhi which put her in orbit …soon Vijay, Ajitt, Suriya, Vikram, Simbu, Dhanush and Arya were her co-stars. Nayan’s name guaranteed a good box office run. She carried a mythological, Mookuthi Amman on her shoulders and turned a craze among women; the director is now ready with Mookuthi Amman 2. Vignesh Shivan, her husband came into her life with his directed film Naanum Rowdy Thaan, a relationship that merged into marriage in 2002, a much-hyped wedding… Netflix filmed and marketed it. Her twin boys, Uyir and Ulagh keep her busy, even as she still works in films with the same zeal in heroine-oriented roles. Nayan’s cosmetics start-up is sought after by fashionistas.
Jindal (India), part of the BC Jindal Group, is all set to expand its Howrah steel plant in West Bengal with Rs 1,500-crore investment. Already operating two plants in the state producing a range of steel-based downstream products, the group will significantly enhance its production capabilities with this addition. The Jindal Group’s latest investment aligns with its broader plan to scale up steel production across India, aiming to invest Rs18,000 crore over the coming years to enhance overall manufacturing capacity. The new Rs 1,500-crore downstream facility in West Bengal, with an annual capacity of 0.6 million tonnes, is expected to boost the company’s existing capacity by 60%, significantly increasing production of coated flat products, pipes, and crash barriers. According to the company, the commissioning of the new cold rolling complex marks the completion of a key phase in the expansion project, raising Jindal India’s total downstream steel capacity from 1 million to 1.6 million tonnes annually. Currently, Jindal India operates two advanced West Bengal facilities specialising in cutting-edge colour coating, galvanising, and galvalume technologies, further strengthening its position in India’s steel sector. Beyond West Bengal, the company, through its subsidiary, Jindal India Steel Tech is setting up a greenfield steel manufacturing plant in Dhenkanal, Odisha. JISTL plans to invest a total of Rs 15,000 crore in Odisha in three phases by 2030, with the current Rs 3,600 crore investment marking the first phase of the project.
In a watershed year for Indian cinema, Kannada and Malayalam industries are leading the charge with blockbuster epics that blend cultural depth with universal spectacle. Rishab Shetty’s Kantara: Chapter 1 has shattered records, amassing Rs 500 crore worldwide, fuelled by its raw portrayal of Karnataka’s ‘Bhoota Kola’ rituals and environmental folklore. Shetty’s dual role as the fierce Panjara— a forest guardian clashing with modernity—delivers visceral action and spiritual resonance, backed by immersive folk music and stunning Udupi landscapes. The film’s grassroots appeal exploded through dubbed versions in Hindi, Tamil, and Telugu, turning rural myths into pan-Indian anthems and earning global acclaim at festivals like Busan. Hot on its heels, Malayalam’s Lokah Chapter 1: Chandra released on August 20, 2025, surged past Rs 300 crore in just six weeks, heralding a superhero saga rooted in Kerala’s matrilineal heritage. Director Dominic Arun masterfully fuses high-octane VFX with emotional intimacy, as producer Dulquer Salmaan crafts a universe where heroine Chandra (Kalyani Priyadarshan) wields ancestral powers against cosmic threats. Priyadarshan’s nuanced turn — from vulnerable orphan to empowered icon — fills a void in female-led genre tales, while spicy dialogue controversies sparked viral debates, boosting theatre footfalls. Salmaan’s bold vision promises spin-offs, blending local lore with Marvel-esque flair. This duo’s dominance underscores a broader renaissance: Gujarati’s Chhello Show 2 breached Rs 100 crore with its heartfelt immigrant saga; Marathi’s Dashaavtar hit Rs 50 crore via satirical family dramedy; and Tamil’s Coolie topped Rs 250 crore in labour-rights thriller mode. Smart OTT tie-ups, dubbed releases, and culturally authentic narratives propel these beyond regional silos, outshining Hindi’s faltering Param Sundari and Sunny Sankari ki Tulsi Kumari. As indigenous voices claim centre stage, Indian cinema evolves into a vibrant mosaic....
The idiom aging like an old wine seems apt for the 56-year old Bobby Deol. Finally, he has stepped out of the shadow of his father Dharmendra and brother Sunny Deol. For an actor who almost became a recluse and took to drinking, the comeback has proved all his detractors wrong. What changed his life was an innocent question by his children: why is daddy home and not going to work? This is what he said in an exhaustive interview to Times Now‘s Navika Kumar. He went out looking for a job and he was lucky. A web series came his way and his role as Baba Nirala in Aashram (2020) made audiences sit up again. Then came Animal (2023), where his near-silent performance stole the spotlight despite limited screen time. Suddenly, Bollywood’s “forgotten Deol” was the industry’s most talked-about star. Bobby made his debut in Barsaat (1995). With hit films like Gupt, Soldier, Badal and Bichhoo he had carved a niche for himself as the romantic action hero. His downfall started some time in 2010 as a lot of new faces emerged who were versatile. Now cut to current days, he seems breezing with confidence… zipping in and out of film sets or TV news studios. Sure, Bobby has bounced back but diehard industry watchers have a piece of advice for him. “Now, that films are coming the way, he should pick and choose…he should strike a fine balance between art and commerce…that’s a craft he needs to master”.
In the intensely competitive ecosystem of Kollywood, traversing 22 years and reaching Lady Super Star status is no mean feat …in the same demanding profession where beauty, fitness and a modicum of acting talent combine to make a star. Forty-year old Nayanthara has achieved this milestone, still holding steady as one of the highest paid heroines (Rs 7 crore per film) pan India. Before she turned into the legend Nayan, she was Diane Mariam Kurian, dad Kurian Kudiyattu from the armed forces and mother Omana Kurian who bestowed her beauty and grace. Maybe she carried her military disciplined upbringing to her profession. But Nayan, went through some stormy and controversial romantic hookups too…her dalliance with a married Prabhu Deva, her brief affairs with Simbu and Arya provided much chomping fodder to the media, hungry for titillating bits and bytes. From her first film, Manasinakkare in Malayalam in 2003, to playing Sarat Kumar’s lead in Aiyya in 2005 …pairing with Rajinikanth in Chandramukhi which put her in orbit …soon Vijay, Ajitt, Suriya, Vikram, Simbu, Dhanush and Arya were her co-stars. Nayan’s name guaranteed a good box office run. She carried a mythological, Mookuthi Amman on her shoulders and turned a craze among women; the director is now ready with Mookuthi Amman 2. Vignesh Shivan, her husband came into her life with his directed film Naanum Rowdy Thaan, a relationship that merged into marriage in 2002, a much-hyped wedding… Netflix filmed and marketed it. Her twin boys, Uyir and Ulagh keep her busy, even as she still works in films with the same zeal in heroine-oriented roles. Nayan’s cosmetics start-up is sought after by fashionistas.
Trisha Krishnan is a beautiful and talented Tam Brahm enigma in Kollywood. At 40, she is still sought after. Trisha turned into a craze after Ponniyin Selvan, a Mani Rathnam magnum opus, though her Vidaamuyarchi with Ajith left the audience cold. The media and fans are still trying to decode her persona …is she a Cool Cat or is she a Virago Vixen? Those close to her would vouch for a potent mixture of both. And making public statements like her recent bold dare “I am waiting for people to plan my honeymoon too”. Is she tired of the talk about her romantic links or the presumed liaisons (Vijay figures prominently) or is she trumpeting her bold attitude? Not that Trisha is a boring, simpering and simple lady who pulls her housing shell tightly over her head and coils up. Not at all…she is a fun-loving effervescent girl who bubbles more like her Bubbly in her Chennai beach outings with her friends. But she has had some near escapes from permanent betrothal…her relationship with Rana Daggubati went on for long, then suddenly ended. Another engagement to a sturdy South Indian turned stormy, when Trisha stormed out of the ceremony. She does seem to get these last-minute jitters, poor girl but is not prepared for the backlash …constant chatter about her next romance. One such “almost real almost fake news” must have raised her hackles. Filmdom has many such encounters of a nasty kind but only a few like Trisha can take them head on.
Fifty-four-year old national award-winning Bengali actress Rituparna Sengupta flew into the UK recently for the premiere of her film Puratawn (The Ancient). Rituparna held two screenings — London and Manchester — to attract the Indian diaspora and other nationalities. The film received an overwhelming response from her fans and others, as the film revolved around the sensitive subject of dementia. The UK has a huge population suffering from this disease. Over one million suffer today, and the numbers are likely to increase to 1.4 million, say experts, thus making Rituparna’s film more relatable to the UK audiences. The Bengali film with English subtitles explores memory loss, and reconciliation through the story of Ritika, who returns to her ancestral home with her husband to celebrate her mother’s 80th birthday. What begins as a family gathering evolves into a profound meditation on ageing, identity, and the shadows of the past. The film stars screen legend Sharmila Tagore alongside Sengupta and Indraneil Sengupta, with cinematography by Ravi Kiran Ayyagari and music by Alokananda Dasgupta. The film’s delicate treatment of memory and its exploration of the bonds between generations touched the chords of the UK audiences. To Rituparna, producing and acting in the film was both a professional challenge and a personal journey.
