{"data":{"all":{"edges":[{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"6 students drown during Ganesh idol immersion in T'gana "},"content":{"text":"Six students drowned in a lake during the immersion of Ganesh idol in Telangana’s Sangareddy district on Wednesday, police said. The tragic incident occurred in Peddakanjerla village under Patancheru Police Station of Cyberabad Commissionerate. The youth aged between 17 and 22 years accidentally fell into Neredu Cheruvu and drowned while immersing Ganesh idol. Locals pulled out the youth and shifted them to a hospital, but doctors declared them brought dead. The deceased have been identified as Narasimha (21), Teja (17), Sidhartha (17), Ganesh (18), Sumanth Reddy (17) and Uday Kiran (22). Chief Minister A. Revanth Reddy has expressed deep shock over the death of six students who had gone for the Vinayaka immersion. He conveyed his heartfelt condolences to the families of the deceased and directed the district administration to provide support to the affected families. He also instructed officials to take appropriate precautions during the Ganesh immersion. Minister for Women and Child Welfare, Seethakka, expressed deep shock over the incident. She expressed her anguish over the tragic loss of six young lives during the festive season. She conveyed her heartfelt condolences to the bereaved families and assured them that the government would stand by them during this difficult time. To gather full details regarding the incident, Minister Seethakka spoke with the Sangareddy District Collector over the phone and inquired about the situation. She sought information on the circumstances leading to the accident, the relief operations undertaken, and the assistance being provided to the affected families. The minister also spoke with the Secretary of the Women and Child Welfare Department, Shruti Ojha, to obtain details about the incident. She directed officials to coordinate efforts in providing necessary assistance to the affected families and implementing measures to ensure children's safety. Minister Seethakka advised officials to remain extra vigilant regarding the safety of children. She specifically ordered that adequate precautions be taken to prevent children from approaching dangerous water bodies in areas where immersion ceremonies take place and directed the strict implementation of necessary safety measures."},"img":{"url":"https://images.prismic.io/prad/37e36519-397f-4f79-ad33-bfee1213b21e_Ganesh+Immersion+%284%29.JPG?auto=format%2Ccompress&rect=0%2C278%2C1600%2C789&w=2028&h=1000"},"datetime":"2026-09-16T15:24:00+0000","embed":{"embed_url":null}},"uid":"6-students-drown-during-ganesh-idol-immersion-in-t"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Jagan vs Naidu Over ‘FBI’ Tag"},"content":{"text":"YSR Congress Party president YS Jagan Mohan Reddy on Wednesday slammed Andhra Pradesh Chief Minister N. Chandrababu Naidu over the state police posing as the Federal Bureau of Investigation (FBI) of the United States.  “Under Chandrababu Naidu Garu, Red Book Governance goes global; now featuring the Andhra Pradesh Police posing as the FBI! Fake identity, real threat to democracy,” posted the former Chief Minister on X. “Mr Chandrababu Naidu Garu, is this policing, or state-sponsored deception aimed at politically motivated harassment? Your police force identifying themselves as the US Federal Bureau of Investigation while seeking the removal of posts from X is the most deplorable act that tarnishes the reputation of our state and country,” the YSRCP chief wrote. He said X has confirmed that the takedown request originated from an official Andhra Pradesh Police email address, not the FBI’s. “Yet the officer names ‘FBI’ as the sender organisation. Who ordered this takedown request? Why was the FBI’s identity misused? Was it a deliberate attempt to mislead X and silence voices questioning your government on 1. Unfulfilled Super Six and Super Seven promises 2. DSC Scam 3. Amaravati looting 4. State Debt, Governance failures & harassment,” asked YS Jagan. “The police uniform is meant to protect the law, not to enforce your political censorship. Dragging the name of a foreign investigating agency into a political takedown operation has disgraced Andhra Pradesh and severely damaged the credibility of its police force. The energy spent trying to muzzle critics should instead be directed to fulfil Super Six and Super Seven promises: Support farmers during these tough drought times, create real jobs, drive development, and address what actually matters to the people of Andhra Pradesh,” the former CM said. “Social media makes it impossible to hide behind curated narratives. If this government is confident in its record, it should answer criticism with performance and transparency and not with censorship and harassment,” he added."},"img":{"url":"https://images.prismic.io/prad%2Ff2d009ae-9d6a-4fa0-9f8c-798b77393d30_jaganbabu.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T15:00:00+0000","embed":{"embed_url":null}},"uid":"jagan-vs-naidu-over-fbi-tag"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Ajith’s ‘Dare Devil’ Begins in November"},"content":{"text":"Director Adhik Ravichandran, who is directing actor Ajith Kumar's upcoming Tamil film titled 'Dare Devil', on Wednesday announced that shooting for the film will commence from November 2 this year.  Taking to his X timeline to share the update on the film, a day before his birthday on Thursday, the young director, who is known to be a fan of actor Ajith Kumar, wrote, \"My Sir’s Advance Birthday Gift to me. Yes, we are rolling the dice from November 2. #AK sir’s #DareDevil. #Shalini mam @Braveheartsprod @anirudhofficial sir @SureshChandraa sir @AbinandhanR @editorvijay @supremesundar #Subbhunaarayan @itsanuvardhan @kayoas13 @valentino_suren @AMBANINSK.\" The director also shared a brand new poster of the film on the occasion that confirmed that Ajith Kumar would be playing the character of Dare Devil in the film. The new poster featured Ajith Kumar seated on a chair, sporting a serious look and having dice in his hand.  Interestingly, the film is being produced by Ajith Kumar's wife Shalini Ajith Kumar under the banner of Brave Hearts Production. 'Dare Devil', which is being eagerly awaited by Ajith's fans, boasts of a sound technical team. The film will have music by one of India's top music directors Anirudh Ravichander. Cinematography for the film is to be handled by Adhik Ravichandran's trusted cameraman Abhinandan Ramanujam, who had also been the Director of Photography for the director's earlier film with Ajith Kumar, 'Good Bad Ugly'. Similarly, editing for this film too is to be handled by Vijay Velukutty, who had also served as the editor in Adhik Ravichandran's 'Good Bad Ugly'. Stunts for 'Dare Devil' are to be choreographed by well known stunt choreographer Supreme Sundar. Dances in the film are to be choreographed by the immensely popular Kalyan Master.  The responsibility of designing costumes for the film has been entrusted to Anu Vardhan while sound design will be handled by Suren."},"img":{"url":"https://images.prismic.io/prad/HOCnl1EW78VNZUSO_ajithdoordie.JPG?auto=format%2Ccompress&rect=0%2C147%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-16T16:20:00+0000","embed":{"embed_url":null}},"uid":"ajiths-dare-devil-begins-in-november"}},{"node":{"tags":["Health"],"data":{"third_party_url":null,"title":{"text":"Heart Crisis Grips Young India"},"content":{"text":"A disturbing trend is emerging in India, where cardiovascular disease is no longer an affliction of the elderly but a growing concern among younger populations. Recent statistics indicate that cardiovascular diseases accounted for nearly 29% of all recorded deaths in India between 2017 and 2019. This alarming statistic highlights a shifting paradigm, with the National Health Profile revealing that non-communicable diseases, including heart disease, diabetes, and chronic respiratory illnesses, collectively account for a staggering 63% of the nation's mortality rates. As the nation grapples with this health crisis, the underlying risk factors that contribute to heart disease are becoming increasingly prevalent among young adults, often unnoticed until it is too late. The escalating incidence of heart disease in India’s youth can be traced to a confluence of modern lifestyle choices, including prolonged sedentary behavior, poor dietary habits, irregular sleep patterns, and chronic stress. Dr. Deepak Krishnamurthy, a leading cardiologist, articulates that the traditional risk factors such as hypertension and high cholesterol are now manifesting in younger demographics, exacerbated by genetic predispositions and environmental stressors. Moreover, the omnipresence of technology has led to an increase in screen time, which not only promotes a sedentary lifestyle but also disrupts sleep cycles. The result is a perfect storm wherein young Indians find themselves at greater risk for developing heart-related ailments much earlier in life. Historically, heart disease was often associated with the aging population, attributed to years of cumulative risk factors. However, the current landscape paints a different picture, one where the interplay of lifestyle choices has catalyzed a shift towards earlier onset of cardiovascular issues. The National Programme for Prevention and Control of Non-Communicable Diseases reports an alarming 9.36 crore people receiving treatment for hypertension and diabetes—critical precursors to heart disease. As the healthcare system grapples with these numbers, the need for comprehensive awareness and early intervention becomes paramount. Dr. Krishnamurthy emphasizes that conditions leading to heart problems develop insidiously and often go unnoticed until significant damage has occurred, particularly among the young. As for actionable steps, Dr. Krishnamurthy advocates for a proactive approach among young adults in their 20s and 30s. He suggests that individuals should eliminate tobacco use, incorporate regular physical activity into their routines, and adopt heart-healthy dietary practices while keeping an eye on their waistlines. Moreover, he underscores the importance of regular monitoring of vital health indicators such as blood pressure and cholesterol levels. This holistic understanding of cardiovascular health is crucial for young Indians, who must learn to recognize the silent threats posed by modern lifestyles and take charge of their health before it spirals out of control."},"img":{"url":"https://images.prismic.io/prad/pJ-dW9a56Zc9ur7D_heartdiseas.JPG?auto=format%2Ccompress&rect=0%2C0%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-09-16T11:05:00+0000","embed":{"embed_url":null}},"uid":"heart-crisis-grips-young-india"}},{"node":{"tags":["Entertainment","featured","two"],"data":{"third_party_url":null,"title":{"text":"Sridevi property: SC issues notice to Boney, Janhvi, Khushi"},"content":{"text":"The Supreme Court on Wednesday issued notice to film producer Boney Kapoor and his daughters Janhvi Kapoor and Khushi Kapoor on a plea seeking to revive a property dispute involving a 2.70-acre parcel of land in Chennai purchased by late actress Sridevi and her family.  A Bench of Justices K.V. Viswanathan and Arun Pillai issued notice on the petition filed by M.C. Sivakami and her brother M.C. Natarajan, who have claimed a share in the disputed property, and directed the parties to maintain status quo till the next date of hearing.  The Justice Viswanathan-led Bench also indicated that the parties should explore an amicable resolution through mediation and said that a retired High Court judge would be appointed as mediator.  The matter has been posted for December 18 to consider the progress of the mediation.  The petitioners have challenged the April 20 order of the Madras High Court, which allowed a revision petition filed by Boney Kapoor, Janhvi Kapoor and Khushi Kapoor and rejected the civil suit instituted by Sivakami and others.  The High Court had held that the suit seeking to challenge the 1988 sale transactions was barred by limitation and that the plaintiffs had not established a legally sustainable claim on the basis of the pleadings.  The dispute concerns 2.70 acres of land in Survey No.1/1B at Sholinganallur in Chennai.  According to the pleadings recorded by the Madras High Court, the plaintiffs claimed to be legal heirs of late M.C. Chandrasekaran and sought partition of the property into five equal shares, claiming a 1/5th share. They had also sought declarations that the sale deeds dated April 19, 1988, executed in favour of Rajeshwari, Sreelatha and Sridevi, as well as subsequent transactions concerning the property, were null and void.  Before the Supreme Court, the petitioners' counsel submitted that the High Court had gone into questions concerning the claimants' legal-heir status and the validity of Chandrasekaran's alleged second marriage while deciding whether the plaint itself was liable to be rejected.  Appearing for the Kapoor family, senior advocate Abhishek Manu Singhvi argued that the sale transaction dates back to April 19, 1988, while the present suit was instituted only in 2025.  The senior counsel contended that the petitioners had attained majority in 1995 and 1999, while the present suit was instituted only in 2025, and argued that the claim was barred by limitation. During the hearing, the Supreme Court also sought clarification on whether M.C. Chandrasekaran had a 1/5th share in the property and whether there was any dispute regarding the petitioners being his children.  The litigation has its roots in a suit filed before the Additional District Judge at Chengalpattu. The trial court had initially declined to reject the plaint under Order VII Rule 11 of the Code of Civil Procedure (CPC), holding that the averments in the plaint had to be considered at that stage and that disputed questions could be examined during trial.  The Madras High Court subsequently overturned that order on April 20, 2026. A single-judge Bench of Justice T.V. Thamilselvi held that the plaintiffs' claim that they came to know about the disputed transaction only in 2023 did not sustain on the material placed before the court and concluded that the suit challenging the 1988 transactions was barred by limitation.  The High Court ordered rejection of the plaint. The Madras High Court order also recorded that the plaintiffs had earlier instituted another suit in 2007 claiming a 1/5th share in family properties, which had been dismissed."},"img":{"url":"https://images.prismic.io/prad%2Fb76de7d6-cff9-4251-b467-c470426229f6_sridevi+statue.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T14:42:00+0000","embed":{"embed_url":null}},"uid":"sridevi-property-sc-issues-notice-to-boney-janhvi-"}},{"node":{"tags":["politics","featured","four"],"data":{"third_party_url":null,"title":{"text":"Revanth Targets KCR’s Farmhouse"},"content":{"text":"Telangana Chief Minister A. Revanth Reddy on Thursday ordered a probe into the BRS president and former Chief Minister K. Chandrasekhar Rao’s landholding, including his farmhouse at Erravalli in Siddipet district. The Chief Minister announced in the State Legislative Assembly that the inquiry will be conducted within a month. He said the inquiry will be conducted to find out if the farmhouse of K. Chandrasekhar Rao (KCR) is spread over 700 acres or not. He questioned why KCR did not reveal that out of 700 acres, 388 acres are government land. “I am directing the Revenue Department, Collector, to immediately issue notice to KCR to verify the extent of land he purchased, the land available now, and who has control of about 388 acres of government land,” he said  The Chief Minister was speaking in the Assembly on the issue of Section 22A of the Registration Act, 1908, amid controversy over thousands of acres of private properties being categorised as public land under 22A. CM Revanth Reddy announced that the government would reclaim 388 acres of government land in KCR’s farmhouse and distribute the same among 800 Dalit families. He asked ministers Damodar Raja Narasimha, G. Vivek Venkatswamy and Ponguleti Srinivas Reddy to resolve the matter within 30 days. “If the issue is not resolved within 30 days, I will take action against the Revenue officials and ministers,” he said. Alleging that the KCR family holds 439 acres of land, far in excess of the legal ceiling, he demanded that the Leader of Opposition explain how he mobilised these lands. CM Revanth Reddy alleged that the KCR family owns 439.30 acres of land in 31 villages across nine districts. Giving a break-up of these landholdings, he said the family of the former Chief Minister and his wife own 67.13 acres in Siddipet. KCR’s son K. T. Rama Rao and his family have 123 acres; KCR’s nephew and former minister T. Harish Rao and his family own 30.16 acres; KCR’s daughter Kavitha and her husband own 37.26 acres; KCR’s another nephew and former MP Jognipalli Santhosh Rao and his family own 79 acres. Other relatives Naveen Rao and Kondal Rao together own 101.14 acres. The Chief Minister also provided details of the lands acquired by BRS leaders, including former ministers and MLAs. The Chief Minister alleged that the KCR family was involved in a land scam of Rs one lakh crore under the guise of the Dharani portal under the BRS government. He announced that a Special Inquiry Team (SET) will be constituted to conduct an investigation.  Revanth Reddy said all the facts relating to irregularities during BRS rule will be tabled in the House in the presence of BRS members.  Last week, all BRS MLAs were suspended from the Assembly for the rest of the session for allegedly disrupting the proceedings. Stating that Dharani Part-I irregularities have come to light, he said soon Dharani-II irregularities will be exposed.  The Chief Minister said irregularities relating to Telangana Industrial Infrastructure Corporation (TGIIC) lands will be exposed during the budget session. He announced the formation of high-power officers’ committee to resolve the 22-A issue. Guidelines will be framed within a week to resolve the issue."},"img":{"url":"https://images.prismic.io/prad/aUQ2XnNYClf9oaGE_RRKCR.JPG?auto=format,compress&rect=0,2,2020,996&w=2028&h=1000"},"datetime":"2026-09-16T13:00:00+0000","embed":{"embed_url":null}},"uid":"revanth-targets-kcrs-farmhouse"}},{"node":{"tags":["Entertainment","featured","three"],"data":{"third_party_url":null,"title":{"text":"'The Paradise': ‘A’ Cert, 2h 49m Runtime!"},"content":{"text":"If sources in the industry are to be believed, the Central Board of Film Certification (CBFC) has now cleared Telugu star Nani's eagerly awaited upcoming action entertainer, 'The Paradise', for release with an 'A' certificate. Sources in the know claim that the film, which has been cleared by the censor board, has a run time of two hours and 49 minutes. The film, directed by Srikanth Odela, has triggered huge expectations among fans and film buffs. Nani, who plays the lead the film, had recently confessed that the film was the most tiring of his career. During an interaction with the media ahead of the film's release on September 24, Nani had said, \"The Paradise is the most tiring film of my career, both physically and mentally. If there has been a film for which I have worked very hard in these 18 years of my film career, it is 'The Paradise'.\" The actor also set the record straight with regard to media reports that had claimed that the film had underwater sequences. He said, \"There are various news reports about the movie on social media. There is no underwater sequence in it. There is also no fight with a 1000 people as is being claimed. This is a genuine story and there are a lot of action blocks. There are scenes that will give audiences a good high. The audience will feel the emotion in the violence.\" Director Srikanth Odela, who took a few questions on the occasion, had said, “The Paradise may have been delayed a little, but every update from the film has created a blast. The glimpse, teaser and songs have all received a superb response. There is a lot of excitement and curiosity among audiences about what The Paradise is all about. This is a revolutionary, emotional film. It is a story about a mother and son, and also about a marginalized community. Kaloji has a line that goes, ‘We own our birth, we own our death, but our entire life belongs to the nation.’ This is a story of a people who fought for their country. However, when these people realise they have no place in their own country, they fight back without knowing what else to do. That is the story of 'The Paradise'.\""},"img":{"url":"https://images.prismic.io/prad/tZJv_PHnDW-jL-cr_TheParadise.JPG?auto=format,compress"},"datetime":"2026-09-16T12:15:00+0000","embed":{"embed_url":null}},"uid":"the-paradise-a-cert-2h-49m-runtime"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"2 AP Women Die, Foul Play Suspected"},"content":{"text":"Two young women were killed and their male friends injured when a car in which they were travelling rammed into a roadside hotel in Andhra Pradesh’s Anantapur district, but the families of the deceased have alleged that the youth killed them and made it look like an accident.  The incident occurred near Rotarypuram in the Bukkarayasamudram mandal of the district on Tuesday morning. The deceased were identified as Haritha (20) and Navanitha (20). Harita was a third-year nursing student at a college in Anantapur, while Navanitha was working as a nurse at a private hospital. They were friends for the last two years. According to police, the young women were friends with Kumar, who was working in the hospital where Navaniha was employed as a nurse, and an insurance company agent, Sridhar Reddy, who was a regular visitor to the hospital. All four friends left in a car on Monday night. After visiting Korrapadu, SRIT College and other areas, they left for Anantapur around 4 a.m. on Tuesday. Sridhar Reddy, who was driving the car, apparently lost control and rammed the vehicle into a roadside hotel near Rotarypuram, where a bridge was under construction.  According to police, Haritha, who was seated in the rear, died on the spot. Injured Navanitha, Sridhar Reddy and Kumar were shifted to a hospital, where Navanitha succumbed while undergoing treatment. The families of the deceased women alleged that the youth took them in the car after luring them with sweet talk, murdered them and made it look like an accident. They expressed their suspicions as the youth survived with simple injuries.  Haritha’s mother, Salamma, said she had already warned her to be cautious about the youth and not to trust them. Navanitha’s mother, Vijaya, alleged that the youth had taken her daughter by misleading her and demanded stringent punishment. Police said they have registered a case on the complaint of the families of the deceased and taken up the investigation. A police officer said they were analysing the CCTV footage. The post-mortem examination report is likely to be key in ascertaining the cause of the deaths."},"img":{"url":"https://images.prismic.io/prad/e7bfd63c-d78c-4268-979e-450aac768d29_dubai+accident.JPG?auto=format,compress"},"datetime":"2026-09-16T05:55:00+0000","embed":{"embed_url":null}},"uid":"2-ap-women-die-foul-play-suspected"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Salman performs aarti incorrectly for Ganpati"},"content":{"text":"Bollywood superstar Salman Khan was seen participating in the Ganpati Visarjan celebrations with his family on Tuesday night.  It was here when his sister Arpita Khan Sharma noticed that he was seemingly rotating the aarti thali in the wrong direction and promptly corrected him. In a video, Salman can be seen holding the aarti thali as he performs the ritual amid the Ganpati celebrations. As he rotates the thali, Arpita, who is standing nearby, appears to notice the direction and immediately steps in to guide her brother. Arpita can be seen gesturing to Salman to change the direction of the thali and asking him to continue the aarti the right way. Salman realising his mistake, immediately follows her instructions, making the moment endearing. For the celebration, Salman was dressed casually in a black T-shirt paired with a black head covering and a sleeveless grey jacket. Arpita, meanwhile, was seen wearing a traditional green and black embroidered ethnic outfit with floral detailing. The siblings were surrounded by family members, friends and guests as they took part in the Ganpati festivities. For the uninitiated, Salman has regularly participated in Ganpati celebrations, including aarti and visarjan, over the years. His family continues the tradition at home where Salman’s entire family celebrates the occasion. Salma Khan, Salman’s mother, was born Sushila Charak in a Maharashtrian Hindu family, while his father Salim Khan is Muslim. The family has over the years been known for celebrating festivals across religious traditions."},"img":{"url":"https://images.prismic.io/prad/3cajSvSiTxaJz-Kl_salamanaarti.JPG?auto=format%2Ccompress&rect=0%2C99%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-16T01:54:00+0000","embed":{"embed_url":null}},"uid":"salman-performs-aarti-incorrectly-for-ganpati"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Aditi Rao Hydari shines at Cannes 2026"},"content":{"text":"Aditi Rao Hydari has made an indelible impression at the Cannes Film Festival 2026, showcasing a masterclass in sartorial elegance that deftly marries traditional Indian artistry with contemporary style. As the star of the night, her bespoke saree by JADE not only captured the essence of classic Indian couture but also stood as a bold statement against the backdrop of a festival known for its avant-garde fashion. Hydari's entrance on May 16, as a representative of L'Oréal Paris, marked the beginning of a fashion journey that would both celebrate her heritage and elevate the global conversation about cultural representation in style. Her first appearance at the festival featured a breezy daytime look that reflected the laid-back chic of the French Riviera. Styled by the talented Sanam Ratansi, Hydari wore a striped halter-neck maxi dress from The IQ Collection, embodying the spirit of summer and effortlessly blending into the Mediterranean landscape. The ensemble was complemented by oversized sunglasses from Maison Éclat and leather accents from French brand Sessùn, reinforcing a narrative of understated luxury. The actress's beauty regimen was equally effortless, with a sun-kissed glow curated by makeup artist Coralie Pucci, and hair styled by Clotilde Laisne in soft beach waves—creating an overall aesthetic that was both relaxed and refined. However, it was her second appearance, clad in a stunning bespoke saree, that truly captured the attention of fashion connoisseurs and social media influencers alike. Designed by the duo Monica and Karishma from JADE, the saree featured a sheer champagne-gold drape accentuated with delicate gold leaf and intricate sequin embroidery, allowing it to glimmer under the Riviera sun. This ensemble not only highlighted Hydari's graceful silhouette but also signified a revival of Indian textile tradition in a modern context. The addition of a structured metallic gold blouse featuring a sweetheart neckline offered a contemporary twist, merging the realms of classic and modern fashion seamlessly. In a festival filled with ostentatious gowns and experimental couture, Aditi Rao Hydari's choice to don a traditional saree stands out as a powerful tribute to her cultural roots. The thoughtful pairing of timeless craftsmanship with contemporary styling reflects an emerging trend where global platforms are increasingly embracing cultural authenticity. Her playful yet poignant social media commentary—“Wearing a saree… the traditional way. Revolutionary, I know”—underlines a growing recognition of the saree's relevance in a modern wardrobe, challenging the perception that Indian attire is merely traditional, instead positioning it as a viable option for global fashion narratives."},"img":{"url":"https://images.prismic.io/prad/EIqIJhQARKhHke5x_aditiraohydari.JPG?auto=format%2Ccompress&rect=0%2C0%2C620%2C306&w=2028&h=1000"},"datetime":"2026-09-16T05:03:00+0000","embed":{"embed_url":null}},"uid":"aditi-rao-hydari-shines-at-cannes-2026"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Iran war cost US $38 billion!!"},"content":{"text":"The US military campaign against Iran cost the Pentagon about $38 billion through July and could consume another $2 billion to $3 billion each month, according to the Congressional Budget Office.  The nonpartisan agency also warned that the conflict has depleted critical missile-defence stocks, increased energy prices and added to inflation across the American economy. The CBO examined operational, logistical and economic costs associated with Operation Epic Fury, which began on February 28. The initial phase lasted until a ceasefire took effect on April 8. President Donald Trump declared the ceasefire over on July 10 after attacks on tankers passing through the Strait of Hormuz. The $38 billion estimate includes $21.7 billion to replace missiles and other munitions. It also covers $10.4 billion in additional flying hours, $2.7 billion in higher military fuel costs, $1.9 billion for equipment lost in battle and $1.5 billion in other operational expenses. Replacing expended munitions was the largest single expense. The total included $13.1 billion for missile-defence interceptors and $7.3 billion for land-attack cruise missiles. The estimate does not include the cost of repairing or rebuilding US military facilities damaged by Iranian attacks. It also excludes diplomatic operations, foreign assistance and the long-term cost of medical care and disability compensation for injured service members and veterans. CBO said the Pentagon did not provide the information it requested. The agency relied instead on government databases and publicly available reports, leaving its findings subject to “considerable uncertainty”. The report warned that the United States may have used between one-half and two-thirds of its missile-defence interceptor inventory since June 2025. “Although DoD does not reveal the number of munitions it has on hand, a comparison of the reported expenditures of missile defense interceptors with the total numbers that DoD has purchased to date indicates that the United States has probably used between one-half and two-thirds of its inventory of those munitions since June 2025,” CBO said. Rebuilding the stocks could take at least five years, even if the Pentagon accelerates procurement. “The shortfall would become especially problematic if a conflict arose with an opponent whose arsenal included large numbers of ballistic and cruise missiles,” the report said. CBO specifically identified China as possessing an arsenal that could play a major role in any military conflict involving Taiwan. The conflict has also disrupted oil and natural gas shipments through the Strait of Hormuz and shipping through the Red Sea. CBO said the resulting increase in energy costs added 2.3 percentage points to the annualised inflation rate during the second quarter of 2026. The agency projected that inflation in the first quarter of 2027 would be 0.5 percentage points higher than it had forecast before the war. Higher inflation is also expected to push up interest rates on US Treasury securities. Defence Secretary Pete Hegseth told Congress in July that operations against Iran would cost $37.5 billion through September. The White House has requested $87.6 billion in supplemental funding, including $67.1 billion for the Pentagon. CBO said about $42.3 billion of the Pentagon request appeared directly related to the conflict. "},"img":{"url":"https://images.prismic.io/prad/aCL3pydWJ-7kR_PT_war.JPG?auto=format,compress"},"datetime":"2026-09-16T00:30:00+0000","embed":{"embed_url":null}},"uid":"iran-war-cost-us-38-billion"}},{"node":{"tags":["Health"],"data":{"third_party_url":null,"title":{"text":"A Fight for Life at 85"},"content":{"text":"At 85 years old, Mrs. Lakshmi (name changed) faced what many in her age group would consider insurmountable challenges: two tumors and a life-threatening blockage in her colon. Rather than embracing the tranquility that often accompanies advanced age, she found herself in the emergency room, grappling with severe abdominal pain and a severe inability to pass stool. The diagnosis revealed a critical blockage in the sigmoid colon due to a tumor, a condition that posed immediate threats to her life. The medical team, acutely aware of her complex health history—including hypertension, diabetes, and a previous stroke—understood the urgency of the situation, necessitating careful decision-making regarding her treatment options. The initial intervention involved a minimally invasive procedure where doctors placed a colonic stent to alleviate her discomfort. While this temporary solution offered some relief to Mrs. Lakshmi and her anxious family, it soon became clear that a more comprehensive approach was required. Further examinations unveiled a second tumor in her esophagus, complicating an already dire diagnosis. Dr. K Hemanth Kumar, a leading Consultant in Surgical Gastroenterology at Manipal Hospital, emphasized the urgency of the case. The existence of two malignancies in a patient of advanced age, coupled with multiple underlying health conditions, demanded a meticulous and strategic response from her medical team. The critical nature of Mrs. Lakshmi's situation highlighted broader issues in geriatric care, particularly concerning complex cancer diagnoses. As the medical community increasingly confronts aging populations, the intersection of age and multi-morbidity raises significant ethical and logistical challenges. In Mrs. Lakshmi's case, the stent was a temporary fix, with the potential for serious complications looming should a definitive treatment not be pursued. The family was faced with a heart-wrenching decision: proceed with high-risk surgery or risk further deterioration of her health. Ultimately, they chose the path of hope, opting for a pioneering robotic surgical approach that addressed both tumors in one procedure. Utilizing the advanced Da Vinci Xi robotic system, Dr. Hemanth and his team executed a complex operation that not only targeted the colon cancer but also the esophageal tumor, representing a significant advancement in addressing dual malignancies. Remarkably, Mrs. Lakshmi recovered without needing an intensive care unit stay, a testament to both her resilience and the proficiency of her healthcare providers. Just one week post-operation, she was discharged, marking a poignant moment for both her and her family. Three months later, Mrs. Lakshmi continues to thrive, undergoing further treatment as part of her recovery journey, signaling not just survival but a remarkable testament to the human spirit in the face of daunting medical challenges."