{"data":{"all":{"edges":[{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"CBN seeks Modi support for AP projects"},"content":{"text":"Andhra Pradesh Chief Minister N. Chandrababu Naidu on Thursday met Prime Minister Narendra Modi in Delhi and sought the Centre’s support for major infrastructure projects in the state. The Chief Minister raised several key issues concerning the development of Andhra Pradesh. According to an official release here, he briefed the Prime Minister on major development projects in the State, its economic situation, and issues relating to agriculture and irrigation. On irrigation, the Chief Minister discussed the latest status of the Polavaram project and explained the benefits of linking the Godavari and Cauvery rivers. He said that the Godavari–Cauvery river-linking project would ensure adequate water availability to the southern States of Andhra Pradesh, Telangana, Tamil Nadu and Karnataka. The Chief Minister said that road networks and power grids had been developed across the country under NDA governments and that taking forward the river-linking project could pave the way for the creation of a national water grid. The Chief Minister said extensive arrangements were being made in Andhra Pradesh for the Godavari Pushkarams to be held in 2027. He requested the Prime Minister to provide financial assistance for the development projects being undertaken for the Pushkarams. He said devotees from not only the two Telugu States but also from across the country and abroad were expected to attend the Godavari Pushkarams. The Chief Minister informed the Prime Minister that Andhra Pradesh had recorded 53 per cent deficit rainfall due to El Niño impact, which had severely affected the agricultural sector. He explained the measures being taken by the State Government to mitigate the impact of drought. The Chief Minister sought the Centre’s support for major infrastructure projects in Andhra Pradesh, including the proposed Outer Ring Road in the capital Amaravati. He requested approval for the Visakhapatnam Metro and also briefed the Prime Minister on the proposed Beach Road project. The Chief Minister also explained the objectives of the Swarna Andhra–2047 Vision, which seeks to ensure that the benefits of development reach all sections of society. Chandrababu also briefed the Prime Minister on the objectives of the Global Horticulture Hub recently launched at Madanapalle with the support of the Centre. He informed him that the foundation stone had been laid for the Indian School of Agriculture, on the lines of the Indian School of Business. Congratulating the Prime Minister on completing 25 years as head of the government, Chandrababu Naidu stated that he was transforming India into a global power through foresight, clear goals, decisive action and effective governance. The Chief Minister praised PM Modi’s rare achievement in serving the nation and lauded his inspirational leadership as both Chief Minister and Prime Minister. The Chief Minister particularly appreciated the Prime Minister’s emphasis on cooperative federalism, making the States partners in the journey towards Viksit Bharat. He said PM Modi had also enhanced India’s stature and credibility in international affairs."},"img":{"url":"https://images.prismic.io/prad%2Fec716876-5cce-44bb-97ec-1809a9696d1b_modicbn.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T13:45:00+0000","embed":{"embed_url":null}},"uid":"cbn-seeks-modi-support-for-ap-projects"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"US probes Harvard, MIT over J-1 visa fraud"},"content":{"text":"The Trump administration on Thursday announced investigations into nine leading American universities, including Harvard, Yale, Stanford and the Massachusetts Institute of Technology, over suspected misuse of J-1 visas to employ foreign researchers and graduate students. The Department of Labour's Inspector General said subpoenas had already been served as investigators examined possible violations involving federally funded research programmes. The universities under investigation are Harvard, Yale, Stanford, Brown, the University of Pittsburgh, the University of California Davis, the California Institute of Technology, Arizona State University and MIT. Vice President JD Vance said the administration suspected the institutions of using foreign researchers to reduce labour costs. \"Now there are nine universities in particular that we believe merit an investigation,\" Vance said. He claimed that American graduate students and researchers were paid approximately $20,000 more than comparable workers brought into the country under J-1 visas. Vance also questioned the proportion of foreign researchers employed by the institutions. He said the nine universities were using J-1 visas for federally funded grants at a rate of about 61 per cent, compared with a national average of 38 per cent. \"Something weird is going on at these universities,\" he said. Labour Inspector General Anthony DiEsposito confirmed that formal investigations were underway. \"Subpoenas have been served, investigations are underway, and nobody will be getting a free pass because their name is carved into an expensive building,\" he said. DiEsposito said approximately 61 per cent of postdoctoral researchers and federally funded workers at the institutions were foreign nationals. He said investigators would examine whether universities had improperly used visa classifications to avoid employment obligations or exploit taxpayer-funded programmes. The investigation will also examine possible national security implications. DiEsposito specifically raised concerns about China and the potential exposure of American research and intellectual property to foreign influence. \"We will investigate whether foreign influence, improper financial relationships or visa abuse are compromising federally funded research,\" he said. The administration did not identify specific researchers accused of wrongdoing or provide university-specific evidence during the announcement. DiEsposito also announced the establishment of a visa fraud strike team bringing together investigators from across the federal government. He said the task force's broader investigations had contributed to 171 indictments, 203 convictions and 80 arrests. The J-1 exchange visitor programme enables foreign nationals to participate in approved educational, research and cultural exchange activities in the United States. American universities use the programme to host international scholars and researchers, including participants in scientific and technological research. The investigations announced Thursday could therefore attract attention among international academics, including those from India, seeking research opportunities at leading US institutions."},"img":{"url":"https://images.prismic.io/prad/YAqyWQ4U8VPUh4NG_j1visa.JPG?auto=format%2Ccompress&rect=0%2C127%2C900%2C444&w=2028&h=1000"},"datetime":"2026-10-08T14:07:00+0000","embed":{"embed_url":null}},"uid":"us-probes-harvard-mit-over-j-1-visa-fraud"}},{"node":{"tags":["Videos"],"data":{"third_party_url":null,"title":{"text":"Scene Movie: Ammo Idi Evarraa Song"},"content":{"text":"Scene Movie: Ammo Idi Evarraa Song"},"img":{"url":"https://images.prismic.io/prad/LyWcL53gRX0ndoMP_scenefirstsom%3Dng.JPG?auto=format%2Ccompress&rect=1%2C0%2C716%2C353&w=2028&h=1000"},"datetime":"2026-10-08T13:15:00+0000","embed":{"embed_url":"https://www.youtube.com/watch?v=_vK4tyIiOi8"}},"uid":"scene-movie-ammo-idi-evarraa-song"}},{"node":{"tags":["NRI","featured","three"],"data":{"third_party_url":null,"title":{"text":"US suspends green card route for 8 tech firms"},"content":{"text":"The Trump administration on Thursday announced the suspension of a key employment-based green card process for eight major technology and outsourcing companies, including India's Infosys, Tata, Wipro and HCL, as Vice President JD Vance launched a sweeping crackdown on alleged visa fraud. The action also covers Cognizant, Capgemini, Microsoft and Adobe. It prevents the companies from filing new permanent labour certification applications and halts the processing of pending applications under the programme. US Labour Secretary Keith Sonderling announced the decision at a press conference led by Vance, saying the action followed ongoing criminal and federal investigations. \"Due to ongoing criminal investigations led by the Department of Labour's Inspector General Anthony DiEsposito, who will get into this shortly, I am hereby suspending from the Permanent Labour Certification Program some of the largest IT outsourcing firms in the world, Cognizant, Infosys, Tata, Wipro, HCL, and Capgemini,\" Sonderling said. He added that Microsoft and Adobe were also being suspended because of multiple active federal investigations. \"We will not accept or process any pending permanent labour certification applications involving these companies,\" he said. The Permanent Labour Certification programme, commonly known as PERM, is a crucial step for many employers seeking employment-based permanent residence for foreign workers. Sonderling said the companies named in the action had collectively requested nearly three million foreign workers since 2009. They had received more than 230,000 H-1B visa approvals and over 100,000 permanent labour certifications, according to figures he presented. The administration did not release company-specific findings or details of the alleged violations during the press conference. Vance accused employers of using the H-1B programme to replace American workers with lower-paid foreign employees. \"The H-1B visa program is meant to allow companies to bring in really the best of the best from outside the United States of America for positions that are completely impossible to fill with American workers,\" he said. He singled out Microsoft, alleging that the company had laid off 6,000 American workers while benefiting from 6,300 H-1B visas and nearly 3,000 green cards. Vance said the administration wanted companies to change their hiring practices rather than leave the American market. Asked whether the suspension was temporary or permanent, he said, \"The suspension of PERM is gonna last as long as it needs to.\" He added that the administration had tools to continue the suspension indefinitely but wanted companies to improve their behaviour. The Justice Department also announced that it was actively investigating companies suspected of favouring foreign workers over Americans. Attorney General Todd Blanche said criminal prosecutions and civil lawsuits were among the possible enforcement measures. The announcement could have significant implications for Indian technology professionals and outsourcing companies operating in the United States. Indian IT companies have long relied on employment-based visa programmes to deploy skilled professionals to American clients. The H-1B programme permits temporary employment in qualifying specialised occupations, while permanent labour certification is part of a separate process through which employers may sponsor workers for permanent residence. The suspension announced Thursday concerns permanent labour certification applications involving the named companies. It does not, by itself, establish the cancellation of existing H-1B visas or green cards."