There is some mysterious compulsion in film stars who hanker for media projection, compulsively, yet want to play hide and seek with their fans. Often, the liaisons go through many hoops…we are just friends, we are co-stars who respect each other, our families have known each other …but the real relationship surfaces only after many such games. National crush Rashmika and the middle ‘classic’ icon Vijay Deverakonda are supposed to have pledged their future together at an “intimate, private ceremony in Hyderabad”…a news item that immediately raised the radar of not just speculation, but certainty. Soon enough the mainstream media had the news flash. Rashmika may have instinctively realised that she couldn’t make Vijay wait indefinitely. Now the next speculation about how strong the bond is, as the age difference between the two is seven years, and the Telugu hero Deverakonda has been overtaken by Rashmika who has moved into a pan India super slot after her Pushpa, Animal, Chavva, Sikander and Kubera collectively grossing Rs 3,300 crore. Pushpa and sequel have of course hit the top slot many times over, with Rashmika competing equally with Allu Arjun for encore applause, 26 films in her kitty. Telugu audiences went crazy over their super chemistry in Geetha Govindam, the first film starring both, a chemistry that turned into a relationship over time. Forbes India lists Vijay as one of the highest paid Telugu film stars, even though his Kingdom and Khushi met with average success. The wedding is planned for February, 2026…in case you get invited.
This Dussehra weekend produced a striking box‑office lesson: Rishab Shetty’s Kantara Chapter 1, a regional franchise title released in multiple languages, dramatically outperformed the new Hindi release Sunny Sanskari Ki Tulsi Kumari starring Varun Dhawan despite modest marketing for both. Kantara’s all‑language opening was reported at Rs 60 crore, with the Hindi version alone contributing Rs 19.5 crore on day one; SSKTK’s day one tally was roughly Rs 9 crore. On day two Kantara held very strong — around Rs 43.65 crore across languages, with the Hindi slice at about Rs 12 crore — taking a two‑day cumulative near Rs 105.5 crore, while SSKTK dropped to about Rs 5.25 crore on day two, totalling roughly Rs 14.25 crore across two days. Those numbers are revealing. First, the Hindi‑belt audience clearly embraced Kantara’s Hindi version at levels more than double SSKTK’s in the initial 48 hours. This suggests that a compelling story, rooted identity and franchise momentum from the South can translate into pan‑Indian box office power, even against a star‑led mainstream Hindi release. Second, the performance underscores how audiences today often prioritize spectacle, strong world‑building and franchise potential over conventional star vehicles, especially during holiday windows when families seek high‑energy, communal viewing experiences. For Hindi industry stakeholders the takeaway is urgent: star power alone may no longer guarantee opening weekend dominance. Building durable IP, investing in cross‑lingual accessibility, and crafting marketing that conveys the film’s scale and emotional stakes are critical. Simultaneously, distributors and producers should respect release timing and ensure robust promotional pushes in non‑native markets. Kantara’s success is not merely regional pride; it is a reminder that content that feels native yet universal, backed by smart release strategy, can outshine traditional formulas and reshape audience expectations across India.
Tripti Dimri has a larger than life brief to enact when she plays stormy Parveen Babi in a soon to be made biopic by Netflix. Who doesn’t know Parveen Babi’s Royal Afghani lineage, her modelling career careening into Bollywood as a sex symbol, the eight films she co-starred with Amitabh Bachchan, her boldness to take on roles that closet cowards ached to ape, her riveting, sizzling on screen presence that turned on audiences? But destiny dealt a serious blow to her career when she was diagnosed as schizophrenic, soon labelled manic. Imagine her state of mind even as she rode the crest of filmi success when she accused Big B of being a Don, planning to kidnap and kill her. Many more such incidents weighed on her career. She tried a spiritual retreat and overseas trip. In 2005, this tempestuous and beautiful actor died alone in her Mumbai flat. After Tamil actress Silk Smitha’s biopic, Dirty Picture, is this another effort to lay bare an artist’s sad life or is it a homage to Parveen Babi who raked in millions for her producers? In a misogynistic social environment, women who are bold enough to smash so called societal norms are termed easy prey. One only hopes that this biopic will depict her talent and magnetic screen presence marred by mental health issues. Babi lived her personal and professional life on her terms.
Fifty-year old Bollywood actress, model and entrepreneur Shilpa Shetty Kundra is once again mired in controversies. The latest one pertains to Rs 60 crore fraud/cheating case filed by businessman Deepak Kothari, alleging misuse of funds meant for business growth in their now-defunct company Best Deal TV Pvt Ltd. He claims that between 2015-2023, money given for business expansion was used for other purposes, under the pretext of a loan or investment. A lookout circular (LOC) has been issued against both, and the High Court has denied them permission for a foreign trip amid the investigation. Earlier, she was drawn into a controversy involving her husband Raj Kundra over pornography/racy-content apps case, where Kundra was arrested in 2021 for allegedly producing and distributing adult content through mobile apps. During the porn app controversy, many were sympathetic to her, saying she was being dragged into her husband’s business affairs and unfairly targeted by the media. But, in the latest fraud case public sentiment seems divided. Then she said she was not aware of it and got a lot of public sympathy. Such controversy is certainly a setback for a celebrity like her. It has resulted in the closures of her Bandra restaurant being shut down. Shilpa who debuted in Baazigar (1993) has acted in over 50 films in Hindi, Tamil and Kannada. Looks like she has de-risked her strategy. She does not have too many films on her hand. She was recently seen in Hungama 2 and is working in OTT space. Shilpa has moved beyond films – judging reality shows, invested in gym/fitness business, fashion and brand endorsements. The general question everybody is asking is: was she a partner in crime?” Legally nothing has been proved. She and her lawyer are denying culpability. Investigation is ongoing. No court has declared her guilty as of now.
It has become rather hard to classify a film star politician or a politician drawing massive crowds as a star in the South. At least two deputy CMs of significant states have added value to their Star status…Udhayanidhi Stalin and Pawan Kalyan. Pawan Kalyan’s just released film, They Call Him OG, is setting all kinds of records for crowds drawn, collections at box office and the craze for the actor politician. In just two days, OG swept in Rs 200 crore globally. Trade analysts are busy with their matrix of comparison with other “hits”. We in India are quite familiar with cinema and star craze. But Germany had a shocking incident …a poster of Pawan Kalyan was bathed in milk in public and incensed the Germans, who were angry about such low-level civic sense. In a Chittoor (Andhra Pradesh) cinema, a huge garland on the hero’s poster caught fire and people ran helter-skelter. But such over the top intense hero worship is par for the course in a star struck ecosystem. If the star is a weighty politician, the frenzy and celebrity fever only intensifies. Despite record-breaking collections, critics have cautiously slammed the plot and the film. But then do critics matter? When you lead a mammoth fan club, the film just flaunts the Hero…and all is in the well at the Box Office. Keep your hold on those fans …the magic formula.
Janhvi Kapoor has carved a distinctive space in Hindi cinema by consistently balancing content‑driven performances with mainstream, masala entertainers. From early hits like Dhadak to more challenging outings such as Gunjan Saxena: The Kargil Girl, Milli and Good Luck Jerry, her choices have demonstrated a willingness to oscillate between star‑led commercial projects and single‑minded, performance‑oriented films. That versatility has kept her visible: even when her filmography lacks a long list of commercial blockbusters, endorsements, a strong social‑media presence and curated publicity have ensured she remains in the public eye. What sets Janhvi apart is her readiness to embrace markedly different screen personas. On one hand, she takes on glamorous, crowd‑pleasing roles in big‑banner potboilers that rely on charm, song-and-dance and mass appeal. On the other, she accepts taxing, festival‑friendly parts that foreground craft over gloss. Her recent internationally lauded turn in Homebound — playing a marginalized, complex character — has won critical praise and is India’s Official Oscar entry, while her work in more commercial fare continues to draw mainstream attention. This duality is not accidental: it’s a strategic blend that expands her range and broadens her audience. Her upcoming releases further underscore this balance. The Dussehra‑timed Sunny Sanskari Ki Tulsi Kumari positions her in an ultra‑glamorous, high‑energy entertainer aimed at wide family audiences, even as her involvement in arthouse projects keeps her relevant on the festival circuit. Few contemporary actresses manage this tightrope so consistently: to command box‑office visibility while also earning critical credibility. By alternating between mass entertainers and serious, performance‑led films, Janhvi has ensured simultaneous traction in both columns — critical appreciation and commercial promise — keeping her career lively and versatile.
This soft gentle hero, R Madhavan has travelled all the way from a Jamshedpur TamBrahm middle class upbringing to the giddying heights of Bollywood and Kollywood with an untarnished reputation. He also made box office history with strong story line plots of love, sentiment and family bonds, and directed a few patriotic films. His biopic Rocketry: The Nambi Effect on Nambi Narayanan, was warmly received. In a recent media interaction, Madhavan decoded his strategy for choosing between “financial stability and making Good films”. If the overriding concern is financial stability, you tend to grab every film that falls your way …but choosing good films can happen only if you are financially secure. Profound or trite? With Madhavan there is no Dr Jekyll and Mr Hyde stand. This clean-cut hero has come a long way to make his home in Dubai. And that not to be missed trapping…he is the proud owner of a yacht. “There is buzz that I own a ship …nothing of the sort…it is just a Rs 16 crore 75 feet pleasure boat”. There is also talk that Maddy has dabbled in real estate and owns property in Mumbai. Sensible, down to earth middle-class values …use your money in sensible ways, not prowl for instant wealth. He does remind you of Dhoni who succeeded enough to make his name a brand with his outstanding play, quietly made his millions…balanced fame and fortune, curated. Dhoni and Maddy are like peas of the same pod …humble, practical and at the end of the day poster boys for middle class ethos, not razzmatazz power play.