},"img":{"url":"https://images.prismic.io/prad/W5S8nG7lRQSGgKv2_mediclelife.JPG?auto=format%2Ccompress&rect=0%2C44%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-09-15T23:40:00+0000","embed":{"embed_url":null}},"uid":"a-fight-for-life-at-85"}},{"node":{"tags":["NRI"],"data":{"third_party_url":null,"title":{"text":"Historic Win for Trans Tamil Immigrant"},"content":{"text":"In a groundbreaking shift for political representation in the United Kingdom, Q Manivannan, a trans Tamil immigrant and doctoral student, has claimed a seat in the Scottish Parliament, igniting fervent discussions about immigration, identity, and the evolving landscape of elected office. Securing a position with the Scottish Greens, Manivannan's election not only reflects a personal triumph but also serves as a pivotal moment for underrepresented communities, challenging preconceived notions about who can partake in the political process. Born in Tamil Nadu, India, Manivannan arrived in Scotland on a student visa four years ago to pursue studies in international relations. Their victory on May 9, alongside the Scottish Green Party, underscores the complexities surrounding the eligibility of foreign nationals in UK elections—particularly those from Commonwealth nations. Current regulations permit individuals on short-term visas to stand for election, a provision that has drawn scrutiny from anti-immigration advocates who argue for stricter controls over political representation. The election of Manivannan, who identifies as non-binary and uses they/them pronouns, has prompted a wave of criticism from figures like Robert Jenrick, a former Tory minister, who expressed concern over the implications of allowing individuals on student visas to hold such significant political positions. This backlash highlights a broader societal debate regarding immigration and representation, as organizations such as Migration Watch call for a reevaluation of the rights afforded to Commonwealth citizens within UK political structures. Amidst this discourse, the Scottish Greens have positioned themselves as champions of inclusivity, emphasizing the need for a comprehensive overhaul of the UK's immigration policies to create a more welcoming environment for those seeking to make a difference. As Manivannan embarks on their parliamentary journey, they represent not only a voice for marginalized groups but also a testament to the potential for change within a political system that often feels impenetrable. Their campaign, which centered on themes of diversity, inclusion, and a “politics of care,” resonated with voters eager for a shift from traditional political narratives. Support from the Scottish Greens, who have pledged assistance for Manivannan’s visa renewal process, reflects a commitment to fostering a political environment that embraces all backgrounds, advocating for a future where the barriers of entry are dismantled rather than upheld."},"img":{"url":"https://images.prismic.io/prad/2XZTrOto0NjcvnKj_trans.JPG?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T06:30:00+0000","embed":{"embed_url":null}},"uid":"historic-win-for-trans-tamil-immigrant"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Week 2 Voting Turns Hot in BB Telugu 10"},"content":{"text":"The excitement surrounding the latest season of Bigg Boss Telugu 10 is palpable, captivating audiences with its mix of fresh faces and escalating tensions within the house. Hosted once again by the charismatic Nagarjuna Akkineni, the show has quickly established its narrative with a blend of humor and drama. As contestants begin to reveal their authentic selves, the intricate dynamics of friendship and rivalry are taking center stage, promising a riveting viewing experience as the competition heats up. This week marks a pivotal moment in the Bigg Boss Telugu 10 competition, as the nomination process has concluded, leaving 11 contestants at risk of elimination. The list of nominees includes Thrigun, Shalini, Mukesh, Srishti, Rohith, Ram Prasad, Debjani Modak, Varshini, Sudheer, Krishnudu, and Jhansi. Fans are urged to rally behind their favorites by voting via JioHotstar, as the stakes grow higher in this increasingly contentious environment. As the second week unfolds, early voting trends provide insight into the contestants' standing, with Trigun reportedly leading the charge, closely trailed by Rohith. Mukesh occupies the third slot, while Ram Prasad, Shalini, Debjani, Sudheer, and Srishti find themselves in the middle of the voting hierarchy. However, the most alarming positions belong to Jhansi, Varshini, and Krishnudu, who are struggling to gain traction in the voting landscape, raising questions about their strategies and the audience's support. These preliminary trends, while revealing, are drawn from unofficial polls and social media interactions; they do not constitute the definitive voting statistics that will ultimately determine eliminations. The show's final verdict will be unveiled during the upcoming Weekend episode, where viewers will learn which contestant faces the daunting prospect of leaving the Bigg Boss Telugu 10 house. With the pressure mounting and strategies evolving, the stage is set for what promises to be a dramatic culmination of viewer engagement and contestant resilience."},"img":{"url":"https://images.prismic.io/prad/bbHEcGbB_gmIHahZ_BB10.JPG?auto=format,compress"},"datetime":"2026-09-16T05:23:00+0000","embed":{"embed_url":null}},"uid":"week-2-voting-turns-hot-in-bb-telugu-10"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Jyotika, Suriya celebrate 20 years of ‘love and war’"},"content":{"text":"Actress Jyotika renewed her wedding vows with her star husband Suriya as the couple marked 20 years of marriage, celebrating not a perfect relationship but the imperfections, adjustments, sacrifices and understanding that have shaped their journey together. Jyotika took to Instagram, where she shared a video in collaboration with Suriya from their vow renewal. The video accompanied an emotional note, where they reaffirmed their vows, their children and the life they have built together, calling their bond an “imperfect us, with the perfect understanding.” The video was titled “THE SEQUEL” in the caption section. The caption read: “A vow renewal, celebrating our 20 years of love and war. And no, this is not a celebration of a perfect marriage. This is a celebration of imperfections , of adjustments, of understanding, sacrifices, of loving each other selflessly . This is a celebration of “us”. The people we have become for each other.” “How ironical- A dream which felt far from reality, is now a reality I will spend my entire lifetime dreaming of ! So here are my vows - I vow to be a happy person — because I choose to see only life's positive side . I vow to celebrate life — because life itself is a gift when the man whom you love, respects you beyond himself.” One of the vows was to never complain. “I vow never to complain- Why should I ? when even something as vast as the sky doesn’t have the privilege of touching the ground! Look around , everything in existence is incomplete. It’s how we choose to fill the gaps.” Another was to be thankful. “I vow to be thankful - as every morning I wake in the arms of a man who protects me, and for my beautiful children who've given my life a meaning. And me, a reason to live.” “I vow to be healthy — because that is the only true asset we ever build. Even the fanciest brick houses will always have their leaks, termites, and renovations,” read the third vow. The fourth vow is to be the best mother to their children. “I vow to be the best mother — not because I cook, or clean, or help, but because I smile, a smile that makes my children want to relive the story their appa amma lived.” Promising Suriya, Jyotika mentioned that she vows to “remain” an imperfect wife and also cherish the friendship they share. “I vow, my Suriya, to always remain that imperfect wife , who fights, and then makes up, only to grow a little more closer to you each time. “I vow to cherish our friendship most of all — because it’s rare to find your equal, your confidant, your gossip partner and your best friend, all living inside this one special man who also happens to be your husband and the father of your children. So here’s to our next twenty years — The imperfect us, with the perfect understanding.”"},"img":{"url":"https://images.prismic.io/prad/9Z4HMiaYUR_Fhe30_suriyajyothika.JPG?auto=format,compress"},"datetime":"2026-09-16T03:55:00+0000","embed":{"embed_url":null}},"uid":"jyotika-suriya-celebrate-20-years-of-love-and-war"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Yoga Craze Grips Bollywood"},"content":{"text":"In an age where well-being takes precedence, Bollywood's leading actresses are increasingly turning to yoga as both a source of physical fitness and mental clarity. Shilpa Shetty, a trailblazer in the yoga community, has been vocal about its transformative power, promoting not only personal health but also a lifestyle that integrates mindfulness. Her social media platforms are awash with yoga tutorials, demonstrating how even the busiest of schedules can accommodate a few moments of tranquility and self-care. Shetty's commitment reflects a broader trend among her peers, who are leveraging their influence to encourage fans to adopt healthier habits. Deepika Padukone, another luminary in this movement, has long championed yoga as a crucial element of her daily routine. The acclaimed actress, who has openly discussed her struggles with mental health, uses yoga as a therapeutic outlet, emphasizing its role in stress management. Her advocacy not only highlights the physical benefits of yoga but also underscores its importance in fostering psychological resilience. With a massive following, Padukone's dedication to wellness resonates powerfully, inspiring countless individuals to explore yoga as a means of improving their mental and emotional well-being. Kareena Kapoor Khan and Malaika Arora further exemplify this yoga renaissance in the film industry. Kapoor Khan's graceful approach to yoga showcases her dedication to maintaining a balanced lifestyle, while Arora's high-profile yoga sessions reflect her commitment to fitness and body positivity. Both actresses have established themselves as icons of health, often sharing glimpses of their yoga practices with their audience. This not only normalizes the pursuit of fitness among fans but also promotes a narrative that prioritizes self-care, especially in a high-pressure environment like Bollywood. Emerging talents like Alaya F and established stars like Helly Shah are also joining the ranks of yoga enthusiasts within the industry. Alaya F, with her dynamic social media presence, shares her yoga journey, emphasizing the importance of starting young and cultivating healthy habits early on. Meanwhile, Shah's participation in yoga reflects a growing trend among younger actors, illustrating that the benefits of this ancient practice are being recognized and celebrated across generations. As these actresses continue to advocate for yoga, they are not merely promoting a fitness routine; they are fostering a cultural shift towards holistic well-being in the glitzy world of Indian cinema."},"img":{"url":"https://images.prismic.io/prad/kbvA_X-_YWmJslpj_starsyoga.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-15T20:04:00+0000","embed":{"embed_url":null}},"uid":"yoga-craze-grips-bollywood"}},{"node":{"tags":["Editorial","featured","one"],"data":{"third_party_url":null,"title":{"text":"UPI Transactions: There Is Nothing Called 'Free Lunch'"},"content":{"text":"“The art of taxation consists in so plucking the goose as to obtain the largest possible number of feathers with the smallest possible amount of hissing\" This quote by Jean-Baptiste Colbert, the Minister of Finances under King Louis XIV of France, in simple words infers that the goal of any government is to extract as much money as possible from the people (plucking feathers) while provoking the least amount of public anger or protest (hissing). Such Taxation wisdom, it turns out, does not repeat itself; it just gets a software update. Back in 1696, England’s finest economic brains invented the infamous \"Window Tax.\" Rather than invading a citizen's privacy by asking about their income, the experts decided wealth could be measured by simply counting holes in a wall from the outside. The only problem? The law forgot to define what a \"window\" actually was. Soon, aggressive tax collectors were charging people for kitchen air grates and chimney smoke holes. Plunged into absolute confusion by the experts' fine print, everyday citizens did the logical thing: they bricked up their windows and chose to live in total, pitch-black darkness to save their pennies. Centuries later, the ghost of British bureaucracy has officially migrated into the Indian digital realm. Following the BJP-led NDA government’s latest decision to overhaul the Merchant Discount Rate (MDR) framework for UPI transactions, the common man is experiencing the exact same brain-melting confusion that forced 17th-century Londoners into the dark. Just like the British lords engineered a complex matrix of taxable vs. exempt wall openings, today's National Payments Corporation of India (NPCI) has gifted us a brilliant labyrinth of digital rules. Under this new policy, which officials fiercely insist is not a tax, definitely don't call it a tax, a 0.4% variable transaction charge (capped at ₹300) kicks in the moment a Person-to-Merchant (P2M) payment crosses ₹2,000. Advocates of the move are singing hymns of praise, calling it a masterstroke of \"domestic reform\" needed to fund cybersecurity and digital infrastructure. It’s not good, it’s not bad, it’s just macroeconomics. Yet, much like the old London landlords who simply bricked up their windows because they couldn't understand the tax code, modern Indian shopkeepers are sweating buckets over how to absorb the financial burden. The government, with a straight face, has declared that these costs absolutely cannot be passed down to buyers. Naturally, the common man now stands at the billing counter in absolute bewilderment, wondering if scanning a QR code for a new smartphone will quietly result in a digital version of \"daylight robbery\". While the cheerleaders say this brings \"financial sustainability,\" naysayers are already predicting the beautifully chaotic ways the free market will react. To avoid the fee, merchants are expected to deploy weaponized creativity: adding flat \"service charges\" to big bills, offering \"cash-only discounts,\" or engaging in \"transaction splitting\", where buying a ₹6,000 item means scanning the QR code three separate times for ₹2,000.But wait, the plot thickens. Rumors from the corridors of the Finance Ministry suggest this confusion isn't a blunder at all, but rather a grand, multi-dimensional plan for macroeconomic equilibrium. You see, India is currently drowning in a massive ₹15 trillion liquidity surplus caused by a historic surge in our Forex reserves. Any basic textbook will tell you that when too much money chases too few goods, it sparks inflation. But instead of using boring, traditional financial tools like selling government bonds or raising interest rates, our economic wizards chose a much more artistic route. The genius logic works like this: by slapping a fee on UPI payments, you give shopkeepers severe \"fee anxiety.\" The shopkeepers try to pass the cost to the customers. The customers, horrified by the extra charge, instantly delete their digital wallet apps and switch back to hard, cold paper cash. As millions of citizens rush to ATMs to pull physical rupees out of the banking system just to buy groceries, the giant pool of electronic money vanishes. Who knew that the ultimate solution to managing a highly complex, multi-billion-dollar global financial windfall was to simply scare the entire population into using ₹100 notes again? It is not a glitch; it is a magnificent feature. And best of all, it perfectly sets the stage for one fine evening in the near future, when the television screen will flick on at 8:00 PM sharp, to hear a familiar voice  to greet  with a thunderous “Mitron...” In a nutshell, this entire UPI transaction charges saga perfectly proves the timeless wisdom of economist Thomas Sowell: that an economy is a mechanism so complex that it takes an army of experts to misunderstand it completely, and a populace of ordinary citizens to accidentally fix it by behaving logically."},"img":{"url":"https://images.prismic.io/prad/IWNC-LYO9T7IQfVm_scan.JPG?auto=format%2Ccompress&rect=0%2C7%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T07:30:00+0000","embed":{"embed_url":null}},"uid":"upi-transactions-there-is-nothing-called-free-lunc"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"SC Gives Rajpal Yadav ‘Last Opportunity’"},"content":{"text":"The Supreme Court on Tuesday granted actor and comedian Rajpal Yadav a \"last opportunity\" of two weeks to comply with its direction to deposit money as a condition for avoiding surrender in connection with multiple cheque dishonour cases.   A Bench of Chief Justice of India (CJI) Surya Kant and Justices Joymalya Bagchi and V. Mohana was informed that the earlier direction to deposit Rs 5 crore had not been complied with. Senior advocate P.S. Patwalia, appearing for Yadav, sought two weeks’ time, submitting that the actor was facing financial difficulties and intended to arrange the amount by selling property. Seeking a final opportunity, the senior counsel submitted that Yadav be permitted to return before the top court with a concrete proposal and deposit at least Rs 2 crore. However, the CJI Kant-led Bench, took note of the petitioner’s past conduct and observed that it did not inspire confidence. “Though the past conduct of the petitioner does not inspire confidence, however, as a last opportunity, two weeks’ time is granted to the petitioner to honour the statement,” the Supreme Court said, posting the matter for further hearing on October 5. It also directed Yadav to remain personally present on the next date with the demand draft, while directing the complainant to remain present as well. The exemption earlier granted to the petitioner from surrendering was directed to continue till October 5, subject to the conditions imposed by the top court. The CJI Kant-led Bench also directed Yadav to deposit his passport with the apex court registry. Earlier, on September 8, the Supreme Court had agreed to hear pleas filed by Yadav and his wife challenging the Delhi High Court judgment upholding their conviction in seven cheque dishonour cases under the Negotiable Instruments Act. The top court had granted them exemption from surrendering, subject to depositing Rs 5 crore with its registry, and issued notice on their Special Leave Petitions (SLPs). The Delhi High Court had on July 10 upheld Yadav’s conviction while reducing his sentence from six months to three months’ simple imprisonment in each of the seven cases. It had also reduced the fine from Rs 1.60 crore to Rs 1.05 crore in each case, with the substantive sentences directed to run concurrently. The High Court had taken into account payments already made by Yadav to the complainant, M/s Murli Projects Pvt Ltd, during the pendency of the proceedings. Yadav and his wife have challenged the judgment before the Supreme Court, contending that a subsequent consent agreement between the parties was not properly considered by the courts below. The petitioners have relied upon the Supreme Court’s judgment in M/s Gimpex Private Limited vs Manoj Goel, arguing that the subsequent agreement between the parties ought to have brought an end to the original complaint proceedings. The Delhi High Court had earlier dismissed the revision petitions filed by Yadav and his wife, noting an extraordinary delay of 1,894 days in challenging the conviction and refusing to interfere with the findings of the courts below. It had also observed that despite repeated opportunities and indulgence to facilitate an amicable settlement, Yadav had failed to honour undertakings given before the High Court."},"img":{"url":"https://images.prismic.io/prad/aYM3c90YXLCxVW7h_rajpalyadav.JPG?auto=format,compress"},"datetime":"2026-09-15T13:10:00+0000","embed":{"embed_url":null}},"uid":"sc-gives-rajpal-yadav-last-opportunity"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Andhra Former Deputy CM Alla Nani dies"},"content":{"text":"Former Andhra Pradesh Deputy Chief Minister Kali Krishna Srinivas (Alla Nani) died of cardiac arrest on Tuesday. He was 57. Popularly known as Alla Nani, he breathed his last at his residence in Visakhapatnam. Alla Nani began his political career with the Congress party. He was elected to the Assembly of united Andhra Pradesh from Eluru in 2004 and 2009 on the Congress party ticket. He later joined the YSR Congress Party (YSRCP) and contested unsuccessfully on the party ticket in the 2014 Assembly elections.  Alla Nani was elected to the Legislative Council under the MLA quota in 2017. He was elected to the Assembly from Eluru in 2019. From 2019 to 2022, he served as the Deputy Chief Minister and Minister for Medical and Health in YS Jagan Mohan Reddy-led YSRCP government. Last year, Alla Nani quit YSRCP to join the Telugu Desam Party (TDP). Chief Minister N. Chandrababu Naidu has condoled the demise of Alla Nani. He stated that he was deeply shocked to learn about the death of the former Deputy Chief Minister due to a heart attack at a young age. He conveyed his profound condolences to his family. Deputy Chief Minister Pawan Kalyan said in his condolence message that the sudden demise of former Deputy Chief Minister and senior political leader from Eluru, Alla Nani, caused him profound sorrow.  He noted that Alla Nani served the people as Eluru MLA for three terms and once as MLC. He prayed for his soul to attain peace and conveyed his heartfelt condolences to the family members. Former Chief Minister and YSRCP President YS Jagan Mohan Reddy expressed deep shock and grief over the sudden demise of Alla Nani. Jagan said Alla Nani’s untimely death was deeply painful and recalled his long public career, including being elected three times as MLA from Eluru and serving the people for many years. He remembered Alla Nani’s key role in the YSRCP government as Deputy Chief Minister and Health Minister, and said he discharged his responsibilities in the public health sector with dedication. Jagan said Alla Nani’s passing was an irreparable loss to his family and admirers. He prayed for peace to the departed soul and for strength to the bereaved family. He conveyed his heartfelt condolences to Alla Nani’s family members, relatives and supporters."},"img":{"url":"https://images.prismic.io/prad/TzxHGd-y3dSIde0D_allanani.JPG?auto=format%2Ccompress&rect=0%2C2%2C739%2C364&w=2028&h=1000"},"datetime":"2026-09-15T14:30:00+0000","embed":{"embed_url":null}},"uid":"andhra-former-deputy-cm-alla-nani-dies"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"‘Spy’ Game in AP Politics?"},"content":{"text":"YSR Congress Party Youth Wing State President and former MLA Jakkampudi Raja on Tuesday accused the TDP-led coalition government in Andhra Pradesh of police surveillance and intimidation against young people questioning its failure to implement election promises. Addressing the media at the Rajahmundry Press Club, Raja said YSRCP leaders, social-media activists and journalists had been subjected to cases and harassment for questioning the government. He said unemployed youth demanding a job calendar, police constable recruitment and promised employment opportunities were being targeted, while coaching centres were being subjected to inspections and pressure. Raja said the government was using Intelligence, Special Branch and Cyber Crime wings for digital profiling of Gen-Z youth, WhatsApp groups, Facebook and Instagram users, YouTubers and influencers. Collecting details of coaching-centre managements and faculty and monitoring young people’s online networks amounted to an abuse of State machinery, he said. He charged that law and order had deteriorated while the entire police system was being deployed against critics. Referring to the Tirupati incident involving women paramedical students demanding stipends, Raja condemned the police action against them and said the government should apologise if it could not fulfil its promises instead of suppressing those demanding answers. Raja warned that attempts to control young people had historically triggered powerful movements, citing East Germany, Egypt, Sri Lanka, Bangladesh and student movements in Gujarat and Bihar. He asked whether the government would dare invoke stringent action against Telangana Chief Minister Revanth Reddy for his remarks on irregularities in Andhra Pradesh DSC. Referring to the CAG report, Raja said the coalition had pushed the State into severe financial distress, with the government depending heavily on borrowings and overdrafts. He said the YSRCP government had transparently filled lakhs of permanent government posts and demanded immediate implementation of the promised Rs 3,000 monthly unemployment allowance and annual job calendar. Raja said YSRCP president and former Chief Minister YS Jagan Mohan Reddy would soon return to the people through another padayatra to understand their problems directly."},"img":{"url":"https://images.prismic.io/prad/fKdbTkGjlCuIgcwx_spy.JPG?auto=format,compress"},"datetime":"2026-09-15T12:30:00+0000","embed":{"embed_url":null}},"uid":"spy-game-in-ap-politics"}},{"node":{"tags":["NRI"],"data":{"third_party_url":null,"title":{"text":"Indian American lawmakers slam DHS 'Mr Singh' post"},"content":{"text":"Five Indian American lawmakers have urged President Donald Trump to act over a deleted Department of Homeland Security post depicting a man called “Mr. Singh”, warning that it could encourage racial profiling and hostility towards Sikh and South Asian Americans. Representatives Raja Krishnamoorthi, Shri Thanedar, Suhas Subramanyam, Pramila Jayapal and Ami Bera, all Democrats, raised their concerns in a September 15 letter to Trump. They accused the agency of using Sikh identity to portray a dangerous and unwanted foreigner while promoting immigration enforcement. According to the letter, the post depicted a brown, bearded man identified as “Mr. Singh”. It told him to “get off our roads” and warned him to “self-deport or find out”. The lawmakers said the name Singh was closely associated with Sikh identity. Its use in this context was degrading, they argued. “We write to express grave concern about the increasingly open racial and xenophobic hostility directed at South Asian Americans, particularly Sikh Americans, and about the ways federal rhetoric surrounding immigration and visa policy can reinforce the idea that these communities are suspect, disposable, or less American,” they wrote. The letter also questioned how DHS promoted a new Immigration and Customs Enforcement tipline. The lawmakers said the agency had formally described it as a mechanism for reporting suspected commercial driving licence fraud. Its social media messaging, however, urged people to report “illegal aliens on American roads”, they said. Paired with the depiction of “Mr. Singh”, that language could encourage people to treat perceived ethnicity, religion or foreignness as grounds for suspicion, the lawmakers warned. They said the campaign created a risk of racial profiling affecting Sikh, South Asian and other nonwhite drivers, including US citizens. The supplied material did not include a response from DHS or the White House to the letter. The lawmakers cited findings from Stop AAPI Hate to support their concerns. Anti-South Asian slurs in online spaces monitored by the organisation increased 109 per cent between January 2023 and December 2025, according to the letter. South Asians were the targets of 71 per cent of anti-Asian online threats of violence identified between August 2024 and December 2025 in those spaces, it said. The letter also cited a nationally representative survey in which 48 per cent of South Asian adults reported experiencing a hate act because of their race, ethnicity or nationality in 2025. The lawmakers asked Trump to direct federal agencies, particularly DHS, to publicly acknowledge the harm they said the post had caused. They sought enforceable standards prohibiting agency communications that use racial, ethnic, religious or national-origin stereotypes. They also urged Trump to make clear that immigration enforcement must never be used to stigmatise South Asian communities. “South Asian Americans are not abstractions in an immigration debate, nor are they convenient symbols of foreignness. They belong in the communities they have helped build. For millions, this is their country and their home. There should be no room for such hate in our country,” they wrote. The letter placed the dispute against a wider backdrop of hostility in Frisco, Texas. It cited references to an “Indian takeover”, “invaders” and “anchor babies” at city council meetings, and a mayoral candidate describing South Asian immigrants as “rats”. It also recalled a June incident in which a demonstrator tore an Indian flag outside City Hall. Sikh articles of faith, including turbans and unshorn hair, can make religious identity immediately visible. The letter noted that Sikh Americans have repeatedly faced harassment, discrimination and violence from people who perceive them as foreign or threatening."},"img":{"url":"https://images.prismic.io/prad/64397a7f-8833-4b4f-8c1a-6623a8df29f4_homeland+security.JPG?auto=format,compress"},"datetime":"2026-09-15T15:35:00+0000","embed":{"embed_url":null}},"uid":"indian-american-lawmakers-slam-dhs-mr-singh-post"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"‘Ranabaali’ First-Half BGM Locked!"},"content":{"text":"The makers of director Rahul Sankrityan’s much-awaited period action drama Ranabaali, starring Vijay Deverakonda and Rashmika Mandanna, have revealed that the background score for the film’s first half has been completed. With post-production progressing smoothly, the team is confident of wrapping up the film well ahead of its scheduled theatrical release on October 16, 2026. The makers shared the update on social media, assuring fans that the film is on track for its grand Dussehra release. The project is being mounted on a massive scale and is set against a British-era backdrop, promising a visually rich period action experience rooted in historical events. Rashmika plays Jayamma, the wife of Vijay’s character Ranabaali. Director Rahul Sankrityan recently revealed that he named the character after his own mother. He said he wanted Jayamma to be a strong and inspiring woman despite belonging to another era, adding that Rashmika brought the character to life in a way that made her unforgettable. Vijay and Rashmika reunite for the third time after Geetha Govindam and Dear Comrade. Produced by Naveen Yerneni and Y. Ravi Shankar, with T-Series presenting the film, Ranabaali also features Arnold Vosloo as the antagonist Sir Theodore Hector. Set in the 19th century and inspired by real incidents, the film is being positioned as a pan-India period action drama rather than a conventional biopic or textbook retelling."},"img":{"url":"https://images.prismic.io/prad/aaQrmcFoBIGEg9QD_Ranabaali.png?auto=format%2Ccompress&rect=0%2C69%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-15T04:46:00+0000","embed":{"embed_url":null}},"uid":"ranabaali-first-half-bgm-locked"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Anupama: Today is really all we have!"},"content":{"text":"Underlining the fact that life was short and that every moment counted, actress Anupama Parameswaran on Tuesday said that if there was one thing she had now come to understand, it was that \"Today is really all we have.\" Taking to her Instagram page to post a reel, the actress wrote, \" Not just a reel, An archive of memories.\" She further went on to add, \"Life is full of surprises, and with them come lessons. Some beautiful, some difficult, all leaving something behind. But if there’s one thing I’ve come to understand, it’s that life is short.Every moment counts. Every memory matters. And today is really all we have.\" It may be recalled that Anupama had put out a cryptic post in July this year that came under the spotlight.  In it, Anupama had said that peace had found her and that she no longer needed to take any more permissions or be in fear. Taking to her Instagram page to pen the rather cryptic post that gave the impression that she was finally free from something that had been imprisoning her, the actress wrote,\" Sometimes, you have to let go of the dead ends to finally find your peace. And today, peace found me.\" She had further said, \"From today, I choose my voice.I choose my life. No more permissions. No more fear. Just me, finding my way back to myself and falling in love with the life I almost forgot was mine. And there’s something I’ve wanted to say for a very long time…Something I wasn’t allowed to say for far too long. I love you all.\" She wrote, \"Thank you for standing by me, believing in me, and filling my life with so much love. If I haven’t said it enough before, please know that I have always felt it. Every message, every prayer, every ounce of kindness reached me when I needed it the most. Thank you, Universe, for leading me back to myself.\" Anupama concluded the post saying, \"Here’s to healing. Here’s to freedom. Here’s to choosing myself. And here’s to a life that is finally, completely, unapologetically my own.\" On the work front, Anupama next has director Sampath Nandi's explosive action drama 'Bhogi' coming up for release. The makers of the film, which features actor Sharwanand in the lead, had in April this year released the look of Anupama Parameswaran as Kandula Sulochana Rani in the film. The poster released showed Anupama as a village belle, walking barefoot on a dusty rural path. Sources had disclosed to media that Sulochana will be a spirited person who is deeply rooted in nature. The character in the film would be seen earning her livelihood by crafting leaf plates from Moduga leaves. Sulochana, sources claimed, would be shown as a person embodying both resilience and quiet strength. The makers had revealed on actor Sharwanand's birthday that he played a character called Ganga in the eagerly awaited action thriller."},"img":{"url":"https://images.prismic.io/prad%2F65402519-e2a3-4181-b09d-61c41704ba50_anupama+parameswaran++%2857%29.jpg?auto=format%2Ccompress&rect=0%2C65%2C600%2C296&w=2028&h=1000"},"datetime":"2026-09-15T08:36:00+0000","embed":{"embed_url":null}},"uid":"anupama-today-is-really-all-we-have"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Parineeti Enjoys Life Beyond Motherhood"},"content":{"text":"Actress Parineeti Chopra took some much-needed time out for herself and enjoyed a luxurious getaway nearly a year into motherhood, describing the experience as one she will cherish. Taking to Instagram, the ‘Ladies vs Ricky Bahl’ actress shared glimpses of her relaxing escape and opened up about wanting to indulge in some well-deserved “me time.” Sharing her photos, Parineeti wrote, “Almost a year of being a mom, and I took some time … just for me I wanted to be drenched in luxury and spoilt silly. @joalimaldives did just that.” “The best villas in the maldives (and I’ve seen some fantastic ones) the best food, the most thoughtfully designed, gorgeous island, and the staff that seemed to be at work just for me.” Parineeti, who described herself as a “water baby,” said she was mesmerised by the island and the overall experience. “The water baby in me was mesmerised. Thank you for making me feel like a queen — and a little girl! Had the time of my life,” she added. The video captures Parineeti Chopra making the most of her luxurious getaway, as she is seen enjoying every aspect of her vacation. From relishing delicious food and unwinding with relaxing massages to soaking in the serene surroundings of the Maldives, the actress appeared to be fully immersed in her much-needed break. The glimpses show her embracing the slower pace of island life, indulging in self-care and enjoying some quality time away from her routine. Parineeti Chopra and politician Raghav Chadha welcomed their first child, a son named Neer, on October 19, 2025. The actress recently opened up about returning to work while promoting her upcoming Netflix psychological thriller series, “Shaque: Trust No One.” Parineeti revealed that she found out she was pregnant with Neer while shooting for the series in Shimla. The makers ensured that she remained comfortable on set and made necessary changes to the action sequences to accommodate her during the shoot."},"img":{"url":"https://images.prismic.io/prad%2F8cfcce53-d24b-4659-8f34-e87c17e5853c_parineeti.