},"img":{"url":"https://images.prismic.io/prad/G4uza2k8K2TNO42n_techgaintsGC.JPG?auto=format%2Ccompress&rect=0%2C5%2C941%2C464&w=2028&h=1000"},"datetime":"2026-10-08T14:59:00+0000","embed":{"embed_url":null}},"uid":"us-suspends-green-card-route-for-8-tech-firms"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Anupam Kher: Success in US, but heart in India"},"content":{"text":"Veteran actor Anupam Kher has spoken about the emotional struggles of Indian immigrants in the US, saying that behind their professional success often lies loneliness and a strong sense of nostalgia for India. During his ongoing theatre tour across America, Kher said many first-generation Indians have built successful lives and seen their children thrive, but still remain deeply connected to their homeland. He described their journeys as stories worthy of films, filled with struggle, sacrifice and achievement. Kher said his theatre production explores loneliness, relationships and the experiences of three generations, with humour, music and emotion helping audiences connect with the subject. He believes theatre offers a unique bond between performers and viewers, especially after the isolation of the Covid-19 pandemic. His tour has also given him an opportunity to travel across the US with his team and interact closely with members of the Indian diaspora. The actor also highlighted India's cultural diversity, family values and tolerance as qualities that continue to inspire him. While appreciating America's professionalism, infrastructure and systems, he said Indian cinema and theatre have become important tools of India's cultural influence abroad. Kher further noted that technology and AI can transform communication, but cannot replace genuine human connection, encouraging young artists to remain original and authentic."},"img":{"url":"https://images.prismic.io/prad/vXM-_nkGzkqaYHCC_kher.JPG?auto=format%2Ccompress&rect=0%2C205%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-08T12:46:00+0000","embed":{"embed_url":null}},"uid":"anupam-kher-success-in-us-but-heart-in-india"}},{"node":{"tags":["Entertainment","featured","two"],"data":{"third_party_url":null,"title":{"text":"Nana Patekar passes away"},"content":{"text":"Veteran actor Nana Patekar, one of Indian cinema’s most celebrated performers, has passed away at the age of 75 in Goa.  An official confirmation from the Manipal hospital, Goa, stated that the actor was found unconscious at his Dona Paula - Goa residence and was rushed to the hospital. Doctors declared him brought dead. The acclaimed actor, known for his powerful performances across Hindi and Marathi cinema, leaves behind a remarkable body of work spanning over four decades. Born Vishwanath Patekar on January 1, 1951, in Maharashtra, Nana Patekar established himself as an actor known for his intensity, dialogue delivery and ability to portray complex and unconventional characters. For the uninitiated, he made his Hindi film debut with Gaman in 1978 and went on to become one of the most respected performers of his generation. Nana’s breakthrough came with films such as Salaam Bombay! and Parinda. He went on to deliver powerpack performances in films including Angaar, Tirangaa, Krantiveer, Agni Sakshi, Khamoshi: The Musical, Yeshwant, Ab Tak Chhappan, Apaharan and Raajneeti. The legendary actor was equally recognised for his work in Marathi cinema and theatre. He also ventured into filmmaking and made his directorial debut with Prahaar: The Final Attack in 1991. His comic performance as Uday Shetty in the Welcome franchise went on to become a rage, especially amongst the younger generation of audiences. Among his other notable films are Raju Ban Gaya Gentleman, Wajood, Hu Tu Tu, Gang, Deewangee, Bhoot, Welcome, Welcome Back, Natsamrat and The Vaccine War, among several others. Nana Patekar was also a recipient of the Padma Shri, awarded to him in 2013 for his contribution to cinema and the arts. During his fine career, he won three National Film Awards and many other prestigious honours. Beyond cinema, the star was known for his association with social causes, particularly his efforts to support farmers and families affected by agrarian distress He maintained a relatively private life away despite being one of the industry's most recognisable faces."},"img":{"url":"https://images.prismic.io/prad/aBXRCbXTa9BF5XMe_nanapatekar.JPG?auto=format%2Ccompress&rect=0%2C54%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-08T02:20:00+0000","embed":{"embed_url":null}},"uid":"nana-patekar-passes-away"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Fan Murder Case: SC Setback for Darshan"},"content":{"text":"Jailed Kannada superstar Darshan suffered a major setback on Thursday in the Renukaswamy murder case after the Supreme Court dismissed a petition challenging the approver status granted to accused number 14, Pradosh S. Rao, effectively narrowing Darshan’s options to question the prosecution’s decision to treat Pradosh as an approver.   The development assumes significance as the procedure of recording of Pradosh’s statement as an approver was completed before the trial court in Bengaluru on Wednesday. The Supreme Court upheld the orders of the Karnataka High Court and the trial court and declined to interfere with the decision to grant Pradosh approver status in the case. The Bench observed that there were no grounds warranting the intervention of the apex court and found no merit in the petition. The petition had been filed by Darshan’s wife, Vijayalakshmi, questioning the decision to grant Pradosh the status of an approver. During the hearing, the counsel appearing for Darshan reportedly contended that the prescribed procedures and Supreme Court guidelines had not been properly followed while granting approver status to the accused. However, the Supreme Court rejected the challenge and observed that the matter did not require its interference. The Bench also told the counsel appearing for Darshan that Pradosh could be subjected to questioning during cross-examination before the trial court. The court reportedly declined a request by the counsels for additional time to advance their arguments, stating that it had already examined the relevant material pertaining to the case. The petition was subsequently dismissed, with the apex court upholding the orders passed by the Karnataka High Court and the trial court. The Supreme Court also took note of developments in the trial, including the fact that the mother of the deceased fan Renukaswamy, had turned hostile. In the circumstances, the court observed that the presence of an approver could be necessary in the case. The recording of Pradosh’s statement as an approver before the trial court on Wednesday has added significance following the Supreme Court’s decision. His statement is expected to form part of the evidence in the ongoing trial, while the defence will have an opportunity to question him during cross-examination. Pradosh, who was originally arrayed as accused number 14 in the case, was subsequently granted approver status by the trial court. The decision was challenged before the Karnataka High Court and later before the Supreme Court. With the apex court now dismissing the challenge and upholding the lower court orders, Darshan and the other accused will have to contest the evidence involving Pradosh during the trial rather than continue challenging his approver status before the higher courts. The Renukaswamy murder case relates to the murder of Renukaswamy, whose body was recovered in Bengaluru in June 2024. Darshan and several others were arrested in connection with the case and are facing trial. The Supreme Court’s latest order is, therefore, being viewed as a significant setback for Darshan’s defence strategy, particularly with the approver’s statement having been recorded before the trial court. The defence will now have the opportunity to test the contents and credibility of Pradosh’s statement through cross-examination as the trial proceeds."},"img":{"url":"https://images.prismic.io/prad/a0a9ZBQrHKpQQjPn_darshan.JPG?auto=format%2Ccompress&rect=0%2C66%2C480%2C237&w=2028&h=1000"},"datetime":"2026-10-08T08:42:00+0000","embed":{"embed_url":null}},"uid":"fan-murder-case-sc-setback-for-darshan"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"VDK’s Dedication Through Rashmika’s Eyes"},"content":{"text":"Actress Rashmika Mandanna will be seen sharing screen space with husband Vijay Deverakonda in the upcoming period drama, 'Ranabaali'. The movie will mark their primary association after the wedding.  As Rashmika conducted an 'Ask Me Anything' session on her Instagram handle on Wednesday, one of the netizens was curious to know about her experience of working with VD. The 'Animal' actress shared that despite all the fun they have while working together, Vijay is extremely dedicated when it comes to his work. She added that she also gets to learn a lot from him whenever they work together. An Instagram user wrote, \"Hi mam (red heart emoji) What was your experience like working with Vijay sur on the set of ranabaali?\" Replying to the question, Rashmika shared, \"Alwaysssss lots of FUN (Monkey and red heart emoji) but on a serious note he is super dedicated and serious when it comes to set as you all know !! And I get to learn a lot from him too as always!! (Two red heart emojis) (sic).\" Earlier, the director of 'Ranabaali', Rahul Sankrityan, shared that he gave Rashmika's character in the film his mother's name. He took to his X (Earlier known as Twitter) timeline and penned, \"While writing #Ranabaali, I found myself walking down memory lanes for every little detail of its world.And when I sat down to write my female protagonist, I began with something deeply personal, I gave her my mother’s name. Jayamma.\" \"Through every emotion she goes through, I took utmost care to make sure she remains a woman who could inspire the women of today, even though she belongs to another time,\" he added. Meanwhile, Rashmika and Vijay have already wrapped up the shoot for 'Ranabaali'. Sharing the update on social media, Rahul Sankrityan dropped a clip of his unit, along with the caption, \"And thats a wrap to the 130 days of madness with my relentless and restless army. @RanabaaliFilm @MythriOfficial @TheDeverakonda @iamRashmika.\""},"img":{"url":"https://images.prismic.io/prad/Mo1BXZeBxMlWjbl2_rahmvdk.JPG?auto=format,compress"},"datetime":"2026-10-07T18:30:00+0000","embed":{"embed_url":null}},"uid":"vdks-dedication-through-rashmikas-eyes"}},{"node":{"tags":["Editorial","featured","one"],"data":{"third_party_url":null,"title":{"text":"25 Years of Seva: Action or Slogans?"