It is striking how quickly lack of marketing leads some producers to resort to manufactured controversy as a substitute for a coherent release strategy. Hindi feature film, ‘Ajey: The Untold Story of a Yogi’, a biopic of Uttar Pradesh chief minister Yogi Adityanath illustrates the risks of that shortcut. The film, directed by Ravindra Gautam with newcomer Anant Joshi in the lead, endured censor delays and repeated postponements, and was released with almost no pre‑release publicity: no sustained trailer campaign, limited social assets, negligible media buying and no visible on‑ground outreach. With no established star, director profile, or promotional momentum, the makers appear to have leaned on controversy to generate interest. Media reports and social chatter suggested that some groups opposed the film and that it faced restrictions in certain overseas markets; those narratives were amplified across news channels and digital platforms, creating a storm of attention that had little to do with the film’s craft or storytelling. By contrast, Jolly LLB 3 benefited from classic, disciplined marketing: franchise recognition, TV integrations, viral short‑form content and broad social amplification. The result was Jolly LLB 3 reported opening day collection of around Rs 13 crore, while Ajey managed barely Rs 20 lakh nationwide. That gulf underlines a simple truth: controversy is not a marketing plan. Manufactured outrage may produce headlines, but it rarely translates into sustained audience trust or ticket sales. The Ajey case serves as a cautionary tale for low‑budget and debut projects. Effective promotion need not be extravagant, but it must be strategic: clear positioning, targeted digital spend, festival and critic engagement, and grassroots visibility. When films are launched without those basics, manufactured controversy becomes an all‑too‑tempting, and usually ineffective, fallback.
Controversy continues to dog Tollywood, this time over the release of four much-awaited films that are set to clash during Durga Puja, the industry’s most lucrative season. Directors Nandita Roy-Shiboprosad Mukhopadhyay, Anik Dutta, Shubhrajit Mitra and Dhruva Banerjee have lined up their big-budget movies — Raktabeej 2, Joto Kando Kolkatatei, Debi Choudhurani, and Raghu Dakat. Despite a recent intervention by a state-appointed committee, industry insiders confirm that disputes have emerged over screen distribution and prime-time show slots. Speculation is rife that Dev’s Raghu Dakat, co-produced with SVF, has secured an edge in theatre count and timings. Writer Jinia Sen (Raktabeej 2) and producer Firdausal Hasan (Joto Kando Kolkatatei) admitted they had heard “market buzz” about Raghu Dakat cornering a good number of theatres. The speculation gained momentum when Trinamool Congress (TMC) spokesperson and actor Kunal Ghosh publicly questioned why an “influential” film had been given extra slots. Though he did not name anyone, many in the industry viewed it as an indirect swipe at actor-MP Dev, his party colleague with whom he has sparred earlier on social media. Dev’s recent release Dhumketu’s co-producer Rana Sarkar hinted at a deeper game. Exhibitors Naveen Chokhani and Jaydeep Mukhopadhyay, along with distributor Shatadip Saha, dismissed claims of preferential treatment for Raghu Dakat, saying no final decisions had been made. Still, several single-screen owners admitted the real pressure would fall on them, as unequal slot allocation during Puja season often sparks discontent. Ghosh also added a political edge, claiming Raghu Dakat owed thanks to TMC for the backing Dev reportedly received from local leaders during district promotions.
Twenty-four action-filled years have passed on in 49-year old Malaika Arora’s life, since she gained global fame for her dance Chaiyya Chaiyya with Shah Rukh Khan atop a moving train in Dil Se. Nothing much has changed for this feisty and fast fashionista…her love for undiluted publicity, fashion statements and boundless energy have only grown along with her passion for fitness. Oh! Yes, her liaisons do make for high voltage news, not surprising that after her divorce from Arbaaz Khan (brother of Salman Khan) social media chatter made her every link newsworthy, especially her long standing relationship with Arjun Kapoor. Now the same ‘GRIPE VINE’ is trumpeting a break with Arjun Kapoor. Recently HT carried an interview with Malaika about her past state of mind and her present transformation, a weighty self-assessment and certification. “Till now my style quotient, dress sense, fashionista status and relationships determined my personality in the eyes of others”. Pardon us, but celebrities are scoped for this very reason, if this scrutiny and projection stop, the celebrity is no longer a celebrity. What was Malaika conveying? Others cannot influence what I should do. “But when I stopped justifying my actions and appearance, I felt a lot more free”. She concluded by forgetting what people think, it’s important what you think of yourself. She justifies her boldness, openness and going that extra mile which has put her on top. For added measure she states that people who contain her in a narrow perception cage are not her well-wishers. Is Malaika down to earth honest or is she styling for her next move? Best to be an enigma and baffle the curious.
People are justifiably wondering about the movie title Idli Kadai, featuring popular Tamil star Dhanush with Nithya Menen as a leading lady. Perhaps the movie may just prove that titles don’t matter as long as the content is gripping. Strangely enough Dhanush seems to have that innate trick of marketing his film through the curiosity factor. In a recent promo event Dhanush talked about his childhood when his family couldn’t afford even idlis, how he yearned for them and hence centrifugal his plot with a well fermented storyline, soft, spongy and sentimental. Like all mid-level heroes, Dhanush is at the crossover crossroads …which option to jump to the next level? Especially after Vijay pole-vaulted to politics and his bête noire Sivakarthikeyan inching to top slot, though Madharaasi fell flat despite the hype. But Dhanush has a leg-up which many don’t have; he can multi-task as an actor, director, singer and scriptwriter. His female lead Nithya Menen is a dependable lead, talented and fearless …though her film Thalaivan Thalaivi was rejected both in cinemas and OTT. In that too Nithya romances a Kothu Parotta seller …food is the rocket to a man’s heart, head and bank.
Recent box‑office disappointments from Baaghi 4 and War 2 to the latest Housefull 5 instalment, all underline a fundamental shift: the star cast no longer guarantees good openings. In past decades marquee names could single‑handedly generate massive opening weekends; today even established superstars such as Tiger Shroff, Hrithik Roshan, Akshay Kumar, Salman Khan, Shahid Kapoor and Jr NTR struggle to ignite the immediate surge that once defined success. High‑profile casts with weak concepts are faltering, while content‑led films and global formats are finding passionate, sustainable audiences. Younger viewers, particularly Gen Z, now prioritise authenticity, narrative innovation and experiential value over celebrity worship. They binge Korean dramas, embrace Japanese anime like Demon Slayer, attend immersive live experiences and discover diverse global content on OTT platforms. The enthusiastic reception for Demon Slayer’s theatrical release and the success of content‑driven films such as Saiyaara demonstrate that strong storytelling, memorable music and convincing world‑building can outdraw even big‑name star vehicles. Conversely, titles that leaned primarily on star power including some recent franchise entries like Baaghi 4 and Housefull 5 have failed to translate celebrity into sustained box‑office momentum. For filmmakers, producers and studios the implications are clear. First, invest in content development: prioritise script refinement, richer character arcs and tonal clarity before locking in headline casting. Second, align casting to story needs rather than assuming star wattage will compensate for weak material. Third, embrace mid‑budget, high‑concept projects that allow creative risk and targeted marketing rather than relying solely on costly tentpoles.
Malayalam cinema’s suave hero, Dulquer Salmaan is truly a Lucky Baskhar. You might think so what? He is a nepo hero from the house of a film legend, Mammootty. Bloodlines can exalt a star only for a limited time, eventually they have to prove their mettle. Dulquer has leaped further than his father. His company, Wayfarer Films just released Lokah: Chapter 1 – Chandra is setting new records at the box office. In just 13 days of showing, it has collected Rs 200 crore and much critical acclaim for its producer Dulquer who plays a cameo in the film. Dulquer is shrewdly strategizing his status not just as a star but a producer of quality stuff. Dulquer’s upcoming film, Kaantha was all set for release on September 12 but he suddenly decided to postpone its release to get the best of Lokah’s ROI. Its cost of production was Rs 32 crore and Dulquer is confident it will bring in Rs 300 crore. He has already announced that he will share the overflow with the crew of Lokah. Dulquer wants Kaantha too, to be an unforgettable film. Success needs well thought out master plans. Luck is the magic component.
Imagine someone sitting next to you in a cinema house describing the climax of a suspense movie. You will be livid for receiving the unwarranted running commentary. You will certainly tend to express your anger in some manner. This is exactly what happened though the end of the incident was totally unimagined. This happened in Chinchwad, Pune, where the famous “The Conjuring: Last Rites” was being screened. Said to be another thrilling chapter of the iconic Conjuring cinematic universe, the movie is based on real events, shown in a powerful and spine-chilling end. As the audience was engrossed in watching the unfolding story with a baited breath, a couple began discussing the plot loudly. The magnanimous husband started dispensing the knowledge and soon reached the climax point. This naturally enraged the people sitting nearby as their interest could not hold after knowing the end. As someone sitting next to the couple asked the husband to remain silent, an altercation ensued. As the complainant was not ready to relent, the husband attacked him. The former’s wife tried to intercede but she, too, had to suffer blows from the attacker. The police have filed a case under various sections of the Indian Penal Code but no arrests have been made since there is no precedent in the annals of the criminal justice history of India.