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-15T07:40:00+0000","embed":{"embed_url":null}},"uid":"parineeti-enjoys-life-beyond-motherhood"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"7 held over 'purification' protest near KCR's farmhouse"},"content":{"text":"Telangana Police have arrested seven people in a case relating to the alleged ‘purification’ of roads at Erravalli near the farmhouse of BRS president and former Chief Minister K. Chandrasekhar Rao in Siddipet district.  A former sarpanch of Vardarajpur village and six leaders of Bharat Rashtra Samithi (BRS) were taken into custody on Monday from a lodge in Vijayawada in neighbouring Andhra Pradesh. The accused were brought to Gajwel and produced before a magistrate, who then sent them to judicial custody for 14 days. Subsequently, they were shifted to Siddipet jail. The accused had allegedly performed 'purification' rituals, using turmeric water, on September 9. The 'purification' was done a day after Congress workers and Dalit organisations held a ‘Chavu-Dappu’ (funeral drum-beating) protest in the area. The protest by Congress workers and Dalit organisations was against alleged derogatory and abusive remarks by two BRS MLCs against Telangana Assembly Speaker Gaddam Prasad Kumar. Following the protest, BRS workers sprinkled turmeric water on the roads and other areas through which the protesters had passed. The alleged 'purification' had sparked a huge controversy with the ruling Congress party demanding strong action over what it called 'insult' to Dalits. On a complaint by local Congress leaders, police registered a case and took up the investigation. Forensic evidence was collected as part of the investigation. Police had been on the lookout for the accused, finally tracing them to a lodge in Vijayawada after one of them switched on his mobile phone. The protest by Congress workers and Dalit organisations near KCR's farmhouse had followed the September 7 incident at the Assembly gate. During the scuffle between BRS legislators and police, two BRS MLCs had allegedly made certain derogatory and abusive remarks against Speaker Gaddam Prasad Kumar. Both the MLCs were booked and arrested the next day. However, a court had ordered their release the same day."},"img":{"url":"https://images.prismic.io/prad/736de0db-acb9-45be-9ae1-35051ce6ac00_arrested.JPG?auto=format,compress"},"datetime":"2026-09-15T08:00:00+0000","embed":{"embed_url":null}},"uid":"7-held-over-purification-protest-near-kcrs-farmhou"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"US judge blocks four-year student visa cap"},"content":{"text":"A US federal judge has temporarily blocked the Trump administration’s four-year limit on international student visas, offering relief to foreign students and researchers, including thousands from India.  Judge F. Dennis Saylor IV of the US District Court in Boston issued a nationwide preliminary injunction Monday, one day before the Department of Homeland Security rule was scheduled to take effect. The regulation would have replaced the longstanding “duration of status” system, under which foreign students may remain in the United States while enrolled in an authorised academic programme. Students needing more than four years would have been required to seek an extension from immigration authorities. The rule also restricted students’ ability to change programmes, transfer universities or pursue another degree at the same level without approval. The changes would also have affected visiting scholars and foreign journalists. Saylor called the government’s justification for the regulation “exceptionally weak.” He said the existing system had contributed to “groundbreaking research in science, medicine, and technology, substantial economic growth.” If implemented, the restrictions could cause damage to the economy and higher-education institutions that “is likely to be catastrophic,” he wrote. “Immigrants to the United States who attended American universities have been named as inventors on a disproportionate number of patents and have been awarded a disproportionate number of Nobel Prizes,” the judge said. The government argued that the existing system was outdated and needed to be changed to “safeguard national security.” Saylor acknowledged that the system was “not without its problems.” But he said the administration had sought to “substantially restrict the overall number of foreign students, researchers, professors, and journalists in the United States.” “The government’s contention that the rule is necessary to safeguard national security borders on the absurd,” he wrote. The case was brought by higher-education organisations and labour unions, including the Presidents’ Alliance on Higher Education and Immigration, NAFSA: Association of International Educators and the Association of Independent Colleges and Universities in Massachusetts. The plaintiffs argued that the rule imposed an arbitrary deadline and would damage universities’ ability to attract international talent and produce advanced research. The Department of Homeland Security had defended the policy after the lawsuit was filed. “Where was the outrage when foreign nationals were abusing the system, violating the terms of their student visas, and making a mockery of our immigration laws?” a department spokesperson said at the time. The rule was expected to affect doctoral students particularly severely. National Science Foundation data cited in the reports showed that doctoral programmes take a median of 5.7 years to complete. Saylor also raised concerns about giving immigration officials greater control over academic decisions. “Moreover, it is not difficult to imagine how that system might be abused to punish those whose viewpoints or research are disfavored by the officials making the decision — or, indeed, punish disfavored institutions,” he wrote. Nearly 22,000 public comments were submitted on the regulation, with most expressing opposition. The next court hearing is scheduled for October 2. International applications through the Common Application have fallen 10 per cent during the latest admissions cycle, while doctoral applications have declined 21 per cent, according to figures cited by NAFSA. The preliminary injunction does not permanently invalidate the regulation. It preserves the existing system while the court considers the case, and the administration may appeal the ruling. "},"img":{"url":"https://images.prismic.io/prad/3fb737b1-4f83-4e08-9667-484388c7b186_US+Visa.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-15T03:15:00+0000","embed":{"embed_url":null}},"uid":"us-judge-blocks-four-year-student-visa-cap"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Kartik Aaryan is miles away from home"},"content":{"text":"Bollywood actor Kartik Aaryan is celebrating Ganesh Chaturthi in the UK. The actor took to his Instagram recently and shared a picture of himself with the idol of Lord Ganesha. He wrote in the caption, “Miles away from home, but never away from Bappa! Ganpati Bappa Morya”. The actor is currently in the UK shooting for his upcoming film ‘Captain India’. The actor has had a great run this year as he bagged the National Award for Best Actor for his work in the sports biopic ‘Chandu Champion’. He shared the award with the Malayalam cinema legend Mammootty, who was feted for his work in ‘Bramayugam’. Earlier, the actor flew to London to kickstart the shooting of ‘Captain India’. At the time, he shared a series of pictures and videos from his trip to London. The post includes pictures of airports, him listening to music, reading the shooting draft of the script on his tablet, and his luggage. The actor flew from Mumbai to London. He wrote in the caption, “VABB to EGLL”. ‘Captain India’ reportedly draws on India’s real-life evacuation of citizens from a war-torn country. As seen in one of the pictures, the film is directed by Shimit Amin, who is known for ‘Chak De! India’. It is produced by T-Series‘ Bhushan Kumar and Baweja Studios, alongside Dopamine Studios, with S.B. Films handling production. Talking about the actor being lionised with the National Award, he was invited by President Droupadi Murmu to attend the prestigious ‘At Home Reception’ on 15th August at Rashtrapati Bhavan in New Delhi. The 'Bhool Bhulaiyaa 3' actor was a part of the high-profile gathering hosted by the President during the 80th Independence Day. Kartik was the only actor from Bollywood to attend the prestigious gathering, joining the distinguished invitees. For the uninitiated, the ‘At Home Reception’ is a formal gathering hosted by the President of India where prominent names from various walks of life, including national leaders, armed forces personnel, sportspersons, artists and notable achievers, come together under a single roof."},"img":{"url":"https://images.prismic.io/prad/aUPaunNYClf9oY2A_karthikaryan.JPG?auto=format%2Ccompress&rect=0%2C2%2C2020%2C996&w=2028&h=1000"},"datetime":"2026-09-15T07:25:00+0000","embed":{"embed_url":null}},"uid":"kartik-aaryan-is-miles-away-from-home"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"What gives SRK ‘kingly feelings’ during his day"},"content":{"text":"Bollywood megastar Shah Rukh Khan has shared what in his daily routine gives him the “Kingly feelings”. On Tuesday, the actor took to his X, formerly Twitter, and conducted a session of #AskSRK his signature ask me anything session where he interacts with fans. One user asked the actor, “Be honest, what’s the most KING-like thing you do in real life? #AskSRK @iamsrk”. Responding to the same, SRK shared, “Have three cups of coffee in bed before anybody can speak with me even if I am late for work!! Then of course on sets get shouted at for being late and have no Kingly feelings left”. The actor also dropped some marriage advice. A user wrote, “I got married this year. We both wanted to invite you par aap aate thodi. But I want to know from the King of Romance “what is the green flag to maintain a happy married life” See you soon”. The actor wrote, “Ek doosre ke rang mein rang jao....make adjustments so both of you make the partner happier”. The actor also gave a peek into his Ganpati celebrations, as he shared, “Wife does the Aarti and then the prayers and tonight will do the Visarjan. Kids and friends gather to hang around and laugh a lot. Very simple and family time”. Elsewhere during the session, the actor also gave update on his upcoming film ‘King’. A user asked him, “Trailer he dikha do abhi”. SRK wrote, “Abhi sirf baat karunga Trailer baad mein.... film is 100 days away na...24th Dec bro”. ‘King’ also Deepika Padukone, Suhana Khan, Abhishek Bachchan, Jaideep Ahlawat, Abhay Verma, and Arshad Warsi in key roles. The film is directed by Siddharth Anand and produced by Red Chillies Entertainment and Marflix Pictures, and is set to release on December 24, 2026."},"img":{"url":"https://images.prismic.io/prad/aCbvNCdWJ-7kSMyp_SRK.JPG?auto=format,compress"},"datetime":"2026-09-15T08:44:00+0000","embed":{"embed_url":null}},"uid":"what-gives-srk-kingly-feelings-during-his-day"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Ramya Krishnan Turns Kamala Reddy"},"content":{"text":"The makers of director Hanuma Reddy Yakkanti's eagerly awaited period action drama 'David Reddy, featuring actor Manchu Manoj in the lead, on Tuesday revealed actress Ramya Krishnan's ferocious look in the film and disclosed that she played a character called Kamala Reddy in it.  The makers chose to release Ramya Krishnan's first look poster from the film on a day the actress celebrated her birthday. Taking to his social media timelines to share Ramya Krishnan's first look poster in the film, actor Manchu Manoj wrote, \"One look. The entire frame belongs to her. Happy Birthday to the phenomenal @meramyakrishnan garu! Your presence, your fire, your command over a scene… an absolute privilege to share the screen with you!\" He went on to add, \"Celebrating you today by introducing our ferocious KAMALA REDDY to the world, from the world of David Reddy. Just wait till you see her in action. #DavidReddy #KamalaReddy #HBDRamyaKrishnan #RamyaKrishnan #ManojManchu.\" For the unaware, the makers of the film have already disclosed that Ukrainian model and actress Maria Riabhoshapka plays a character called Clara Whitmore in the film. Director Hanuma Reddy, while welcoming Maria Riabhoshapka on board the film earlier this year, had shared her poster on his Instagram page and said, \"Her love isn’t soft… it’s ruthless. Welcome to the Brutal Era.\" Actor Manchu Manoj, who plays the lead in the film, too had accorded a warm welcome to Maria Riabhoshapka.  Taking to his Instagram page to pen a welcome post, he had said, \"The intense world of #DavidReddy welcomes its leading lady - Maria Riabhoshapka on board as Clara Whitmore. Her love is War. Excited to see her bring this character to life with grace, depth, and fire. A grand Pan Indian historical action drama where valor meets destiny, and every character carries the weight of epic storytelling. @maria_riaboshapka #DavidReddy #MariaRyaboshapka.\" It may be recalled that Manchu Manoj had announced the title of this film as 'David Reddy' in August last year on the occasion of completing 21 years in the film industry. The actor had disclosed that this film would be a historical action drama. Taking to his social media timelines to pen a lengthy post to express gratitude to all those who had supported him and enabled him to reach the milestone in his film career, Manchu Manoj had said, \"With a heart full of gratitude… Today marks 21 years of my journey in cinema. I feel truly blessed to be still doing what I love. And with the same love and hope, sharing my 21st film titled #DavidReddy.\" \"A raw, intense, high-octane historical action drama set between 1897 to 1922, brought to life by the visionary Hanuma Reddy Yakkanti garu, and supported by Velvet Soul Motion Pictures. Thank you for standing by me all these years. Humbled and excited for what’s ahead. #MM21 #MM,\" he had said then. Manchu Manoj also shared a poster along with the announcement. The poster had the caption, \"Born in the Madras Presidency, Raised in Delhi. Now, shaking the British empire. Rebellion begins...\". The caption gave the impression that the story of the film would revolve around India's struggle for freedom."},"img":{"url":"https://images.prismic.io/prad/ystIbbub2QOEsfRQ_ramyakamalareddy.JPG?auto=format%2Ccompress&rect=0%2C107%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-15T06:30:00+0000","embed":{"embed_url":null}},"uid":"ramya-krishnan-turns-kamala-reddy"}},{"node":{"tags":["NRI"],"data":{"third_party_url":null,"title":{"text":"NYC Subway Tragedy Kills Indian Woman"},"content":{"text":"An Indian-origin woman heroically dove onto a city subway track to save a friend who had fallen, but tragically, both were killed by an oncoming train that could not stop in time, according to police.  The tragedy, caught on an eerie video, happened early Sunday morning (local time) at a Manhattan station in the city's metro system when both friends were waiting for a train, according to police. Navam Kaul ended up on the track, and Malaika Chitre tried futilely to save him, police said. Authorities said on Monday that detectives from the New York Police Department were investigating the incident. The train operator told supervisors that after spotting them on the track, there was no time to stop the train to save them, the New York Post reported, quoting sources. Kaul and Chitre, who grew up in nearby towns in New Jersey, had both graduated in 2024 from Rutgers University. Rajnikant Pipalia, who told the Post his son was a friend of Kaul, said that Kaul's family immigrated from Nepal. Kaul and Chitre \"grew up in the same world\" and were part of the \"same South Asian group hanging out together, enjoying the same festivals,\" Pipalia told the Post. The newspaper said that Chitre's family \"lambasted\" media reports on the incident. Some of them aired sensational speculations about them and the tragedy without factual basis. Chitre was pursuing a doctorate in pharmacy studies at Temple University while working as a quality operations specialist at Acadia Pharmaceuticals, according to her LinkedIn profile. Kaul, who had a business degree, was a data analyst with Bloomberg, a financial services and news company, his LinkedIn profile said."},"img":{"url":"https://images.prismic.io/prad/1LCOhOPMXT-bZtfr_indianwoman.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-15T05:30:00+0000","embed":{"embed_url":null}},"uid":"nyc-subway-tragedy-kills-indian-woman"}}]},"featured":{"edges":[{"node":{"data":{"title":{"text":"UPI Transactions: There Is Nothing Called 'Free Lunch'"},"content":{"text":"“The art of taxation consists in so plucking the goose as to obtain the largest possible number of feathers with the smallest possible amount of hissing\" This quote by Jean-Baptiste Colbert, the Minister of Finances under King Louis XIV of France, in simple words infers that the goal of any government is to extract as much money as possible from the people (plucking feathers) while provoking the least amount of public anger or protest (hissing). Such Taxation wisdom, it turns out, does not repeat itself; it just gets a software update. Back in 1696, England’s finest economic brains invented the infamous \"Window Tax.\" Rather than invading a citizen's privacy by asking about their income, the experts decided wealth could be measured by simply counting holes in a wall from the outside. The only problem? The law forgot to define what a \"window\" actually was. Soon, aggressive tax collectors were charging people for kitchen air grates and chimney smoke holes. Plunged into absolute confusion by the experts' fine print, everyday citizens did the logical thing: they bricked up their windows and chose to live in total, pitch-black darkness to save their pennies. Centuries later, the ghost of British bureaucracy has officially migrated into the Indian digital realm. Following the BJP-led NDA government’s latest decision to overhaul the Merchant Discount Rate (MDR) framework for UPI transactions, the common man is experiencing the exact same brain-melting confusion that forced 17th-century Londoners into the dark. Just like the British lords engineered a complex matrix of taxable vs. exempt wall openings, today's National Payments Corporation of India (NPCI) has gifted us a brilliant labyrinth of digital rules. Under this new policy, which officials fiercely insist is not a tax, definitely don't call it a tax, a 0.4% variable transaction charge (capped at ₹300) kicks in the moment a Person-to-Merchant (P2M) payment crosses ₹2,000. Advocates of the move are singing hymns of praise, calling it a masterstroke of \"domestic reform\" needed to fund cybersecurity and digital infrastructure. It’s not good, it’s not bad, it’s just macroeconomics. Yet, much like the old London landlords who simply bricked up their windows because they couldn't understand the tax code, modern Indian shopkeepers are sweating buckets over how to absorb the financial burden. The government, with a straight face, has declared that these costs absolutely cannot be passed down to buyers. Naturally, the common man now stands at the billing counter in absolute bewilderment, wondering if scanning a QR code for a new smartphone will quietly result in a digital version of \"daylight robbery\". While the cheerleaders say this brings \"financial sustainability,\" naysayers are already predicting the beautifully chaotic ways the free market will react. To avoid the fee, merchants are expected to deploy weaponized creativity: adding flat \"service charges\" to big bills, offering \"cash-only discounts,\" or engaging in \"transaction splitting\", where buying a ₹6,000 item means scanning the QR code three separate times for ₹2,000.But wait, the plot thickens. Rumors from the corridors of the Finance Ministry suggest this confusion isn't a blunder at all, but rather a grand, multi-dimensional plan for macroeconomic equilibrium. You see, India is currently drowning in a massive ₹15 trillion liquidity surplus caused by a historic surge in our Forex reserves. Any basic textbook will tell you that when too much money chases too few goods, it sparks inflation. But instead of using boring, traditional financial tools like selling government bonds or raising interest rates, our economic wizards chose a much more artistic route. The genius logic works like this: by slapping a fee on UPI payments, you give shopkeepers severe \"fee anxiety.\" The shopkeepers try to pass the cost to the customers. The customers, horrified by the extra charge, instantly delete their digital wallet apps and switch back to hard, cold paper cash. As millions of citizens rush to ATMs to pull physical rupees out of the banking system just to buy groceries, the giant pool of electronic money vanishes. Who knew that the ultimate solution to managing a highly complex, multi-billion-dollar global financial windfall was to simply scare the entire population into using ₹100 notes again? It is not a glitch; it is a magnificent feature. And best of all, it perfectly sets the stage for one fine evening in the near future, when the television screen will flick on at 8:00 PM sharp, to hear a familiar voice  to greet  with a thunderous “Mitron...” In a nutshell, this entire UPI transaction charges saga perfectly proves the timeless wisdom of economist Thomas Sowell: that an economy is a mechanism so complex that it takes an army of experts to misunderstand it completely, and a populace of ordinary citizens to accidentally fix it by behaving logically."},"img":{"url":"https://images.prismic.io/prad/IWNC-LYO9T7IQfVm_scan.JPG?auto=format%2Ccompress&rect=0%2C7%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T07:30:00+0000","embed":{"embed_url":null}},"uid":"upi-transactions-there-is-nothing-called-free-lunc"}}]},"politics":{"edges":[{"node":{"data":{"title":{"text":"6 students drown during Ganesh idol immersion in T'gana "},"content":{"text":"Six students drowned in a lake during the immersion of Ganesh idol in Telangana’s Sangareddy district on Wednesday, police said. The tragic incident occurred in Peddakanjerla village under Patancheru Police Station of Cyberabad Commissionerate. The youth aged between 17 and 22 years accidentally fell into Neredu Cheruvu and drowned while immersing Ganesh idol. Locals pulled out the youth and shifted them to a hospital, but doctors declared them brought dead. The deceased have been identified as Narasimha (21), Teja (17), Sidhartha (17), Ganesh (18), Sumanth Reddy (17) and Uday Kiran (22). Chief Minister A. Revanth Reddy has expressed deep shock over the death of six students who had gone for the Vinayaka immersion. He conveyed his heartfelt condolences to the families of the deceased and directed the district administration to provide support to the affected families. He also instructed officials to take appropriate precautions during the Ganesh immersion. Minister for Women and Child Welfare, Seethakka, expressed deep shock over the incident. She expressed her anguish over the tragic loss of six young lives during the festive season. She conveyed her heartfelt condolences to the bereaved families and assured them that the government would stand by them during this difficult time. To gather full details regarding the incident, Minister Seethakka spoke with the Sangareddy District Collector over the phone and inquired about the situation. She sought information on the circumstances leading to the accident, the relief operations undertaken, and the assistance being provided to the affected families. The minister also spoke with the Secretary of the Women and Child Welfare Department, Shruti Ojha, to obtain details about the incident. She directed officials to coordinate efforts in providing necessary assistance to the affected families and implementing measures to ensure children's safety. Minister Seethakka advised officials to remain extra vigilant regarding the safety of children. She specifically ordered that adequate precautions be taken to prevent children from approaching dangerous water bodies in areas where immersion ceremonies take place and directed the strict implementation of necessary safety measures."},"img":{"url":"https://images.prismic.io/prad/37e36519-397f-4f79-ad33-bfee1213b21e_Ganesh+Immersion+%284%29.JPG?auto=format%2Ccompress&rect=0%2C278%2C1600%2C789&w=2028&h=1000"},"datetime":"2026-09-16T15:24:00+0000","embed":{"embed_url":null}},"uid":"6-students-drown-during-ganesh-idol-immersion-in-t"}},{"node":{"data":{"title":{"text":"Jagan vs Naidu Over ‘FBI’ Tag"},"content":{"text":"YSR Congress Party president YS Jagan Mohan Reddy on Wednesday slammed Andhra Pradesh Chief Minister N. Chandrababu Naidu over the state police posing as the Federal Bureau of Investigation (FBI) of the United States.  “Under Chandrababu Naidu Garu, Red Book Governance goes global; now featuring the Andhra Pradesh Police posing as the FBI! Fake identity, real threat to democracy,” posted the former Chief Minister on X. “Mr Chandrababu Naidu Garu, is this policing, or state-sponsored deception aimed at politically motivated harassment? Your police force identifying themselves as the US Federal Bureau of Investigation while seeking the removal of posts from X is the most deplorable act that tarnishes the reputation of our state and country,” the YSRCP chief wrote. He said X has confirmed that the takedown request originated from an official Andhra Pradesh Police email address, not the FBI’s. “Yet the officer names ‘FBI’ as the sender organisation. Who ordered this takedown request? Why was the FBI’s identity misused? Was it a deliberate attempt to mislead X and silence voices questioning your government on 1. Unfulfilled Super Six and Super Seven promises 2. DSC Scam 3. Amaravati looting 4. State Debt, Governance failures & harassment,” asked YS Jagan. “The police uniform is meant to protect the law, not to enforce your political censorship. Dragging the name of a foreign investigating agency into a political takedown operation has disgraced Andhra Pradesh and severely damaged the credibility of its police force. The energy spent trying to muzzle critics should instead be directed to fulfil Super Six and Super Seven promises: Support farmers during these tough drought times, create real jobs, drive development, and address what actually matters to the people of Andhra Pradesh,” the former CM said. “Social media makes it impossible to hide behind curated narratives. If this government is confident in its record, it should answer criticism with performance and transparency and not with censorship and harassment,” he added."},"img":{"url":"https://images.prismic.io/prad%2Ff2d009ae-9d6a-4fa0-9f8c-798b77393d30_jaganbabu.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T15:00:00+0000","embed":{"embed_url":null}},"uid":"jagan-vs-naidu-over-fbi-tag"}},{"node":{"data":{"title":{"text":"Revanth Targets KCR’s Farmhouse"},"content":{"text":"Telangana Chief Minister A. Revanth Reddy on Thursday ordered a probe into the BRS president and former Chief Minister K. Chandrasekhar Rao’s landholding, including his farmhouse at Erravalli in Siddipet district. The Chief Minister announced in the State Legislative Assembly that the inquiry will be conducted within a month. He said the inquiry will be conducted to find out if the farmhouse of K. Chandrasekhar Rao (KCR) is spread over 700 acres or not. He questioned why KCR did not reveal that out of 700 acres, 388 acres are government land. “I am directing the Revenue Department, Collector, to immediately issue notice to KCR to verify the extent of land he purchased, the land available now, and who has control of about 388 acres of government land,” he said  The Chief Minister was speaking in the Assembly on the issue of Section 22A of the Registration Act, 1908, amid controversy over thousands of acres of private properties being categorised as public land under 22A. CM Revanth Reddy announced that the government would reclaim 388 acres of government land in KCR’s farmhouse and distribute the same among 800 Dalit families. He asked ministers Damodar Raja Narasimha, G. Vivek Venkatswamy and Ponguleti Srinivas Reddy to resolve the matter within 30 days. “If the issue is not resolved within 30 days, I will take action against the Revenue officials and ministers,” he said. Alleging that the KCR family holds 439 acres of land, far in excess of the legal ceiling, he demanded that the Leader of Opposition explain how he mobilised these lands. CM Revanth Reddy alleged that the KCR family owns 439.30 acres of land in 31 villages across nine districts. Giving a break-up of these landholdings, he said the family of the former Chief Minister and his wife own 67.13 acres in Siddipet. KCR’s son K. T. Rama Rao and his family have 123 acres; KCR’s nephew and former minister T. Harish Rao and his family own 30.16 acres; KCR’s daughter Kavitha and her husband own 37.26 acres; KCR’s another nephew and former MP Jognipalli Santhosh Rao and his family own 79 acres. Other relatives Naveen Rao and Kondal Rao together own 101.14 acres. The Chief Minister also provided details of the lands acquired by BRS leaders, including former ministers and MLAs. The Chief Minister alleged that the KCR family was involved in a land scam of Rs one lakh crore under the guise of the Dharani portal under the BRS government. He announced that a Special Inquiry Team (SET) will be constituted to conduct an investigation.  Revanth Reddy said all the facts relating to irregularities during BRS rule will be tabled in the House in the presence of BRS members.  Last week, all BRS MLAs were suspended from the Assembly for the rest of the session for allegedly disrupting the proceedings. Stating that Dharani Part-I irregularities have come to light, he said soon Dharani-II irregularities will be exposed.  The Chief Minister said irregularities relating to Telangana Industrial Infrastructure Corporation (TGIIC) lands will be exposed during the budget session. He announced the formation of high-power officers’ committee to resolve the 22-A issue. Guidelines will be framed within a week to resolve the issue."},"img":{"url":"https://images.prismic.io/prad/aUQ2XnNYClf9oaGE_RRKCR.JPG?auto=format,compress&rect=0,2,2020,996&w=2028&h=1000"},"datetime":"2026-09-16T13:00:00+0000","embed":{"embed_url":null}},"uid":"revanth-targets-kcrs-farmhouse"}},{"node":{"data":{"title":{"text":"2 AP Women Die, Foul Play Suspected"},"content":{"text":"Two young women were killed and their male friends injured when a car in which they were travelling rammed into a roadside hotel in Andhra Pradesh’s Anantapur district, but the families of the deceased have alleged that the youth killed them and made it look like an accident.  The incident occurred near Rotarypuram in the Bukkarayasamudram mandal of the district on Tuesday morning. The deceased were identified as Haritha (20) and Navanitha (20). Harita was a third-year nursing student at a college in Anantapur, while Navanitha was working as a nurse at a private hospital. They were friends for the last two years. According to police, the young women were friends with Kumar, who was working in the hospital where Navaniha was employed as a nurse, and an insurance company agent, Sridhar Reddy, who was a regular visitor to the hospital. All four friends left in a car on Monday night. After visiting Korrapadu, SRIT College and other areas, they left for Anantapur around 4 a.m. on Tuesday. Sridhar Reddy, who was driving the car, apparently lost control and rammed the vehicle into a roadside hotel near Rotarypuram, where a bridge was under construction.  According to police, Haritha, who was seated in the rear, died on the spot. Injured Navanitha, Sridhar Reddy and Kumar were shifted to a hospital, where Navanitha succumbed while undergoing treatment. The families of the deceased women alleged that the youth took them in the car after luring them with sweet talk, murdered them and made it look like an accident. They expressed their suspicions as the youth survived with simple injuries.  Haritha’s mother, Salamma, said she had already warned her to be cautious about the youth and not to trust them. Navanitha’s mother, Vijaya, alleged that the youth had taken her daughter by misleading her and demanded stringent punishment. Police said they have registered a case on the complaint of the families of the deceased and taken up the investigation. A police officer said they were analysing the CCTV footage. The post-mortem examination report is likely to be key in ascertaining the cause of the deaths."},"img":{"url":"https://images.prismic.io/prad/e7bfd63c-d78c-4268-979e-450aac768d29_dubai+accident.JPG?auto=format,compress"},"datetime":"2026-09-16T05:55:00+0000","embed":{"embed_url":null}},"uid":"2-ap-women-die-foul-play-suspected"}},{"node":{"data":{"title":{"text":"Iran war cost US $38 billion!!"},"content":{"text":"The US military campaign against Iran cost the Pentagon about $38 billion through July and could consume another $2 billion to $3 billion each month, according to the Congressional Budget Office.  The nonpartisan agency also warned that the conflict has depleted critical missile-defence stocks, increased energy prices and added to inflation across the American economy. The CBO examined operational, logistical and economic costs associated with Operation Epic Fury, which began on February 28. The initial phase lasted until a ceasefire took effect on April 8. President Donald Trump declared the ceasefire over on July 10 after attacks on tankers passing through the Strait of Hormuz. The $38 billion estimate includes $21.7 billion to replace missiles and other munitions. It also covers $10.4 billion in additional flying hours, $2.7 billion in higher military fuel costs, $1.9 billion for equipment lost in battle and $1.5 billion in other operational expenses. Replacing expended munitions was the largest single expense. The total included $13.1 billion for missile-defence interceptors and $7.3 billion for land-attack cruise missiles. The estimate does not include the cost of repairing or rebuilding US military facilities damaged by Iranian attacks. It also excludes diplomatic operations, foreign assistance and the long-term cost of medical care and disability compensation for injured service members and veterans. CBO said the Pentagon did not provide the information it requested. The agency relied instead on government databases and publicly available reports, leaving its findings subject to “considerable uncertainty”. The report warned that the United States may have used between one-half and two-thirds of its missile-defence interceptor inventory since June 2025. “Although DoD does not reveal the number of munitions it has on hand, a comparison of the reported expenditures of missile defense interceptors with the total numbers that DoD has purchased to date indicates that the United States has probably used between one-half and two-thirds of its inventory of those munitions since June 2025,” CBO said. Rebuilding the stocks could take at least five years, even if the Pentagon accelerates procurement. “The shortfall would become especially problematic if a conflict arose with an opponent whose arsenal included large numbers of ballistic and cruise missiles,” the report said. CBO specifically identified China as possessing an arsenal that could play a major role in any military conflict involving Taiwan. The conflict has also disrupted oil and natural gas shipments through the Strait of Hormuz and shipping through the Red Sea. CBO said the resulting increase in energy costs added 2.3 percentage points to the annualised inflation rate during the second quarter of 2026. The agency projected that inflation in the first quarter of 2027 would be 0.5 percentage points higher than it had forecast before the war. Higher inflation is also expected to push up interest rates on US Treasury securities. Defence Secretary Pete Hegseth told Congress in July that operations against Iran would cost $37.5 billion through September. The White House has requested $87.6 billion in supplemental funding, including $67.1 billion for the Pentagon. CBO said about $42.3 billion of the Pentagon request appeared directly related to the conflict. "},"img":{"url":"https://images.prismic.io/prad/aCL3pydWJ-7kR_PT_war.JPG?auto=format,compress"},"datetime":"2026-09-16T00:30:00+0000","embed":{"embed_url":null}},"uid":"iran-war-cost-us-38-billion"}},{"node":{"data":{"title":{"text":"Andhra Former Deputy CM Alla Nani dies"},"content":{"text":"Former Andhra Pradesh Deputy Chief Minister Kali Krishna Srinivas (Alla Nani) died of cardiac arrest on Tuesday. He was 57. Popularly known as Alla Nani, he breathed his last at his residence in Visakhapatnam. Alla Nani began his political career with the Congress party. He was elected to the Assembly of united Andhra Pradesh from Eluru in 2004 and 2009 on the Congress party ticket. He later joined the YSR Congress Party (YSRCP) and contested unsuccessfully on the party ticket in the 2014 Assembly elections.  