},"content":{"text":"“Pooch rahi hai purshis-e-ahvaal ek khalq-e-khuda basarkashi/aur haakim-e-waqt hai bas naaraa-baazi mein ghum hua jaathaa hai(A nation stands in open rebellion, demanding truths be known/While the King chants empty slogans, safely holding on to the throne) The classic Urdu couplet perfectly captures the eternal tragedy of modern governance. Translating to a stark reality where a nation stands demanding answers while its ruler remains comfortably lost in the echo chamber of empty rhetoric, this poetic wisdom has never felt more alive. As the nation marks 25 years of Seva of India’s Supreme Leader, the political landscape is buzzing with his latest brand-new, shiny mantra: “We will do it” (Hum karke rahenge), wrapped neatly in the grand promise of a Viksit Bharat (Developed India) by 2047. Meanwhile, out in the real world, the youth and the opposition are hitting the streets, desperately demanding answers for the systemic flaws in the SIR (Systemic Institutional Registration) process that allegedly disenfranchised lakhs of citizens. But why fix a broken voting process when you can just drop a fresh marketing campaign? The Supreme Leader’s detractors contend that his reign at the center has been less about policy sheets and more about theatrics in brand management. Borrowing a page straight out of Nike’s playbook, substituting \"Just Do It\" with a defiant \"We Will Do It\", he has perfected the art of the political punchline. When the historic textbook of this era is eventually written, it won’t be neatly categorized by tedious fiscal quarters or measurable economic indices, but rather by its dazzling marketing phases. Sloganeering has evolved into the ultimate weapon of mass distraction, a psychological sleight of hand ensuring that whenever the public starts looking down at the crumbling ground beneath their feet, they are suddenly ordered to look up at a shiny new billboard. It all began with the initial hook of “Acche Din”, a vague, utopian promise that proved highly effective until the promised prosperity failed to materialize, at which point the narrative bypassed accountability altogether to stage a brilliant rebrand. Enter Amrit Kaal, the celestial \"Golden Era\" conveniently deployed just as the present reality grew grim with rising inflation and youth unemployment, effectively reframing immediate economic hardship as an auspicious period of noble sacrifice for a future reward. This relentless manufacturing of an aura relies heavily on promises of prosperity, strength, and protection, all packaged neatly within these rhetorical slogans. Whenever the leader finds himself backed into a corner by inconvenient dissent over policy failures, the narrative effortlessly pivots, redirecting public anger toward external enemies or vulnerable minorities. Slogans of retaliation cleverly supply the grand spectacle of a resolute, unyielding leadership, while religious polarization provides the actual domestic fuel for electoral advantage. Thus, the very leader who failed to deliver the long-promised “Achhe Din” smoothly transitions from an accountable statesman to a mystical oracle or a man with divine powers, asking the public to trust him as the only messiah capable of delivering an elusive paradise in the distant future. Now, he has delivered his ultimate post-dated check with “Hum Karke Rahenge” and the grand vision of Viksit Bharat 2047, masterfully pushing the deadline for prosperity so far into the future that it completely immunizes him against immediate performance audits. In other words, the leader masterfully directs the public to fixate on a glorious future while lecturing them on a flawed past, ensuring they remain perfectly distracted from the painful present. Consequently, if you dare to complain about a broken institutional process today, you are simply dismissed as a cynic who lacks the patriotic foresight to see the glory awaiting everyone in 2047. This relentless coining of slogans is not merely a linguistic quirk; it is a display of overwhelming executive power. It possesses all the trappings of an emperor’s realm, where the ruler has the unilateral power to bend the national conversation to his whims and fancies. When youth, activists, and ordinary citizens line up to ask tough questions about systemic institutional failures, disenfranchisement, or economic distress, they are not met with press conferences or data-backed rebuttals. Instead, they are met with a wall of sound, a deafening chorus of new acronyms, state-sponsored celebrations, high-decibel campaigns, or labels painting the dissent as “Dimagi Naxals”. The ultimate triumph of this mass-communication technique is its ability to deafen. The Supreme Leader no longer needs to hear the anguished murmurs of an impoverished populace or the anger of a frustrated Gen Z. Why look at the potholes on the road when you can focus on the distant glitter of 2047? In the end, India’s political machinery has proven that you don’t actually need to solve problems to stay in power. You just need a better copywriter than the opposition. As the ruler chants his empty slogans from the safety of his throne, the public is left holding onto the hope that someday, the rhetoric of sloganeering will stop, and governance will finally begin. In a nutshell, the latest slogan, “We will do it,” subtly punctures the grand rhetoric of Amrit Kaal or the so-called hyperbole around the country becoming the world’s fourth economic power by inadvertently suggesting that substantial progress has yet to materialize and whatever claims made thereof were mere lies. By framing achievement as a distant, future promise, the tagline ironically echoes the famous Cadbury 5 Star marketing campaign, “Eat 5 Star. Do nothing”, leaving the public to wonder if years of ambitious declarations have simply yielded a period of prolonged inaction."},"img":{"url":"https://images.prismic.io/prad/ae9cYcBOoF08xU-u_modi.JPG?auto=format,compress"},"datetime":"2026-10-08T08:10:00+0000","embed":{"embed_url":null}},"uid":"25-years-of-seva-action-or-slogans"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"‘Indian 3’ Moves Ahead in Post-Production"},"content":{"text":"The makers of ace director Shankar's 'Indian 3', the third Instalment in the popular 'Indian' franchise, featuring actor Kamal Haasan in the lead, on Thursday, released a poster from the film, much to the delight of fans and film buffs, even as sources confirmed to media that post production work on the film was now going on at a brisk pace.  Lyca Productions, which is producing the film, took to its social media timelines to share a new poster of the upcoming instalment and wrote, \"Senapathy is back with zero tolerance. The resurgence begins in #Indian3 War Mode.\" Sources confirmed to media that post production was now in full swing as a considerable portion of the third instalment had been shot during the making of the second instalment itself.  For the unaware, the first instalment of the 'Indian' franchise, 'Indian', which featured Kamal Haasan, Manisha Koirala and Urmila Matondkar in the lead, was first released in the year 1996. It went on to emerge a huge blockbuster. Its success led to director Shankar and actor Kamal Haasan consider the possibility of making a sequel to the hit film.  In 2017, they announced 'Indian 2', the sequel to the first part. However, 'Indian 2' faced several delays, with its makers managing to complete it only in 2024.  In fact, work on the film came to a grinding halt after a mishap on the sets of the film left three people dead and over 10 injured. The accident left everybody involved rattled with Shankar, Lyca and Kamal Haasan announcing financial aid to the families of those killed in the mishap.  When attempts to restart shooting were made, Covid struck and the project had to be put on the backburner. To add to this, there were disagreements between the director, actor and producers. After a lot of discussions, the disputes were resolved and shooting resumed, with popular production house Red Giant Movies stepping in to help with production.  As the second instalment's duration was long, the makers decided to release the film as two parts -- 'Indian 2' and 'Indian 3', with actor Kamal Haasan making it evident that he was more excited about the third instalment of the franchise than the second.  Now, two years after 'Indian 2' released, the makers have released a new poster from 'Indian 3', much to the joy of fans of the franchise."},"img":{"url":"https://images.prismic.io/prad/c9-YnKy-xDMFX6ST_indian3.JPG?auto=format,compress"},"datetime":"2026-10-08T09:15:00+0000","embed":{"embed_url":null}},"uid":"indian-3-moves-ahead-in-post-production"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Delhi HC issues summons on Kangana’s plea"},"content":{"text":" Actress and BJP MP Kangana Ranaut has approached the Delhi High Court seeking protection of her personality and publicity rights against the alleged unauthorised use and misuse of her identity, including through pornographic and obscene content posted across digital platforms.  A single-judge Bench of Justice Vikas Mahajan issued summons in the suit and also issued notice on the interim injunction application filed by the actress. During the proceedings, counsel appearing for Ranaut submitted that she was aggrieved by pornographic and obscene content posted against her on social media. The High Court asked Ranaut’s counsel to provide the names of the defendants against whom a takedown order was being sought, indicating that an appropriate order may be passed on the interim injunction application after the details are furnished. It also directed the actress’ counsel to file a revised memo of parties after certain defendants were removed from the proceedings. The matter has now been listed for further hearing on February 3, 2027. The development comes amid a growing number of personality rights disputes before the Delhi High Court involving allegations of AI-generated impersonation, deepfakes, fake endorsements and unauthorised commercial exploitation of public figures’ identities. In recent months, former cricketer Gautam Gambhir, former India captain Sunil Gavaskar, spiritual leader Sri Sri Ravi Shankar, actors Arjun Kapoor, Allu Arjun, Nagarjuna, Varun Dhawan, Kajol, Aishwarya Rai Bachchan and Abhishek Bachchan, singer Jubin Nautiyal, filmmaker Karan Johar, podcaster Raj Shamani, Congress MP Shashi Tharoor and actor Naga Chaitanya have secured or sought court protection against the unauthorised use of their identity, likeness or AI-generated imitations. The Delhi High Court had recently passed an interim order directing the removal of certain objectionable online content featuring Bollywood actress Tabu while hearing her suit seeking protection of her personality and publicity rights against the unauthorised use of her identity across digital platforms."},"img":{"url":"https://images.prismic.io/prad%2Fe317ae87-9050-49c9-bbec-82091b70a041_kangana.jpg?auto=format%2Ccompress&rect=0%2C41%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T09:39:00+0000","embed":{"embed_url":null}},"uid":"delhi-hc-issues-summons-on-kanganas-plea"}},{"node":{"tags":["Entertainment","featured","four"],"data":{"third_party_url":null,"title":{"text":"Nani Opens Up on 'The Paradise' Backlash"},"content":{"text":"Following the mixed reviews that greeted the release of 'The Paradise,' actor Nani has candidly addressed the film's shortcomings, suggesting that greater time for editing and scoring could have significantly enhanced its narrative coherence. In an interview with The Hollywood Reporter, India, Nani expressed the team's dilemma: after multiple delays, they ultimately decided to stick to the film's third release date to meet the fervent expectations of their audience. The pressure to deliver after prolonged anticipation played a crucial role in their decision-making process, highlighting the delicate balance filmmakers must maintain between artistic integrity and audience demand. Nani reflected on how the rushed timeline affected the film's final product, particularly the editing and background score. \"More things would have made sense narratively with the edit and the score, if we had more time. We could've smoothened it out,\" he shared. This observation underscores a common challenge in the film industry—how external pressures can stifle creative expression. Despite acknowledging these issues, Nani noted the uncertainty in determining whether a delay could have altered the film's reception, stating, \"We could've made all of that better, but we'll never know, I guess.