By this time next week, the biopic on Uttar Pradesh chief minister Yogi Adityanath — Ajey: The Untold Story Of A Yogi — is slated for global release on September 19. The film made in multiple languages traces the remarkable journey of Ajay Singh Bisht, from a Himalayan village to becoming Yogi Adityanath, a monk, spiritual leader and his emergence as CM of Uttar Pradesh. Based on Shantanu Gupta’s bestselling book, The Monk Who Became Chief Minister (published in 2017) the film blends politics and spirituality in a compelling biopic. Gupta says an effort was made to produce it like M.S. Dhoni: The Untold Story (2016).”We got Dhoni script writer — Dilip Jha — to work on the film. Along with Priyank Dubey and me on the script, ” he says. The idea of making the film came to the author during Covid years. Gupta says it was his chance meeting with the California-based NRI Ajay Menji in course of promoting his book that led to the making of the biopic. When asked if Yogi had a sneak preview of the film, Gupta shared that of the two books that he had written on the UP CM, Yogi always preferred the second one — The Monk Who Transformed Uttar Pradesh (2021) — as it showcased his work. “He has not seen the film yet,” says Gupta. With only Bihar polls round the corner and UP polls, a good two years away.”Ajey” may have nothing to do with votes. The film under Samrat Cinematics banner with a modest budget of Rs 35 crore is directed by Lucknow born Rajinder Gautam. It has a stellar cast with Anantvijay Joshi, Paresh Rawal, Nirahua, Ajay Mengi, Rajesh Khattar, Pawan Malhotra, Garima Vikrant Singh and others.
Inban Udhayanidhi is all of 20 years of age even as he moves in as CEO of Red Giant Movies, a production and distribution company, incubated and grown by his father Udhayanidhi Stalin, now deputy CM of Tamil Nadu. In just 17 years, Red Giant emerged as a near monopoly in terms of its scale and reach. Inba, as he is informally called by his closest friends, has the provenance of politics, power and privilege, a DNA soaked in cinematic and political wealth. WunderbarFilms and Don Pictures combined production, soon to be on screen, Idli Kadai directed and lead by Dhanush is the first film to be distributed under Inban Udhayanidhi’s watch. Don’t be irreverent to this banal title …Idli Kadai (idli shop). Dhanush is known to choose powerful themes and dramatic storytelling. Idli Kadai marketed and promoted by Red Giant is expected to strike that Midas touch too, with push and pull from this well-known political family. The news is that Inban is simultaneously being coached and trained in acting, another legacy from his father who could orchestrate his film and family status with agility. In a state where cinema and politics are de rigueur as environmental interests, Inba has his play station all mapped and pegged. Red Giant’s popularity hit a high in 2010 when all four of its distributed films… Vinnaithaandi Varuvaya, Madrasapattinam, Boss Engira Bhaskaran and Myna became popular hits. Since 2022, film promos could no longer use Udhayanidhi’s name as he was Minister for Youth Welfare and Sports. Inban Udhayanidhi inherited the reins. Ah, the inscrutable ways of destiny.
A fresh controversy has erupted in Tollywood with the list of names proposed for the Bengali film review committee, to be submitted in the High Court as part of an ongoing case between a section of filmmakers and the Federation of Cine Technicians and Workers of Eastern India (FCTWEI). The proposed panel has left out practicing Bengali directors, sparking sharp discontent within the industry. The development comes close on the heels of West Bengal chief minister Mamata Banerjee’s directive to single screen and multiplexes to screen Bengali films in primetime. While the order was widely welcomed, insiders now argue that the celebratory mood is being eclipsed by what they describe as a snub to local talent. One of the petitioners, director Indranil Roychowdhury maintained that Kolkata insiders could be influenced and therefore only nationally reputed figures from outside Bengal should be included. The proposed list features directors Dibakar Banerjee, Konkona Sen Sharma, Nandita Das, Adil Hussain, Nagraj Manjule and Hansal Mehta. A senior director, requesting anonymity, pointed out that earlier committees had stalwarts like Prabhat Roy and Haranath Chakraborty, but the new list excludes Tollywood filmmakers. He questioned whether Bengali directors were being treated as outsiders in their own industry. The Calcutta High Court has requested a final committee list by September 8. Information & Broadcasting Secretary Shantanu Basu has been tasked with drawing it up, based on names submitted separately by the 13 petitioner directors and the Federation. Questions have also arisen over whether institutions like SRFTI can serve as committee members, and who will bear the costs of bringing in outstation experts.
It was the audio launch of the just released Sivakarthikeyan film Madharaasi. No point in asking why this title (time was when all south of the Vindhyas were Madrasis often parodied by comedian Mehmood). Sivakarthikeyan did not need aide memoirs or pre coded script to grip audience attention …his TV anchor days experience seamlessly slipped into his hero status on stage. He was all praise for director AR Murugadoss (ARM) and the hit films Deena, Ramana, Ghazni and Thuppakki ..headlined by Thala Ajith, Suriya, Vijay and late Vijayakanth, …each one moulded by ARM to portray powerful roles and make hit films. SK’s praise for the ARM acting method was not stage “feel good” acclaim. The vacancy left by Vijay (riding into politics) and Thala Ajith (adrenaline amped up race cars) were waiting to be filled. Naturally, SK, the romantic comedian hero, has set his sights on an action hero mould …how Madharaasi will catapult him to this fighter mode depends on how powerful his transition is …his Amaran was praised as a classic. Madharaasi’s story is about guns brought in containers to be stored in a factory for future mayhem in TN. This danger needs a suicidal hero to put his life on the line. “I took steroids to replicate an intense craze driven look.” This simple Simon who talks without rancour recalls his struggling aspiring days …even water wouldn’t be given for those who knock on film doors. Today, they ask me Sir , some juice, cake? I have Tamannaah to my left and Samantha on my right…a distraction when I failed to notice Dhanush in the front row. SK has now overtaken his finder, Dhanush. Is SK destined to ride the crest of cinema without borders?
The soon to be released film Manusi led by singer and talented actor Andrea Jeremiah directed by Aram fame Gopi Nainar has a parallel story of its own to recount before release. Manushi is swinging like a pendulum between the Central Board Of Film Certification Board (CBFC), the filmmakers and the Madras High Court. For added misery to producer Vetrimaaran, the film is ready, yet its public viewing is uncertain. So what’s delaying it? The CBFC is apparently unhappy with the film’s potshots at the government, fiery dialogues and what is apparently seen as a mix up with communist ideology. So Vetrimaaran, approached the CBFC and the Madras HC after several cuts of scenes, dialogues chopped and probably ended up making an impactful film, insipid and inane; falling between two stools. CBFC did not give any certificate so the producer approached the HC. Recently, Sun Pictures’ got ‘A’ certificate for Rajini starrer Coolie. Sun Pictures moved the court to get ‘UA’ instead of ‘A’. Probably the makers wanted the youth and kids to view this masterpiece. The Court promptly set aside the plea. But like the Scottish folklore of Robert Bruce, producer Vetrimaaran try again approach seem to have with the HC. He approached the court, objected to the multiple cuts and changes. This time, Judge Anand Venkatesh watched the movie. He was so moved by Manusi and its portrayal of “the dark underbelly of power”. His review of this film was carried in all media. All one can say is that the learned Judge taught movie reviewers to fully understand the nuances of a film before reviewing it. He also ordered a few changes in the film but more importantly, the CBFC had to issue a certificate for release within two weeks.
Sixty-one-year old Govinda, who ruled Bollywood throughout the 90s and then saw years of no work, seems to be in the news for all the wrong reasons. The rumours of his divorce from Sunita has been making headlines at regular intervals. While some dismiss it as a publicity stunt, a few film insiders say it’s for real. A few days back there were reports that wife Sunita and her son Yashvardhan were spotted in the family court, Bandra, Mumbai’s western suburb. A few days later paparazzi got an invite from Govinda-Sunita for the Ganpati festival just to indicate all is well between the couple. Not only those close to the couple say that there were issues and Sunita had been vocal about it. And few it’s a publicity stunt to invite attention. Again, people close to Sunita, she did move the court in December 2024 alleging cheating and desertion. During this time there were strong rumours of some Marathi actress entering Govinda’s life. The latest buzz is that counselling is on and the next court hearing is at the end of the year. Ideally, his diehard fans would want Govinda who has acted in over 165 films to make a big comeback and save his marriage. Wishful thinking!
‘Param Sundari’s opening weekend has put a spotlight back on Siddharth Malhotra’s commercial pull — and the picture isn’t flattering. The film debuted with a Friday of roughly Rs 7.25 crore and, with mixed-to-negative reviews and early controversies (criticism over the portrayal of a Malayali character by Janhavi Kapoor, stereotypical use of Mohiniyattam and jasmine motifs, claims about one song’s origins), is now pegged to finish the weekend near Rs 25 crore. With an estimated production cost of around Rs 50 crore, and reported fees of about Rs 12 crore for Siddharth and Rs 5 crore for Janhvi, theatrical recovery looks challenging unless the film finds strong legs or ancillary revenue. Siddharth’s track record in recent years has been uneven. He has had high points — notably Ek Villain and his supporting turn in Kapoor & Sons — but several solo outings such as Yodha, Thank God, Jabariya Jodi, Mission Majnu, Marjaavaan and others failed to translate into consistent box-office domination. That patchy filmography suggests he is not, at present, a reliably bankable solo star who can guarantee big openings that make producers comfortable taking large commercial bets. In Param Sundari’s case, the controversies and perceived lack of charm relative to mainstream entertainers have clearly dampened audience enthusiasm. The film also invited unfavourable comparisons to more successful masala entertainers like Chennai Express. For Siddharth to reassert himself as a genuine box-office force he needs sharper script choices, stronger director collaborations, and perhaps strategic fee negotiations so producers can allocate more to production and promotion. After Param Sundari he is not a guaranteed box-office anchor.