Alla Nani was elected to the Legislative Council under the MLA quota in 2017. He was elected to the Assembly from Eluru in 2019. From 2019 to 2022, he served as the Deputy Chief Minister and Minister for Medical and Health in YS Jagan Mohan Reddy-led YSRCP government. Last year, Alla Nani quit YSRCP to join the Telugu Desam Party (TDP). Chief Minister N. Chandrababu Naidu has condoled the demise of Alla Nani. He stated that he was deeply shocked to learn about the death of the former Deputy Chief Minister due to a heart attack at a young age. He conveyed his profound condolences to his family. Deputy Chief Minister Pawan Kalyan said in his condolence message that the sudden demise of former Deputy Chief Minister and senior political leader from Eluru, Alla Nani, caused him profound sorrow.  He noted that Alla Nani served the people as Eluru MLA for three terms and once as MLC. He prayed for his soul to attain peace and conveyed his heartfelt condolences to the family members. Former Chief Minister and YSRCP President YS Jagan Mohan Reddy expressed deep shock and grief over the sudden demise of Alla Nani. Jagan said Alla Nani’s untimely death was deeply painful and recalled his long public career, including being elected three times as MLA from Eluru and serving the people for many years. He remembered Alla Nani’s key role in the YSRCP government as Deputy Chief Minister and Health Minister, and said he discharged his responsibilities in the public health sector with dedication. Jagan said Alla Nani’s passing was an irreparable loss to his family and admirers. He prayed for peace to the departed soul and for strength to the bereaved family. He conveyed his heartfelt condolences to Alla Nani’s family members, relatives and supporters."},"img":{"url":"https://images.prismic.io/prad/TzxHGd-y3dSIde0D_allanani.JPG?auto=format%2Ccompress&rect=0%2C2%2C739%2C364&w=2028&h=1000"},"datetime":"2026-09-15T14:30:00+0000","embed":{"embed_url":null}},"uid":"andhra-former-deputy-cm-alla-nani-dies"}}]},"entertainment":{"edges":[{"node":{"data":{"title":{"text":"Ajith’s ‘Dare Devil’ Begins in November"},"content":{"text":"Director Adhik Ravichandran, who is directing actor Ajith Kumar's upcoming Tamil film titled 'Dare Devil', on Wednesday announced that shooting for the film will commence from November 2 this year.  Taking to his X timeline to share the update on the film, a day before his birthday on Thursday, the young director, who is known to be a fan of actor Ajith Kumar, wrote, \"My Sir’s Advance Birthday Gift to me. Yes, we are rolling the dice from November 2. #AK sir’s #DareDevil. #Shalini mam @Braveheartsprod @anirudhofficial sir @SureshChandraa sir @AbinandhanR @editorvijay @supremesundar #Subbhunaarayan @itsanuvardhan @kayoas13 @valentino_suren @AMBANINSK.\" The director also shared a brand new poster of the film on the occasion that confirmed that Ajith Kumar would be playing the character of Dare Devil in the film. The new poster featured Ajith Kumar seated on a chair, sporting a serious look and having dice in his hand.  Interestingly, the film is being produced by Ajith Kumar's wife Shalini Ajith Kumar under the banner of Brave Hearts Production. 'Dare Devil', which is being eagerly awaited by Ajith's fans, boasts of a sound technical team. The film will have music by one of India's top music directors Anirudh Ravichander. Cinematography for the film is to be handled by Adhik Ravichandran's trusted cameraman Abhinandan Ramanujam, who had also been the Director of Photography for the director's earlier film with Ajith Kumar, 'Good Bad Ugly'. Similarly, editing for this film too is to be handled by Vijay Velukutty, who had also served as the editor in Adhik Ravichandran's 'Good Bad Ugly'. Stunts for 'Dare Devil' are to be choreographed by well known stunt choreographer Supreme Sundar. Dances in the film are to be choreographed by the immensely popular Kalyan Master.  The responsibility of designing costumes for the film has been entrusted to Anu Vardhan while sound design will be handled by Suren."},"img":{"url":"https://images.prismic.io/prad/HOCnl1EW78VNZUSO_ajithdoordie.JPG?auto=format%2Ccompress&rect=0%2C147%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-16T16:20:00+0000","embed":{"embed_url":null}},"uid":"ajiths-dare-devil-begins-in-november"}},{"node":{"data":{"title":{"text":"Sridevi property: SC issues notice to Boney, Janhvi, Khushi"},"content":{"text":"The Supreme Court on Wednesday issued notice to film producer Boney Kapoor and his daughters Janhvi Kapoor and Khushi Kapoor on a plea seeking to revive a property dispute involving a 2.70-acre parcel of land in Chennai purchased by late actress Sridevi and her family.  A Bench of Justices K.V. Viswanathan and Arun Pillai issued notice on the petition filed by M.C. Sivakami and her brother M.C. Natarajan, who have claimed a share in the disputed property, and directed the parties to maintain status quo till the next date of hearing.  The Justice Viswanathan-led Bench also indicated that the parties should explore an amicable resolution through mediation and said that a retired High Court judge would be appointed as mediator.  The matter has been posted for December 18 to consider the progress of the mediation.  The petitioners have challenged the April 20 order of the Madras High Court, which allowed a revision petition filed by Boney Kapoor, Janhvi Kapoor and Khushi Kapoor and rejected the civil suit instituted by Sivakami and others.  The High Court had held that the suit seeking to challenge the 1988 sale transactions was barred by limitation and that the plaintiffs had not established a legally sustainable claim on the basis of the pleadings.  The dispute concerns 2.70 acres of land in Survey No.1/1B at Sholinganallur in Chennai.  According to the pleadings recorded by the Madras High Court, the plaintiffs claimed to be legal heirs of late M.C. Chandrasekaran and sought partition of the property into five equal shares, claiming a 1/5th share. They had also sought declarations that the sale deeds dated April 19, 1988, executed in favour of Rajeshwari, Sreelatha and Sridevi, as well as subsequent transactions concerning the property, were null and void.  Before the Supreme Court, the petitioners' counsel submitted that the High Court had gone into questions concerning the claimants' legal-heir status and the validity of Chandrasekaran's alleged second marriage while deciding whether the plaint itself was liable to be rejected.  Appearing for the Kapoor family, senior advocate Abhishek Manu Singhvi argued that the sale transaction dates back to April 19, 1988, while the present suit was instituted only in 2025.  The senior counsel contended that the petitioners had attained majority in 1995 and 1999, while the present suit was instituted only in 2025, and argued that the claim was barred by limitation. During the hearing, the Supreme Court also sought clarification on whether M.C. Chandrasekaran had a 1/5th share in the property and whether there was any dispute regarding the petitioners being his children.  The litigation has its roots in a suit filed before the Additional District Judge at Chengalpattu. The trial court had initially declined to reject the plaint under Order VII Rule 11 of the Code of Civil Procedure (CPC), holding that the averments in the plaint had to be considered at that stage and that disputed questions could be examined during trial.  The Madras High Court subsequently overturned that order on April 20, 2026. A single-judge Bench of Justice T.V. Thamilselvi held that the plaintiffs' claim that they came to know about the disputed transaction only in 2023 did not sustain on the material placed before the court and concluded that the suit challenging the 1988 transactions was barred by limitation.  The High Court ordered rejection of the plaint. The Madras High Court order also recorded that the plaintiffs had earlier instituted another suit in 2007 claiming a 1/5th share in family properties, which had been dismissed."},"img":{"url":"https://images.prismic.io/prad%2Fb76de7d6-cff9-4251-b467-c470426229f6_sridevi+statue.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T14:42:00+0000","embed":{"embed_url":null}},"uid":"sridevi-property-sc-issues-notice-to-boney-janhvi-"}},{"node":{"data":{"title":{"text":"'The Paradise': ‘A’ Cert, 2h 49m Runtime!"},"content":{"text":"If sources in the industry are to be believed, the Central Board of Film Certification (CBFC) has now cleared Telugu star Nani's eagerly awaited upcoming action entertainer, 'The Paradise', for release with an 'A' certificate. Sources in the know claim that the film, which has been cleared by the censor board, has a run time of two hours and 49 minutes. The film, directed by Srikanth Odela, has triggered huge expectations among fans and film buffs. Nani, who plays the lead the film, had recently confessed that the film was the most tiring of his career. During an interaction with the media ahead of the film's release on September 24, Nani had said, \"The Paradise is the most tiring film of my career, both physically and mentally. If there has been a film for which I have worked very hard in these 18 years of my film career, it is 'The Paradise'.\" The actor also set the record straight with regard to media reports that had claimed that the film had underwater sequences. He said, \"There are various news reports about the movie on social media. There is no underwater sequence in it. There is also no fight with a 1000 people as is being claimed. This is a genuine story and there are a lot of action blocks. There are scenes that will give audiences a good high. The audience will feel the emotion in the violence.\" Director Srikanth Odela, who took a few questions on the occasion, had said, “The Paradise may have been delayed a little, but every update from the film has created a blast. The glimpse, teaser and songs have all received a superb response. There is a lot of excitement and curiosity among audiences about what The Paradise is all about. This is a revolutionary, emotional film. It is a story about a mother and son, and also about a marginalized community. Kaloji has a line that goes, ‘We own our birth, we own our death, but our entire life belongs to the nation.’ This is a story of a people who fought for their country. However, when these people realise they have no place in their own country, they fight back without knowing what else to do. That is the story of 'The Paradise'.\""},"img":{"url":"https://images.prismic.io/prad/tZJv_PHnDW-jL-cr_TheParadise.JPG?auto=format,compress"},"datetime":"2026-09-16T12:15:00+0000","embed":{"embed_url":null}},"uid":"the-paradise-a-cert-2h-49m-runtime"}},{"node":{"data":{"title":{"text":"Salman performs aarti incorrectly for Ganpati"},"content":{"text":"Bollywood superstar Salman Khan was seen participating in the Ganpati Visarjan celebrations with his family on Tuesday night.  It was here when his sister Arpita Khan Sharma noticed that he was seemingly rotating the aarti thali in the wrong direction and promptly corrected him. In a video, Salman can be seen holding the aarti thali as he performs the ritual amid the Ganpati celebrations. As he rotates the thali, Arpita, who is standing nearby, appears to notice the direction and immediately steps in to guide her brother. Arpita can be seen gesturing to Salman to change the direction of the thali and asking him to continue the aarti the right way. Salman realising his mistake, immediately follows her instructions, making the moment endearing. For the celebration, Salman was dressed casually in a black T-shirt paired with a black head covering and a sleeveless grey jacket. Arpita, meanwhile, was seen wearing a traditional green and black embroidered ethnic outfit with floral detailing. The siblings were surrounded by family members, friends and guests as they took part in the Ganpati festivities. For the uninitiated, Salman has regularly participated in Ganpati celebrations, including aarti and visarjan, over the years. His family continues the tradition at home where Salman’s entire family celebrates the occasion. Salma Khan, Salman’s mother, was born Sushila Charak in a Maharashtrian Hindu family, while his father Salim Khan is Muslim. The family has over the years been known for celebrating festivals across religious traditions."},"img":{"url":"https://images.prismic.io/prad/3cajSvSiTxaJz-Kl_salamanaarti.JPG?auto=format%2Ccompress&rect=0%2C99%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-16T01:54:00+0000","embed":{"embed_url":null}},"uid":"salman-performs-aarti-incorrectly-for-ganpati"}},{"node":{"data":{"title":{"text":"Aditi Rao Hydari shines at Cannes 2026"},"content":{"text":"Aditi Rao Hydari has made an indelible impression at the Cannes Film Festival 2026, showcasing a masterclass in sartorial elegance that deftly marries traditional Indian artistry with contemporary style. As the star of the night, her bespoke saree by JADE not only captured the essence of classic Indian couture but also stood as a bold statement against the backdrop of a festival known for its avant-garde fashion. Hydari's entrance on May 16, as a representative of L'Oréal Paris, marked the beginning of a fashion journey that would both celebrate her heritage and elevate the global conversation about cultural representation in style. Her first appearance at the festival featured a breezy daytime look that reflected the laid-back chic of the French Riviera. Styled by the talented Sanam Ratansi, Hydari wore a striped halter-neck maxi dress from The IQ Collection, embodying the spirit of summer and effortlessly blending into the Mediterranean landscape. The ensemble was complemented by oversized sunglasses from Maison Éclat and leather accents from French brand Sessùn, reinforcing a narrative of understated luxury. The actress's beauty regimen was equally effortless, with a sun-kissed glow curated by makeup artist Coralie Pucci, and hair styled by Clotilde Laisne in soft beach waves—creating an overall aesthetic that was both relaxed and refined. However, it was her second appearance, clad in a stunning bespoke saree, that truly captured the attention of fashion connoisseurs and social media influencers alike. Designed by the duo Monica and Karishma from JADE, the saree featured a sheer champagne-gold drape accentuated with delicate gold leaf and intricate sequin embroidery, allowing it to glimmer under the Riviera sun. This ensemble not only highlighted Hydari's graceful silhouette but also signified a revival of Indian textile tradition in a modern context. The addition of a structured metallic gold blouse featuring a sweetheart neckline offered a contemporary twist, merging the realms of classic and modern fashion seamlessly. In a festival filled with ostentatious gowns and experimental couture, Aditi Rao Hydari's choice to don a traditional saree stands out as a powerful tribute to her cultural roots. The thoughtful pairing of timeless craftsmanship with contemporary styling reflects an emerging trend where global platforms are increasingly embracing cultural authenticity. Her playful yet poignant social media commentary—“Wearing a saree… the traditional way. Revolutionary, I know”—underlines a growing recognition of the saree's relevance in a modern wardrobe, challenging the perception that Indian attire is merely traditional, instead positioning it as a viable option for global fashion narratives."},"img":{"url":"https://images.prismic.io/prad/EIqIJhQARKhHke5x_aditiraohydari.JPG?auto=format%2Ccompress&rect=0%2C0%2C620%2C306&w=2028&h=1000"},"datetime":"2026-09-16T05:03:00+0000","embed":{"embed_url":null}},"uid":"aditi-rao-hydari-shines-at-cannes-2026"}},{"node":{"data":{"title":{"text":"Week 2 Voting Turns Hot in BB Telugu 10"},"content":{"text":"The excitement surrounding the latest season of Bigg Boss Telugu 10 is palpable, captivating audiences with its mix of fresh faces and escalating tensions within the house. Hosted once again by the charismatic Nagarjuna Akkineni, the show has quickly established its narrative with a blend of humor and drama. As contestants begin to reveal their authentic selves, the intricate dynamics of friendship and rivalry are taking center stage, promising a riveting viewing experience as the competition heats up. This week marks a pivotal moment in the Bigg Boss Telugu 10 competition, as the nomination process has concluded, leaving 11 contestants at risk of elimination. The list of nominees includes Thrigun, Shalini, Mukesh, Srishti, Rohith, Ram Prasad, Debjani Modak, Varshini, Sudheer, Krishnudu, and Jhansi. Fans are urged to rally behind their favorites by voting via JioHotstar, as the stakes grow higher in this increasingly contentious environment. As the second week unfolds, early voting trends provide insight into the contestants' standing, with Trigun reportedly leading the charge, closely trailed by Rohith. Mukesh occupies the third slot, while Ram Prasad, Shalini, Debjani, Sudheer, and Srishti find themselves in the middle of the voting hierarchy. However, the most alarming positions belong to Jhansi, Varshini, and Krishnudu, who are struggling to gain traction in the voting landscape, raising questions about their strategies and the audience's support. These preliminary trends, while revealing, are drawn from unofficial polls and social media interactions; they do not constitute the definitive voting statistics that will ultimately determine eliminations. The show's final verdict will be unveiled during the upcoming Weekend episode, where viewers will learn which contestant faces the daunting prospect of leaving the Bigg Boss Telugu 10 house. With the pressure mounting and strategies evolving, the stage is set for what promises to be a dramatic culmination of viewer engagement and contestant resilience."},"img":{"url":"https://images.prismic.io/prad/bbHEcGbB_gmIHahZ_BB10.JPG?auto=format,compress"},"datetime":"2026-09-16T05:23:00+0000","embed":{"embed_url":null}},"uid":"week-2-voting-turns-hot-in-bb-telugu-10"}}]},"tech":{"edges":[]},"fashion":{"edges":[]},"business":{"edges":[]},"health":{"edges":[{"node":{"data":{"title":{"text":"Heart Crisis Grips Young India"},"content":{"text":"A disturbing trend is emerging in India, where cardiovascular disease is no longer an affliction of the elderly but a growing concern among younger populations. Recent statistics indicate that cardiovascular diseases accounted for nearly 29% of all recorded deaths in India between 2017 and 2019. This alarming statistic highlights a shifting paradigm, with the National Health Profile revealing that non-communicable diseases, including heart disease, diabetes, and chronic respiratory illnesses, collectively account for a staggering 63% of the nation's mortality rates. As the nation grapples with this health crisis, the underlying risk factors that contribute to heart disease are becoming increasingly prevalent among young adults, often unnoticed until it is too late. The escalating incidence of heart disease in India’s youth can be traced to a confluence of modern lifestyle choices, including prolonged sedentary behavior, poor dietary habits, irregular sleep patterns, and chronic stress. Dr. Deepak Krishnamurthy, a leading cardiologist, articulates that the traditional risk factors such as hypertension and high cholesterol are now manifesting in younger demographics, exacerbated by genetic predispositions and environmental stressors. Moreover, the omnipresence of technology has led to an increase in screen time, which not only promotes a sedentary lifestyle but also disrupts sleep cycles. The result is a perfect storm wherein young Indians find themselves at greater risk for developing heart-related ailments much earlier in life. Historically, heart disease was often associated with the aging population, attributed to years of cumulative risk factors. However, the current landscape paints a different picture, one where the interplay of lifestyle choices has catalyzed a shift towards earlier onset of cardiovascular issues. The National Programme for Prevention and Control of Non-Communicable Diseases reports an alarming 9.36 crore people receiving treatment for hypertension and diabetes—critical precursors to heart disease. As the healthcare system grapples with these numbers, the need for comprehensive awareness and early intervention becomes paramount. Dr. Krishnamurthy emphasizes that conditions leading to heart problems develop insidiously and often go unnoticed until significant damage has occurred, particularly among the young. As for actionable steps, Dr. Krishnamurthy advocates for a proactive approach among young adults in their 20s and 30s. He suggests that individuals should eliminate tobacco use, incorporate regular physical activity into their routines, and adopt heart-healthy dietary practices while keeping an eye on their waistlines. Moreover, he underscores the importance of regular monitoring of vital health indicators such as blood pressure and cholesterol levels. This holistic understanding of cardiovascular health is crucial for young Indians, who must learn to recognize the silent threats posed by modern lifestyles and take charge of their health before it spirals out of control."},"img":{"url":"https://images.prismic.io/prad/pJ-dW9a56Zc9ur7D_heartdiseas.JPG?auto=format%2Ccompress&rect=0%2C0%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-09-16T11:05:00+0000","embed":{"embed_url":null}},"uid":"heart-crisis-grips-young-india"}},{"node":{"data":{"title":{"text":"A Fight for Life at 85"},"content":{"text":"At 85 years old, Mrs. Lakshmi (name changed) faced what many in her age group would consider insurmountable challenges: two tumors and a life-threatening blockage in her colon. Rather than embracing the tranquility that often accompanies advanced age, she found herself in the emergency room, grappling with severe abdominal pain and a severe inability to pass stool. The diagnosis revealed a critical blockage in the sigmoid colon due to a tumor, a condition that posed immediate threats to her life. The medical team, acutely aware of her complex health history—including hypertension, diabetes, and a previous stroke—understood the urgency of the situation, necessitating careful decision-making regarding her treatment options. The initial intervention involved a minimally invasive procedure where doctors placed a colonic stent to alleviate her discomfort. While this temporary solution offered some relief to Mrs. Lakshmi and her anxious family, it soon became clear that a more comprehensive approach was required. Further examinations unveiled a second tumor in her esophagus, complicating an already dire diagnosis. Dr. K Hemanth Kumar, a leading Consultant in Surgical Gastroenterology at Manipal Hospital, emphasized the urgency of the case. The existence of two malignancies in a patient of advanced age, coupled with multiple underlying health conditions, demanded a meticulous and strategic response from her medical team. The critical nature of Mrs. Lakshmi's situation highlighted broader issues in geriatric care, particularly concerning complex cancer diagnoses. As the medical community increasingly confronts aging populations, the intersection of age and multi-morbidity raises significant ethical and logistical challenges. In Mrs. Lakshmi's case, the stent was a temporary fix, with the potential for serious complications looming should a definitive treatment not be pursued. The family was faced with a heart-wrenching decision: proceed with high-risk surgery or risk further deterioration of her health. Ultimately, they chose the path of hope, opting for a pioneering robotic surgical approach that addressed both tumors in one procedure. Utilizing the advanced Da Vinci Xi robotic system, Dr. Hemanth and his team executed a complex operation that not only targeted the colon cancer but also the esophageal tumor, representing a significant advancement in addressing dual malignancies. Remarkably, Mrs. Lakshmi recovered without needing an intensive care unit stay, a testament to both her resilience and the proficiency of her healthcare providers. Just one week post-operation, she was discharged, marking a poignant moment for both her and her family. Three months later, Mrs. Lakshmi continues to thrive, undergoing further treatment as part of her recovery journey, signaling not just survival but a remarkable testament to the human spirit in the face of daunting medical challenges."},"img":{"url":"https://images.prismic.io/prad/W5S8nG7lRQSGgKv2_mediclelife.JPG?auto=format%2Ccompress&rect=0%2C44%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-09-15T23:40:00+0000","embed":{"embed_url":null}},"uid":"a-fight-for-life-at-85"}},{"node":{"data":{"title":{"text":"Scorching Heat: The Unseen Toll on Teen Mental Health"},"content":{"text":"As global temperatures soar, a troubling new study reveals that extreme heat is not merely an environmental concern but a significant threat to the mental health of adolescents. Research indicates that for every 1°C rise in daily temperature, the risk of adverse mental health outcomes in teenagers escalates by nearly 1%. While this statistic may seem modest at first glance, it becomes alarming when considering the frequency of heatwaves in recent summers, underscoring the urgent need to address this evolving crisis. The comprehensive review analyzed data from 23 studies worldwide, pinpointing children and teenagers aged five to eighteen as the most vulnerable demographic. On particularly hot days, this group experiences a 1.5% increase in the likelihood of poor mental health outcomes; however, during actual heatwaves, this figure skyrockets to an astonishing 25%. Such stark differences highlight the psychological ramifications of sustained heat exposure, which extends beyond mere discomfort to include serious implications such as increased anxiety, depression, and even suicide attempts. Experts, including co-author Jacqueline Stephens from Flinders University, emphasize that the intersection of climate change and mental health cannot be ignored. The patterns of rising temperatures and more frequent heat events are not restricted to a single region; they are a global phenomenon with widespread repercussions. Adolescents are particularly susceptible during this pivotal developmental stage, where their routines—schooling, recreation, and social interactions—are disrupted by extreme weather conditions, causing significant emotional distress. Moreover, researchers note that the physical impact of heat, such as sleep disruption, compounds mental health challenges. Poor sleep exacerbates mood regulation, while family stress during heatwaves creates a ripple effect that permeates households. Although the findings point to population-level trends rather than individual predictions, they call for a re-evaluation of how public health strategies address heat-related issues. Current responses prioritize physical safety measures like hydration and cooling centers but overlook the critical need for mental health support tailored to young people. This oversight underscores the need for a more holistic approach to climate adaptation strategies that incorporate mental health services as integral components of public health initiatives."},"img":{"url":"https://images.prismic.io/prad/CJ8ZpPonvzZKyB1t_mentalhealth.JPG?auto=format,compress"},"datetime":"2026-08-11T10:28:00+0000","embed":{"embed_url":null}},"uid":"scorching-heat-the-unseen-toll-on-teen-mental-heal"}},{"node":{"data":{"title":{"text":"The Distinction Between Brain Tumors and Brain Cancer"},"content":{"text":"The phrases 'brain tumor' and 'brain cancer' often evoke a visceral reaction among the public, conjuring images of gravely serious health threats. However, contrary to common perception, these terms describe distinct medical conditions that warrant different approaches to diagnosis and treatment. A brain tumor is simply an abnormal growth of cells in or around the brain, which can be classified as benign or malignant. While all brain cancers are tumors, not all tumors exhibit cancerous characteristics; this critical distinction can influence a patient's treatment plan and overall prognosis. The medical community underscores the importance of understanding these differences. Brain tumors, irrespective of their benign or malignant status, can lead to severe health consequences because of the brain’s confined environment within the skull. This means that even non-cancerous tumors can exert pressure on vital neurological functions, leading to symptoms such as persistent headaches, seizures, and cognitive deficits. Dr. Praveen Gupta, a prominent neurologist, emphasizes that benign tumors, while non-cancerous, can still necessitate significant medical intervention depending on their size and location. The implications of this are crucial for anyone facing a diagnosis related to brain health. Historically, the classification of brain tumors has evolved as medical science has advanced. The National Cancer Institute and other leading neurological institutions categorize these tumors into myriad types, each demanding tailored treatment strategies. For instance, malignant tumors possess the aggressive ability to invade surrounding brain tissue, often requiring complex interventions that may include surgery, radiation, and chemotherapy. Understanding whether a growth is benign or malignant is not just a matter of terminology; it directly impacts the urgency and nature of the interventions required. Symptoms often overlap between benign and malignant tumors, complicating self-diagnosis and reinforcing the necessity for professional evaluation. Medical imaging techniques such as MRI and CT scans, along with biopsies, are essential to ascertain the nature of the tumor. Experts caution against relying on symptomatology alone, as the presence of alarming symptoms could mask a benign condition, while milder manifestations could signify a malignant threat. As such, timely medical evaluation is paramount, as early detection can significantly enhance treatment effectiveness and patient quality of life."},"img":{"url":"https://images.prismic.io/prad/f6803c8c-7220-433e-b58f-ef269a3ecf79_brain+stroke.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-24T10:10:00+0000","embed":{"embed_url":null}},"uid":"the-distinction-between-brain-tumors-and-brain-can"}},{"node":{"data":{"title":{"text":"Heatwaves, Sleepless Nights"},"content":{"text":"As the world grapples with the escalating repercussions of climate change, a less visible yet profoundly affecting consequence is emerging: significant sleep loss. Current research indicates that individuals in India are losing nearly four nights of sleep annually due to rising nighttime temperatures driven by climate change. Specifically, average citizens are suffering an estimated sleep deprivation of 56 hours each year, a disturbing trend that has doubled since the 1970s. This phenomenon is particularly acute in Southern India and Southeast Asia, where soaring nighttime temperatures have rendered restful sleep increasingly elusive. A recent study conducted by Climate Central, a respected US-based climate science organization, sheds light on the quantifiable impact of climate change on human sleep patterns. The analysis reveals that from 2020 to 2025, global average losses in sleep reached nearly 56 hours, with over six hours directly attributed to climate change rather than seasonal fluctuations. This groundbreaking research merges existing studies on heat and sleep with empirical temperature data, highlighting the stark reality that warmer nights are profoundly undermining the quality of rest for millions. With findings spanning 1,338 cities worldwide, the analysis indicates a troubling acceleration in sleep loss, particularly in urban areas where heat islands intensify nighttime temperatures. Regions most adversely affected include cities in the Middle East, where residents in Saudi Arabia, Oman, and the UAE report losing between 55 and 87 hours of sleep each year, with 12 to 16 hours attributable to climate change alone. In contrast, the United States presents a slightly milder scenario, with average sleep losses around 36 hours annually, though climate-related losses have nearly tripled since the early 1970s. States such as Arizona and California are notably suffering from extreme heat, exacerbating the public health crisis stemming from sleep deprivation. In comparison, Indian citizens, particularly in the warmer southern states, face staggering sleep losses of between 78 to 91 hours, with a significant portion directly linked to anthropogenic climate factors. The implications of this widespread sleep deficiency are deeply troubling, extending beyond mere fatigue. Research consistently correlates poor sleep with numerous health issues, including impaired mood, cognitive decline, and increased susceptibility to cardiovascular and immune system disorders. As the burden of sleep loss accumulates, it becomes increasingly detrimental to individuals already struggling to achieve restorative sleep. While air conditioning may mitigate some impacts, access remains inequitable, with only about 35% of households equipped with cooling systems as of 2021, disproportionately affecting lower-income populations. Consequently, the underreported consequences of climate-induced sleep deprivation reflect a critical challenge that demands urgent attention from policymakers and health advocates alike."},"img":{"url":"https://images.prismic.io/prad%2F37239656-628a-4814-9f5d-a1f31a14cfd0_sleep.jpg?auto=format%2Ccompress&rect=0%2C108%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-07-17T17:03:00+0000","embed":{"embed_url":null}},"uid":"heatwaves-sleepless-nights"}},{"node":{"data":{"title":{"text":"How Smoking Hurts Pregnancy!"},"content":{"text":"When planning to start a family, many couples focus on preparing for pregnancy by discussing nursery plans and choosing baby names. However, what often goes unnoticed is the detrimental impact of smoking on fertility and pregnancy. Cigarette smoke contains harmful chemicals that can damage reproductive cells in both men and women, making it harder to conceive and increasing the risk of pregnancy complications and poor outcomes for babies.  Dr. Vandana Bhatia, a Senior Fertility Specialist, emphasizes that smoking silently affects fertility, pregnancy, and the long-term development of the child. Both partners play a crucial role in protecting fertility as smoking can reduce sperm count, affect sperm movement, and damage egg quality, hormone levels, and ovarian reserve. Additionally, passive smoking also poses risks to fertility and pregnancy outcomes. Quitting smoking as a couple not only improves motivation and emotional support but also encourages healthier habits, leading to improved fertility and overall health.  