\" The actor's introspection extends to the film’s director, Srikanth Odela, whose ambitious vision may have faltered under the weight of high expectations. Nani pointed out that as the scale of 'The Paradise' expanded, the focus shifted from storytelling to the grandiosity of set pieces, resulting in a disconnect within the narrative. Such insights reveal the complexities inherent in filmmaking, where the initial artistic vision can become diluted amid logistical challenges and audience demands. Despite the criticisms, Nani lauded Odela’s originality, emphasizing his wealth of ideas. However, he also recognized that the intricate stitching together of these elements may have led to a compromise in the film’s overarching narrative. \"He's a very, very original guy. He has a lot of ideas, but after stitching them together, his bigger vision somewhere got a little diluted,\" Nani elaborated. This candid reflection not only sheds light on the creative process behind 'The Paradise' but also serves as a broader commentary on the film industry’s often relentless pace, which can sometimes overshadow the art itself."},"img":{"url":"https://images.prismic.io/prad/0DKjDkbXD6pJFzpz_nani.JPG?auto=format%2Ccompress&rect=0%2C9%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-10-08T09:42:00+0000","embed":{"embed_url":null}},"uid":"nani-opens-up-on-the-paradise-backlash"}},{"node":{"tags":["Editorial"],"data":{"third_party_url":null,"title":{"text":"Nana Patekar: From Actor to Rural Reformer"},"content":{"text":"Vishwanath \"Nana\" Patekar, one of Indian cinema’s most formidable actors, a titan of acting and a dedicated social reformer, who passed away on Thursday at the age of 75, was revered for his intensely grounded performances, raw emotional authority, and commanding screen presence. He leaves behind a legacy that extends far beyond cinema.  For millions in rural India -- particularly across the drought-stricken belts of Maharashtra -- he will be remembered as a life-affirming force who dedicated his personal resources and later years to water conservation and agrarian relief. Patekar’s journey in performing arts began in theatre before expanding into Marathi and Hindi cinema. Over a career spanning more than four decades, he earned multiple National Film Awards and Filmfare Awards, redefining the portrayal of anti-heroes, police officers, and complex everyday individuals in Indian cinema. His performance in ‘Parinda’ (1989) earned him his first National Film Award for Best Supporting Actor, marking a shift toward darker, more nuanced characterization in mainstream cinema. He subsequently won the National Film Award for Best Actor for ‘Krantiveer’ (1994), delivering monologues that remain iconic in Indian pop culture. Demonstrating rare dynamic range, Patekar moved seamlessly from intense dramas like ‘Ab Tak Chhappan’ (2004) and ‘Astitva’ (2000) to critical successes like ‘Khamoshi: The Musical’ (1996) and lighthearted blockbusters like ‘Welcome’ (2007). His portrayal in the critically acclaimed Marathi film ‘Natsamrat’ (2016) highlighted his deep theatrical roots, delivering a performance widely considered one of the finest in modern Indian cinema. While Patekar achieved immense professional success in cinema, his defining calling in his later years was his work in Maharashtra’s rural heartlands. Deeply moved by recurring agrarian crises and severe drought in Maharashtra's Marathwada and Vidarbha regions, he shifted his focus to grassroots social intervention.  He used to claim that his work in the transformation of rural and mofussil areas, especially in the water sector, was his attempt to give back to society. Staying connected with diverse groups and helping them was his passion. In September 2015, alongside fellow Marathi actor Makarand Anaspure, Patekar co-founded an NGO in response to widespread drought conditions and high rates of farmer suicides. Rather than engaging in symbolic philanthropy, Patekar personally visited affected families, seed-funded initial operations using his own savings, and rallied public support across urban and rural centres. Understanding that sustainable relief required structural water availability rather than temporary hand-outs, his NGO focused heavily on watershed management and water security. The foundation deployed earth-moving equipment to desilt hundreds of km of silted rivers, canals, streams, and lakes. The rejuvenation of the Riddhi Siddhi River in Beed and campaigns on the Pus River restored dried-up riverbeds, successfully recharging local ground aquifers and reviving nearby wells and borewells. He facilitated the construction of farm ponds and check-nala-bunds (CNBs), securing billions of litres of water storage capacity and reducing dependence on emergency water tankers across hundreds of villages. His NGO provided direct financial relief, vocational equipment (such as sewing machines and flour mills), and livestock to widows and dependents of farmers who had died by suicide, enabling long-term economic independence. The foundation adopted several severely affected villages to transform them into self-sustained ecosystems with access to clean water, group farming models, proper sanitation, and community spaces. Nana Patekar represented a rare bridge between the heights of cinematic artistry and direct, hands-on social reform. His legacy is etched not only in the archives of Indian cinema but also in recharged rivers, lush agricultural fields, and self-reliant rural communities across India."},"img":{"url":"https://images.prismic.io/prad/iYwEeTCfz77ZrOfY_nana.JPG?auto=format%2Ccompress&rect=0%2C27%2C449%2C221&w=2028&h=1000"},"datetime":"2026-10-08T06:32:00+0000","embed":{"embed_url":null}},"uid":"nana-patekar-from-actor-to-rural-reformer"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Trump announces cash payments for US seniors"},"content":{"text":"US President Donald Trump has announced that more than 20 million Americans enrolled in Medicare will receive payments exceeding $100, unveiling another round of direct financial assistance as his administration highlights its economic record ahead of the November congressional elections. Speaking at a Republican campaign rally in San Antonio, Texas, Trump said the payments would begin the following day and would include more than 1.4 million senior citizens in Texas. The President claimed that his administration had discovered billions of dollars originally intended for improvements to Medicare that had not been spent. \"Tonight I have more breaking news. Our administration has also located billions and billions of dollars that were so -- supposed to be spent on improving Medicare, which it didn't get improved,\" Trump told supporters. He accused the previous administration of concealing the money to present a more favourable financial picture. Trump said the funds would now be returned to senior citizens. \"And I'm pleased to -- Announce that, starting tomorrow, over 20 million seniors on Medicare will receive checks or deposits for over $100 each,\" he said. The President said more than 1.4 million beneficiaries in Texas would be covered. He did not provide a detailed breakdown of the funding, eligibility criteria or the mechanism through which the payments would be made. Trump presented the Medicare and healthcare payments as part of a wider effort to return money to American households. He also promised a $5,000 payment to every adult American citizen if Republicans retained control of both chambers of Congress in November. At a separate White House event, a reporter questioned whether the administration's financial announcements were intended to influence voters before the midterm elections. The question referred to healthcare refunds, payments to seniors and the proposed $5,000 dividend. Trump defended the measures, arguing that economic growth and tariff revenues had made them possible. \"Well, what we're doing is we have tremendous growth,\" he said. The President did not provide additional documentation during the exchanges to substantiate the alleged healthcare overcharging or the source of the Medicare funds."},"img":{"url":"https://images.prismic.io/prad%2Fcae14d82-3b4e-4dfc-a1f1-b19343472096_trump.jpg?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T03:36:00+0000","embed":{"embed_url":null}},"uid":"trump-announces-cash-payments-for-us-seniors"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"'Jailer 2' Gets U/A Clearance"},"content":{"text":"Rajinikanth’s much-awaited action entertainer ‘Jailer 2’ has officially cleared the censor process, with the Central Board of Film Certification (CBFC) granting the Nelson Dilipkumar directorial a U/A certificate. Produced by Sun Pictures, the film stars Superstar Rajinikanth in the lead as the iconic Tiger Muthuvel Pandian. The production house confirmed the development on social media with the announcement, “#Jailer2 is censored U/A!” The certification comes soon after the makers unveiled the film’s highly anticipated trailer, which has further raised curiosity around the action-packed sequel. The trailer sets up a mysterious hunt surrounding Tiger Muthuvel Pandian, with several characters desperately trying to discover his whereabouts and understand the force operating behind a series of developments. Initially, it appears that Muthuvel Pandian has disappeared, but the trailer reveals that he has deliberately gone off the radar by disguising himself as a driver. His plan is to stay undercover while tracing the chain of command and finding out whether the villains’ network extends to a much higher level. The trailer also showcases his deadly methods, including the use of snipers, while introducing S J Suryah’s character as one of the formidable opponents ready to strike back. Alongside the intense action, ‘Jailer 2’ promises plenty of Nelson’s trademark humour and entertaining character interactions. A light-hearted exchange between Rajinikanth and Vidya Balan stands out, while the warning about the dreaded “Kalpaks” leads to another striking moment involving Muthuvel Pandian. The film is scheduled for a worldwide theatrical release on October 15, 2026, and expectations have been building steadily since its announcement. The makers wrapped up shooting in April this year and celebrated the milestone with a cake-cutting ceremony, signalling that the film has now entered its final stretch ahead of its big-screen arrival."},"img":{"url":"https://images.prismic.io/prad/Z4amLpbqstJ99dPY_jailer2.JPG?auto=format,compress"},"datetime":"2026-10-07T18:20:00+0000","embed":{"embed_url":null}},"uid":"jailer-2-gets-ua-clearance"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"‘My Forever Person’: Sudheer Babu to Wife"},"content":{"text":"Actor Sudheer Babu penned a birthday note for his wife Priyadarshini, calling her his “beautiful wife”, “best friend” and “forever person”.  Sudheer took to Instagram, where he shared a picture of himself with his wife. In the picture, the two are seen sitting together looking at the camera and smiling.  “Happy Birthday to my beautiful wife, my best friend, and my forever person @with_priyadharshini,” he wrote as the caption.  