Once again filmmaker Vivek Agnihotri has been mired in controversy. This time it’s over his soon-to-be-released The Bengal Files. Since the launch of its trailer in Kolkata, it has been locked in legal disputes, political allegations, clarifications from lead actors and objections from freedom fighter Gopal Mukherjee’s grandson. Agnihotri has accused the Mamata Banerjee government of trying to stall the release. He claimed actors Saswata Chatterjee and Sourav Das were compelled by Didi’s government to issue media statements. The Bengali actors distanced themselves, saying they were unaware of the full script and were only briefed on their roles. Saswata Chatterjee, who plays the antagonist, clarified his role was limited to acting, with no involvement in political or historical debates. He admitted he had not read the complete script—describing this as common in the industry—and learned of the title change from The Delhi Files to The Bengal Files only after shooting ended. Santana Mukherjee, grandson of freedom fighter Gopal Mukherjee (Gopal Patha), filed a FIR objecting to the portrayal of his grandfather as a butcher. He described this as distortion, stressing that Patha, a member of Anushilon Samity, owned two goat-meat shops, was a wrestler, and had taken up arms in 1946 to protect civilians from Muslim League attacks. He alleged misrepresentation without consulting the family. Sourav Das, who plays Gopal Patha, distanced himself too, saying he was only briefed on his role. Amid the uproar, National award-winning filmmaker Goutam Ghose released a video statement, noting Bengal’s pioneering role in India’s independence but also its scars from Partition. Ghose insisted films on Partition or communal riots must rest on rigorous research rather than political or emotional motives.
Aryan Khan’s directorial debut arrives with a confident, offbeat pulse that immediately distinguishes it from routine star launches. The promo’s cheekiest beat comes when Aryan breaks the fourth wall, addressing the camera as the familiar, violin-laced Shah Rukh Khan motif plays — an audacious, meta wink that signals reverence without reverence’s usual stiffness. That tonal gamble pays off: the piece feels mischievous and smart rather than self-important. Visually, the promo is polished and assured. Clean frames, slick colour palettes and an Arri Alexa–style sheen hint at streaming-grade cinematic ambition. Art direction and sound design suggest a larger production muscle at work, while the supporting cast — names like Bobby Deol and Raghav Juyal — promise layered turns that complement Aryan’s youthful voice rather than overshadow it. The world he sketches is slightly chaotic and deliberately uncertain, an apt playground for an emerging filmmaker aiming to stake out an identity. Beyond style, the project carries heavyweight goodwill. Glimpses of Shah Rukh Khan and buzz from industry peers amplify attention; Netflix’s visible enthusiasm — from executives in India to global leadership — underscores how much is riding on the series as a conversation-starter for the streamer. But flash isn’t the same as staying power. The promo does its job: it teases tone, talent and production values and provokes curiosity rather than answers. Whether Aryan “scores” will depend on what follows — sharp writing, assured long-form direction and committed performances across episodes. This moment also sits within a broader trend: star children and actor-turned-directors reworking industry legacies into new careers. From the lineage of filmmakers such as Randhir Kapoor and Rakesh Roshan to contemporary scions like Utkarsh Sharma, Junaid Khan and Krishna Shroff exploring directoral roles, filmmaking has long been a family trade.
In her recent interview to Tamil magazine Kumudam, ageless wonder and popular actress Nadhiya talks about the secret of her youthful looks, energy and enthusiasm as if it is as easy as plucking a low hanging fruit off a tree. She made her mark even in her first Tamil film Poove Poochoodava in which she played the granddaughter of another rocking beauty, Padmini. Not just looks but talent too, earning a Filmfare Award. But several Tamil, Telugu and Malayalam films later, it was her role as a single mother in M Kumaran S/O Mahalakshmi that brought her a huge wave of adulation ..Ravi Mohan, Asin and Prakash Raj were just foils to this dedicated actor …she takes her son to be enrolled in school…the Principal insists that the field “father” must be filled. Nadhiya just grabs the pen and fills the form as Son of Mahalakshmi. This scene inspired many single mothers. Then she looked like an older sister to Ravi Mohan …now, paradoxically, he looks like her older brother. At the height of her career, in 1988, she married Shirish Godbole and winged off to America, to live her life as a family maker. What made her give up fame, celebrity status? She is clear why…I knew him as a student, we planned to marry only after he settled down. Two daughters and American life did not erode her magnetism. When she flew into Mumbai, her fans accepted her. Even if she sashayed into her modelling role, she could have launched several products — bangles, sarees, sandals. She shares the secret of her youth and energy…a down to earth attitude to life, eat only when needed, workouts are non-negotiable and focus on tasks. Her fans are perplexed about why this talented and striking beauty is not chosen for more rewarding roles.
On paper this film had everything: a near Rs 400 crore production, two of India’s biggest stars — Hrithik Roshan and Jr NTR — backed by Kiara Advani, Anil Kapoor and Ashutosh Rana, and the marketing muscle of a major studio. It should have been a global blockbuster. Instead it collapsed under its own weight, and the fault lies squarely with the writers. The story is credited to Aditya Chopra, a name associated with some of Hindi cinema’s biggest commercial properties. The screenplay and execution were entrusted to Sridhar Raghavan (whose earlier work on big projects raised expectations) and dialogue by Abbas Tyrewala, a writer capable of sharp lines. Together they should have turned this star-studded canvas into a taut, emotional spectacle. Instead, overconfidence and sloppy plotting have produced a film that looks spectacular but feels hollow. Technically, the film often delivers: lavish set pieces, slick VFX and ambitious action set-pieces that scream big-budget cinema. But those production values only highlight the script’s failures. Characters are one-dimensional; motivations are perfunctory; scenes exist to justify action rather than to emerge from character. Even sequences that should thrill — aerial dogfights, tense confrontations — veer into the absurd and invite laughter instead of awe. This is not a failure of stars or resources but of storytelling. Aditya Chopra’s confidence in scale seems to have tipped into complacency: the belief that marquee names and massive budgets can substitute for a coherent story. What should have been a Rs 1,000 crore-level tentpole looks unlikely even to cross Rs 250 crore. This movie is a reminder: scale magnifies both strengths and weaknesses. No amount of star wattage, stunts or VFX can compensate for an unmoored script.
Malayalam movies abound in realism, and low budgets. But even as these movies gained recognition for down to earth plots, the reality of gender exploitation had become a scourge…female artists often faced casting couch exploitation, and other forms of sexual harassment. AMMA (Association of Malayalam Movie Artists) under superstar Mohanlal faced serious charges, chapter and verse instances that could not be swept under the carpet. The Hema Committee Report forced the entire body to resign and face fresh elections. When former Miss India Femina Beauty Queen, 51-year old Shwetha Menon threw her hat in the ring, the male oligopoly did not take it as a serious threat. But just to ensure Shwetha got besmirched by bad publicity, a scandal campaign on Shwetha made the rounds; it quoted and charged her under Section 67 A of the obscene films law …a smear campaign that would have scorched any other female artist. But not her…she got acquitted. Not only that she worked her way to win 159 votes against actor Devan who got only 132 votes. For the first time in its 31-year old history, AMMA has a female artist as its head. Even though she tries to pun on AMMA, “Yes, a real Amma heads the Association now.” She has a plan but first she wants to get all the members on her side and work without rancour. Workplace sex exploitation is widespread. But women are now getting tough and willing to crack the whip on those whose touch is creepy.
After years of CIA and FBI stranglehold on the global cinema audience, an Israeli spy story series Fauda in 2015 became the benchmark for spine-chilling storytelling, pitting bitter enemies in death strangleholds. Fauda and later Teheran much-watched and lauded spawned a long line of spy thrillers, some even playing out the most recent and may be still unfolding events of Ranneeti: Balakot & Beyond. Fauda was cloned as Tanaav for India. But why clone, when we have our own braveheart stories? Our creative teams scaled new heights in espionage thrillers with Sare Jahan Se Accha, The Family Man, Special Ops (two seasons of pure thrills, spills and chills in which Kay Kay Menon plays the antagonist-protagonist), Sarzameen, Rannneeti: Balakot & Beyond and currently Salakaar, a hit show guaranteed to nail bite to stumps. Naveen Kasthuria, an unmistakable Ajit Doval with Mouni Roy, the alluring honey trap Mariam aka Shrishti, give a new meaning to heroism. Are these new genres building new age heroes? The valiant and versatile intel agents who risk their lives as much as the military combatant, gathering invaluable humint? We predict OTT will be the future launch pad for real life (but unseen) heroes …the reel life ones have had their day. No one denies that these thrillers carry significant hype…intel failures have changed the course of border protection. But it is clearly an era of Sare Jehan Se Acha.