The quality of eggs and sperm before conception significantly influences the health of the future child, making it essential for both parents to quit smoking before starting a family. Dr. Bhatia recommends practical steps for quitting smoking together, emphasizing that healthy choices are crucial in building a healthy family. Parenthood begins with the quiet promise of choosing health together, even before the first heartbeat is heard on an ultrasound."},"img":{"url":"https://images.prismic.io/prad/akDOG1bRV8_Qf8Cd_smokefertility.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-27T19:33:00+0000","embed":{"embed_url":null}},"uid":"how-smoking-hurts-pregnancy"}}]},"nri":{"edges":[{"node":{"data":{"title":{"text":"Historic Win for Trans Tamil Immigrant"},"content":{"text":"In a groundbreaking shift for political representation in the United Kingdom, Q Manivannan, a trans Tamil immigrant and doctoral student, has claimed a seat in the Scottish Parliament, igniting fervent discussions about immigration, identity, and the evolving landscape of elected office. Securing a position with the Scottish Greens, Manivannan's election not only reflects a personal triumph but also serves as a pivotal moment for underrepresented communities, challenging preconceived notions about who can partake in the political process. Born in Tamil Nadu, India, Manivannan arrived in Scotland on a student visa four years ago to pursue studies in international relations. Their victory on May 9, alongside the Scottish Green Party, underscores the complexities surrounding the eligibility of foreign nationals in UK elections—particularly those from Commonwealth nations. Current regulations permit individuals on short-term visas to stand for election, a provision that has drawn scrutiny from anti-immigration advocates who argue for stricter controls over political representation. The election of Manivannan, who identifies as non-binary and uses they/them pronouns, has prompted a wave of criticism from figures like Robert Jenrick, a former Tory minister, who expressed concern over the implications of allowing individuals on student visas to hold such significant political positions. This backlash highlights a broader societal debate regarding immigration and representation, as organizations such as Migration Watch call for a reevaluation of the rights afforded to Commonwealth citizens within UK political structures. Amidst this discourse, the Scottish Greens have positioned themselves as champions of inclusivity, emphasizing the need for a comprehensive overhaul of the UK's immigration policies to create a more welcoming environment for those seeking to make a difference. As Manivannan embarks on their parliamentary journey, they represent not only a voice for marginalized groups but also a testament to the potential for change within a political system that often feels impenetrable. Their campaign, which centered on themes of diversity, inclusion, and a “politics of care,” resonated with voters eager for a shift from traditional political narratives. Support from the Scottish Greens, who have pledged assistance for Manivannan’s visa renewal process, reflects a commitment to fostering a political environment that embraces all backgrounds, advocating for a future where the barriers of entry are dismantled rather than upheld."},"img":{"url":"https://images.prismic.io/prad/2XZTrOto0NjcvnKj_trans.JPG?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T06:30:00+0000","embed":{"embed_url":null}},"uid":"historic-win-for-trans-tamil-immigrant"}},{"node":{"data":{"title":{"text":"Indian American lawmakers slam DHS 'Mr Singh' post"},"content":{"text":"Five Indian American lawmakers have urged President Donald Trump to act over a deleted Department of Homeland Security post depicting a man called “Mr. Singh”, warning that it could encourage racial profiling and hostility towards Sikh and South Asian Americans. Representatives Raja Krishnamoorthi, Shri Thanedar, Suhas Subramanyam, Pramila Jayapal and Ami Bera, all Democrats, raised their concerns in a September 15 letter to Trump. They accused the agency of using Sikh identity to portray a dangerous and unwanted foreigner while promoting immigration enforcement. According to the letter, the post depicted a brown, bearded man identified as “Mr. Singh”. It told him to “get off our roads” and warned him to “self-deport or find out”. The lawmakers said the name Singh was closely associated with Sikh identity. Its use in this context was degrading, they argued. “We write to express grave concern about the increasingly open racial and xenophobic hostility directed at South Asian Americans, particularly Sikh Americans, and about the ways federal rhetoric surrounding immigration and visa policy can reinforce the idea that these communities are suspect, disposable, or less American,” they wrote. The letter also questioned how DHS promoted a new Immigration and Customs Enforcement tipline. The lawmakers said the agency had formally described it as a mechanism for reporting suspected commercial driving licence fraud. Its social media messaging, however, urged people to report “illegal aliens on American roads”, they said. Paired with the depiction of “Mr. Singh”, that language could encourage people to treat perceived ethnicity, religion or foreignness as grounds for suspicion, the lawmakers warned. They said the campaign created a risk of racial profiling affecting Sikh, South Asian and other nonwhite drivers, including US citizens. The supplied material did not include a response from DHS or the White House to the letter. The lawmakers cited findings from Stop AAPI Hate to support their concerns. Anti-South Asian slurs in online spaces monitored by the organisation increased 109 per cent between January 2023 and December 2025, according to the letter. South Asians were the targets of 71 per cent of anti-Asian online threats of violence identified between August 2024 and December 2025 in those spaces, it said. The letter also cited a nationally representative survey in which 48 per cent of South Asian adults reported experiencing a hate act because of their race, ethnicity or nationality in 2025. The lawmakers asked Trump to direct federal agencies, particularly DHS, to publicly acknowledge the harm they said the post had caused. They sought enforceable standards prohibiting agency communications that use racial, ethnic, religious or national-origin stereotypes. They also urged Trump to make clear that immigration enforcement must never be used to stigmatise South Asian communities. “South Asian Americans are not abstractions in an immigration debate, nor are they convenient symbols of foreignness. They belong in the communities they have helped build. For millions, this is their country and their home. There should be no room for such hate in our country,” they wrote. The letter placed the dispute against a wider backdrop of hostility in Frisco, Texas. It cited references to an “Indian takeover”, “invaders” and “anchor babies” at city council meetings, and a mayoral candidate describing South Asian immigrants as “rats”. It also recalled a June incident in which a demonstrator tore an Indian flag outside City Hall. Sikh articles of faith, including turbans and unshorn hair, can make religious identity immediately visible. The letter noted that Sikh Americans have repeatedly faced harassment, discrimination and violence from people who perceive them as foreign or threatening."},"img":{"url":"https://images.prismic.io/prad/64397a7f-8833-4b4f-8c1a-6623a8df29f4_homeland+security.JPG?auto=format,compress"},"datetime":"2026-09-15T15:35:00+0000","embed":{"embed_url":null}},"uid":"indian-american-lawmakers-slam-dhs-mr-singh-post"}},{"node":{"data":{"title":{"text":"NYC Subway Tragedy Kills Indian Woman"},"content":{"text":"An Indian-origin woman heroically dove onto a city subway track to save a friend who had fallen, but tragically, both were killed by an oncoming train that could not stop in time, according to police.  The tragedy, caught on an eerie video, happened early Sunday morning (local time) at a Manhattan station in the city's metro system when both friends were waiting for a train, according to police. Navam Kaul ended up on the track, and Malaika Chitre tried futilely to save him, police said. Authorities said on Monday that detectives from the New York Police Department were investigating the incident. The train operator told supervisors that after spotting them on the track, there was no time to stop the train to save them, the New York Post reported, quoting sources. Kaul and Chitre, who grew up in nearby towns in New Jersey, had both graduated in 2024 from Rutgers University. Rajnikant Pipalia, who told the Post his son was a friend of Kaul, said that Kaul's family immigrated from Nepal. Kaul and Chitre \"grew up in the same world\" and were part of the \"same South Asian group hanging out together, enjoying the same festivals,\" Pipalia told the Post. The newspaper said that Chitre's family \"lambasted\" media reports on the incident. Some of them aired sensational speculations about them and the tragedy without factual basis. Chitre was pursuing a doctorate in pharmacy studies at Temple University while working as a quality operations specialist at Acadia Pharmaceuticals, according to her LinkedIn profile. Kaul, who had a business degree, was a data analyst with Bloomberg, a financial services and news company, his LinkedIn profile said."},"img":{"url":"https://images.prismic.io/prad/1LCOhOPMXT-bZtfr_indianwoman.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-15T05:30:00+0000","embed":{"embed_url":null}},"uid":"nyc-subway-tragedy-kills-indian-woman"}},{"node":{"data":{"title":{"text":"US Birthright Fight Alarms Visa Families"},"content":{"text":"The citizenship rights of US-born children of temporary visa holders came under renewed scrutiny as Republican lawmakers advocated restrictions and Democrats said the 14th Amendment guaranteed citizenship at birth. During a House Judiciary subcommittee hearing on birthright citizenship, Republicans urged Congress to act after the Supreme Court overturned President Donald Trump’s executive order. Democrats argued that the court had settled the constitutional question. Republican subcommittee chairman Chip Roy said Congress should define the phrase “subject to the jurisdiction thereof” in the amendment. “It is up to Congress to define, subject to the jurisdiction thereof, to put a stop to birth tourism and to uphold the integrity of what it means to be an American citizen,” Roy said. Arguing that the amendment was not intended to grant automatic citizenship to children born to undocumented immigrants or temporary visitors, Roy said the Supreme Court had wrongly relied on its 1898 Wong Kim Ark decision. That case involved the US-born child of immigrants who were legally and permanently domiciled in the country, Roy said. Rosemary Jenks, co-founder and policy director of the Immigration Accountability Project, told the panel that the ruling did not prevent lawmakers from acting. “The Supreme Court’s decision in Barbara overturned an executive order. It did not strip Congress of its constitutional plenary power over immigration and naturalisation,” Jenks said. She urged Congress to amend the Immigration and Nationality Act to establish exceptions for children born to undocumented immigrants and temporary residents. Jenks proposed rules affecting non-immigrant visa holders seeking welfare benefits on behalf of their US-born children. She said such parents should be required to designate a US citizen or lawful permanent resident to receive the benefits for the child. “American citizenship is a precious commodity,” Jenks said. “Our government must zealously protect US citizenship and ensure it is only granted to aliens we have legally invited to permanently join our American community.” Kansas Attorney General Kris Kobach asserted that Congress retained the authority to act. He said the Supreme Court had ruled against a broad executive order but had not declared every possible statute on the question unconstitutional. Kobach said a narrower law dealing with birth tourism could produce a different result before the court. Democrats strongly disputed those arguments. Representative Mary Gay Scanlon, the subcommittee’s ranking Democrat, said children born in the United States to undocumented immigrants and visa holders were protected by the amendment. “The American children of undocumented immigrants and the American children of visa holders are persons born here in America,” Scanlon said. She said they were subject to US law from birth and had “an undeniable constitutional claim to the rights, duties and protections of that reciprocal relationship.”"},"img":{"url":"https://images.prismic.io/prad/782c884d-488e-4f90-a168-fd9d1ecf247c_US+citizenship.JPG?auto=format,compress"},"datetime":"2026-09-10T02:40:00+0000","embed":{"embed_url":null}},"uid":"us-birthright-fight-alarms-visa-families"}}]},"videos":{"edges":[{"node":{"data":{"title":{"text":"'Aadarsha Kutumbam' Teaser"},"img":{"url":"https://images.prismic.io/prad/gkb2nU868yFr0w0z_AK47reaser.JPG?auto=format%2Ccompress&rect=12%2C0%2C608%2C300&w=2028&h=1000"},"datetime":"2026-09-12T18:57:00+0000","third_party_url":null},"uid":"aadarsha-kutumbam-teaser"}},{"node":{"data":{"title":{"text":"'418' Movie Trailer"},"img":{"url":"https://images.prismic.io/prad/xu83qXtMn9WviRqh_418trailer.JPG?auto=format,compress&rect=0,42,1200,592&w=2028&h=1000"},"datetime":"2026-09-12T05:57:00+0000","third_party_url":null},"uid":"418-movie-trailer"}},{"node":{"data":{"title":{"text":"'Ranabaali' Movie Teaser"},"img":{"url":"https://images.prismic.io/prad/Ie1YNzDZSUJRO4VN_ranabalireaser.JPG?auto=format%2Ccompress&rect=54%2C0%2C728%2C359&w=2028&h=1000"},"datetime":"2026-09-09T12:37:00+0000","third_party_url":null},"uid":"ranabaali-movie-teaser"}},{"node":{"data":{"title":{"text":"'BRS MLAs misbehaved with women colleagues',"},"img":{"url":"https://images.prismic.io/prad/ddh8QRYxjg_mRk0p_BRSMLASpushed.JPG?auto=format%2Ccompress&rect=0%2C108%2C1600%2C789&w=2028&h=1000"},"datetime":"2026-09-09T06:37:00+0000","third_party_url":null},"uid":"brs-mlas-misbehaved-with-women-colleagues"}},{"node":{"data":{"title":{"text":"The Paradise: 'Yeshanagula Katta Meeda' Song"},"img":{"url":"https://images.prismic.io/prad/6e1Re5QxT_20hJqe_paradiseyeshakulasong.JPG?auto=format%2Ccompress&rect=0%2C12%2C870%2C429&w=2028&h=1000"},"datetime":"2026-08-30T06:30:00+0000","third_party_url":null},"uid":"the-paradise-yeshanagula-katta-meeda-song"}},{"node":{"data":{"title":{"text":"'Mahendragiri Varahi' Movie Trailer"},"img":{"url":"https://images.prismic.io/prad/Fw4Thm7zri3IDsEk_MGVH.JPG?auto=format%2Ccompress&rect=0%2C0%2C1500%2C740&w=2028&h=1000"},"datetime":"2026-08-29T00:31:00+0000","third_party_url":null},"uid":"mahendragiri-varahi-movie-trailer"}}]},"editorial":{"edges":[{"node":{"data":{"title":{"text":"UPI Transactions: There Is Nothing Called 'Free Lunch'"},"img":{"url":"https://images.prismic.io/prad/IWNC-LYO9T7IQfVm_scan.JPG?auto=format%2Ccompress&rect=0%2C7%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T07:30:00+0000","third_party_url":null},"uid":"upi-transactions-there-is-nothing-called-free-lunc"}},{"node":{"data":{"title":{"text":"AI Technology: The New Era Avatar Of Frankenstein?"},"img":{"url":"https://images.prismic.io/prad/xufYZuR1rBUNRB-6_AItech.JPG?auto=format,compress"},"datetime":"2026-09-14T07:35:00+0000","third_party_url":null},"uid":"ai-technology-the-new-era-avatar-of-frankenstein"}},{"node":{"data":{"title":{"text":"BRICS Summit: Game Of Elite Proximity"},"img":{"url":"https://images.prismic.io/prad/a06W_uqJMewyEQT3_modiputinxingpin.JPG?auto=format,compress"},"datetime":"2026-09-13T06:32:00+0000","third_party_url":null},"uid":"brics-summit-game-of-elite-proximity"}},{"node":{"data":{"title":{"text":"Politics Of Purification By Stained Minds"},"img":{"url":"https://images.prismic.io/prad/JhrtkcVl-B6_Y50g_purificationroad.JPG?auto=format,compress"},"datetime":"2026-09-12T06:35:00+0000","third_party_url":null},"uid":"politics-of-purification-by-stained-minds"}}]},"gallery":{"edges":[{"node":{"tags":["gallery"],"last_publication_date":"2026-08-12T08:19:18+0000","data":{"title":{"text":"Mouni Roy Glam Stills"},"content":{"text":"Mouni Roy is an Indian actress who primarily works in Hindi television and films. One of the highest-paid television actresses in India, Roy is widely known for her portrayal of a shape-shifting snake in Naagin and its sequel Naagin 2."},"img":{"url":"https://images.prismic.io/prad/8nkSdpm8T3G0jWQk_mouniroy2028.JPG?auto=format,compress"}},"uid":"mouni-roy-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-08-07T16:20:40+0000","data":{"title":{"text":"Vishnu Priya Latest Spicy Stills"},"content":{"text":"Vishnupriya Ramchandran Pillai (born in Bahrain), known mononymously and better as Vishnupriya, is an Indian actress, dancer and model. She started off her career participating in the dance reality show Vodafone Thakadimi which was aired on Asianet. She made her acting debut in 2007 with Speed Track, playing a supporting character. Later, she played the lead character in Keralotsavam 2009 and got noticed for her character in Penpattanam (2010)."},"img":{"url":"https://images.prismic.io/prad/EKRVCL6edvfOM1nL_vp2028.JPG?auto=format,compress"}},"uid":"vishnu-priya-latest-spicy-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-21T16:54:06+0000","data":{"title":{"text":"Shraddha Das Spicy Pics"},"content":{"text":"Shraddha Das is an Indian actress and model who predominantly appears in Telugu, Hindi, Bengali, and Kannada language films. She made her acting debut in the 2008 Telugu film Siddu from Sikakulam, and since then has worked across six different film industries throughout her career."},"img":{"url":"https://images.prismic.io/prad/J5KjgIk60wE63lRg_shraddhadas.JPG?auto=format,compress"}},"uid":"shraddha-das-spicy-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-20T16:44:06+0000","data":{"title":{"text":"Rakul Looks Radiant In Yellow Saree"},"content":{"text":"Rakul Preet Singh is an Indian actress who predominantly works in Telugu, Hindi and Tamil films. Singh is a recipient of several accolades including a SIIMA Award, in addition to four nominations at the Filmfare Awards South. Singh started her career as a model and made her acting debut with the Kannada film Gilli"},"img":{"url":"https://images.prismic.io/prad/_eGbGvnqa1VVLLAH_rps2028.JPG?auto=format,compress"}},"uid":"rakul-looks-radiant-in-yellow-saree"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-17T12:42:16+0000","data":{"title":{"text":"Pragya Jaiswal Spicy Stills"},"content":{"text":"Pragya Jaiswal is an Indian actress and model who predominantly works in Telugu films. She made her acting debut in 2014 with the Tamil-language film Virattu in 2014. Jaiswal had her breakthrough with the Telugu period drama Kanche, for which she was awarded the Filmfare Award for Best Female Debut."},"img":{"url":"https://images.prismic.io/prad/HTcjp1FBdNZf7hDK_pragya2028.JPG?auto=format,compress"}},"uid":"pragya-jaiswal-spicy-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-06-27T18:04:47+0000","data":{"title":{"text":"Aakankshaa Glam Stills"},"content":{"text":"Aakankshaa Glam Stills"},"img":{"url":"https://images.prismic.io/prad/aj-0fFbRV8_Qf7sW_aakankshaa.JPG?auto=format,compress"}},"uid":"aakankshaa-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-06-27T18:04:47+0000","data":{"title":{"text":"Anasuya Bharadwaj Saree Pics"},"content":{"text":"Anasuya Bharadwaj is an Indian television presenter and actress who works in Telugu films and television. She has received two SIIMA Awards, an IIFA Utsavam Award and a Filmfare Award South for her performances in Kshanam and Rangasthalam."},"img":{"url":"https://images.prismic.io/prad/aj-3gFbRV8_Qf7se_anasuya2028.JPG?auto=format,compress"}},"uid":"anasuya-bharadwaj-saree-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-05-02T12:20:57+0000","data":{"title":{"text":"Kajal Aggarwal Stunning Stills"},"content":{"text":"Kajal A Kitchlu, known professionally as Kajal Aggarwal, is an Indian actress who predominantly works in Telugu, Tamil and Hindi films. Aggarwal is considered one of the highest paid actresses of South Indian cinema. She is a recipient of three SIIMA Awards and a Filmfare Award."},"img":{"url":"https://images.prismic.io/prad/afXrHcBOoF08xjQk_kajal2028.JPG?auto=format,compress"}},"uid":"kajal-aggarwal-stunning-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-04-14T10:45:57+0000","data":{"title":{"text":"Janhvi Kapoor Radiant Look Stills "},"content":{"text":"Janhvi Kapoor is an Indian actress who works predominantly in Hindi films. Born to film actress Sridevi and producer Boney Kapoor, she made her acting debut in 2018 with the romantic drama Dhadak, which was a commercial success."},"img":{"url":"https://images.prismic.io/prad/ad3-7Z1ZCF7ETKag_janhvi2028.JPG?auto=format,compress"}},"uid":"janhvi-kapoor-radiant-look-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-04-02T15:03:07+0000","data":{"title":{"text":"Nabha Natesh Glam Pics"},"content":{"text":"Nabha Natesh is an Indian actress and model who primarily appears in Telugu films. She made her debut with Kannada film Vajrakaya and later in Telugu with Nannu Dochukunduvate. She had her breakthrough with iSmart Shankar in 2019 due to which she is popularly referred as \"Ismart Beauty\" in the media."},"img":{"url":"https://images.prismic.io/prad/ac6Er5GXnQHGZNWp_nabha2028.JPG?auto=format,compress"}},"uid":"nabha-natesh-glam-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-29T11:03:07+0000","data":{"title":{"text":"Nidhhi Agerwal Royal Blue Sari Stills"},"content":{"text":"Nidhhi Agerwal is an Indian actress who primarily works in Telugu and Tamil films. After participating in Miss Diva Universe 2014, Agerwal made her acting debut with the Hindi film Munna Michael, for which she received Zee Cine Award for Best Female Debut."},"img":{"url":"https://images.prismic.io/prad/ackGR5GXnQHGZEvS_nidhhi2028.jpg?auto=format,compress"}},"uid":"nidhhi-agerwal-royal-blue-sari-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-29T07:22:02+0000","data":{"title":{"text":"Rakul New Glam Stills"},"content":{"text":"Rakul Preet Singh is an Indian actress who predominantly works in Telugu, Hindi and Tamil films. She has won a South Indian International Movie Award, in addition to four nominations at the Filmfare Awards South. Singh made her acting debut with the Kannada film Gilli."},"img":{"url":"https://images.prismic.io/prad/acjShZGXnQHGZErj_RPS2028.jpg?auto=format,compress"}},"uid":"rakul-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-17T09:44:26+0000","data":{"title":{"text":"Rashi Khanna New Glam Stills"},"content":{"text":"Rashii Khanna (born 30 November 1990) is an Indian actress and playback singer who predominantly works in Telugu and Tamil film industries. She made her acting debut in a supporting role with the Hindi film Madras Cafe (2013) and subsequently made her debut as female lead with Telugu film Oohalu Gusagusalade (2014), in Tamil with Imaikkaa Nodigal (2018) and Malayalam with Villain (2017)."},"img":{"url":"https://images.prismic.io/prad/abkhxbbci2UF6Gme_rashikhanna.JPG?auto=format,compress"}},"uid":"rashi-khanna-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-12T18:30:32+0000","data":{"title":{"text":"Meenakshi Chaudhary Red Bold Stills"},"content":{"text":"Meenakshi Chaudhary is an Indian actress and beauty pageant titleholder who works predominantly in Telugu and Tamil films. She represented the state of Haryana at the Femina Miss India 2018 pageant, where she was crowned as Femina Miss India Grand International 2018."},"img":{"url":"https://images.prismic.io/prad/abMFmVxvIZEnjoQC_meenakshi2028.JPG?auto=format,compress"}},"uid":"meenakshi-chaudhary-red-bold-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-10T18:35:00+0000","data":{"title":{"text":"Shruti Haasan Glam Stills"},"content":{"text":"Shruti Haasan is an Indian actress and singer who works in Telugu, Tamil and Hindi films. She is the recipient of various accolades, including two Filmfare Award South and seven South Indian International Movie Awards. Haasan has appeared in Forbes India's Celebrity 100 list of 2015 and 2016."},"img":{"url":"https://images.prismic.io/prad/aa__a1xvIZEnjhl8_shruthi2028.JPG?auto=format,compress"}},"uid":"shruti-haasan-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-03T18:03:05+0000","data":{"title":{"text":"Bhagyashri Borse New Stills"},"content":{"text":"Bhagyashri Borse is an Indian actress who appears primarily in South films. After doing cameo appearances in Hindi films Yaariyan 2 and Chandu Champion, she made her lead debut in South with the Telugu film Mr. Bachchan for which she has won the SIIMA Award for Best Female Debut – Telugu."},"img":{"url":"https://images.prismic.io/prad/aachiFxvIZEnjSV9_bhagya2028.JPG?auto=format,compress"}},"uid":"bhagyashri-borse-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-27T11:14:55+0000","data":{"title":{"text":"ViRosh Wedding Stills"},"content":{"text":"ViRosh Wedding Stills"},"img":{"url":"https://images.prismic.io/prad/aaF4t8FoBIGEg6zW_virosh.JPG?auto=format,compress"}},"uid":"virosh-wedding-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-21T12:37:04+0000","data":{"title":{"text":"Niharika Konidela New Stills"},"content":{"text":"Niharika Konidela is an Indian actress and producer who predominantly works in Telugu films. She made her debut with the film Oka Manasu. She produces films and web series under her banner. "},"img":{"url":"https://images.prismic.io/prad/aZmdKsFoBIGEgndO_niharika2028.JPG?auto=format,compress"}},"uid":"niharika-konidela-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-01T18:21:28+0000","data":{"title":{"text":"Rashmi Gautam Red Hot Sills"},"content":{"text":"Rashmi Gautam is an Indian actress and television presenter who appears in Telugu-language films and TV. She hosts the Telugu television comedy show Extra Jabardasth and is a conceptual team leader in reality dance show Dhee."},"img":{"url":"https://images.prismic.io/prad/aX-WA90YXLCxVPdl_rashmi2028.JPG?auto=format,compress"}},"uid":"rashmi-gautam-red-hot-sills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-01-29T19:41:55+0000","data":{"title":{"text":"Rithu Chowdary Glam Stills"},"content":{"text":"Rithu Chowdary is an Indian actress and anchor known for her work in Telugu television and films. She began her career as an anchor on Star Maa Music and gained popularity through reality shows like Pelli Choopulu (2018). She debuted in Telugu TV with the serial Gorintaku (2019) and later appeared in Suryavamsam and Inti Guttu. Her film debut was in Mouname Ishtam (2019), followed by a role in Uppena (2021). Rithu is also a regular on comedy shows like Jabardasth and Sridevi Drama Company, known for her comedic timing and charm. In 2021, she launched her YouTube channel, Rithu Chowdhary, with over 70,000 subscribers. She participated in Bigg Boss Telugu Season 8 (2024)."},"img":{"url":"https://images.prismic.io/prad/aXu3QAIvOtkhCGJU_rithuchoudhary.JPG?auto=format,compress"}},"uid":"rithu-chowdary-glam-stills"}}]},"one":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"UPI Transactions: There Is Nothing Called 'Free Lunch'"},"content":{"text":"“The art of taxation consists in so plucking the goose as to obtain the largest possible number of feathers with the smallest possible amount of hissing\" This quote by Jean-Baptiste Colbert, the Minister of Finances under King Louis XIV of France, in simple words infers that the goal of any government is to extract as much money as possible from the people (plucking feathers) while provoking the least amount of public anger or protest (hissing). Such Taxation wisdom, it turns out, does not repeat itself; it just gets a software update. Back in 1696, England’s finest economic brains invented the infamous \"Window Tax.\" Rather than invading a citizen's privacy by asking about their income, the experts decided wealth could be measured by simply counting holes in a wall from the outside. The only problem? The law forgot to define what a \"window\" actually was. Soon, aggressive tax collectors were charging people for kitchen air grates and chimney smoke holes. Plunged into absolute confusion by the experts' fine print, everyday citizens did the logical thing: they bricked up their windows and chose to live in total, pitch-black darkness to save their pennies. Centuries later, the ghost of British bureaucracy has officially migrated into the Indian digital realm. Following the BJP-led NDA government’s latest decision to overhaul the Merchant Discount Rate (MDR) framework for UPI transactions, the common man is experiencing the exact same brain-melting confusion that forced 17th-century Londoners into the dark. Just like the British lords engineered a complex matrix of taxable vs. exempt wall openings, today's National Payments Corporation of India (NPCI) has gifted us a brilliant labyrinth of digital rules. Under this new policy, which officials fiercely insist is not a tax, definitely don't call it a tax, a 0.4% variable transaction charge (capped at ₹300) kicks in the moment a Person-to-Merchant (P2M) payment crosses ₹2,000. Advocates of the move are singing hymns of praise, calling it a masterstroke of \"domestic reform\" needed to fund cybersecurity and digital infrastructure. It’s not good, it’s not bad, it’s just macroeconomics. Yet, much like the old London landlords who simply bricked up their windows because they couldn't understand the tax code, modern Indian shopkeepers are sweating buckets over how to absorb the financial burden. The government, with a straight face, has declared that these costs absolutely cannot be passed down to buyers. Naturally, the common man now stands at the billing counter in absolute bewilderment, wondering if scanning a QR code for a new smartphone will quietly result in a digital version of \"daylight robbery\". While the cheerleaders say this brings \"financial sustainability,\" naysayers are already predicting the beautifully chaotic ways the free market will react. To avoid the fee, merchants are expected to deploy weaponized creativity: adding flat \"service charges\" to big bills, offering \"cash-only discounts,\" or engaging in \"transaction splitting\", where buying a ₹6,000 item means scanning the QR code three separate times for ₹2,000.But wait, the plot thickens. Rumors from the corridors of the Finance Ministry suggest this confusion isn't a blunder at all, but rather a grand, multi-dimensional plan for macroeconomic equilibrium. You see, India is currently drowning in a massive ₹15 trillion liquidity surplus caused by a historic surge in our Forex reserves. Any basic textbook will tell you that when too much money chases too few goods, it sparks inflation. But instead of using boring, traditional financial tools like selling government bonds or raising interest rates, our economic wizards chose a much more artistic route. The genius logic works like this: by slapping a fee on UPI payments, you give shopkeepers severe \"fee anxiety.\" The shopkeepers try to pass the cost to the customers. The customers, horrified by the extra charge, instantly delete their digital wallet apps and switch back to hard, cold paper cash. As millions of citizens rush to ATMs to pull physical rupees out of the banking system just to buy groceries, the giant pool of electronic money vanishes. Who knew that the ultimate solution to managing a highly complex, multi-billion-dollar global financial windfall was to simply scare the entire population into using ₹100 notes again? It is not a glitch; it is a magnificent feature. And best of all, it perfectly sets the stage for one fine evening in the near future, when the television screen will flick on at 8:00 PM sharp, to hear a familiar voice  to greet  with a thunderous “Mitron...” In a nutshell, this entire UPI transaction charges saga perfectly proves the timeless wisdom of economist Thomas Sowell: that an economy is a mechanism so complex that it takes an army of experts to misunderstand it completely, and a populace of ordinary citizens to accidentally fix it by behaving logically."},"img":{"url":"https://images.prismic.io/prad/IWNC-LYO9T7IQfVm_scan.JPG?auto=format%2Ccompress&rect=0%2C7%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T07:30:00+0000","embed":{"embed_url":null}},"uid":"upi-transactions-there-is-nothing-called-free-lunc"}}]},"two":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"Sridevi property: SC issues notice to Boney, Janhvi, Khushi"},"content":{"text":"The Supreme Court on Wednesday issued notice to film producer Boney Kapoor and his daughters Janhvi Kapoor and Khushi Kapoor on a plea seeking to revive a property dispute involving a 2.70-acre parcel of land in Chennai purchased by late actress Sridevi and her family.  A Bench of Justices K.V. Viswanathan and Arun Pillai issued notice on the petition filed by M.C. Sivakami and her brother M.C. Natarajan, who have claimed a share in the disputed property, and directed the parties to maintain status quo till the next date of hearing.  The Justice Viswanathan-led Bench also indicated that the parties should explore an amicable resolution through mediation and said that a retired High Court judge would be appointed as mediator.  The matter has been posted for December 18 to consider the progress of the mediation.  The petitioners have challenged the April 20 order of the Madras High Court, which allowed a revision petition filed by Boney Kapoor, Janhvi Kapoor and Khushi Kapoor and rejected the civil suit instituted by Sivakami and others.  The High Court had held that the suit seeking to challenge the 1988 sale transactions was barred by limitation and that the plaintiffs had not established a legally sustainable claim on the basis of the pleadings.  The dispute concerns 2.70 acres of land in Survey No.1/1B at Sholinganallur in Chennai.  According to the pleadings recorded by the Madras High Court, the plaintiffs claimed to be legal heirs of late M.C. Chandrasekaran and sought partition of the property into five equal shares, claiming a 1/5th share. They had also sought declarations that the sale deeds dated April 19, 1988, executed in favour of Rajeshwari, Sreelatha and Sridevi, as well as subsequent transactions concerning the property, were null and void.  Before the Supreme Court, the petitioners' counsel submitted that the High Court had gone into questions concerning the claimants' legal-heir status and the validity of Chandrasekaran's alleged second marriage while deciding whether the plaint itself was liable to be rejected.  Appearing for the Kapoor family, senior advocate Abhishek Manu Singhvi argued that the sale transaction dates back to April 19, 1988, while the present suit was instituted only in 2025.  The senior counsel contended that the petitioners had attained majority in 1995 and 1999, while the present suit was instituted only in 2025, and argued that the claim was barred by limitation. During the hearing, the Supreme Court also sought clarification on whether M.C. Chandrasekaran had a 1/5th share in the property and whether there was any dispute regarding the petitioners being his children.  The litigation has its roots in a suit filed before the Additional District Judge at Chengalpattu. The trial court had initially declined to reject the plaint under Order VII Rule 11 of the Code of Civil Procedure (CPC), holding that the averments in the plaint had to be considered at that stage and that disputed questions could be examined during trial.  The Madras High Court subsequently overturned that order on April 20, 2026. A single-judge Bench of Justice T.V. Thamilselvi held that the plaintiffs' claim that they came to know about the disputed transaction only in 2023 did not sustain on the material placed before the court and concluded that the suit challenging the 1988 transactions was barred by limitation.  