It was in 2006, when Sudheer got married to Priyadharshini, daughter of actor Krishna and younger sister of Mahesh Babu. The couple has two sons. Talking about Sudheer, he started his acting career with a supporting role in Gautham Vasudev Menon-directed Ye Maaya Chesave in 2010, produced by his sister-in-law Manjula Ghattamaneni. His first film in a leading role was Siva Manasulo Sruthi, a remake of Tamil film Siva Manasula Sakthi. Sudheer tasted success with the 2013 horror comedy film, Prema Katha Chitram. In the same year, he appeared in Aadu Magaadra Bujji. The actor was then seen as lead in films such as Krishnamma Kalipindi Iddarini, Mosagallaku Mosagadu, and Bhale Manchi Roju. Sudheer made his Hindi film debut with Baaghi in 2016, where he played an antagonistic role.The actor was then seen in the commercial hit film Samanthakamani in 2017.  In 2018, Babu teamed up with director Mohana Krishna Indraganti for Sammohanam.  Sudheer was last seen in Jatadhara directed by Venkat Kalyan. The film also stars Sonakshi Sinha and Divya Khosla Kumar. The film draws inspiration from myths and conspiracy theories surrounding the Padmanabhaswamy Temple in Kerala. It explores themes of greed, sacrifice, and spiritual awakening through a fictional narrative set against the backdrop of ancient rituals and divine forces. Before making his debut in cinema, Sudheer was the Number 1 ranked badminton player of Andhra Pradesh as well as Karnataka. He has played alongside Pullela Gopichand as a doubles partner."},"img":{"url":"https://images.prismic.io/prad/txSNbydmiRCglZ3G_sbpd.JPG?auto=format%2Ccompress&rect=0%2C26%2C449%2C221&w=2028&h=1000"},"datetime":"2026-10-07T05:28:00+0000","embed":{"embed_url":null}},"uid":"my-forever-person-sudheer-babu-to-wife"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Messi bids farewell to Argentina"},"content":{"text":"Lionel Messi closed his last appearance for the Argentine national team with a win, a goal and the recognition of a Monumental Stadium that accompanied the Argentine captain until the end. Messi's farewell to Argentina was celebrated in grand style, befitting a historic night, with live music, tributes, lights, drones, and a spectacular artistic display before, during, and after the match against Benin. After a goalless first half, Argentina found a way to break down the African side's resistance in the second. Nicolas Otamendi opened the scoring, setting Lionel Scaloni's team on the path to victory. With the game firmly under control, Nicolas Paz extended Argentina's lead, and then, in the final moments, came the most anticipated moment of the night: Messi scored the third goal, bringing his farewell match to a close in front of the Argentine public. On the night of his farewell, Lionel Messi spoke from the heart and left a message for future generations: he expressed gratitude for everything he experienced wearing the Argentine jersey, recalled the most difficult moments, praised his teammates, and asked that the national team be supported and defended in the years to come. Visibly emotional, Messi took the microphone at the Monumental Stadium after his final match to put into words what it meant to him to wear the sky blue and white jersey. \"“It’s very difficult to say anything, there are so many emotions. The first thing I think about is my dad. All I can do is express my gratitude. Playing for the Argentine national team is the best thing that can happen to you. It was the best thing that ever happened to me. I experienced one of the best moments of my career here, when we returned to play after winning the championship. It was the most wonderful thing that ever happened to me,” he recalled about that celebration at the Monumental Stadium after Qatar 2022.  He also highlighted the support he received throughout the country: “I was lucky enough to travel the country, I was everywhere, and you all always filled the stadium and were with us everywhere. I will always be grateful for that.”  “I'm saying goodbye to the National Team, I'm going to miss you all, I'm going to miss it, but now it's my turn to be on that side,” he expressed.  The festivities began before kickoff with a performance by Un Poco de Ruido (UPDR), featuring Sebastián Mendoza and Roman, el Original. Next up were Santi Cairo, Q' Lokura, and Damas Gratis, who energised the crowd in front of a packed Monumental Stadium. The Argentine National Anthem was performed by Fabio Santana, a veteran of the Falklands War. After Argentina's 3-0 victory over Benin, the party continued at the Monumental with a show specially prepared for the occasion. A display of drones, banners, pyrotechnics, lights, and various technical resources transformed the stadium and ushered in the second part of the celebration. The musical finale featured Soledad Pastorutti and, later, Ulises Bueno, who presented his show \"Trampa\". The day concluded with a message from Lionel Messi himself, putting the finishing touch on an unforgettable night for the captain and all the fans who attended his farewell match with the Argentine National Team."},"img":{"url":"https://images.prismic.io/prad/yyD8xd1I1GMdr9i5_messi.JPG?auto=format%2Ccompress&rect=0%2C78%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-07T03:52:00+0000","embed":{"embed_url":null}},"uid":"messi-bids-farewell-to-argentina"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Rajpal Yadav Offers ₹2 Crore, SC Unhappy"},"content":{"text":"The Supreme Court on Wednesday directed actor and comedian Rajpal Yadav to deposit Rs 1.15 crore with the apex court registry after his counsel submitted that the amount was ready to be deposited immediately, while another Rs 85 lakh would be arranged through a prospective buyer of his ancestral property, as part of arrangements to pay Rs 2 crore 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 hearing Yadav and his wife Radha Yadav's pleas challenging the Delhi High Court judgment upholding their conviction in seven cheque dishonour cases under the Negotiable Instruments Act. During the hearing, the CJI Kant-led Bench was informed that Yadav had arranged Rs 1.15 crore through demand drafts, while a prospective buyer of his ancestral property, who was present in court, was willing to pay another Rs 85 lakh as an advance. Yadav’s counsel told the top court that the buyer was not presently willing to register the sale documents due to Pitru Paksha and wanted to proceed with the registration after the commencement of Navratri. The counsel further submitted that the buyer was willing to deposit the Rs 85 lakh by way of a demand draft on Monday. However, the Supreme Court questioned the overall value of the transaction, remarking that the liability was substantially higher than Rs 2 crore. \"What will be the total sale consideration? Because the liability is much more than Rs 2 crore,\" the CJI Kant-led Bench asked. The counsel said the property was valued at more than Rs 30 crore and confirmed that the prospective buyer had the capacity to make the proposed payment. The complainant's counsel agreed to the proposal and submitted that if Rs 2 crore was paid immediately, Yadav could be granted additional time to pay the remaining amount. The CJI Kant-led Bench suggested that Rs 1.15 crore be deposited immediately, with the remaining Rs 85 lakh to be transferred on Monday, after which the top court would lay down a schedule for payment of the balance amount. During the hearing, the Supreme Court expressed displeasure over Yadav’s conduct in complying with its earlier directions and indicated that it was inclined to enhance his three-month imprisonment sentence to two years. Justice Bagchi observed that the apex court was not satisfied with Yadav’s conduct and said the accommodation being extended to him was aimed at ensuring that the complainant recovered the money. The top court’s latest order came after it had, on October 5, found that its September 15 direction had not been complied with. On that occasion, the CJI Kant-led Bench had observed that a photocopy of a purported Rs 50 lakh demand draft was produced with a claim that the draft would reach Delhi the following day. The Supreme Court had then granted a final opportunity to Yadav to pay a total of Rs 2 crore and posted the matter for October 7. On September 15, the apex court had granted Yadav two weeks as a last opportunity to deposit at least Rs 2 crore, after recording that its earlier direction to deposit Rs 5 crore had not been complied with. The Supreme Court is hearing Yadav and his wife Radha Rajpal Yadav’s petitions challenging the Delhi High Court judgment upholding their conviction in seven cheque dishonour cases under the Negotiable Instruments Act. 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 on 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."},"img":{"url":"https://images.prismic.io/prad/aYM3c90YXLCxVW7h_rajpalyadav.JPG?auto=format,compress"},"datetime":"2026-10-07T07:54:00+0000","embed":{"embed_url":null}},"uid":"rajpal-yadav-offers-2-crore-sc-unhappy"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Balakrishna Back in Action"},"content":{"text":"Telugu star Nandamuri Balakrishna has now resumed shooting for Gopichand Malineni’s highly anticipated action entertainer 'Dada', the filming of which is currently progressing at a brisk pace in Mysuru in Karnataka.  Sources close to the unit said that Balakrishna, who had suffered an injury and as a result, had to take a break to undergo a surgery, was now back on the sets and had joined the team for this crucial and lengthy schedule. The current schedule will focus on the talkie portions of the film, with Balakrishna and several other prominent actors expected to participate in the shoot. The makers are planning to cover key sequences during this schedule, making it an important phase in the production of the movie. For the unaware, actor Nandamuri Balakrishna, who plays the lead in the film, had suffered a minor muscle tear while filming for an intense action sequence in the film. He had to undergo a minor surgical procedure to ensure his complete recovery. Vriddhi Cinemas, which is producing the film, had confirmed the news of the actor suffering an injury on its sets with a statement. It said, \"During the filming of an intense action sequence for #NBK111 in Kakinada, Nandamuri Balakrishna Garu sustained a minor muscle tear. As advised by the medical team, he will undergo a minor surgical procedure to ensure a swift and complete recovery.\" The production house had further gone on to say, \"His unwavering dedication, discipline and passion for cinema continue to inspire everyone on the sets of #NBK111. The procedure is routine and there is absolutely no cause for concern. We wish him a speedy recovery and look forward to welcoming him back to the sets very soon. — TEAM #NBK111.\" Now, sources have confirmed that the actor has fully recovered and is back on the sets.   Produced by Venkata Satish Kilaru under the Vriddhi Cinemas banner, the film has already caught the attention of fans and film buffs.  'Dada' marks the reunion of Balakrishna and Gopichand Malineni after their successful outing Veera Simha Reddy. Gopichand Malineni is mounting this movie as a stylish commercial action spectacle, with Balakrishna presented in a high-impact mass avatar. The film will also feature actors Manoj Manchu and Kajal Aggarwal in important roles. The film boasts of a strong technical team. Cinematography for the film is by Arvind S Kashyap while music is being scored by S Thaman. AS Prakash is handling production design and Navin Nooli has taken responsibility for editing. Sai Madhav Burra has penned the dialogues of the film, which is scheduled to arrive in theatres on December 24, making it a major Christmas attraction and a festive treat for audiences."