‘Sholay’ has become a legend and keeps on attracting film lovers even after half a century. Many stories, real and apocryphal, associated with it abound. It has been widely reported how some of the actors in ‘Sholay’ were paid small sums for their performances and how they accepted the amounts without any murmur. One of them is veteran Marathi actor Sachin Pilgaonkar, who also has recently celebrated his film career spanning 50 years. Sachin’s role of Ahmed in ‘Sholay’ was very brief but quite powerful. The grandson of a wheelchair-bound septuagenarian, played by AK Hangal, the then teenager Sachin is remembered even today for the effective depiction. Equally interesting is the fact that Sachin was gifted with a refrigerator instead of monetary remuneration. He did not grumble since it was a common practice in those days to compensate in kind. Sachin has since appeared in numerous films and is an icon for the Marathi stage and cinema. His wife Supriya is a household name due to her varied film roles while their daughter Shriya, too, has made her debut on the screen and is well accepted. Recalling the history, Sachin has said in a social media post, “Sholay is an emotion. A celebration. I’ll always be grateful to Ramesh Sippy Ji who I considered one of my Gurus for making me a part of this magnum opus and for giving me the opportunity to learn so much even behind the scenes.”
On August 8, 2025, Bollywood witnessed a disheartening chapter for two of its veteran filmmakers, Suneel Darshan and Rajiv Rai, whose latest releases, Andaaz 2 and Zora respectively, met with resounding rejection at the box office. These senior filmmakers, once titans of the Hindi film industry, are struggling to resonate with today’s audience, their latest works exposing a stark disconnect rooted in their adherence to outdated storytelling and production styles. Suneel Darshan, celebrated for launching stars like Priyanka Chopra and delivering hits like Jaanwar (1999) and Andaz (2001), returned with Andaaz 2, a sequel banking on nostalgia. Similarly, Rajiv Rai, known for stylish, music-driven blockbusters like Vishwatma (1992) and Gupt (1997), presented Zora, a murder mystery. Both films crumbled because of poor execution, weak screenplays and ineffective marketing. Andaaz 2 featured music by Nadeem of Nadeem-Shravan fame and lyrics by Sameer, the names synonymous with 90s chartbusters, but the soundtrack failed to evoke the same magic, sounding dated and uninspired. Zora’ suffered from a weak narrative and forgettable music, failing to capture the intrigue expected of a thriller. Both films were dismissed by audiences underscoring a critical truth: nostalgia alone cannot sustain success in today’s dynamic cinematic landscape. Interviews with Suneel Darshan and Rajiv Rai reveal a bitterness toward past collaborators, particularly actors who no longer align with their projects. This resentment, coupled with their reliance on 90s filmmaking tropes —melodramatic narratives, formulaic music, and predictable plots —highlights their struggle to adapt. The failure of Andaaz 2 and Zora mirrors the struggles of other veterans like Subhash Ghai and Ram Gopal Varma. Filmmakers, regardless of past laurels, must shed outdated baggage and embrace modern techniques.
Amid Chief Minister Mamata Banerjee’s recent call for a “Language Andolan” after alleged assaults on Bengali-speaking migrants outside the state — and her accusation that the BJP is targeting Bengalis through citizenship and voter list revisions — West Bengal’s film fraternity has revived its long-standing demand for primetime slots for Bengali films in all theatres. Leading actor-producers Rituparna Sengupta and Dev, filmmakers Kaushik Ganguly and Srijit Mukherji, SVF heads Shrikant Mohta and Mahendra Soni, among others, wrote to Banerjee alleging that distributors and exhibitors push single-screen theatres and multiplexes to give primetime to Bollywood films sidelining Bengali releases. They noted that such bias is absent in southern states or Punjab, where local films dominate prime slots. The state government has responded with a directive: all cinema halls and multiplexes in West Bengal, except GTA areas, must screen at least one Bengali film in primetime (12 noon–9 pm) for 120 days a year. Filmmaker Aniket Chattopadhyay called it timely, but Eastern India Motion Pictures Association chairman Ratan Saha warned that some theatres could face losses where Bengali viewership is low. The move coincides with Tollywood’s united front ahead of the August 14 release of Dhumketu starring Dev and Subhashree Ganguly. The industry claims distributors of Hrithik Roshan–Kiara Advani’s War 2 have pressured halls to allot all four shows to the Bollywood release during the lucrative Independence Day weekend. This sparked outrage from the Bengali film industry which petitioned Banerjee for fair screen sharing. Clearly, the fight is about survival of Bengali cinema for the next decade. With Dhumketu and War 2 set to collide, Tollywood vows this battle will redefine Bengal’s box-office rules.
Shruti Haasan is drop dead gorgeous…a classic beauty, inherited from both Kamal and Sarika. The powerful range of her voice often rock’s a stage with her talent and superb stage presence. But something has held back her climb to the top as an actor who could have given Nayanthara and Trisha a run for their money. Talent, looks and DNA of provenance, 39-year old Shruti has done over 45 films in Tamil, Telugu and Hindi from her debut in 2009. Her latest movie is Coolie with Rajinikanth. Even as Coolie’s promos are out like mushrooms in the monsoon, Shruti too has found her media voice …“acting with Rajini Sir is a blessing I have longed for. She is banking on Coolie big time. Director Lokesh Kanagaraj, who directed Kamal’s blockbuster Vikram (a film that pulled Kamal from his lean time) teamed up with Shruti for an album….Inimel (from now onwards), a pairing that was not too lauded . But it was Shruti’s stepping stone for Coolie; Lokesh asked her directly if she would join the Rajini film. Who wouldn’t like to act with the legend? Recently she basked in Kamal’s political success as she toured Parliament when he took his oath as a Rajya Sabha MP. The buzz is also strong..her performance in Coolie is one for the arc lights… Shruti Haasan …you deserve to be at that summit.
The release of Son of Sardaar 2 was notably overshadowed by a fierce competition with Dhadak 2, as both films contended for screen space during the ongoing box office success of Saiyaara. Despite the latter’s impressive performance, which left exhibitors reluctant to allocate screens to Son of Sardaar 2, the film ultimately managed to secure a substantial release. The makers had hoped that by postponing their film by a week, they would allow Saiyaara to run its course, thus creating a safer release window. However, to their dismay, Saiyaara continued to dominate the box office, raking in significant revenue even in its second weekend. Opening with a disappointing collection of Rs 7.25 crore on Day one, Son of Sardaar 2 fell short of expectations, particularly given its substantial production budget of approximately Rs 70 crore. It experienced a modest increase on Day two at Rs 8.25 crore and Rs 9.25 crore on Day three (Sunday), bringing its weekend collection to around Rs 25 crore. This figure is considered inadequate for a film of its scale, as even the prequel was just an average fare released in 2012. Critics and audiences alike were quick to point out the film’s outdated humor and weak character development, particularly in Ajay Devgn’s portrayal of the titular “Innocent Sardar.” The casting of Devgn in a role that required a more innocent and naïve demeanor felt misaligned, leading to a perception of the character as a caricature rather than a relatable figure. The writing and overall execution suffered from a lack of freshness, which significantly diminished the film’s appeal. Ultimately, the failure of Son of Sardaar 2 can be attributed to a combination of poor script choices by Ajay Devgn , drawing unfavourable comparisons to his past disasters like Bhola and Auro Me Kaha Dum Tha.
Controversial film ‘Khalid ka Shivaji’ will be removed from the Cannes listings through legal and administrative action following a public outcry, which had alleged that the movie distorts history and hurts public sentiments. Maharashtra cultural affairs minister Ashish Shelar said that it will be investigated how the film was submitted to the Cannes Film Festival by the state machinery in his department. The principal objection is that the film wrongly portrays the legacy of Chhatrapati Shivaji Maharaj. The state government has requested the Centre to revoke the film’s censor certification and halt its screenings. As a result, Central authorities have issued urgent notices to the film’s producers and director Raju More. There are half a dozen objections cited by the film’s critics but the main pertains to a depiction that Shivaji Maharaj had constructed a mosque at his capital, Raigad. Clarifying his side, More has claimed that there are mentions of such a construction in several references. For instance, the Kulaba Gazetteer published by the Union government in 1964 says on page 928 about the mosque and even gives its measurements. Similar mentions are found, he said, pleading that it is the job of the historians to write history and film makers create their works based on that information. In a retort, Hindu Mahasangh leader Anand Dave has appealed to all cinema hall owners in Pune not to screen the movie, alleging that history was tampered with due to such depictions. Dave has taken a strong objection to the film’s title itself.
Coolie is an endangered species even in the busiest of railway stations dominated by all pervasive airline luggage. Yet the megalith entertainment company, SUN Pictures chose this archaic title for the 50th year of Rajini’s super stardom, an enviable success many a hero yearns for. Coolie, certified A, is a big budget, big production teeming with big stars from other languages…big music and naturally big stakes for all concerned. Why did director Lokesh Kanagaraj, who has a whole universe named after him, choose this archaic title for hero Rajini? Maybe he carries the entire load of the film on his superstar back, despite the alphabet language soup of regional stars Aamir Khan, Nagarjuna, Soubin Shahir, Upendra, Sathyaraj, Shruthi Hassan and Pooja Hegde pitching in their weight. Pan India, Coolie is insured to bring in fans of each star …the sum of the parts exceeding expectations. Cinema is truly challenging for number crunchers. To add sound to the music, Anirudh has drummed up a storm with his style of Gen Z music. His hit numbers Powerhouse (Rajini, of course), Chikkudu Vibe, Monica (item song for which Pooja Hegde has swivelled her svelte self) have already stormed Spotify and YouTube. Chennai’s iconic launch pad, the Nehru Stadium went turbo on Coolie’s audio launch. Milling crowds clashed …delirious fans and genuine pass holders had a free for all according to media reports! But quickly quelled by the guards even as Rajini stood up in the sun roof car and acknowledged the cheering crowds. Age cannot wither his style nor custom stale the variety.