The High Court ordered rejection of the plaint. The Madras High Court order also recorded that the plaintiffs had earlier instituted another suit in 2007 claiming a 1/5th share in family properties, which had been dismissed."},"img":{"url":"https://images.prismic.io/prad%2Fb76de7d6-cff9-4251-b467-c470426229f6_sridevi+statue.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-16T14:42:00+0000","embed":{"embed_url":null}},"uid":"sridevi-property-sc-issues-notice-to-boney-janhvi-"}}]},"three":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"'The Paradise': ‘A’ Cert, 2h 49m Runtime!"},"content":{"text":"If sources in the industry are to be believed, the Central Board of Film Certification (CBFC) has now cleared Telugu star Nani's eagerly awaited upcoming action entertainer, 'The Paradise', for release with an 'A' certificate. Sources in the know claim that the film, which has been cleared by the censor board, has a run time of two hours and 49 minutes. The film, directed by Srikanth Odela, has triggered huge expectations among fans and film buffs. Nani, who plays the lead the film, had recently confessed that the film was the most tiring of his career. During an interaction with the media ahead of the film's release on September 24, Nani had said, \"The Paradise is the most tiring film of my career, both physically and mentally. If there has been a film for which I have worked very hard in these 18 years of my film career, it is 'The Paradise'.\" The actor also set the record straight with regard to media reports that had claimed that the film had underwater sequences. He said, \"There are various news reports about the movie on social media. There is no underwater sequence in it. There is also no fight with a 1000 people as is being claimed. This is a genuine story and there are a lot of action blocks. There are scenes that will give audiences a good high. The audience will feel the emotion in the violence.\" Director Srikanth Odela, who took a few questions on the occasion, had said, “The Paradise may have been delayed a little, but every update from the film has created a blast. The glimpse, teaser and songs have all received a superb response. There is a lot of excitement and curiosity among audiences about what The Paradise is all about. This is a revolutionary, emotional film. It is a story about a mother and son, and also about a marginalized community. Kaloji has a line that goes, ‘We own our birth, we own our death, but our entire life belongs to the nation.’ This is a story of a people who fought for their country. However, when these people realise they have no place in their own country, they fight back without knowing what else to do. That is the story of 'The Paradise'.\""},"img":{"url":"https://images.prismic.io/prad/tZJv_PHnDW-jL-cr_TheParadise.JPG?auto=format,compress"},"datetime":"2026-09-16T12:15:00+0000","embed":{"embed_url":null}},"uid":"the-paradise-a-cert-2h-49m-runtime"}}]},"four":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"Revanth Targets KCR’s Farmhouse"},"content":{"text":"Telangana Chief Minister A. Revanth Reddy on Thursday ordered a probe into the BRS president and former Chief Minister K. Chandrasekhar Rao’s landholding, including his farmhouse at Erravalli in Siddipet district. The Chief Minister announced in the State Legislative Assembly that the inquiry will be conducted within a month. He said the inquiry will be conducted to find out if the farmhouse of K. Chandrasekhar Rao (KCR) is spread over 700 acres or not. He questioned why KCR did not reveal that out of 700 acres, 388 acres are government land. “I am directing the Revenue Department, Collector, to immediately issue notice to KCR to verify the extent of land he purchased, the land available now, and who has control of about 388 acres of government land,” he said  The Chief Minister was speaking in the Assembly on the issue of Section 22A of the Registration Act, 1908, amid controversy over thousands of acres of private properties being categorised as public land under 22A. CM Revanth Reddy announced that the government would reclaim 388 acres of government land in KCR’s farmhouse and distribute the same among 800 Dalit families. He asked ministers Damodar Raja Narasimha, G. Vivek Venkatswamy and Ponguleti Srinivas Reddy to resolve the matter within 30 days. “If the issue is not resolved within 30 days, I will take action against the Revenue officials and ministers,” he said. Alleging that the KCR family holds 439 acres of land, far in excess of the legal ceiling, he demanded that the Leader of Opposition explain how he mobilised these lands. CM Revanth Reddy alleged that the KCR family owns 439.30 acres of land in 31 villages across nine districts. Giving a break-up of these landholdings, he said the family of the former Chief Minister and his wife own 67.13 acres in Siddipet. KCR’s son K. T. Rama Rao and his family have 123 acres; KCR’s nephew and former minister T. Harish Rao and his family own 30.16 acres; KCR’s daughter Kavitha and her husband own 37.26 acres; KCR’s another nephew and former MP Jognipalli Santhosh Rao and his family own 79 acres. Other relatives Naveen Rao and Kondal Rao together own 101.14 acres. The Chief Minister also provided details of the lands acquired by BRS leaders, including former ministers and MLAs. The Chief Minister alleged that the KCR family was involved in a land scam of Rs one lakh crore under the guise of the Dharani portal under the BRS government. He announced that a Special Inquiry Team (SET) will be constituted to conduct an investigation.  Revanth Reddy said all the facts relating to irregularities during BRS rule will be tabled in the House in the presence of BRS members.  Last week, all BRS MLAs were suspended from the Assembly for the rest of the session for allegedly disrupting the proceedings. Stating that Dharani Part-I irregularities have come to light, he said soon Dharani-II irregularities will be exposed.  The Chief Minister said irregularities relating to Telangana Industrial Infrastructure Corporation (TGIIC) lands will be exposed during the budget session. He announced the formation of high-power officers’ committee to resolve the 22-A issue. Guidelines will be framed within a week to resolve the issue."},"img":{"url":"https://images.prismic.io/prad/aUQ2XnNYClf9oaGE_RRKCR.JPG?auto=format,compress&rect=0,2,2020,996&w=2028&h=1000"},"datetime":"2026-09-16T13:00:00+0000","embed":{"embed_url":null}},"uid":"revanth-targets-kcrs-farmhouse"}}]},"five":{"edges":[]},"review":{"edges":[{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Epic'"},"content":{"text":"The combination of Anand Deverakonda and Vaishnavi Chaitanya, who previously delivered a successful outing with Baby, naturally raised expectations around Epic. With the duo returning together, there was considerable curiosity about whether the film could recreate the magic of their earlier collaboration. Unfortunately, while Epic has its share of entertaining moments, it ultimately struggles to live up to the expectations created by its lead pair. Story: Aditya (Anand Deverakonda), the younger son of Chandrasekhar (Shivaji), a government school teacher, is a carefree youngster with little interest in academics but a deep fascination for cinema. Dreaming of becoming a filmmaker, he keeps trying to find his way into the world of movies. However, pressure from his parents eventually forces him to travel to the UK to pursue his education. An innocent, soft-spoken and inexperienced young man, Aditya enters a completely unfamiliar world in the UK. Soon after arriving, he meets Kadali (Vaishnavi Chaitanya), and the encounter gradually brings a significant change in his personality and outlook. Meanwhile, Aditya's family is dealing with its own set of problems back home. Whether Aditya manages to achieve his ambitions, how his relationship with Kadali develops and where his journey eventually takes him form the crux of the story. Performances: Anand Deverakonda once again fits comfortably into the role of an innocent and somewhat naïve youngster. Much like his performance in Baby, he brings a certain vulnerability to the character, though the actor gets an opportunity to display a slightly different shade of the role as the story progresses into the second half. His appearance, body language and dialogue delivery work well for the character. Anand is particularly effective in emotional and romantic sequences, showing noticeable improvement and confidence as a performer. His familiar mannerisms and body language may also remind audiences of his brother Vijay Deverakonda, which could work in favour of his fan base. Overall, Epic gives Anand another opportunity to showcase his acting abilities. Vaishnavi Chaitanya, who delivered a strong performance in Baby, does not get a character with comparable depth here. While she has a few scenes that allow her to demonstrate her acting skills, much of the role remains fairly limited. She gets some glamorous moments and contributes effectively whenever the screenplay gives her room, but the character itself does not offer enough scope for a standout performance. Shivaji is convincing as the middle-class government school teacher and once again settles naturally into the character. The supporting cast performs adequately within the limitations of their respective roles. Technical: Director Aditya Hasan chooses a premise that feels contemporary and relevant to the mindset of the current generation. However, the execution is considerably more conventional. The comedy provides some relief and prevents the screenplay from becoming completely monotonous, but several sequences feel familiar and reminiscent of situations seen in other films. The screenplay could have benefited from greater freshness and stronger character development. The first half works relatively better, largely because of its comic portions, while the second half loses momentum and becomes slower. Hesham Abdul Wahab's music is another weak link. Although a couple of songs are passable, the overall album fails to make a lasting impression. The background score, particularly during emotional sequences, could have played a much stronger role in elevating the impact of the scenes. The cinematography is adequate, though the film could have made better use of the picturesque UK locations. Production values are solid and contribute to the film's overall visual presentation. Analysis: A successful pairing can certainly create initial buzz, but a familiar combination alone cannot guarantee a successful film. What truly works is when a popular combination is backed by strong and engaging content. In Epic, the film's premise appears tailored to the sensibilities of the current generation, but the execution does not consistently match its potential. The director succeeds in extracting some entertaining moments from the comedy and emotional portions. The first half benefits from its humour, while the emotional scenes in the latter portion provide a few engaging moments. However, the romantic track lacks the impact required to make the central relationship truly memorable. The film also needed a sharper screenplay and a more compelling second half to rise above its routine elements. While it may not satisfy viewers expecting another Baby-like outing from Anand Deverakonda and Vaishnavi Chaitanya, Epic can still work as a light, one-time entertainer for those looking for a casual watch. Positives: Comedy First half Anand Deverakonda Vaishnavi Chaitanya Negatives: Slow narration Routine story and screenplay Music Second half Verdict: Epic has enough comedy and a few engaging moments to make it a passable time-pass entertainer, but its routine romantic track, slow narration and underwhelming second half keep it from becoming the memorable film its lead combination promised. Banner: Sithara Entertainments Producer: Suryadevara Naga Vamsi Director: Aditya Hasan Music: Hesham Abdul Wahab Cast: Anand Deverakonda, Vaishnavi Chaitanya, Shivaji, Vasuki, Kalyan Shankar and others"},"img":{"url":"https://images.prismic.io/prad/i5tpcCyZXxZGstkc_EPICreview.jpg?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-11T08:51:00+0000","embed":{"embed_url":null}},"uid":"review-epic"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Haiwaan'"},"content":{"text":"Haiwaan builds its strongest moments around two accomplished actors standing on opposite sides of a conflict. Directed by Priyadarshan, the psychological action crime thriller brings Akshay Kumar and Saif Ali Khan together after 18 years, and their reunion is easily one of the film’s biggest strengths. At its core, the film is a tense game of cat and mouse between a dangerous antagonist and a visually impaired man who must rely on instinct, intelligence and resilience to survive. Akshay Kumar is the first major talking point, delivering what could easily be described as one of his darkest and most menacing performances to date. As Parshuram, he does not play the villain in the conventional, loud Bollywood manner. Instead, there is an unsettling calmness to his performance. Akshay gives Parshuram a sense of conviction and unpredictability that makes it difficult to anticipate his next move. His body language, controlled expressions and measured intensity establish the character as genuinely dangerous. There is a quiet menace running through the performance, making Parshuram one of Akshay’s standout negative roles. Saif Ali Khan is equally compelling as Shyam, a visually impaired man who finds himself caught in an increasingly dangerous situation. What stands out about Saif’s performance is the restraint. He does not exaggerate the character’s blindness or turn it into a theatrical device. Instead, Shyam’s vulnerability exists alongside his intelligence, determination and heightened instincts. Saif allows us to understand the challenges Shyam faces without ever making him seem helpless. His performance becomes particularly effective in the confrontational scenes with Akshay. That brings us to the film’s biggest hook — the Akshay Kumar and Saif Ali Khan face-off. Their scenes provide some of Haiwaan’s most thrilling moments because the conflict is not merely physical; there is a strong psychological element to their encounters. Parshuram has physical menace, confidence and an apparent ability to control situations, while Shyam has to depend on instinct, intelligence and resilience. The contrast creates genuine tension. Their standoff gives Haiwaan its dramatic pulse and keeps the audience invested in their battle. A major surprise comes from Paahal Chaudhary, who emerges as one of the film’s biggest revelations. The young actor delivers an outstanding and remarkably assured performance. Paahal brings vulnerability and sincerity to the role without allowing the character to become merely a plot device. Her presence adds emotional stakes to the thriller and makes the audience more invested in what happens to the characters. She holds her own impressively alongside an established cast and becomes an important emotional centre of the story. The supporting cast adds further weight to the narrative. Saiyami Kher, Shriya Pilgaonkar and Boman Irani bring sincerity and conviction to their respective roles, while Sharib Hashmi is effective as the police officer and fits naturally into the investigative world of the film. The return of veteran actor Asrani is particularly heartwarming. He delivers another memorable performance, and his final on-screen appearance gives his presence an added emotional significance. Priyadarshan demonstrates once again why he remains such a dependable filmmaker when it comes to commercial storytelling. With Haiwaan marking his 98th film, he understands how to balance emotion, drama, suspense and mainstream entertainment without allowing one element to overpower the others. At 2 hours and 44 minutes, the film is certainly long, but it rarely feels as though the material is being unnecessarily stretched. The performances, confrontations and steady progression of the thriller keep the narrative moving. The background score deserves special mention for the role it plays in sustaining that momentum. The BGM consistently keeps the tension alive and gives the film the atmospheric quality required of a thriller. It works particularly well during confrontational sequences, adding anticipation without overpowering the performances. The soundscape works hand-in-hand with Priyadarshan’s direction and ensures that the film retains its thriller pulse. Pritam’s music is also integrated thoughtfully into the narrative. Mere Hero Hai Woh adds an emotional dimension, while Rangiyaara works particularly well during the travel portions. The songs complement the mood and allow the film to breathe while remaining connected to the narrative. They never feel completely disconnected from the storytelling. The fact that Haiwaan is adapted from Priyadarshan’s Malayalam thriller Oppam will naturally be known to audiences familiar with the original. However, the Hindi adaptation brings its own treatment, staging and commercial flavour to the material. The performances give the story fresh energy, while Priyadarshan’s direction ensures that it remains accessible as a Hindi theatrical thriller. Mohanlal’s special appearance, reprising his presence from the original, is also a welcome touch for fans of Oppam and provides a meaningful connection between the two films. The film also benefits from a clear central conflict. The screenplay does not bury the emotional stakes under unnecessary complications, allowing the audience to understand what is at risk while the suspense builds naturally. What makes the performances stand out is the contrast in their approaches. Akshay creates danger through stillness and unpredictability, while Saif creates tension through observation and restraint. That difference gives their scenes texture and prevents the conflict from becoming a routine hero-versus-villain battle. The audience is constantly waiting for the next move, which is where the film finds its strongest rhythm. For a film carrying the weight of a star reunion, Haiwaan also avoids becoming solely about that reunion. Akshay and Saif are undoubtedly the centre of attention, but the surrounding characters and emotional stakes are given enough room to matter. Haiwaan works because its strongest elements come together effectively. Akshay’s Parshuram provides the menace, Saif’s Shyam supplies the emotional and human core, and Paahal Chaudhary adds an unexpected layer of vulnerability. The supporting performances strengthen the world around them, while Priyadarshan keeps the suspense alive. The gripping background score further enhances the atmosphere, and the music sits naturally within the narrative. Haiwaan is a theatrical thriller that gets its most important ingredients right. Akshay Kumar gets one of his most compelling negative roles, Saif Ali Khan brings depth and restraint to a challenging character, and Paahal Chaudhary proves to be a genuine revelation. But it is the Akshay-Saif confrontation that remains the film’s beating heart.  Priyadarshan’s assured direction keeps the tension intact and successfully balances suspense, emotion, drama and mainstream entertainment. Haiwaan may draw from familiar material, but its performances, atmosphere and execution give it enough conviction to work as a satisfying big-screen experience. Director – Priyadarshan, Cast:  Saif Ali Khan, Akshay Kumar, Boman Irani, Shriya Pilgaonkar, Saiyami Kher, Mohanlal, Asrani, Sharib Hashmi And Others"},"img":{"url":"https://images.prismic.io/prad/pcf8OeUE1gPChq-9_HaiwaanJ.JPG?auto=format%2Ccompress&rect=0%2C42%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-09-11T05:04:00+0000","embed":{"embed_url":null}},"uid":"review-haiwaan"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Sardar 2’ "},"content":{"text":"Karthi has built a strong following across both Tamil and Telugu audiences, and the success of Sardar naturally created considerable anticipation for its sequel. With Sardar 2, director P. S. Mithran attempts to expand the franchise into a larger and more intense espionage-action space. The film carries forward the narrative from the first instalment while introducing a new threat and a fresh mission. On paper, the ingredients suggest a potentially engaging spy thriller. However, the execution falls short of the expectations created by its predecessor, with an uneven screenplay and excessive padding preventing the film from achieving the impact it aims for. Story: The sequel picks up from where Sardar left off. After reports emerge that Sardar, played by Karthi, has been shot dead in China, the focus shifts to his son Vijay, also portrayed by Karthi, who works as a RAW agent. Vijay does not enjoy much support from his superiors, but that does not stop him from taking matters into his own hands. He launches an unauthorised operation to rescue Walrus, played by Achyuth Kumar.  Although Vijay fails to save him, the mission leaves him with crucial information about a dangerous operation known as ‘DO’. His investigation leads him towards Black Dagger, played by S. J. Suryah, and a larger conspiracy that threatens the country. The mystery surrounding Black Dagger, his motives and the purpose of Operation DO forms the central conflict.  While the premise has the potential for a gripping espionage drama, the narrative takes too long to build momentum and struggles to maintain suspense. Performences: Karthi remains the film’s biggest asset. The actor handles the two contrasting shades of his characters with confidence, bringing gravitas to Sardar while giving Vijay a more youthful and jovial personality. The difference between the two roles allows Karthi to display considerable range, and his energetic performance keeps several sequences watchable even when the writing falters.  S. J. Suryah once again proves effective as a villain, bringing an unsettling intensity to Black Dagger and making some of his scenes genuinely menacing.  Malavika Mohanan has limited scope but makes an impression in the portions available to her, while Ashika Ranganath gets only a few opportunities to showcase her acting abilities.  Yogi Babu provides comic relief, though some of the humour feels artificially inserted into the otherwise serious narrative. c oy-e remaining cast members are adequate within their respective roles. Technical: The film does not consistently live up to its big-budget positioning. The background score is particularly disappointing, with similar musical patterns repeatedly used during the action sequences. At several points, the music becomes excessively loud and threatens to overpower the scenes instead of complementing them. The cinematography fares better, with certain sequences gaining visual appeal from the camera work.  The production design and overall scale are reasonably impressive, but these positives are undermined by the film’s editing. Several portions feel unnecessarily prolonged, particularly during the first half, and a tighter cut could have significantly improved the pacing. The second half makes a more determined attempt to generate intrigue and urgency, but the screenplay never quite develops the momentum required for a satisfying payoff. Analysis: The fundamental problem with Sardar 2 is that it arrives as the follow-up to a successful film. A sequel is expected not merely to continue the story but to raise the stakes and offer audiences something more compelling than what they have already seen. Here, the connection to the first film is maintained while the new storyline remains accessible even to those unfamiliar with the earlier instalment. Yet the basic espionage framework feels familiar, and the film needed sharper writing and more inventive storytelling to make its premise stand out. Instead, the slow stretches, forced comedy and inconsistent screenplay repeatedly take the edge off the narrative. Ultimately, Sardar 2 has a capable lead, an interesting central idea and a few effective performances, but it lacks the tight writing and controlled execution required for a high-impact spy thriller. Karthi’s dual-role performance is undoubtedly a plus, and the core storyline offers enough material for an engaging franchise film. However, the sequel never fully capitalises on those strengths. For audiences expecting a more powerful follow-up to Sardar, the film is likely to feel like a missed opportunity. Positives:  Karthi’s dual performance Basic storyline S. J. Suryah’s villainous act Negatives:  Slow first half Forced comedy Weak background score Uneven editing Inconsistent screenplay Final Verdict:  Sardar 2 has the scale, star power and premise of a promising spy-action franchise, but its lacklustre screenplay and uneven execution keep it from matching the impact of the original. Banner: Prince Pictures, IVY Entertainment Producers: S. Lakshman Kumar, Ishan Saksena Director: P. S. Mithran Music: Sam C. S. Cast: Karthi, Malavika Mohanan, S. J. Suryah, Ashika Ranganath, Yogi Babu and others "},"img":{"url":"https://images.prismic.io/prad/YJ_CQhIc2-axaebY_SARDARReview2.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-10T07:32:00+0000","embed":{"embed_url":null}},"uid":"review-sardar-2-"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Toxic'"},"content":{"text":"After delivering the massive success of KGF, Yash took considerable time before announcing his next project. He reportedly heard several scripts and met numerous filmmakers before finally joining hands with Geetu Mohandas for Toxic: A Fairy Tale for Grown-Ups. The collaboration itself raised eyebrows, with many wondering how Mohandas’ filmmaking sensibilities would blend with Yash’s larger-than-life action image. The result is an ambitious gangster action drama that aims for the scale and intensity of KGF, but struggles to match its emotional impact. Story: Set against the backdrop of Goa in 1947, the film revolves around a powerful drug and underworld network led by Salvador, a feared gang lord. Raya (Yash) and Ganga (Nayanthara), who are siblings, are among his most trusted associates. Ganga dreams of seeing her younger brother rise to the top of Goa’s drug empire. Raya’s life takes an unexpected turn when he falls in love with Salvador’s daughter, Rebecca (Tara Sutaria), and marries her. This eventually helps him become the head of the drug syndicate, fulfilling Ganga’s long-standing ambition. However, Raya later develops feelings for Nadia (Kiara Advani), a circus performer. Their relationship leads to Nadia’s pregnancy and creates a devastating conflict after Rebecca discovers the affair. Overcome by the situation, Rebecca takes her own life. The central conflict then revolves around Salvador’s reaction and Ganga’s desperate attempts to protect her brother from his wrath. Performances: Yash delivers a convincing performance as Raya and carries much of the film on his shoulders. However, the screenplay is so heavily centred on his character that several supporting roles fail to make a lasting impact. Some of his action sequences also feel exaggerated, with the hero overpowering villains almost effortlessly. While his emotional moments work reasonably well, the action lacks the grounded quality needed to make the violence feel convincing. Nayanthara gets a powerful character as Ganga, but the writing does not provide her with enough substantial scenes. She makes an impression whenever she appears, despite having limited material. Kiara Advani, unfortunately, has little scope to demonstrate her acting abilities, with her character largely confined to glamour and romance. Tara Sutaria fares better, delivering a natural performance in several emotional sequences. The remaining cast members are adequate within the limitations of their respective roles. Technical: Geetu Mohandas deserves credit for attempting a dark and ambitious gangster drama, but the execution falls short of the potential of the premise. The screenplay repeatedly relies on elaborate action sequences, seemingly assuming that Yash’s screen presence and large-scale set pieces alone will sustain the film. Considerably more attention is given to the protagonist than to the development of the supporting characters. The dubbing is another noticeable weakness, occasionally giving the film the feel of a dubbed production rather than a seamless multilingual project. The cinematography is impressive and succeeds in creating the required visual scale. However, the background score does not leave a strong impact. Ravi Basrur’s music fails to live up to expectations, while the songs struggle to connect because of their placement within the romantic portions. Editing is one of the film’s major drawbacks, particularly in the second half, where several sequences feel unnecessarily stretched. The production values, however, remain impressive and contribute to the film’s grand visual presentation. Analysis: The biggest challenge for Toxic was always going to be the enormous expectations surrounding Yash after KGF. Audiences naturally expected another high-octane action spectacle, and the film clearly attempts to recreate that larger-than-life formula. But KGF worked not merely because of its action; its emotional core gave the spectacle considerable weight. Toxic struggles in that department. The film repeatedly prioritises action, violence and glamour while failing to build sufficiently strong emotional connections with its characters. The result is a movie that looks ambitious but often feels emotionally hollow. The excessive romantic and adult-oriented content may also alienate a significant section of family audiences. Instead of complementing the gangster narrative, several such sequences feel unnecessarily provocative and distract from the core story. The film appears determined to push its mature tone, but the approach does not always feel organic to the narrative. Ultimately, Toxic showcases Yash’s immense screen presence and delivers a few visually striking action sequences, but it falls short of replicating the emotional resonance that made KGF such a phenomenon. The attempt to create another massive Yash action vehicle is evident, yet the absence of a compelling emotional backbone prevents the film from reaching its full potential. Plus Points: Yash’s performance Tara Sutaria’s natural acting A few well-executed action sequences Grand production values Impressive cinematography Minus Points: Weak story and screenplay Limited depth for supporting characters Excessive romance and adult content Over-the-top action in places Underwhelming music and background score Slow and stretched second half Dubbing issues Verdict: Toxic sets out to deliver another KGF-style action extravaganza but misses the emotional ingredient that made Yash’s previous blockbuster so effective. Despite its scale, star power and flashes of impressive action, the film struggles to create a satisfying overall impact. Final Take: Another KGF was attempted, but the emotion is missing. Banner: KVN Productions Producer: Venkat K. Narayana Director: Geethu Mohandas Music: Ravi Basrur Cast: Yash, Kiara Advani, Nayanthara, Huma Qureshi, Tara Sutaria, Rukmini Vasanth, Sudev and others"},"img":{"url":"https://images.prismic.io/prad/E2UJr6qTDfzc_kvt_TOXIC.