},"img":{"url":"https://images.prismic.io/prad/x0u06OkLuZwHmfD2_balaiah.JPG?auto=format,compress"},"datetime":"2026-10-07T05:38:00+0000","embed":{"embed_url":null}},"uid":"balakrishna-back-in-action"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"BJP booth-level agent booked in Hyd "},"content":{"text":"rolls during the Special Intensive Revision (SIR), even as Hyderabad Police have booked a booth-level agent (BLA) of the BJP for allegedly submitting 30 pre-printed Form-7 applications.  S. Balachander, a Booth Level Agent (BLA) of the BJP in Musheerabad constituency in Hyderabad, has been booked for submitting pre-printed Form-7 applications seeking deletion of voters from the electoral roll at a polling station. A case under Sections 217 and 318(2) of the Bharatiya Nyaya Sanhita (BNS) and Section 31 of the Representation of the People Act, 1950, has been registered against him at Chikkadpally Police Station. This followed a complaint lodged by T. Praveen Kumar, Electoral Registration Officer (ERO) of the Musheerabad Assembly constituency. The ERO complained that Balachander brought 30 digitally pre-printed Form-7 applications to Polling Station No. 210 on September 28. The applications sought the deletion of the names of 30 electors, including a Congress BLA and his family members, from the electoral roll.  Balachander, who had signed the forms, tried to submit them to the Booth Level Officer (BLO) at the polling station. When the BLO refused to receive the bulk submission and did not issue any acknowledgement for the 30 forms, Balachander left the forms at the polling station premises before the BLO and left the place. After the verification, election authorities found that all 30 electors whose names were mentioned in the Form-7 applications were residing at the respective premises recorded in the electoral records.  This was the first case filed in Telangana after Chief Electoral Officer C. Sudharsan Reddy, on October 5, ordered action against applicants who knowingly made false statements of declaration in Forms 6, 6A, 7 & 8 under provisions of Section 31 of the Representation of the People Act, 1950. The CEO had asked DEOs to conduct an inquiry under Rule 20 of the Registration of Electors Rules, 1960, before taking the action. Similar pre-printed forms had surfaced in the Bahadurpura and Goshamahal constituencies in Hyderabad. All the names mentioned in the forms were Muslims, leading to allegations about a deliberate attempt to target the community.  After Telangana Pradesh Congress Committee (TPCC) lodged a complaint, the CEO issued an order to the Commissioner of the Greater Hyderabad Municipal Corporation, the District Election Officer, Hyderabad and all collectors and DEOs of districts across the state to “take appropriate action” against individuals found knowingly filing false claims or declarations in electoral-roll forms. Election authorities across Telangana have received 28,753 Form-7 applications, including around 5,000 from Hyderabad. TPCC electoral office had filed a complaint with the Commissioner of Police, Hyderabad, seeking FIRs over alleged misuse of Form 7s. All India Majlis-e-Ittehadul Muslimeen (AIMIM) on Tuesday complained to the Chief Electoral Officer of Telangana, Sudharsan Reddy, regarding the misuse of Form 7 for the targeted deletion of Muslim voters in the Goshamahal Assembly constituency. In a letter to the CEO, AIMIM president and Hyderabad MP Asaduddin Owaisi complained that at polling station number 28, one Thudumu Janardhan submitted 122 Form 7 applications. In these forms, the names of the voters against whom deletion is sought are pre-printed, while the applicant has written his own name and contact number as the person filing the Form 7, he said. Owaisi alleged that there is a deep conspiracy to delete Muslim voters through fraudulent and bulk submission of Form 7 applications. The Claims and Objections phase of the SIR process will end on October 7, and the deadline for disposal is November 5. Final electoral rolls will be published on November 9, 2026."},"img":{"url":"https://images.prismic.io/prad/ahkg-WwE-mjc6HZc_boothlevelagent.JPG?auto=format,compress"},"datetime":"2026-10-07T06:22:00+0000","embed":{"embed_url":null}},"uid":"bjp-booth-level-agent-booked-in-hyd-"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Mamata’s 2021 Injury Makes a Comeback"},"content":{"text":"Amidst the ongoing war of attrition between West Bengal Chief Minister Suvendu Adhikari and his predecessor Mamata Banerjee, a 2021 image has emerged that has spawned several memes, including an illustration with the slogan of “Khela Hobe” (let the games begin).  “Break a leg” may have a different meaning in the English language, but Mamata campaigning on a wheelchair, left foot in cast; or a poster depicting a plastered leg, visible under the hem of a white saree, on a football, with “Khela Hobe” written in bold did prove the idiom true in context of the overall 2021 Assembly election result. Though the Nandigram seat proved otherwise for the Trinamool Congress founder, where she had rushed to prove a point to Suvendu, she lost the poll contest by less than 2,000 votes to her once close aide. Suvendu’s recent claim implying that the cast was a hoax has ignited controversy, with a leg injury marching back onto West Bengal’s political centre stage with medical records, legal notices, and uncomfortable questions about patient confidentiality following. The incident dates back to March 2021, when the then Chief Minister sustained an injury to her left leg while campaigning in Nandigram. She subsequently campaigned in a wheelchair with her leg in a cast. The visual became one of the defining images of that election. Even at that time, the campaign triggered fierce political debate, with her supporters raising it as evidence of a “dangerous attack” on a political leader and critics questioning the narrative. The latter pointed out that it was due to the impact of an open door hitting her after rebounding off a pole. Through this, her image of campaigning from a wheelchair became politically potent and remained embedded in Bengal's electoral folklore. Five years later, the argument has taken a turn from political theatre to medical ethics and concealment of truth. Suggesting that the episode needed investigation, CM Suvendu has now publicly referred to medical documents relating to Mamata's 2021 treatment and alleged that the records showed no evidence of fracture or dislocation. Mamata has responded by sending a legal notice to the hospital and officials connected with her treatment, demanding to know how confidential medical records allegedly found their way into the public domain. The notice questioned under what legal authority such records were disclosed and whether any court order or other lawful process had permitted their release. While the question remains whether a fracture did occur, it has also started a debate over whether a patient's medical records, particularly those of a public figure, can be circulated or discussed publicly without consent. Though her critics allege a possible attempt at “cover-up” behind the argument on patient privacy and data protection, Mamata camp contends that public disclosure of records cannot be justified. The resulting debate has put the hospital, where Mamata was said to have undergone treatment before being wheeled out in 2021, in a precarious position. While the hospital's role then was seen as treating an injured patient, in 2026, it is being asked whether it adequately guarded sensitive medical information connected to that same patient. The focus has thus shifted from broken bones to broken firewalls, from wheelchairs to paperwork. On the one hand, the controversy stands as classic Bengal politics involving drama, rivalry, and fierce contest. On another, it touches a genuine public-policy concern about who gets access to medical information and under what circumstances. For now, the argument shows little sign of healing. What began as a disputed campaign injury has evolved into a debate about confidentiality, data protection, and institutional responsibility. The image of an injured leg that once dominated elections has now inspired this debate about hospital records. In the state’s endlessly inventive political ecosystem, it appears that even an old injury cannot retire quietly. About five years after the cast came off, the paperwork is still very much on crutches."},"img":{"url":"https://images.prismic.io/prad/2d36b82d-3407-4f77-8df5-5ca7d2becc6d_Mamata.JPG?auto=format,compress"},"datetime":"2026-10-07T08:44:00+0000","embed":{"embed_url":null}},"uid":"mamatas-2021-injury-makes-a-comeback"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Kiara-Sidharth Welcome Baby No. 2"},"content":{"text":"Bollywood star couple Kiara Advani and Sidharth Malhotra are set to embrace parenthood for the second time. They announced that they have been blessed once again with the greatest gift of all.  Sharing the joyous news on Instagram, the couple in a joint post shared the news about welcoming another precious addition to their family. They also shared an adorable picture of their first born Saraayah handing over a pair of ivory knitted booties to her parents. “Blessed once again with the greatest gift of all… Our hearts are so full of love and gratitude,” the couple wrote as the caption. Sidharth and Kiara fell in love with each other on the sets of their movie Shershaah in 2021. They tied the knot in February 2023 in a grand yet intimate ceremony in Rajasthan after dating for a few years. They welcomed their firstborn, a baby girl in June 2025. The couple had announced their first pregnancy earlier in 2025 with a joint social media post showing their hands holding baby socks. On the work front, Kiara was recently seen in Toxic starring Yash. The gangster film also stars Nayanthara, Huma Qureshi, Tara Sutaria and Rukmini Vasanth. Toxic: A Fairy Tale for Grown-Ups explores the life of Raya, a violent gangster and playboy who rose to power in the underworld crime before his eventual downfall. Years later, he has to face his biological son Rumi / Ticket, who prepared his revenge on Raya, after the latter abandoned him and his wife. Sidharth’s latest release is Vvan – Force of the Forrest with actress Tamannaah Bhatia. The film explores the cultural folklore genre. ‘Vvan’ is written by Arunabh Kumar, directed by Deepak Mishra and Arunabh Kumar, with DOP and Visual Director Manu Anand; and produced by Shobha Kapoor, Ektaa R Kapoor, Arunabh Kumar and Niraj Kothari. ‘Vvan’ is set to release in theatres this year."},"img":{"url":"https://images.prismic.io/prad/qDpoDksg2ArmqSgj_kairasiddharth.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-10-07T05:46:00+0000","embed":{"embed_url":null}},"uid":"kiara-sidharth-welcome-baby-no.