Forty-nine-year old Smriti Irani, who took a long break from the entertainment world after plunging into politics, is now back with a bang with her most iconic TV serial Kyunki Saas Bhi Kabhi Bahu Thi on Star Plus. Will her second innings after be successful? But she is not the first to re-enter the acting world. Big B, Govinda staged a successful comeback. In recent times, Kangana Ranaut, who was successfully elected on a BJP ticket from Mandi Lok Sabha constituency in 2024, is also scripting her return to the big screen. Tanu Weds Manu girl will be seen on screen with Telugu superstar Pawan Kalyan, also a force to reckon with in the political world. Successful Kollywood star Khushbu Sundar who entered politics long ago, changed several parties, has been appointed vice president of Tamil Nadu BJP cell. This articulate speaker is also making sure her acting career is also chugging along. The two leading ladies of the 70s Hema Malini and Jaya Bachchan continue to be in active politics…not chasing roles barring a few ads and occasionally signing up for movies. But when it comes to male stars like Vinod Khanna, Shatrugan Sinha and Rajesh Khanna they have not been a spectacular hit in politics. Sure, Sinha became a minister but could not keep that title for too long. Shotgun, a diehard BJP man was forced to quit BJP to join Congress and later TMC. After a long stint in both Samajwadi Party and Congress, Raj Babbar re-entered Bollywood. BJP MP Manoj Tiwari is more of a spokesperson and is seen focusing more on making music videos and songs. Ravi Kishan who is an MP is facing some resistance in UP politics and therefore is looking for more work in TV, OTT and films. It’s an art to manage both worlds.
The 2013 film Raanjhanaa directed by Aanand L Rai, stands as a testament to the power of storytelling, featuring an unconventional pairing of Dhanush and Sonam Kapoor. Its memorable music and poignant direction marked a significant milestone in Indian cinema, propelling Rai into the realm of celebrated directors. The film’s narrative, with its bittersweet ending, resonated deeply with audiences, creating a lasting emotional impact akin to classics like Sadma, Qayamat Se Qayamat Tak and Ek Duje Ke Liye. In the age of artificial intelligence, the temptation to alter established narratives for the sake of novelty or entertainment poses a significant threat to the integrity of original works. The notion of revisiting Raanjhanaa to create a happier ending, albeit under the guise of innovation, undermines the artistic vision of its creators, including the director and writer. Once a film is released into the public domain, it becomes a shared experience, and any post-release alterations—especially those that disregard the original intent—can be seen as a disservice to the creative process. Eros International, the rights holder of Raanjhanaa pursuing an alternate ending without the director’s consent is not just an inappropriate approach; it sets a troubling precedent for other producers. Such actions could lead to a slippery slope where the creative authority of filmmakers is undermined, allowing producers to alter endings at will. Using AI to trivialize or distort established narratives is a misuse of technology. As we navigate the intersection of technology and creativity, it is crucial to uphold the sanctity of original narratives, ensuring that the heart of storytelling remains intact.
The trailer for ‘War 2’ has all the ingredients of a quintessential masala potboiler, promising to deliver an exhilarating cinematic experience. As the sixth instalment in the expansive Spy Universe of Yashraj Studios, this film boasts impressive production values, breathtaking action sequences and a palpable energy that is sure to captivate audiences worldwide. Starring Telugu superstar NTR Jr and Bollywood icon Hrithik Roshan, the film is set to release on August 14th. With simultaneous release in Hindi, Telugu and Tamil, War 2 is expected to make a big impact at the box office. Initial projections suggest that the Hindi box office alone could exceed Rs 50 crore on its opening day, with a global total—encompassing all three languages—expected to surpass Rs 100 crore. If the film crosses the Rs 100-crore mark on its first day, it could potentially gross upwards of Rs 300 crore throughout its theatrical run. Audiences can expect breathtaking visuals, including high-speed chases, intense ground battles, and aerial dogfights, all choreographed to perfection. director Ayan Mukerji, known for his work on Brahmastra brings his visionary approach to the project, while writer-producer Aditya Chopra, celebrated for hits like Tiger 3 and the original War ensures a compelling script. War 2 is shaping up to be the quintessential masala entertainer, blending style, substance and sheer excitement—a formula that has historically resonated with audiences, reminiscent of the fervour generated by the Dhoom franchise for Yash Raj Films.
Probably no other actor, pan India has launched such a plethora of memes as Vadivelu. Tamil media, be it politics, cinema or just everyday life peppers their narratives with Vadivelu memes and gifs…his pathetic expression, beat up state, costumes and crazy dialogues are memorised and talked about, long after taking the bus home from the cinema. The 64-year old Vaigai Payal Vadivelu (reference to a storm from Vaigai river) has acted in countless comedy roles, a comic timing so perfect that it cannot be replicated. At one point he took on hero roles, his 23 Aam Pulikesi, a comic balloon that burst all myths about classic heroes. Suddenly his career climb took a beating as the Tamil Film Producers Council red carded him. It was a temp ban from 2018-2020. But Vadivelu’s drunken outbursts, run in with late Vijayakant founder of DMDK, his films failing all these led to his break. His master comic dialogue, “Varum aana Varadhu” ad libbed by thousands kept the fan following only clamouring for Vadivelu. But Maamannan brought him back…a film which proved that Vadivelu’s versatility was vintage. Director Sudesh Sankar knew what he wanted in Maareesan, the just released film of Vadivelu (as Velayudhaswami Pillai) and Malayalam artist Fahad Fasil (as Dhayalan) under the Super Good Films banner. Maareesan is a serious comedy with shades of humorous pathos.
She seems to hate the media — journalists and paparazzi. And the 77-year old actress-politician Jaya Bachchan makes no bones about it. At every event the paps get a taste of her snide remarks or sarcasm. Recently, at an event she was waiting for her car along with her daughter Shweta. When the car arrived, she sarcastically turned around asked the waiting media, “Chalo, aap log be saath mein, aajayeaa.” A seasoned film journalist say she got the first glimpse of the veteran actress reacting negatively towards media way back in 2013 at Subhash Ghai’s birthday bash at a Andheri pub when a photographer addressed Aishwarya Rai as Aishwarya. Even before the Bachchan bahu could react an angry Jaya Bachchan asked, “Kya Aishwarya Aishwarya bula rahe ho, tumhare class mein padhti thi kya? ‘‘. The ‘Gudi’ actress historically loved by all seems to have surprised media by her rude behaviour. Again, at a public event when an elderly female fan patted her, she immediately shrugged her hands off. One may have noticed she seems to avoid media in general. At the premiere of her grandson Agastya Nanda’s The Archies she even refused to pose for the media and had to be persuaded by the family to do it. At the prayer meeting of Rono Mukherjee, uncle of Kajol and Rani, she muttered something in Bengali at the paps covering the event. Most paps are wondering why she hates their tribe. By her own admission in her granddaughter Navya Naveli Nanda’s podcast she said “I despise the people who interfere in your personal life and fill their stomachs by selling those products. I hate it …”
Vijay Sethupathi, one of the most bankable stars of Tamil cinema is an institution of hits by himself. What happens when this powerhouse loves, clashes, and lives through a stormy marriage with Nithya Menen, an equally bankable leading lady, is the theme of Thalaivan Thalaivii to hit the screens on July 25. There is a small snag here…after a run of hits, especially last year’s Maharaja, Sethupathi stumbled in Ace this year. Maybe the makers wanted insurance for the new release …and they swung it, majorly. Thalaivan Thalaivii is the usual story…Vijay Sethupathi, a parrotta master is drawn towards a Masters holder, Nithya Menen. But director Pandiraj, known for hits like Pasanga, Kadaikutty Singam makes even ordinary, everyday stories extraordinary with his sensitive and layered treatment. Sethupathi and Nithya get married …Is this union a ho hum boredom filled marriage which loses its sheen after the first flush of love and lust fade? Does it turn into a battlefield? The lead pair has a full posse of talented support in Yogi Babu, Myna Nandhini, Saravanan and others who are not to be sneezed at as foils. They bring strong synergy to the script. Santosh Narayanan’s music has heightened the film’s intensity. Already songs Pottala Muttai and Aakash Veeran are social media hits. Every marriage has its quota of love, fights, separation, reconciliation. Has Pandiraj made these spouse dynamics powerful?
Music has always been a cornerstone of Bollywood, shaping the success of films and the careers of newcomers. This is vividly illustrated in the recent release ‘Saiyaara’, featuring debutants Ahaan Panday and Aneet Padda, directed by the renowned Mohit Suri and produced by Akshaye Vidwani under the Yash Raj Films banner. The film has generated significant buzz, thanks in large part to its captivating soundtrack, which has resonated with audiences and critics alike. With an impressive collection of approximately Rs 45 crore in first two days, it’s clear that the combination of fresh talent and compelling music has struck a chord with viewers. Historically, Bollywood has a rich legacy of launching new stars through films that feature memorable love stories and unforgettable music. Classics like ‘Bobby’ ‘Betab’, ‘Maine Pyar Kiya’ and ‘Qayamat Se Qayamat Tak’ exemplify how the right blend of romance and melody can catapult newcomers into stardom. In Saiyaara, the soundtrack, consisting of seven tracks composed by a talented lineup including Mithoon, Sachet-Parampara and Tanishk Bagchi, serves as a powerful marketing tool, drawing in viewers and creating a lasting impression. In today’s competitive cinematic landscape, a strong musical score can be a game changer. The enchanting melodies and heartfelt lyrics elevate the film’s emotional depth, making the love stories more poignant and relatable. Mohit Suri’s understanding of music, showcased in hits like Aashiqui 2 and Ek Villain Returns shines through in this film, creating an experience that feels like attending a concert. Saiyaara exemplifies how a well-crafted musical experience can pave the way for success, ensuring that both the film and its stars are celebrated long after the credits roll.