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-26T07:45:00+0000","embed":{"embed_url":null}},"uid":"review-toxic"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Irumudi'"},"content":{"text":"It has been a long time since Mass Maharaja Ravi Teja scored a hit. At a time when his fans were also giving up hope on Ravi Teja, expectations have increased hugely on the film directed by Shiva Nirvana, who is known as a sensible director. A positive buzz has been created for Ravi Teja's film like never before and huge advance bookings have been registered. Let's see how this film is in this review. Story: Trinath (Ravi Teja) is a devotee of Ayyappa. He wears an Ayyappa garland every year. Trinath, who is very devoted when he wears a garland, cannot stop drinking when he does not have one. No matter how much he drinks, he takes good care of his wife Kaveri (Priya Bhavani Shankar) and daughter Manikantha (Baby Nakshatra), leads a happy life with them, and works in the banana plantation. Trinath, who lives in a village, loves his daughter. He takes care of every girl in the village and is the first to come to his aid if any danger comes to them. At such a time, a girl studying in high school is murdered. What changes does Trinath's life bring about with that murder? Why does Trinath swear to his daughter that he will stop drinking? What else does Trinath do for his daughter is the story of the film. Actors' Performance: Everyone who acted in the film acted very well. Ravi Teja, as always, acted with full energy and impressed. Especially in the action scenes and sentimental scenes with his daughter, Ravi Teja acted very well. Ravi Teja appeared for the first time in Ayyappa Mala. As expected, Ravi Teja impressed in the devotional scenes as well. Overall, he carried the film on his shoulders and carried it forward, impressing everyone including the fans. Heroine Priya Bhavani Shankar acted as if she had a good future. She was seen in a de-glamor look in this film. Still, she impressed in terms of looks. Apart from that, she impressed with her acting. In recent times, we have been seeing the level of importance given to the acting of heroines. It has been proven once again that heroines will create dust if they get roles that have potential for acting. There is no doubt that Baby Nakshatra has given life to the film. Ajay Ghosh and Sai Kumar impressed with their roles. Technical: Music director GV Prakash Kumar impressed with the background score. The theater was rocked by the song Mallepula Pallaki. However, it must be said that the credit does not go to GV Prakash. The other songs are mediocre. The more GV lifts the film with the background score, the more it lifts it. Director Shiva Nirvana's writing is good. Some dialogues are touching, while some scenes are like the best of Ravi Teja's career. Overall, the director has succeeded in all respects. There are no major mistakes in editing. It would have been even better if some scenes in the second half had been cut to three or four minutes. The cinematography is good. The beauty of the village has been shown well. There is no compromise in the structural values. Analysis: Director Shiva Nirvana has conveyed the point he wanted to convey with devotion and sentiments. The director has shown the injustice being done to girls in the current society well. Apart from that, there is no doubt that he has made a good decision in choosing Ravi Teja for this film and taking Ayyappa Mala as the backdrop. Ravi Teja has never done such roles in the past. That is why there is a concern about how he will be seen in this film, how the character will be, and how the film will be. After watching the film, it feels like we are seeing Trinath instead of Ravi Teja. The director has taken us into the film in a very short time. This film can be called a movie with good sentiment and devotion along with entertainment. Ravi Teja's films have been criticized for a long time in the industry. There is no doubt that this film is the answer to all of them. It went like an all-round movie. Plus points: Ravi Teja, Other Actors' Performances, Mallepula Pallaki Song, Action Sequences Minus points: Some Emotional Scenes Final Verdict:  Ravi Teja tied 'Irumudi' to Ayyappa and scored a hit Banner: Mythri Movie Makers Producer: Naveen Yerneni, Y Ravi Shankar Director: Shiva Nirvana Music: G.V. Prakash Kumar Cast: Ravi Teja, Priya Bhavani Shankar, Sai Kumar, Baby Nakshatra, Ajay Ghosh and others"},"img":{"url":"https://images.prismic.io/prad/HcTr2KkaiWO37ssK_irumudi.jpg?auto=format,compress"},"datetime":"2026-08-21T08:18:00+0000","embed":{"embed_url":null}},"uid":"review-irumudi"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Awarapan 2'"},"content":{"text":"Some characters become so closely associated with an actor that bringing them back after nearly two decades is a risky proposition. Shivam Pandit is one such character for Emraan Hashmi. Awarapan 2 takes that risk and, for the most part, understands why the 2007 film became a cult favourite. Directed by Nitin Kakkar, the film picks up the emotional thread of the original rather than simply recreating it. Shivam is still carrying the memory of Aaliyah when he comes across an abandoned infant girl at her grave. He takes her to an orphanage, quietly pays for her care and names her Aaliyah. When a couple later adopts the girl, Shivam convinces himself that giving her a family is the right thing to do. He soon discovers that they are connected to an international child-trafficking syndicate, and when Interpol tells him that Aaliyah has been abducted, the man who had walked away from the criminal world has no choice but to return. That premise gives Awarapan 2 a natural reason to bring Shivam back rather than forcing a reunion for nostalgia's sake. Interpol wants his help in taking down the syndicate, but Shivam's motivation is much more personal. His guilt over Aaliyah and his inability to protect her pull him back into the world he desperately wanted to leave behind. This is where the sequel expands the franchise. The first Awarapan was raw, intimate and deeply rooted in Shivam's personal transformation. The new film moves from that compact moral awakening into a larger crime thriller involving trafficking, organised crime, revenge and sacrifice. The scale is bigger, the action is more prominent and the storytelling is designed for a theatrical audience, but the emotional core remains Shivam's search for redemption. The narrative has moved from 2007 to 2026, and this genuinely feels like the next chapter rather than a film simply borrowing the name of a beloved original. A major part of that evolution comes from Vishesh Bhatt. As the co-producer of Awarapan and now the writer-producer behind Awarapan 2, Bhatt's vision of turning Awarapan into a franchise is central to the film. This isn't just a sequel made because the first film developed a cult following. There is a clear attempt to build the next chapter of Shivam Pandit's story while retaining the emotional and musical DNA of Vishesh Films. Bhatt's creative direction gives the film its larger ambition, with Kakkar and the entire team following that lead. The collaboration between Emraan Hashmi and Vishesh Films remains one of the film's strongest forces. Emraan, unsurprisingly, is the film's biggest strength, but the supporting characters deserve attention. Disha Patani plays Zara, a woman who becomes an unintentional victim of the criminal world surrounding her family. Her brother Zorawar, played by Puran Gabbi, is involved in the drug trade, and the film uses their relationship to show how crime can trap people who never chose that life. Patani gets a stronger dramatic focus and brings a vulnerability that gives Zara's portions emotional weight. Gabbi is one of the film's discoveries, bringing an unpredictability that makes Zorawar stand out without turning him into a standard gangster caricature. Shabana Azmi as Nafisa brings the expected gravitas, while Suvinder Vicky as Jaideep, Vijayant Kohli as Mehmood, Atul Kumar as Samarth and Aniruddh Rawal as Sikandar add further layers to the criminal and investigative world around Shivam. The music is where Awarapan 2 makes perhaps its most important connection with the original. Mithoon, Amaal Mallik and Jeet Gannguli carry forward the musical identity of the franchise, with lyrics by Sayeed Quadri and Rashmi Virag. The returning favourites \"Tera Mera Rishta\" and \"Toh Phir Aao\" have been reimagined by Mithoon, while \"Yeh Awarapan\", sung by Arijit Singh, adds another emotional layer. But the soundtrack is not simply a collection of songs designed to trigger nostalgia. The music is integral to the story. It carries Shivam's emotional state, builds the atmosphere and becomes part of the film's narrative language. This is also a soundtrack that deserves to be experienced in a theatre, where the sound design, scale of the compositions and visuals create a different audio-visual experience. The film also makes its marketing campaign look smarter once the story unfolds. Some of what has been shown and teased begins to make sense only after watching it, and there are elements of the narrative better experienced without knowing too much beforehand. Awarapan 2 is not merely selling the return of Emraan Hashmi or the nostalgia of its music. It is attempting to make audiences curious about what happened to Shivam and where his story goes next. The big-screen presentation adds to that appeal. Awarapan 2 succeeds because it respects where the franchise came from without pretending that cinema hasn't changed since 2007. It is bigger, more ambitious and more conventional as a thriller than the original, but it retains the grief, rage, sacrifice and search for redemption that made Shivam Pandit memorable. Vishesh Bhatt's franchise vision, Vishesh Films' creative identity, Nitin Kakkar's direction, Bilal Siddiqui's writing and Emraan Hashmi's return all work toward the same goal: taking Shivam's story forward rather than simply repeating it. Disha Patani gets a meaningful role, Puran Gabbi emerges as a genuine discovery, the supporting cast adds weight and the music remains an essential part of the experience. It may not have the same bleak intimacy as Awarapan, but that isn't what this film is trying to be. This is the 2026 chapter of Shivam Pandit's journey much bigger, louder and still carrying the same old wound. Director: Nitin Kakkar,  Cast: Emraan Hashmi, Disha Patani, Shabana Azmi, Puran Gabbi, Suvinder Vicky and others"},"img":{"url":"https://images.prismic.io/prad/nH0_7NckLLpkJ8vL_awarapan2.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-14T04:07:00+0000","embed":{"embed_url":null}},"uid":"review-awarapan-2"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Vishwanath and Sons'"},"content":{"text":"Despite being a Tamil hero, Surya is a hero who has a good craze in Telugu. Telugu audiences have raised their expectations as soon as he says that he is working with a Telugu director. The film Surya, which was made in a Telugu production company and directed by a Telugu director, was promoted as a Telugu film. Let's see how this film, which has huge expectations among the audience, is doing in this review. Story: Sanjay Vishwanath (Surya) is a big businessman. Sanjay, who has everything, is not interested in marriage. But his mother (Radhika) insists on marriage and having a family. Sanjay becomes a father to a baby boy through surrogacy for his mother. While he is happy with Babu, unexpected developments take place. Babu develops serious health problems. Babu needs bone marrow. Then Sanjay goes to Maddy (Mamita Baiju), who is in the US. She has to give the bone marrow to Babu. 22-year-old Maddy, who came for Babu, falls in love with 42-year-old Sanjay. Where did that love lead? Who is Maddy really? You have to watch the movie to know these things. Performance: There is no need to mention the performance of the hero Surya. Millionaire Sanjay Vishwanath impressed in the role. Surya scored 100 out of 100 marks in showing that modesty. Surya impressed in a role that shows love while appearing serious in some scenes. Overall, there is no doubt that Sanjay Vishwanath brought the character to life. Fans enjoyed the shades of Surya's character. Surya impressed with his 40+ age look. Maddy's role is very crucial in the movie. The entire first half is based on that character. Mamita Baiju appeared in the role of an orphan with no one. Generally, any heroine would look good in the role of a naughty girl. But Mamita in the role of Maddy made me laugh, cry, and get angry. She was the main attraction of the film. It seemed that Maddy's role would have been better in the second half as well. Radhika impressed in the role of Sanjay's mother. She seemed to have transformed into a small child and acted. The other actors acted and impressed within the scope of their roles. Technical: It seemed that the music director focused more on the background score than on the songs. It must be said that his hard work was rewarded. Because the background score came out well. It led some scenes in an impressive way. Let's talk about cinematography. Generally, it is easy to show the beauty of the village, but to bring a rich family look, cinematography has more work. That work is good. It would have been better if the director had worked more on the second half. The structural values ​​are good. Editing needs to be improved in the second half. Plus points: Mamita Baiju Surya Entertainment Some sentimental scenes Minus points: Second half Fights Analysis: Director Venky seems to have come up with a mature story once again. However, this time, the addition of a love story made it a youthful entertainer. Especially in the first half, the scenes with the heroine should definitely make the audience fall in love. The scenes between the hero and heroine make you laugh on one side and cry on the other. Although the second half seemed to be a bit sentimental, it ended on a positive note. There is no doubt that if the first half was as entertaining as the second half, it would have been even better if it had been more entertaining along with sentiment. Overall, this film can be watched for the heroine Mamita Baiju and for the sentimental scenes. Finally... The first half is fun, the second half is balanced with emotion. Banner: Sitara Entertainments Producer: Suryadevara Nagavamsi Director: Venky Atluri Music: G.V. Prakash Kumar Cast: Surya, Mamita Baiju, Radhika Sarath Kumar, Raveena Tandon, Nassar, Sudha and others"},"img":{"url":"https://images.prismic.io/prad/ahgA9bK9tuLqENie_vishwanathandsons.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-14T07:46:00+0000","embed":{"embed_url":null}},"uid":"review-vishwanath-and-sons"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Korean Kanakaraju'"},"content":{"text":"Mega hero Varun Tej, who has been greeting the audience with a series of films, has once again come to the Telugu audience with a different concept. This time, he has come to the audience with a Korean ghost concept like never before. He has attracted everyone's attention by coming to the audience with a ghost concept.  A large-scale publicity program was organized before the release. With that, a huge buzz was created. Let's see if the movie lives up to that buzz in the review. Story: Kanakaraju (Varun Tej) from Penukonda area leads a smooth life. He falls in love with Chaitra (Rithika), who works for Kia car companies. An angry Kanakaraju has a fight with a local rowdy gang. At that time, in the wake of unforeseen developments, the ashes of a person from Korea arrive in India. They reach Penugonda. The soul of the deceased Korean man enters Kanakaraju's body. Why did that soul enter Kanakaraju's body and what happens next is the rest of the story. Actors' performance: Varun Tej seems to have done 100 percent justice to the character of Kanakaraju. There is no doubt that he acted as if the angry Kanakaraju was really in front of us, and there is no doubt that the way he spoke in Korean when the Korean soul entered him took Varun's acting to another level. Varun, who maintained a good physique to match the character, also impressed with his comedy timing. It is no exaggeration to say that Varun has never done this level of comedy before. Varun impressed with his acting in the action scenes, but he could not do much with his dance. Heroine Rithika impressed with her cute looks. However, despite the importance of her role in the story, she did not get much opportunity to appear in the screenplay. The scenes with Satya were good, but Satya's dominance is clearly visible in it. Rithika impressed in two or three scenes along with her cute beauty display.  Comedian Satya appeared on the screen more than the second hero. At the same time, he impressed with his comedy. Overall, Satya's comedy was the main attraction in the film. Those who played the rest of the characters did not seem to care. Technical: The songs provided by music director Thaman seemed mediocre, but the background score was good here and there. Thaman impressed in some horror scenes. Overall, it must be said that Thaman's work is not up to his level. It would have been better if the songs were two or three good. The cinematography seems to be okay. It seemed like the focus on action scenes was reduced in order to show Korean beauties. The heroine was shown as cute. More care should have been taken in the matter of hero elevation. It would have been better if director Gandhi had rewritten the story and given a different treatment to the screenplay. The production values ​​are good. There is a possibility of trimming some of the second-off scenes. Analysis: The main attraction of the movie is the concept. It seems that director Gandhi has not been completely successful in carrying out that concept with a proper screenplay. However, he has brought the movie to a close with comedy. It is commendable that the director has chosen Satya for that role with full faith. The comedy has the potential to make the movie closer to the family audience. Since there have been no movies with the concept of a Korean ghost movie so far, this movie is sure to feel new. Director Gandhi has a reputation for making different movies.. This movie is a continuation of that. Varun Tej has fully fulfilled the responsibility assigned to him. It would have been better if he had thought better about the screenplay and worked out the horror scenes. The graphics seem poor. It seems like it was made using AI technology. Plus points: Concept, Hero heroine, True comedy Minus points: Routine horror, Graphics, Korean language. Finally... A routine horror drama that will please mega fans Banner: UV Creations Director: Merlapaka Gandhi Producer: Vamsi, Pramod Music: Thaman Cast: Varun Tej, Rithika Nayak, Satya and others"},"img":{"url":"https://images.prismic.io/prad/Ui6FbufwpUs86SxR_KoreanKanakaraju.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-07T06:59:00+0000","embed":{"embed_url":null}},"uid":"review-korean-kanakaraju"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Chennai Love Story'"},"content":{"text":"Small films are having a good time in Tollywood. The makers have been repeatedly saying that they are bringing this film to the audience as a content-oriented film, in the wake of the huge success of making content-oriented films. The makers who gave a super hit film like Baby have brought this film to the audience. Let's see how this film, which was released today, is like in the review. Story: Niv (Sri Gauri), who wanted to fall in love and get married, is unexpectedly cheated by her boyfriend Ajay (Trigun). He leaves her by saying that he loves another girl before the wedding. With that, Nivi turns into a lady Devadasu and becomes addicted to drinking. At that time, her friends take her to Chennai and try to change her a little. But her behavior does not change. That's when Steven Shankar (Kiran Abbavaram) steps into Chennai to show his mettle as a director. Friends help Shankar, an orphan, and allow him to stay in their room. The room is close to Nivi. At first, Shankar's words used to irritate Nivi. Slowly, she gets closer to him. Love blossoms between the two. But amidst unpredictable developments, their love runs into a problem. What is that problem and will the two meet again is the plot. Acting: Kiran Abbavaram impressed with his good acting, like in the past, he impressed with his looks as if he was the boy next door. Playing the role of an innocent person is not an easy thing. But Kiran Abbavaram played the role very easily. Kiran Abbavaram showed well in this role what an innocent person who steps into Chennai with an effort to impress the director would be like. There is no doubt that this heroine Gowry Priya  is the most crucial role in the story. She has done complete justice to her role. Siri Hanumanthu has once again impressed with her acting in a good role. She is likely to get more good roles in the future. Those who played other roles impressed within the scope of their roles. Technical: When the director thought that the story was being handled well, he tried to say something new by saying Atma Paramatma in the second half. It must be said that it failed. In terms of screenplay, the second half failed. The music was impressive, especially the background score was impressive. Manisharma once again showed his magic. Cinematography is good. There is no doubt that cinematography has definitely been useful in showing the beauty of Chennai. The dialogues are good. There are some flaws in the editing, and there is still work to be done in the second half. The structural values ​​are according to the story. Plus points: Hero, heroine acting, Manisharma's background score First off Minus points: Second half, Routine screenplay. Analysis: Producer Sai Rajesh has been making comments in several media conferences and interviews that this film is definitely a baby range cult love story, but it doesn't seem like it has any scenes. While you think that the first half of the film will be smooth and interesting, he made the second half boring by adding unnecessary elements. If the same love story had been continued simply, the second half would definitely have been a good talk. Hero Kiran Abbavaram impressed with his good performance. The audience will definitely appreciate him, and heroine Gauri also did full justice to her role. Gauri impressed in the role of a drunkard and Lady Devadasu, but it must be said that the screen did not match their performance. Overall, Chennai Love Story turned out to be an average love story. Finally... It makes feel like going all the way to Chennai for this love story Banner: Mass Movie Makers Producer: SKN, Sai Rajesh Director: Ravi Namburu Music: Mani Sharma Cast: Kiran Abbavaram, Gowri Priya, Siri and others"},"img":{"url":"https://images.prismic.io/prad/0yN9tZHPaAuq2hyg_CLS.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-24T08:01:00+0000","embed":{"embed_url":null}},"uid":"review-chennai-love-story"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Jana Nayakudu' "},"content":{"text":"Expectations have increased among all sections of the audience on the film Jana Nayaku, which was advertised as the last film of Tamil superstar Vijay. Although it was not officially announced that it is a remake of the film Bhagwant Kesari, which came in the combo of Balakrishna and Anil Ravipudi, the makers have been unofficially saying it.  This film, which was delayed a lot due to Tamil Nadu politics, made a royal entry without any problems as Vijay became the CM of Tamil Nadu. And how is this film? Will the audience like this story again in Telugu? Let's see in this review. Story: Vetri Kondan's (Vijay) mother dies in jail. Out of humanity, the jailer releases Vetri Kondan on parole and sends him out to see his mother for the last time. When Vetri is sent out, the jailer gets into a big problem. Vetri Kondan learns that the jailer who helped him is in trouble, and goes to his house. In the wake of unexpected developments, the jailer dies. His only daughter, Viji (Mamita Baiju), becomes an orphan.  The jailer who helped him looks after his daughter and wants to make her an army officer. But Viji says she will not join the army out of fear. Why does Vetri want to send Viji to the army? Will Viji finally join the army? What difficulties will Vetri face in doing so? This is the story. Performance: There is no need to mention anything special about Superstar Vijay's performance. Just as Balakrishna adapted to the role in Bhagwant Kesari, there is no doubt that Vijay also adapted to the role of Vetri. The screenplay was such that the entire story of the film was carried on his shoulders. Even so, Vijay acted well in every scene without giving up. There is no doubt that he impressed with his comedy timing. His fans will enjoy the action scenes to the fullest. Now that he is the CM, he has tried to show Vijay in that angle as well, which is a feast for the eyes of the fans. Since this is Vijay's last film, it seems that he gave his best. Pooja Hegde, who played the heroine, does not have much screen presence. It must be said that Pooja Hegde's screen presence is less than what Kajal Aggarwal's role was in the original Telugu version. Mamita Baiju played the role of Viji, played by Srileela in Telugu and got good marks. It seemed that Mamita did Viji's role even better than Srileela. Along with impressive looks, the two heroines gave good expressions to suit their roles. However, Pooja Hegde's role did not get priority. Mamita impressed as much as she did. Bobby Deol impressed in terms of looks. It would have been better if he had been shown as a stronger and better villain. Since the villain role was not given priority in the story, Bobby Deol's performance became like water poured on ashes. Technical: Director H Vinod tried to make the Telugu story as it is and add Tamil flavor to the screenplay. He made the story without making many changes in the first half. However, when it came to the second half, he made many changes. The entire screenplay changed as if it was a new story. Vijay's character also left the audience in a bit of a quandary. There is nothing much to say about the music. Anirudh, as usual, gave a good background score to Vijay's film. But since the songs did not have much scope, Anirudh's work did not come out much.  The cinematography is good. The cinematography is definitely good in elevating the action scenes. There are errors in the editing. Some scenes in the second half, especially the villain scenes, could have been trimmed. It would have been better if the heroine scenes that are not part of the story were also trimmed a bit. The production values ​​are good. The story was produced with added weight without detracting from it. Plus points: Vijay, Some Action Scenes, Mamita Baiju Minus points: Story, screenplay, Being a familiar story, Second half, Villain role. Analysis: The film Jana Nayakkudu, which was supposed to be released early this year, did not see its release due to censor problems due to Tamil Nadu politics. Officials said that permission could not be given for the release of the film in the wake of the assembly elections. With Vijay becoming the CM, the film Jana Nayakkudu came plowing ahead without any problems and shook the Tamil box office. This movie has been seen in Telugu before. Even though it is known that this is a remake of Balakrishna Bhagwant Kesari, many enthusiasts booked in advance and watched the movie. The movie got a good opening in Telugu states.  It is undeniable that Jana Nayakkudu could not satisfy the Telugu audience completely. Tamil audience will think aha.. oh my for Vijay Elevations. Moreover, they will like it because it is a new story, but Telugu people do not have much to like about this movie, even though the second half seems to have changed a bit, it felt like it was forced. The political elements were not set in the story at all. There is action but no emotion. The magic is missing in the screenplay. Overall, Jana Nayakkudu does not have anything new that the Telugu audience will like much. Finally... A Tamil mass leader who cannot please Telugu people. Banner: KVN Productions Producer: Venkat K. Narayan Director: H Vinod Music: Anirudh Cast: Vijay, Pooja Hegde, Mamita Baiju, Sunil, Bobby Deol and others"},"img":{"url":"https://images.prismic.io/prad/8WXmx3hoavnPTLpj_jananayakudu.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-23T08:18:00+0000","embed":{"embed_url":null}},"uid":"review-jana-nayakudu-"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Dhamaal 4'"},"content":{"text":"STORY: Over the years, the Dhamaal franchise has carved out a unique, bulletproof space in Bollywood, one built entirely on unapologetic, leave-your-brain-at-home comedy. Director Indra Kumar returns to this signature comfort zone scaling up the adventure with itns fourth installment. This time, the chaos revolves around a massive 100-year-old hidden treasure belonging to the legendary Shaitaan Singh. The key to its location is locked away in the faulty memory of Prithvi (Upendra Limaye). When the secret slips out, it triggers a wild, breathless race to a mysterious island marked by a giant \"M.\" Every character is out to outsmart the other to reach the khazana first, paving the way for endless confusion, wrong clues, and frantic chases. SITUATIONAL COMEDY: Chaos at Its Peak What makes Dhamaal 4 work so effectively is its reliance on situational comedy. The film throws a massive ensemble of eccentric, greedy, and hilariously unlucky individuals into bizarre environments, from wild jungle disasters to unexpected pirate encounters. The script doesn’t ask you to look for logic; instead, it invites you to surrender to the sheer ridiculousness of the situations. The first half is exceptionally fast-paced, packed with clever nods to older films in the franchise that will keep longtime fans chuckling. ENSEMBLE PERFORMANCES: The Ultimate Laughter Brigade The true strength of the film lies in its stellar ensemble cast, where Ajay Devgn leads the pack with absolute swagger alongside Sanjay Mishra, whose iconic comic timing results in sharp laugh-out-loud moments. The heartbeat of the franchise, Arshad Warsi and Jaaved Jaaferi, return with their signature electric chemistry, beautifully joined by Sanjeeda Shaikh who adds great charm to their chaotic dynamic. Riteish Deshmukh delivers a thoroughly entertaining performance with his desi flavor alongside Anjali Anand, who plays his wife Paro with a hilarious domestic touch. Stealing scenes effortlessly, Ravi Kishan brings a fresh wave of comedy as the quirky pirate leader Adhoora. Finally, Upendra Limaye is fantastic as the main catalyst of the plot with his high-energy performance, while Esha Gupta brings a wonderful charm and flair to the screen. DIRECTION, SCREENPLAY, AND MUSIC Indra Kumar proves yet again that he is a master at delivering high-energy situational comedies. The engaging screenplay keeps the audience hooked with a constant stream of rapid-fire jokes and entertaining jungle and island survival sequences. On the technical side, the massive scale of the film looks stunning on the big screen, making it a true theatrical spectacle. The music seamlessly fits this energetic narrative, with tracks like Chatni and Qeher keeping the mood light, and celebratory throughout. THE VERDICT: The Perfect Family Entertainer Dhamaal 4 is a fun-filled joyride that is tailor-made for the big screen. It effortlessly delivers on its promise of pure, non-stop entertainment from start to finish. It stands out as an excellent, wholesome entertainer that will easily appeal to all age groups, from grandparents to little kids, who will absolutely love the comedy and thrilling pirate adventures. If you are looking to share a hearty laugh with your entire family this weekend, Dhamaal 4 is a highly recommended watch! Director: Indra Kumar Cast: Ajay Devgn, Arshd Warsi, Riteish Deshmukh, Jaaved Jaaferi, Sanjay Mishra, Ravi Kishan, Upendra Limaye, Anjali Anand, Esha Gupta and Sanjeeda Shaikh"},"img":{"url":"https://images.prismic.io/prad/51qvs_NXLgg3Shrm_dhamaal3.JPG?auto=format,compress"},"datetime":"2026-07-10T04:00:00+0000","embed":{"embed_url":null}},"uid":"review-dhamaal-4"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Lenin'"},"content":{"text":"Years have passed since Akhil made his debut as a hero from the Akkineni family, yet he has not managed to achieve commercial success. Consequently, fans' confidence in him has been waning. At this juncture, Akhil has worked hard on the movie 'Lenin' with great hope. Let us see how the movie fares in this review. Story: The story unfolds in a remote village in Andhra Pradesh. Lenin (Akhil) arrives as an orphan in a village named Sriramapuram. A woman, who is the village head, takes him under her wing and raises him just like her own son. Her son, Vasanth, and Lenin become best friends. While Vasanth pursues his studies and becomes a doctor, Lenin stays back in the village and becomes an integral part of everyone's lives. It has become a tradition for the village's prestigious 18-day festival to be conducted under Lenin's supervision every year. During one such festival, Lenin sees Bharati (Bhagyashree) and falls in love with her. This romance marks a turning point in the entire story. Due to unforeseen circumstances, Vasanth is compelled to marry Bharathi. Meanwhile, Lenin ends up in prison. The story revolves around why Lenin went to jail and whether Vasanth actually marries Bharathi. Performances: As has been noted from the start, it is evident on screen that Akhil has put in a great deal of effort for this film. There is no doubt that this is a distinctively different role compared to the characters he has played previously. Furthermore, he successfully molded himself to fit the character, displaying impressive range and variations in his acting. He also adopted a fresh style of dialogue delivery for this movie. Visually, he is impressive, and in the action sequences, he comes across as a high-voltage action hero; he delivers exactly what fans desire. Beyond the action, he also impresses in the romantic scenes. The heroine, Bhagyashree, charms the audience with her beauty—something she has done in several previous films. However, in this movie, she also impresses with her acting prowess where the script demands it. She certainly leaves a mark on the role assigned to her, though one cannot help but feel that her character could have been written with more depth.  The supporting cast also delivers impressive performances within the scope of their roles; Eswari Rao, Pramod, and Brahmaji, in particular, stand out with their acting.  Technical: The director needed to work a bit more on the story, though he did try to make an impact with the screenplay. He succeeded in engaging the audience during the opening 10–15 minutes, effectively building suspense and sparking curiosity about what would unfold next. However, the dialogues could have been sharper. Thaman delivered a decent musical score, as always; however, there were certain scenes where one felt he could have done more with the background music. The cinematography is impressive—crucial for a film set against a village backdrop. There are minor flaws in the editing, but the production values ​​are good. Plus points: Akhil Akkineni, Jathara (fair) scenes The plot twist Minus points: Some dragged-out scenes Background score Story and screenplay Analysis: There is no doubt that the film lived up to the high expectations of Akkineni fans. However, it remains to be seen how well the general audience will receive it. Akhil had stated from the beginning that he worked very hard for this film, and that effort is clearly visible on screen. The director aimed to present something fresh;...yet, the film would have been even better with more work on the story and a tighter screenplay. It must be noted that there was a lack of sufficient commercial elements to appeal to all sections of the audience, not just the fans. The music also felt a bit underwhelming. Akhil fulfilled his role with 100% commitment; however, the director failed to craft a strong screenplay for the supporting characters, leaving them with little scope to showcase their true acting potential. Overall, this village-based drama manages to engage the audience and appeals to fans. Final verdict: Akhil Akkineni impresses the fans Banner: Sithara Entertainments, Manam Enterprises Producers: Suryadevara Naga Vamsi, Akkineni Nagarjuna Director: Murali Kishore Music: Thaman Cast: Akhil, Bhagyashree, Eeshwari Rao, Pramod, Brahmaji, and others"},"img":{"url":"https://images.prismic.io/prad/SNyf-1iLls6NrA-j_lenin.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-10T07:34:00+0000","embed":{"embed_url":null}},"uid":"review-lenin"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Rao Bahadur'"},"content":{"text":"Satyadev has carved a unique niche for himself as an actor by choosing diverse films. Meanwhile, director Venkatesh Maha has already earned a strong reputation for delivering distinctive movies. Expectations soared when a superstar like Mahesh Babu stepped forward to present this collaboration between the two. Let us see in this review whether the film lives up to those expectations. Story: Bhuvanam Ramappa Rao Bahadur (Satyadev), a man of royal lineage, grapples with severe mental turmoil in his old age. He harbors suspicions regarding his younger son, Kusumappa—who passed away in childhood—doubting whether the boy was truly his biological son. Driven by this doubt, he clings to life for years despite suffering from cancer. Ramappa’s wife, Renuka, is also confined to a single room. The story unfolds by exploring the reasons behind Ramappa’s condition and Renuka’s confinement, as well as how it was ultimately confirmed that Kusumappa was indeed Ramappa’s son. Performances: A notable aspect of the film is that, apart from Satyadev, the entire cast consists of newcomers. It is commendable that Satyadev committed to such a role; not every actor could pull off a character like this. He delivered a brilliant performance, nailing the makeover, expressions, and body language. Satyadev truly embodied the persona of a scion of the Rao Bahadur lineage. He impressed everyone with a look that perfectly captured the persona of an elderly king. Furthermore, Satyadev deserves full marks for his acting and dialogue delivery. Generally, young heroes are reluctant to take on such roles, but Satyadev put in immense effort to breathe life into this character. It was revealed that the makeup process took four hours; seeing the 'Ramappa' character on screen, one feels that the actual time spent on makeup might have been even longer. Deepa Thomas, playing the female lead, impressed with her distinctive look. There is a growing opinion that she might secure good opportunities in Tollywood in the future. Vikas Muppala also impressed with his acting, and the supporting cast performed well within the scope of their roles. Venkatesh Maha, appearing in a guest role, also made a strong impression. Technical: Director Venkatesh Maha presented a completely fresh concept to the audience. However, the narrative pacing felt somewhat tedious. The first half moved slowly. While he attempted to pick up the pace in the second half, the twists introduced towards the end felt unintentionally funny. He failed in the attempt to blend humor into what otherwise seemed like a serious story. Some of the dialogues were good. The cinematography was impressive; it effectively brought the atmosphere of the 1960s and 1990s to life. The music was also decent. The songs failed to impress, but the background score was certainly impressive. The production values ​​are good; it is truly commendable that such a significant budget was allocated for an experimental story like this. There are flaws in the editing; some scenes in the first half should have been trimmed. Overall, the film would have benefited from a runtime reduction of 20 to 25 minutes. Analysis: Director Venkatesh attempted an experiment by utilizing a talented actor like Satyadev. Satyadev deserves praise for agreeing to be part of this experimental project. The story revolves around the consequences arising from a suspicion harbored by an elderly man. In an era where films generally achieve commercial success only with compelling storylines and narratives, Director Venkatesh brought this film to the audience without worrying about how such an experiment would be received. He attempted to drive the film using screenplay wizardry. Although the story itself is simple, his execution deserves appreciation. However, the inclusion of more thrilling elements would have improved the film; the first half, in particular, is somewhat underwhelming. The climax manages to generate interest, though the final twist lacks a sense of realism. Ultimately, instead of leaving the audience with the impression of having watched a serious film, the movie ends up feeling more like a comedy.  