-2"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Kohli Team Denies ₹5 Cr Claim"},"content":{"text":"Former India captain Virat Kohli’s spokesperson on Wednesday rejected an allegation that the former India captain was paid Rs 5 crore for visiting spiritual leader Premanand Maharaj’s ashram in Vrindavan, calling the claim “completely false, baseless and factually incorrect”. The statement came after a claim attributed to Dinesh Sharma, popularly known as ‘Falahari Maharaj’, circulated on social media and triggered speculation over Kohli’s association with the spiritual leader. \"Official Statement from Mr. Virat Kohli’s spokesperson: We would like to categorically state that the claims made by Falahari Maharaj Dinesh Sharma in regards to Mr. Virat Kohli are completely false, baseless and factually incorrect. Mr. Virat Kohli visits Premanand Maharaj Ji purely out of his deep faith and reverence for Maharaj Ji. We strongly refute these claims and urge the media to exercise due diligence, verify facts before reporting or amplifying such statements, and report responsibly,” read an official statement from Kohli’s spokesperson. The controversy centres on an alleged payment purportedly linked to Kohli’s first visit to Premanand Maharaj’s Vrindavan ashram in January 2023. According to reports citing Sharma, who is the president of the Shri Krishna Janmabhoomi Sangharsh Nyas, the allegation was mentioned in a letter addressed to Uttar Pradesh Chief Minister Yogi Adityanath. The claim alleges that a property builder lobby and a Rajasthan-based private company spent Rs 5 crore to facilitate Kohli’s visit, purportedly with the intention of increasing the visibility and popularity of Premanand Maharaj by associating him with one of Indian cricket’s biggest names. However, no publicly available documentary evidence has emerged to establish that such a payment was made. There is no verified contract, invoice, bank transaction, payment record or official communication publicly confirming that Kohli received Rs 5 crore in connection with his visit. Kohli’s camp has now directly rejected the allegation, stressing that his meetings with Premanand Maharaj are rooted in personal faith rather than a commercial arrangement. The connection between Kohli and Premanand Maharaj, meanwhile, predates the latest controversy and has played out publicly over several visits. Kohli and his wife, actor Anushka Sharma, first met the spiritual leader at his Vrindavan ashram in January 2023, when the couple visited with their daughter Vamika. Photographs and videos from the interaction subsequently gained widespread attention online. Kohli and Anushka returned to the ashram in 2025, including a visit following the cricketer’s announcement of his retirement from Test cricket in May that year. The couple have also visited Premanand Maharaj again this year."},"img":{"url":"https://images.prismic.io/prad/Hxae2ub_l4Y789Fz_vkas.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-10-07T07:51:00+0000","embed":{"embed_url":null}},"uid":"kohli-team-denies-5-cr-claim"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Modi at 25 years in governance: What sets him apart"},"content":{"text":"From Gandhinagar to New Delhi, Prime Minister Narendra Modi's quarter-century in executive office is unusual not only for the uninterrupted time span, but also for his distinctive style of leadership. What makes him stand out as a leader is the combination of centralised decision-making, an emphasis on delivery-driven governance, and an ability to maintain a direct connection with voters across the spectrum, raising his political durability.   As documented, the journey began in modest surroundings, where he helped at his family's tea stall during his childhood while pursuing his education. At 17, he left home and spent nearly two years travelling across India. He later joined the Rashtriya Swayamsevak Sangh (RSS) in Ahmedabad and decided to dedicate his life to the organisation.  Over the following years, he rose through RSS ranks, with increasing responsibilities in Gujarat, where the years shaped his organisational abilities, discipline, and grassroots approach to politics. A part of his formative political life lay during the then Prime Minister Indira Gandhi-imposed Emergency, when, according to the Bharatiya Janata Party (BJP) Gujarat account, he worked underground, building resistance and evading government crackdowns.  Since 1987, organisational success in the state BJP made him quickly emerge as one of its key strategists, bringing national attention within the party. In 1995, after the BJP’s victory in Gujarat, Narendra Modi was moved to New Delhi as the party's National Secretary, where he was given responsibility for several northern states. In 1998, he was elevated to the post of National General Secretary (Organisation), among the BJP's most important positions. In October 2001, the party leadership chose him to replace Keshubhai Patel as Chief Minister of Gujarat.  The decision came at a difficult time for the state, which was recovering from the devastating Bhuj earthquake and facing political and administrative challenges. He served as Chief Minister from 2001 to 2014 and Prime Minister since May 2014, where, in a democracy as diverse and competitive as India, sustaining popularity and public support over such a long period is rare.  Another defining feature has been his focus on governance as measurable delivery, while PM Modi's political messaging has consistently emphasised implementation beyond policy announcement.  Meanwhile, the country achieved broader economic and social changes where World Bank noted extreme poverty falling from 16.2 per cent in 2011-12 to 2.3 per cent in 2022-23, while it reported substantial progress in infrastructure and access to basic services. Technology may be considered another pillar of the Modi-model. Even critics acknowledge that digital governance has become central to public administration under his leadership.  The expansion of Direct Benefit Transfer mechanisms and digital identity systems has transformed India's payment ecosystem, reducing leakage, increasing transparency, and improving efficiency in public service delivery. Another factor is his ability to blend welfare politics with economic growth narratives. His years in Gujarat were associated with infrastructure expansion, industrial investment, irrigation projects and administrative reforms, creating what supporters called the “Gujarat model”. After moving to New Delhi, he sought to scale aspects of that approach nationally through infrastructure spending, manufacturing initiatives, and reforms such as the Goods and Services Tax (GST) and the Insolvency and Bankruptcy Code (IBC). India's economic performance strengthened, with the International Monetary Fund projecting the country to remain the world's fastest-growing major economy, highlighting resilience and strong domestic demand amidst an uncertain global environment.  Additionally, it is his communication skills, where through public rallies, social media engagement, radio broadcasts such as “Mann Ki Baat”, and highly personalised political campaigns, he speaks directly to the masses in their language, often bypassing conventional political intermediaries.  In foreign policy, under PM Modi’s leadership, India has pursued a more visible international profile, expanded diplomatic engagement, and positioned itself as a key voice of the Global South while simultaneously strengthening ties with major world powers.  Analysts frequently cite this more assertive international posture as one of the defining characteristics of the Modi era. While critics have argued, his supporters claim that strong leadership and decisive decision-making were necessary to execute long-pending reforms and large-scale development initiatives. Thus, while marking another milestone, the Prime Minister has undeniably shaped India's political and governance landscape in ways few leaders have done since Independence. "},"img":{"url":"https://images.prismic.io/prad/DL3RXj-4YV4w-np4_modi.JPG?auto=format%2Ccompress&rect=0%2C13%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-06T17:34:00+0000","embed":{"embed_url":null}},"uid":"modi-at-25-years-in-governance-what-sets-him-apart"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"KTR Legal Notice Over ‘False’ Passport News"},"content":{"text":"Bharat Rashtra Samithi (BRS) working president K. T. Rama Rao has sent a legal notice to a leading vernacular daily for allegedly publishing false news that the ACB court ordered the temporary seizure of his passport in the Formula E race case.  Rama Rao posted on X that his lawyer has sent a legal notice to the Telugu daily. He said it was regrettable that a prominent newspaper with 50 years of history published false news without verifying the facts. “I demand that the said false news be immediately withdrawn from all media and an unconditional apology be issued,” he said. Rama Rao’s office issued a statement about the legal notice sent to the newspaper. Stating that the court did not give any orders, the legal notice has asked the newspaper to withdraw the news, publish a clarification with the same prominence and issue an unconditional apology within 48 hours. It said that the news published in the newspaper dated September 29 is contrary to facts and misleads readers.  Advocate N Lalita Reddy, on behalf of Rama Rao, sent the legal notice to the newspaper’s editor, publisher, printer, resident editor and the concerned reporter.  The legal notice mentioned that the Anti-Corruption Bureau (ACB) investigating officer filed a memo in the special court seeking appropriate orders about Rama Rao’s passport. It stated that characterising this memo as a court order was incorrect. The notice emphasised that the special court had not issued any orders for the temporary seizure of KTR's passport. At the same time, the notice highlighted that the Regional Passport Office had issued a show-cause notice on September 28 under Section 10(3)(e) of the Passports Act, granting a 15-day period to provide an explanation. The lawyer stated that publishing a report claiming the court had already ordered the seizure of the passport could create a false impression of KTR among the public. The notice demanded the disclosure of the information sources and the basis for the report, as well as a clarification on whether the reporter had actually examined the relevant court records or orders. It also wanted all materials related to the story—such as WhatsApp messages, emails, notes, recordings, documents, drafts, and other electronic records—to be preserved. The legal notice demanded the immediate withdrawal of the published report, the publication of a correction with equal prominence, and an unconditional apology to KTR. It also requested that the story be rectified across all platforms, including online portals, e-papers, websites, social media, and digital archives.  The notice made it clear that failure to take appropriate action within 48 hours would result in civil and criminal defamation proceedings, as well as a complaint being lodged with the Press Council of India."},"img":{"url":"https://images.prismic.io/prad/ZrPF_UaF0TcGIwtY_KTR.JPG?auto=format,compress"},"datetime":"2026-10-06T12:05:00+0000","embed":{"embed_url":null}},"uid":"ktr-legal-notice-over-false-passport-news"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"RR orders notices to KCR"},"content":{"text":"Telangana Chief Minister A. Revanth Reddy on Tuesday directed officials to issue notices to former Chief Minister K. Chandrasekhar Rao and his family members over 45 acres of ‘missing’ land  Chief Minister Revanth Reddy on Tuesday ordered officials to identify ‘missing’ 45 acres of land in survey number 325 at Erravalli village in Siddipet district, where former Chief Minister and Bharat Rashtra Samithi (BRS) president K. Chandrasekhar Rao (KCR) has his farmhouse. The Chief Minister held a review of the lands concerning Erravalli and the adjacent Venkatapuram villages in Markook Mandal, Siddipet district As per the official records, a total of 388 acres of land is recorded under survey number 325 in Erravalli village. The officials briefed the Chief Minister on the survey details for both villages and the details of the survey, which identified only 343 acres.  