Pooja Hegde, the almost Miss Universe turns overnight star yet trolled as not lucky for her heroes. She nearly walked away with the Miss Universe Tiara in 2010 but her destiny was in films. Pooja played the heroine in her first Tamil Film Mugamoodi. Now with 17 films, 4 SIIMA Awards, 3 Filmfare nominations and with overwhelming celebration of her beauty there is something lacking in her place as a superstar. Even with Prabhas as lead, ‘Radhe Shyam’ had a lukewarm reception. Despite item numbers Arabhikuthu and Jaalilo Gymkhana sizzling in Beast with Vijay as hero, the film flopped. Salman Khan serenading her in Kisike Bhai Kiseke Jan did nothing to boost the box office for the money backers. Deva and Retro were disappointing, even though the heroes were having a bad spell of filmy luck. But in the world of cinema, if a film fails, the hero does not have to take the whole blame …it is equitably distributed, sometimes passed off as “this heroine’s Rasi is not powerful” superstition. But significantly Pooja’s remuneration kept climbing up simultaneously. Reportedly, she is said to have been paid a whopping Rs 5 crore for ‘Jana Nayakan’ overtaking the remuneration of Kajal Aggarwal and Samantha. With too many films bombing, the buzz spread …Pooja is not a lucky heroine. The trolls only jacked up her demand. Now the draw of her gorgeous persona has gone sky high — 5 million views for a cameo item in Rajinikanth’s Coolie. The number “Monica” is a guaranteed hot number. Pooja overtakes Katrina Kaif and Samantha with her raw appeal. And to shut all trolls, she has signed a new film with Dulquer Salman…yet another validation that trolls and myths cannot stop her rise.
An increasing number of Bengali actors are heading to Mumbai, reflecting a growing trend of migration from Tollywood to Bollywood. Over the past few years, noted actors like Saswata Chatterjee, Jisshu Sengupta, and Parambrata Chattopadhyay have featured in several Hindi films and web series. Even big names such as Prosenjit Chatterjee and Jeet have stepped into Bollywood. Meanwhile, many TV stars from Bengal are also seeking roles in Hindi serials, hoping to make it big in Mumbai. Casting directors like Mukesh Chhabra have gained prominence, especially with the rise of social media. Known for discovering Sushant Singh Rajput, Chhabra is considered a star-maker. He recently visited the sets of Raktabeej 2 and reportedly selected Mimi Chakraborty to play Dona Ganguly in the upcoming Sourav Ganguly biopic. He recently conducted a three-hour workshop in Kolkata which was hosted by Pritimoy Chakraborty, who runs the Kolkata studio. This open-to- all workshop generated widespread interest, especially among Tollywood actors like Tota Roychowdhury, Debdut Ghosh, Debleena Dutta, and Dibyajyoti Dutta. The initiative aimed to build confidence among Bengali actors. He noted that many actors face challenges in diction and presentation, which are crucial in Mumbai’s competitive industry. The workshop addressed how to audition, develop mental strength, and present oneself effectively. Debleena Dutta stated that Kolkata’s work opportunities have visibly shrunk with nepotism affecting casting decisions. Debdut Ghosh highlighted that TV serials in Kolkata have dropped from 40–50 to around 20, and films have declined from 70–100 to around 20. Likewise, investment has halved from Rs 1,200 crore earlier.
Metro In Dino directed by Anurag Basu, has opened to disappointing box office numbers, grossing approximately Rs3.35 crore, a stark contrast to its hefty production budget of Rs100 crore. Despite the film receiving mixed reviews, with some intellectual critics praising its love story, music, and performances—particularly from the lead actress—audience reception has been lukewarm at best. The disconnect between critical acclaim and public enthusiasm is evident, as mainstream viewers have not resonated with the film, leading to a significant drop in expectations. The film’s three-year production timeline raises questions about its viability in an increasingly saturated market. The concept of love anthologies, once fresh and engaging, has been extensively explored across numerous OTT platforms, diluting its novelty. When “Life in a…Metro” was initially conceived in 2007, it boasted a unique premise and a strong musical score, but the landscape has shifted dramatically. With audiences now inundated with similar narratives, the film struggles to stand out. Moreover, the star cast, featuring Aditya Roy Kapoor, Sara Ali Khan, and Pankaj Tripathi, lacks the mass appeal necessary to draw in larger crowds. While each actor possesses talent, they do not command the box office clout that would ensure a successful opening. The ambitious attempt to revisit a concept after 18 years has proven misguided, as audiences have moved on, leaving the film feeling outdated.
Vivek Oberoi may have been crucified by Bollywood because of his fallout with Salman Khan but the same actor today is a successful entrepreneur and real estate baron in Dubai. The actor’s company has a turnover of Rs 1200cr and many Bollywood stars have bought apartments in Dubai through him. Oberoi’s second act or changing career track has impressed one and all. The 49-year old Vivek, son of actor Suresh Oberoi, made his debut as a gangster in Ram Gopal Varma’s Company which was a runaway hit. More success followed. But his relationship with Aishwaraya Rai seemed to have upset Salman Khan. This rivalry saw him losing out as most producers decided to back Salman and sidelined him. With not many offers coming his way, it is learnt that for a fleeting moment he contemplated what Sushant Singh Rajput did. Then he picked up the gauntlet, moved to Dubai and plunged headlong into the real estate business. He was successful. There is a lesson here for lakhs of people; Vivek did not allow lobbies in Bollywood to decide his future and is now doing films on his terms. He was recently seen in Kesari Veer and will be seen playing vidyutjeeva in Nitesh Tiwari’s Ramayan. The actor now lives in Dubai and shuttles between Mumbai, Delhi and Dubai. Not many are aware of his philanthropic activities in the areas of education (he does not like to talk about it) and healthcare. He helps the underprivileged children of Vrindavan and also cancer patients. Vivek had a reason to change his track and fortunately he was successful. Others have tried but in vain. Rajesh Khanna plunged into politics full time while people like Shatrughan Sinha, Hema Malini, Ravi Kishan managed both the world. Amitabh Bachchan’s eternal regret is his political odyssey.
Popular south star Priya Mani Raj, known as Priyamani has many comfort zones as a superb actor (she won the National Award for Paruthiveeran in which she played a rape victim), the OTT series The Family Man was as much about her as the Sri Lankan Terrorist Samantha, ‘1234 get on the dance floor where she sizzled in a racy fun number with Shah Rukh Khan in Chennai Express and many a role as cop or CBI officer. She laughs as she says “I have done so many CBI /cop roles that I may be given a citation”. But even as she indirectly does not want typecast roles, she is grateful that she has gained this recognition…her pleasant looks, versatile performance in all language formats and impact filled roles make her an apt choice for all reasons. So, when Revathy directed Good Wife started filming, Priya was the obvious choice. She plays the role of a lawyer who has hung up her robe, but when her husband is charged in a scandal, she dons her lawyer robe once again. This 6-episode is based on the American OTT series. Forty-one year old Priyamani is also starring in Vijay’s last film (he claims) Jana Nayakan to be released in January, and in a third season of The Family Man on Amazon Prime. This unassuming lady from a middle class South Indian family has truly come a long way.
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Editor’s Note: Short Post Noticed By People Who Matter
Four years have zipped by and we are crossing another milestone on 31st January 2025 – it’s our 4th Anniversary. It feels good.
Looking back at the 1460 days, I must say Short Post has made its mark with people who matter via 4000 stories published in the areas of politics, business, entertainment and sports. All made possible by the unflinching commitment and dedication of our senior editors, most of whom have been part of this journey from Day One.
Small pack, big impact is in essence the story of Short Post which was launched at the height of the Covid-19 pandemic in 2021. It shows our conviction. In all humility, I can say, we have created a new niche in the news segment space like Hindustan Unilever which created a new segment, when it launched CloseUp Gel.
Yes, we have created a brand (in a limited sense), created demand (readers) and created supply (senior journalists). But we are facing teething problems like all start-ups. What makes us happy and confident is the recognition of our efforts. For instance, we have an arrangement with the OPEN Magazine, part of the $4.5 billion Kolkata-based Sanjiv Goenka-RPG Group. This arrangement sees around 10 Short Post stories posted on OPEN Magazine website every week. This arrangement is testimony that our content has been well received! Also, I may add that the Maharashtra government has recognised Short Post and has allowed our senior editor to cover the Assembly sessions. Ditto: Odisha.
Our goal is to ensure that Short Post becomes a habit. I would like people to keep checking their smartphones to know the latest Authentic Gossip. As regards AI and the fear of it disrupting all businesses including media. On that, personally, I have no such fear as I am confident AI cannot smell news particularly Authentic Gossip. That’s the place we are well entrenched.