Plus Points: Satyadev Background music, cinematography Second half, climax Minus Points: Boring first half Illogical scenes Climax twist Verdict: 'Rao Bahadur' is for those looking to watch a thriller rather than a regular commercial movie. Banner: Sree Chakras Entertainments, Mahayana Motion Pictures Producers: Anurag Reddy, Sharath Chandra, Chinta Gopalakrishna Reddy, Eswaran Vijayaraghavan Directior: Venkatesh Maha Music: Smaran Sai Cast: Satyadev, Deepa Thomas, Vikas Muppala, Bala Parasar, Kunal Kaushik, and others"},"img":{"url":"https://images.prismic.io/prad/ruDZrQh1uyTKyATR_RaoBahadur.JPG?auto=format,compress"},"datetime":"2026-07-03T09:26:00+0000","embed":{"embed_url":null}},"uid":"review-rao-bahadur"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Nagabandham' "},"content":{"text":"South makers have done wonders once again. At a time when audiences are craving larger-than-life cinematic experiences rooted in Indian culture and mythology, Nagabandham arrives as an ambitious spectacle that blends mystery, mythology, fantasy and adventure into an engrossing big-screen entertainer. Foremost credit goes to the producers Nishitha Nagireddy and Kishore Annapureddy, the duo under the banners of NIK Studios and Abhishek Pictures, have given the film the scale, craft and budget it demands. The budget, the scale and the vision of the film is at par in comparison with some of the biggies. Mounted on a lavish scale, the film starts on a very intriguing note and right from the first frame it captures you into the world, the drama. As it progresses it continues to impresses with its visual ambition, the character introduction, immersive world-building and sincere storytelling, making it one of the most ambitious pan-India releases of the year. Without wasting any single time the film sticks to the subject. The unfolding of mysterious universe where ancient secrets, divine legends and hidden treasures shape the narrative. Rather than rushing through its mythology, the film gradually builds intrigue around the ancients and what 'Nagabandham' is. This measured approach keeps the audience invested while continuously expanding the film's rich cinematic universe. The film begins with the impresive introduction of Rishabh Sawhney who is olayiytge main antagonist in the film and then transports us to the drama that is very interesting. Director Abhishek Nama deserves appreciation for attempting a genre that demands conviction and imagination. His vision remains consistent throughout, balancing mythology with fantasy while ensuring the emotional core never gets lost beneath the visual grandeur. The screenplay unfolds like an adventure, introducing fresh mysteries at regular intervals and maintaining curiosity until the very end. Visuals are Nagabandham's undoubtedly the biggest strengths. Every frame reflects meticulous craftsmanship, from magnificent temple architecture and ancient kingdoms to breathtaking action sequences and mystical landscapes. The production values are first-rate, while the VFX complement the storytelling without overwhelming it. The film consistently feels designed for the biggest screens. Virat Karrna, who is essaying the main protoganist delivers a confident performance, carrying the narrative with sincerity and intensity. Nabha Natesh lends grace and emotional depth to her character, while Rishabh Sawhney leaves a strong impression with his commanding screen presence in the character of the main antagonist. Mahesh Manjrekar stands out in a pivotal role of saint ,adding gravitas whenever he appears. Daksha Nagarkar and the supporting cast contribute effectively, making the expansive world feel believable. The action choreography especially the Interval block and CLIMAX deserves special mention. Instead of relying solely on spectacle, the action sequences are integrated into the mythology, making every confrontation feel purposeful. Several moments involving serpents, ancient rituals and large-scale battles generate genuine goosebumps and showcase the makers' ambition. Technically, Nagabandham is polished across departments. The cinematography captures both the grandeur and mysticism beautifully, while the background score elevates the emotional and adventurous moments. The editing keeps the narrative engaging despite the film's expansive scale, and the sound design enhances the theatrical experience. One of the film's biggest achievements is how it respects Indian mythology while presenting it through an entertaining fantasy-adventure lens. Rather than merely recreating familiar legends, it creates its own mythology-inspired universe that feels fresh and cinematic. If there is one area where the film occasionally slows down, it is during portions dedicated to explaining the mythology, which may slightly affect the pace. However, the narrative quickly regains momentum with compelling twists, visually stunning sequences and emotionally satisfying payoffs. With Nagabandham, South filmmakers once again demonstrate why they continue to lead the way in creating ambitious, pan-India cinematic spectacles. The film combines mythology, fantasy, adventure and emotion into an entertaining package that is tailor-made for the theatrical experience. For audiences looking for a grand visual adventure filled with mystery, ancient legends, spectacular action and impressive world-building, Nagabandham is a rewarding watch. Banner: NIK Studios, Abhishek Pictures Producer: Nishitha Nagireddy, Kishore Annapureddy Director: Abhishek Nama Cast: John Vijay, Nabha Natesh, Iswarya Menon, Mahesh Manjrekar and others"},"img":{"url":"https://images.prismic.io/prad/S_t-IVjB2yqa78-Q_nagabandham.JPG?auto=format,compress"},"datetime":"2026-07-02T16:30:00+0000","embed":{"embed_url":null}},"uid":"review-nagabandham-"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Welcome To The Jungle'"},"content":{"text":"There was a time when Bollywood regularly produced big, unapologetic comedy entertainers that families could watch together. Films weren't trying to preach, surprise audiences with complicated twists or leave behind social messages. They existed for one simple reason—to make people laugh. Welcome To The Jungle embraces exactly that philosophy, and that's what makes it work. Director Ahmed Khan doesn't try to reinvent the Welcome franchise. Instead, he understands its DNA and amplifies it. The laughs are bigger, the cast is bigger, the scale is grander and the madness is turned up several notches. The result is a film that knows exactly what it wants to be—and rarely loses sight of it. The story itself is delightfully ridiculous. A billionaire comes up with an absurd plan to convert his black money into losses by deliberately producing a flop film. To execute this bizarre mission, he assembles a film full of struggling stars, forgotten heroes and eccentric personalities. Among them are Yeda Anna (Suniel Shetty), the brother of Anna from the Welcome universe, and Romeo (Arshad Warsi), Majnu's equally eccentric brother. Just when the production begins, an Income Tax raid wipes out the financier's money, forcing the crew to abandon the expensive setup and continue the shoot in a remote village with real people—while the actors remain blissfully convinced that everything happening around them is part of the script. From there, the film spirals into complete comic chaos involving mistaken identities, fake heroics, terrorists, villagers and nonstop confusion. If there is one actor who reminds audiences why he has ruled Bollywood comedy for decades, it is Akshay Kumar. This is comfortably one of his strongest comic performances in recent years. His expressions, dialogue delivery, body language and effortless timing hold the enormous ensemble together without trying to dominate it. He lets the humour breathe and trusts the situations to generate laughs. Suniel Shetty is undoubtedly one of the film's biggest surprises. His Yeda Anna is wonderfully eccentric and consistently entertaining, delivering several laugh-out-loud moments. Arshad Warsi slips into the franchise's familiar madness with ease, while Lara Dutta, as the Army trainer preparing the clueless actors, adds another enjoyable layer to the comedy. The supporting cast is where the film truly shines. Veterans like Paresh Rawal, Johnny Lever and Rajpal Yadav prove once again why they remain among Hindi cinema's finest comic performers. But the film's biggest scene-stealers are undoubtedly Farida Jalal and Kiran Kumar. Every single time they appear on screen, the theatre erupts in laughter. Farida Jalal's delightfully confused character, speaking in her own hilarious gibberish language, becomes one of the film's biggest highlights. Kiran Kumar matches her brilliantly with his exaggerated, heavily Urdu-laced dialogues delivered with complete conviction. Their chemistry, impeccable comic timing and effortless performances produce some of the loudest laughs in the film. There's another emotional layer that longtime Bollywood lovers will instantly appreciate. Watching Akshay Kumar reunite with Suniel Shetty and Raveena Tandon brings back memories of an era when entertainers were built around fun rather than formulas. Thankfully, these reunions never feel forced. They blend naturally into the narrative while allowing the film to create its own identity instead of living entirely on nostalgia. Managing such a massive ensemble is never easy, yet Ahmed Khan deserves credit for ensuring almost every actor gets at least one memorable moment. Despite featuring dozens of familiar faces, the screenplay rarely feels overcrowded. The humour constantly shifts between situational comedy, visual gags, witty one-liners, misunderstandings and complete comic mayhem, ensuring the energy rarely drops. The adventure angle also gives the franchise a refreshing twist. Instead of repeating the exact template of the earlier films, Welcome To The Jungle expands its canvas with larger action set pieces and a more adventurous narrative while still retaining the flavour that fans associate with the franchise. Visually, the film looks colourful and vibrant. The production design suits the exaggerated world perfectly, while the songs arrive naturally without disturbing the pace. The background score effectively enhances both the comic situations and the action sequences. What deserves appreciation is that the film never pretends to be more intelligent than it is. It doesn't chase awards, social commentary or emotional manipulation. It simply focuses on entertaining its audience for over two hours—and judging by the laughter echoing through the auditorium, it succeeds. Welcome To The Jungle is designed for the big-screen experience. Many jokes become funnier because they are enjoyed collectively. The whistles, applause and laughter inside a packed theatre become an extension of the film itself. That's something no OTT platform can replicate. Directed by Ahmed Khan, the film boasts one of the biggest ensemble casts in recent Hindi cinema, featuring Akshay Kumar, Suniel Shetty, Disha Patani, Jacqueline Fernandez, Arshad Warsi, Jackie Shroff, Paresh Rawal, Raveena Tandon, Lara Dutta, Farida Jalal, Johnny Lever, Shreyas Talpade, Tusshar Kapoor, Rajpal Yadav, Krushna Abhishek, Kiku Sharda, Daler Mehndi, Aftab Shivdasani, Mukesh Tiwari, Yashpal Sharma, Kiran Kumar, Zakir Hussain, Vindu Dara Singh, Urvashi Rautela, Hemant Pandey, Brijendra Kala, Feroze Khan (Arjun), Late Pankaj Dheer, Puneet Issar, Sudesh Berry, Jeetu Verma, Vrihi Kodvara, Adityaa Singgh and Bhagya Bhanushali. Presented by A.A. Nadiadwala, Cape of Good Films and Star Studios in association with Seeta Films and Rakesh Dang, the film is a Base Industries Group production produced by Rakesh Dang and Vedant Vikaas Baali, and produced by Firoz A. Nadiadwala. If your expectation is meaningful cinema, look elsewhere. But if you simply want to laugh, switch off your brain and enjoy a grand Bollywood entertainer with your family, Welcome To The Jungle delivers exactly what it promises. Sometimes, that's more than enough. Director : Ahmed Khan, Producer : Firoz A Nadiadwala Cast : Akshay Kumar, Suniel Shetty, Arshad Warsi and others"},"img":{"url":"https://images.prismic.io/prad/aj1hFVbRV8_Qf44R_welcometothejungle.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-25T15:45:00+0000","embed":{"embed_url":null}},"uid":"review-welcome-to-the-jungle"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Cocktail 2'"},"content":{"text":"Some relationships don’t end because people stop loving each other. They end because love alone isn’t always enough. Backed by Maddock Films and producer Dinesh Vijan, a banner known for delivering some of the most memorable entertainers and relationship dramas in recent years, Cocktail 2 is yet another winner. Directed by Homi Adajania, the film explores modern relationships with warmth, maturity and emotional honesty, resulting in a story that feels both deeply personal and universally relatable. While the original film thrived on youthful chaos, Cocktail 2 takes a more mature route. It examines what happens when comfort begins to replace excitement, when commitment feels heavier than romance, and when life forces people to question whether the relationship they’ve built is still the one they truly want. The Story: Kunal (Shahid Kapoor) and Diya (Rashmika Mandanna) have been together for years. What started as a college romance has survived distance, changing priorities and the challenges of adulthood. Their relationship is comfortable, familiar and seemingly stable, but beneath the surface, cracks have begun to appear. Diya finds herself grappling with expectations around marriage and commitment, while Kunal continues holding on to a version of their relationship that may no longer exist. Their lives take an unexpected turn during a trip to Sicily, where they meet Ally (Kriti Sanon), a free spirited woman who lives entirely on her own terms. As the three grow closer, the film gradually unfolds into something far more complex than a traditional love triangle. Friendships blur into emotional attachments, loyalties are tested and difficult questions emerge about love, compatibility and personal happiness. What makes the narrative work is that it never reduces its characters to heroes or villains. Everyone is flawed, everyone makes mistakes and that honesty gives the film its emotional weight. Performances: Shahid Kapoor delivers one of his most mature performances in recent years. Kunal is a character filled with contradictions and Shahid captures every shade beautifully. Whether he’s expressing quiet heartbreak, frustration or vulnerability, he keeps the audience invested throughout. Rashmika Mandanna brings warmth and authenticity to Diya. Many of her moments feel incredibly relatable, particularly when she navigates the pressures placed on women regarding relationships and life choices. She handles both the lighter and emotionally intense scenes with confidence and restraint. Kriti Sanon is exceptional as Ally. What initially appears to be a carefree and impulsive character slowly reveals surprising emotional depth. Kriti balances Ally’s charm, unpredictability and vulnerability effortlessly, creating one of the film’s most memorable performances. Together, the trio share terrific chemistry. Their interactions feel natural and lived-in, making every friendship, confrontation and emotional conflict feel genuine. Kriti and Rashmika also share some thoroughly entertaining moments, adding another engaging layer to the film’s relationship dynamics. Writing, Dialogues and Relationships: One of the film’s biggest strengths is its writing. The relationships feel layered and believable, with conversations that reflect how people actually communicate rather than how movie characters are expected to speak. The dialogues are sharp, mature and emotionally effective. Several confrontations land with impact because they come from a place of truth rather than melodrama. The film consistently keeps you invested in its characters and the choices they make, while balancing romance, friendship and self-discovery with remarkable ease. Music and Visuals: Pritam’s music blends seamlessly into the storytelling, elevating both the emotional and romantic moments. The songs never interrupt the narrative and instead become a natural extension of it. Visually, the film is stunning. Sicily provides a breathtaking backdrop, with every frame looking postcard worthy without ever feeling excessive. The cinematography, fashion and overall production design add tremendous richness to the viewing experience, making the film as beautiful to look at as it is emotionally engaging. What Could Have Worked Better: A few emotional stretches in the latter half could have been slightly more concise. The Verdict: Cocktail 2 is a beautifully crafted film about love, friendship, self discovery and the difficult choices that come with growing up. It doesn’t offer easy answers and that’s precisely what makes it work. Produced by Maddock Films and Luv Films, backed by outstanding performances from Shahid Kapoor, Kriti Sanon and Rashmika Mandanna, thoughtful writing, gorgeous visuals and strong emotional payoffs, the film delivers a deeply satisfying experience. A heartfelt, visually stunning and emotionally resonant drama that reminds us that sometimes the hardest part of love isn’t finding it, it’s understanding what to do with it once you have it. The result is a relationship drama that stays with you long after the credits roll. Banner: Maddock Films and Luv Films Producer: Dinesh Vijan Director: Homi Adajania Music: Pritam Cast: Shahid Kapoor, Rashmika Mandanna, Kriti Sanon and others"},"img":{"url":"https://images.prismic.io/prad/ah7YRgeQX7-eWjSA_cocktail2.JPG?auto=format,compress"},"datetime":"2026-06-19T04:48:00+0000","embed":{"embed_url":null}},"uid":"review-cocktail-2"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Maa Inti Bangaram'"},"content":{"text":"At a time when it was widely assumed Samantha had limited her career to Bollywood, all eyes are on this Telugu film she has undertaken. It is well known that Samantha has previously worked under Nandini Reddy's direction; their collaboration naturally generates positive buzz. Furthermore, expectations have soared because the film is produced by Raj Nidimoru. Let us see in this review whether the movie lives up to those expectations. Story: Swarna (Samantha), who entered into a love marriage with Anirudh (Diganth Manchale), steps into her in-laws' home after a long time due to certain circumstances. She struggles to fit into the joint family environment. Despite the difficulties, she makes earnest efforts to bond with the family members and win their approval. Swarna carries a past—a flashback—associated with her love marriage. This flashback becomes the source of emerging problems within her in-laws' household.  What are these problems? What exactly is Swarna's flashback? To find out what Swarna did at her in-laws' house, one simply has to watch the movie. Performances: Samantha’s acting needs no special introduction. The action sequences she performed in this film are impressive; seeing her execute action scenes while dressed in a traditional saree felt fresh and novel. She delivered a performance that felt distinct—and even better—than her work in previous films. Beyond action, she also showcased her acting prowess in emotional and dramatic scenes. It is evident that she poured her experience into the role, truly doing justice to the character of Swarna. Her appearance seemed slightly different compared to the past, but that change suited the character perfectly.  Overall, Samantha succeeded in fully justifying the role she chose. The supporting cast performed well within the scope of their roles; Gulshan Devaiah, in particular, stood out, and his portrayal of the villain was impressive. Gautami had limited screen time but made a good impression within that scope. Sreemukhi also impressed with a different look. Technical: Director Nandini Reddy has once again presented a unique concept to the audience, and her direction is impressive. The storytelling and screenplay could have benefited from a bit more detail. Some of the dialogues are excellent, particularly those in the emotional scenes, which are truly touching. The music is decent; one or two songs have already gained popularity among the audience, though there isn't much else to highlight regarding the soundtrack beyond those tracks.  However, the background score was impressive. The cinematography was good; Om Prakash’s work made the action scenes appear quite realistic, ensuring the film remained engaging. The cinematography also deserves praise for how it presented Samantha’s look. The production values ​​align well with the story. Apart from minor editing flaws, everything else was solid. Analysis: The mere mention of a Samantha film generates audience interest comparable to that of movies starring big male stars. Director Nandini Reddy lived up to this expectation by weaving the story around a massive flashback sequence, much like those seen in big-star films. However, there are some illogical scenes. More care could have been taken with the dramatic elements; specifically, the portrayal of the new daughter-in-law's conduct in her in-laws' home didn't feel quite right.  Additionally, there were some issues in seamlessly connecting the flashback episode to the present-day narrative. An effort was made to deliver good entertainment. Overall, the film appeals to the average viewer, particularly family audiences. If one overlooks a few illogical scenes, the movie is enjoyable. It is a must-watch for Samantha’s fans and serves as a good \"time-pass\" movie for general audiences. Plus Points: Samantha, Flashback scenes, Action sequences.  Minus Points: Some illogical scenes, Boring moments here and there, Lack of mass elements. Verdict: A film that Samantha's fans will appreciate Banner: Tralala Moving Pictures Producers: Samantha, Raj Nidimoru, Himank Reddy Duvvuru Director: B.V. Nandini Reddy Music: Santhosh Narayanan Cast: Samantha, Sreemukhi, Gulshan Devaiah, Diganth Manchale, Gautami, Srinivas Gavireddy, and others"},"img":{"url":"https://images.prismic.io/prad/ajUbm41P9HI4UuRN_MIB.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-19T07:36:00+0000","embed":{"embed_url":null}},"uid":"review-maa-inti-bangaram"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Hai Jawani Toh Ishq Hona Hai'"},"content":{"text":"Some films are designed to make you think. Others are designed to make you laugh till your cheeks hurt. Hai Jawani Toh Ishq Hona Hai, directed by David Dhawan, proudly belongs to the latter category. Loaded with misunderstandings, larger-than-life characters, romance, family drama and non-stop comedy, the film embraces the classic Bollywood entertainer template and delivers exactly what it promises. Written by David Dhawan with screenplay by Yunus Sajawal and dialogues by Farhad Samji, the film thrives on its energetic storytelling and unapologetically chaotic humour. The Story: At the heart of the film is Jass, a lovable and impulsive man whose life takes an unexpected turn when personal relationships, family expectations and a series of unfortunate circumstances collide at the same time. Without revealing too much, the story follows Jass as he finds himself caught in an increasingly complicated situation involving his estranged wife Baani and Preet, a woman who unexpectedly enters his life. What begins as a relationship drama soon snowballs into a full-fledged comedy of errors, leading to a chain of misunderstandings, secrets and hilarious situations. The narrative constantly throws Jass from one problem into another, ensuring there is never a dull moment. While the premise is outrageous, the film fully commits to its madness, making the ride entertaining from start to finish. Performances: Varun Dhawan is in his element as Jass. His comic timing, boundless energy and natural screen presence carry the film effortlessly. He understands the rhythm of David Dhawan's brand of comedy and delivers a performance that is both charming and consistently entertaining. Mrunal Thakur brings warmth and emotional depth to Baani, ensuring that the character remains relatable amidst the chaos unfolding around her. She balances the film's emotional moments effectively and shares a comfortable chemistry with Varun. Pooja Hegde lights up the screen as Preet. Confident, glamorous and full of spark, she adds freshness to the narrative and keeps the momentum alive whenever she appears. Among the supporting cast, Maniesh Paul is a scene stealer, delivering several laugh-out-loud moments with effortless ease. Jimmy Sheirgill, Chunky Pandey, Kubbra Sait, Rakesh Bedi and Mouni Roy contribute well to the ensemble, each adding their own flavour to the madness. Dialogues and Humour: Farhad Samji's dialogues play a major role in keeping the entertainment quotient high. The punchlines land well, the situational comedy works and several one-liners are likely to draw applause from audiences in packed theatres. The film embraces old-school Bollywood comedy while updating it for contemporary viewers, creating a blend that feels familiar yet accessible. Music and Technical Aspects: The music complements the film's upbeat tone, while the vibrant visuals and colourful production design add to its festive appeal. David Dhawan keeps the pace brisk for most parts, ensuring the narrative rarely loses momentum. What Could Have Worked Better: Some comedic stretches feel slightly overextended and a few situations require audiences to completely suspend disbelief. However, these are minor concerns in a film that is more interested in entertaining than being realistic. Final Word: Hai Jawani Toh Ishq Hona Hai is a quintessential David Dhawan entertainer that embraces confusion, comedy and chaos with complete conviction. Powered by Varun Dhawan's infectious energy, solid support from Mrunal Thakur and Pooja Hegde, and plenty of laugh-out-loud moments, the film delivers a thoroughly enjoyable big-screen experience. If you're looking for logic, this may not be your destination. If you're looking for laughter, fun and a dose of classic Bollywood masala, this film delivers in abundance."},"img":{"url":"https://images.prismic.io/prad/aiKZMAeQX7-eW1yO_HaiJawaniTohIshqHonaHai.jpg?auto=format,compress"},"datetime":"2026-06-05T03:39:00+0000","embed":{"embed_url":null}},"uid":"review-hai-jawani-toh-ishq-hona-hai"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Peddi'"},"content":{"text":"Buchi Babu grabbed everyone's attention with his debut film, 'Uppena'. Having grossed over 100 crores with his very first movie, he caught the eye of several star heroes. Even NTR expressed interest in working with him. A project with NTR was confirmed; however, for various reasons, it never materialized.  Buchi Babu subsequently spent the last two years collaborating closely with Ram Charan to bring this film to life. Given the massive hype surrounding it, let's see how the movie actually turned out in this review. Story: The story of 'Peddi' revolves around the journey of a 'sports laborer'—a man named Peddi (Ram Charan)—who is driven by an unwavering determination to showcase the existence of his village to the world. Hailing from a village that doesn't even have a name, Peddi earns his livelihood as a sports laborer. While he has built a good reputation as a cricketer, he eventually comes to believe that true recognition for his village can be achieved not through cricket, but through wrestling. However, recognition for the village does not come through wrestling either. So, how did the entire world eventually come to talk about this nameless village—exactly as 'Peddi' had wished? What daring feat did 'Peddi' undertake to make that happen? That forms the crux of the story.  Performances: Ram Charan’s performance is magnificent. Throughout the entire first half of the film, he captivates the audience in his role as a cricketer. He appears to execute spectacular shots, just like a professional cricketer would; indeed, one feels as though they are watching a genuine cricketer in Ram Charan. It is often said that Ram Charan naturally excels in emotional scenes, and there is absolutely no doubt that he truly lived the emotional moments leading up to the interval and during the film's climax. Furthermore, he elevated the musical numbers to extraordinary heights through his dancing—going above and beyond what was expected. Ram Charan showcases his absolute best dancing skills in this movie. He also impresses equally in both the action sequences and the sports-centric scenes. As for the female lead, Janhvi Kapoor—while she is credited as the heroine, she has very little scope to perform and is not an integral part of the core narrative. Moreover, her screen presence is shockingly brief. Janhvi Kapoor practically disappears entirely during the second half of the film. However, it must be noted that she did manage to grab some attention in the first half by flaunting her physique.  Jagapathi Babu, who appears in the first half, delivers a captivating performance in his emotional scenes. Meanwhile, Kannada superstar Shivarajkumar impresses in his role as a wrestling mentor; his mere look alone wins over half the audience, and his acting prowess requires no special mention. Finally, it must be stated that none of the other supporting characters were given any significant prominence. Technical: The film's music has been a prominent topic of discussion right from the very beginning. Director Buchi Babu made a deliberate and specific choice to enlist A.R. Rahman as the music director for the film. Consequently, everyone anticipated that 'Peddi' would capture the audience's attention primarily through its musical elements. True to expectations, the songs proved to be a resounding success. Furthermore, the background score was equally impressive; with the exception of one or two isolated moments, Rahman's background music was captivating throughout the rest of the film. The cinematography also earns high marks. A commendable effort was made to authentically depict the atmosphere and conditions of the 1990s era. The camera work was particularly effective in a few sequences—most notably during the sports scenes. The first half of the film felt somewhat dragged out, suggesting that the editing could have been tighter. The production values, however, were excellent. Director Buchi Babu selected a compelling core concept; yet, it felt as though he was unable to craft a screenplay that did full justice to that premise. Some of the dialogues were well-written. Analysis: Buchi Babu has garnered a strong reputation as a director who managed to achieve a ₹100-crore box office collection with his very first film. Moreover, since the outset, there has been considerable buzz suggesting that he is in no way inferior to his mentor, Sukumar. Reports have surfaced claiming that this particular story—which was originally penned with NTR in mind—was ultimately filmed with Ram Charan. Leaving aside the veracity of those reports, it appears that Ram Charan gave his approval to the project based solely on the strength of the story's core premise. However, watching the film makes it evident that a compelling premise alone is not sufficient to carry an entire movie. The narrative centers on the protagonist participating in three distinct sports to showcase the existence and identity of his hometown to the world. Given this premise, it was imperative that the portrayal of these specific sports be significantly elevated and given greater prominence within the film. Apart from cricket, no other sport was given significant prominence.  The first half dragged on in a boring manner. The second half was somewhat passable, barring a few emotional scenes. It must be said that Director Buchi Babu failed to effectively showcase the sports elements—which are absolutely crucial to the screenplay. With the exception of a few sequences, the majority of the film feels tedious. However, there is no doubt that this serves as a delightful treat for Ram Charan's fans. Viewed from a fan's perspective, the film earns high marks; yet, it must be acknowledged that for a regular moviegoer, it may not quite hit the mark. Plus Points: Ram Charan A few sports sequences The songs Minus Points: The slow pacing of the first half The screenplay The heroine's role The lack of prominence given to the villains Conclusion... The 'Peddi' games are boring. Banners: Vriddhi Cinemas, Mythri Movie Makers Producers: Venkata Satish Kilaru, Ishan Saxena Direction: Buchi Babu Music: A.R. Rahman Cast: Ram Charan, Janhvi Kapoor, Shiva Rajkumar, Jagapathi Babu, Divyendu, Boman Irani, Upendra, Satya, Chammak Chandra, and others"},"img":{"url":"https://images.prismic.io/prad/aiCF9AeQX7-eWrDe_peddi.jpg?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-03T19:52:00+0000","embed":{"embed_url":null}},"uid":"review-peddi"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: Made in India – A Titan Story"},"content":{"text":"Rarely does a series manage to be both inspiring and cinematically gripping—but Made in India – A Titan Story achieves exactly that, and does it with remarkable finesse. The Story: Where Vision Meets Legacy   At its core, the series is a tribute to belief—the kind that builds institutions. It traces the journey of Xerxes Desai, a man driven by vision, and the unwavering faith J.R.D. Tata placed in him. What unfolds is not just the story of Titan Watches, but of an idea that refused to stay small. It is about ambition, risk, and the quiet power of trust that turns dreams into legacy. Performances That Stay With You   Jim Sarbh delivers one of his most layered performances to date. His portrayal of Xerxes Desai is controlled yet deeply emotional, capturing the vulnerability and determination of a man chasing something bigger than himself. Naseeruddin Shah, as J.R.D. Tata, is understated brilliance. Even with limited screen time, his presence defines the emotional spine of the series—commanding, graceful, and quietly powerful. The ensemble cast adds richness to the narrative. Each character feels lived-in and purposeful—whether it’s Namita Dubey’s sincerity, Lakshveer Saran’s emotional weight, or Kaveri Seth’s authenticity. Supporting performances from Vaibhav Tatwawadi, Paresh Ganatra, Ashwath Bhatt, Viraf Patel, Joy Sengupta, and Prateeksha Lonkar create a world that feels real and immersive. Craft, Scale, and Storytelling :  Director Robbie Grewal handles the material with precision and maturity, allowing the story to breathe while maintaining a steady narrative grip. The storytelling never feels rushed, yet never loses momentum. The writing by Karan Vyas is sharp and confident, with dialogues that feel organic yet impactful. Visually, the show carries a cinematic scale—elegant production design, carefully chosen locations, and a background score that subtly amplifies the emotional beats. The integration of classic music adds texture without overwhelming the narrative. Final Word: Backing a story like this requires both courage and conviction, and Almighty Motion Picture deserves credit for bringing it to life. Co-produced with T-Series Films, Made in India – A Titan Story is not just a series—it’s an experience that fills you with immense pride for India and reminds you of the power of vision, perseverance, and nation-building. Patriotism naturally seeps in as the story unfolds. It’s one of a kind story that inspires, engages, and stays with you long after it ends."},"img":{"url":"https://images.prismic.io/prad/ah_UIAeQX7-eWo7C_madeinindia.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-03T05:14:00+0000","embed":{"embed_url":null}},"uid":"review-made-in-india--a-titan-story"}}]}},"pageContext":{"isCreatedByStatefulCreatePages":true}}