According to a statement from the Chief Minister’s Office (CMO), 45 acres of land are missing from the records for the particular survey number. The Chief Minister instructed the officials to issue notices to former Chief Minister KCR and his family members, whose lands adjoin the area and submit their revenue records to the government. CM Revanth Reddy said that the government is planning to distribute the land in survey number 325 to eligible local farmers.  He also ordered the construction of a \"Telangana Martyrs' Colony\" within survey number 325 for the families of those who sacrificed their lives during the Telangana movement.  The officials were also directed to allot housing plots to the martyrs' families and develop a colony with all necessary amenities.  The Chief Minister suggested that the responsibility of constructing the colony be entrusted to the Housing Department. Orders were also issued to complete the construction of the Martyrs' Colony by June 2. The Revenue Department officials had taken up a survey of the lands in Erravalli village last month after the Chief Minister ordered a probe into KCR’s landholding, including his farmhouse at Erravalli. The Chief Minister had said in the State Legislative Assembly on September 16 that the inquiry will be conducted within a month. He said the inquiry will be conducted to find out if KCR’s farmhouse is spread over 700 acres or not. He questioned why KCR did not reveal that out of 700 acres, 388 acres are government land. The CM announced that the government would reclaim 388 acres of government land in KCR’s farmhouse and distribute the same among 800 Dalit families. Alleging that the KCR family holds 439 acres of land, far in excess of the legal ceiling, he demanded that the Leader of the 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."},"img":{"url":"https://images.prismic.io/prad/aUQ2XnNYClf9oaGE_RRKCR.JPG?auto=format%2Ccompress&rect=0%2C4%2C2020%2C996&w=2028&h=1000"},"datetime":"2026-10-06T15:18:00+0000","embed":{"embed_url":null}},"uid":"rr-orders-notices-to-kcr"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Uttarakhand shaken by 4.9-magnitude earthquake"},"content":{"text":"An earthquake of magnitude 4.9 struck Uttarakhand's Chamoli district on Tuesday night, sending tremors across several parts of the state and Delhi-National Capital Region (NCR).    According to the National Centre for Seismology (NCS), the earthquake occurred at around 10:24 p.m., with its epicentre located in Chamoli at a depth of around 13 km below the earth's surface. Tremors were reported from several districts across Uttarakhand, including Bageshwar, Pithoragarh, Champawat, Rudraprayag and Chamoli. People in Bhowali, Haldwani, Khatima, Rishikesh, Gopeshwar and Badrinath also reportedly felt the shaking. The tremors were strong enough to be noticed in parts of Delhi and the adjoining NCR. The NCS confirmed the earthquake at around 10:40 p.m. Before the official confirmation, several residents took to social media to ask whether others had experienced the tremors. A resident of Safdarjung in South Delhi reportedly said that they felt their couch move during the earthquake. The epicentre of an earthquake refers to the point on the earth's surface directly above the underground location where seismic energy is released due to movement within the earth's crust. The intensity of shaking generally decreases as seismic waves travel farther from the source, although the impact can vary depending on the depth of the earthquake, local geological conditions and the direction in which the seismic energy travels, officials said. It is also important to distinguish between magnitude and intensity. Magnitude measures the amount of energy released by an earthquake at its source, while intensity describes how strongly the earthquake is felt at a particular location. A magnitude 4.9 earthquake is generally considered moderate and may be felt over a relatively wide area, but the level of shaking and potential damage depends on several local factors, experts said. According to officials, the latest tremors once again highlight the seismic vulnerability of Uttarakhand and the wider Himalayan region, which lies in an earthquake-prone zone due to the ongoing movement of tectonic plates."},"img":{"url":"https://images.prismic.io/prad/607bba5e-4fc6-4bbd-b0c3-1ca3e13c06af_earth+quake.JPG?auto=format,compress"},"datetime":"2026-10-06T16:28:00+0000","embed":{"embed_url":null}},"uid":"uttarakhand-shaken-by-4.9-magnitude-earthquake"}},{"node":{"tags":["Videos"],"data":{"third_party_url":null,"title":{"text":"The Traitors Telugu - Official Trailer"},"content":{"text":"The Traitors Telugu - Official Trailer"},"img":{"url":"https://images.prismic.io/prad/Y9xXfr4w4FhomHIL_tejasajja.JPG?auto=format%2Ccompress&rect=0%2C69%2C449%2C221&w=2028&h=1000"},"datetime":"2026-10-06T12:30:00+0000","embed":{"embed_url":"https://www.youtube.com/watch?v=ZViwZR2xIME"}},"uid":"the-traitors-telugu---official-trailer"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Why Heroines Once Avoided Amitabh?"},"content":{"text":"Superstar Amitabh Bachchan recently opened up about the struggles he faced when he was trying to establish himself in the Hindi film industry.  He revealed that his height and facial features were once considered obstacles to getting work. The veteran actor shared the candid anecdote during an interaction on Kaun Banega Crorepati Season 18. Explaining that his now-iconic hairstyle was, in fact, was one of the criticisms he faced in his early years. The conversation began when contestant Vinamra, whose grandfather was a film distributor, recalled how Amitabh Bachchan’s signature long sideburns and hairstyle had become synonymous with his star image. Responding to the observation, Amitabh Bachchan revealed that the look had a rather unexpected origin. Recalling his early days in cinema, Big B said, \"Sir, kya hain ki shuruvat mein jab hum filmo mein aaye toh kaam milne keliye toh producer doh cheez pe humme bolte the ki humari height lambi hain toh koi heroine kaam nahi karegi aur dusra ki humara chehra bohot chota hain. Toh kya hain usko bharne keliye humne humare baal badaye aur baal ko kaanpati tak ughaya jisse humara chehra bhar bhara lage.\" (Sir, when I entered films in the beginning, producers would tell me two things while considering me for work, that I was very tall, so no heroine would work with me, and secondly, that my face was very small. So, to fill it out, I grew my hair and let it grow up to my temples so that my face would look fuller) For the uninitiated, Amitabh Bachchan made his acting debut with Saat Hindustani in 1969. Despite receiving recognition for his early performances, he went through a difficult phase before his breakthrough. His career changed with the cult classic Zanjeer in 1973, which established him as the quintessential “Angry Young Man” of Hindi cinema. He then delivered iconic performances in films including Deewaar, Sholay, Don, Amar Akbar Anthony and Muqaddar Ka Sikandar, among many others."},"img":{"url":"https://images.prismic.io/prad/33a47a7f-5e9b-4063-9ddf-79164aac9bf3_amithab+bachchan.JPG?auto=format,compress"},"datetime":"2026-10-06T09:17:00+0000","embed":{"embed_url":null}},"uid":"why-heroines-once-avoided-amitabh"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Shriya Spills on Ajay’s Screen Aura"},"content":{"text":"Actress Shriya Saran has praised her “Drishyam 3” co-star Ajay Devgn, calling him a “very intense actor.”  She also highlighted his powerful screen presence and distinctive approach to acting. Speaking about her experience of working with Devgn, Shriya told that the actor often conveys emotions through his eyes, which she described as particularly powerful. “Ajay works with his eyes. His eyes are very powerful. And he has a different kind of dialogue delivery. He is a very intense actor,” she said. She also praised Devgn for his dedication and disciplined approach to his craft, saying that he works extremely hard and often does not need multiple takes. “He is very hardworking. He doesn't need any other take. He works very hard,” she added. The actress also spoke highly of director Abhishek Pathak and his commitment to the Drishyam franchise. She said Pathak spends considerable time working on the script, carefully exploring the twists and turns before bringing the story to the screen. Reflecting on her character Nandini in the second and third instalments, Shriya said that while she felt she understood the character well, the developments in the story still managed to surprise her. “I know the character. I know who Nandini is. But I didn't think that this could happen,” she said. Shriya further praised Pathak for working closely with his writers and taking the time to understand and develop the story, calling the process “commendable.”’ Shriya Saran portrayed the wife of Ajay Devgn’s character, Vijay Salgaonkar, in the Drishyam franchise. “Drishyam: The Conclusion” features an ensemble cast including Ajay Devgn, Tabu, Jaideep Ahlawat, Rajat Kapoor, Prakash Raj, Ishita Dutta and Mrunal Jadhav. The film continues the story of Vijay Salgaonkar, who once again relies on careful planning, manipulation and psychological strategy to shield his family as a fresh and intense police and legal investigation threatens to expose the truth. The film is a Hindi adaptation of the Malayalam original of the same name. The story has also been remade in Tamil, Telugu and Kannada. “Drishyam: The Conclusion” is scheduled for a theatrical release on October 2, 2026."},"img":{"url":"https://images.prismic.io/prad/rcLw_c3VLQZEjA0l_shriyaajay.JPG?auto=format%2Ccompress&rect=0%2C44%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-10-06T07:12:00+0000","embed":{"embed_url":null}},"uid":"shriya-spills-on-ajays-screen-aura"}}]},"featured":{"edges":[{"node":{"data":{"title":{"text":"Nani Opens Up on 'The Paradise' Backlash"},"content":{"text":"Following the mixed reviews that greeted the release of 'The Paradise,' actor Nani has candidly addressed the film's shortcomings, suggesting that greater time for editing and scoring could have significantly enhanced its narrative coherence. In an interview with The Hollywood Reporter, India, Nani expressed the team's dilemma: after multiple delays, they ultimately decided to stick to the film's third release date to meet the fervent expectations of their audience. The pressure to deliver after prolonged anticipation played a crucial role in their decision-making process, highlighting the delicate balance filmmakers must maintain between artistic integrity and audience demand. Nani reflected on how the rushed timeline affected the film's final product, particularly the editing and background score. \"More things would have made sense narratively with the edit and the score, if we had more time. We could've smoothened it out,\" he shared. This observation underscores a common challenge in the film industry—how external pressures can stifle creative expression. Despite acknowledging these issues, Nani noted the uncertainty in determining whether a delay could have altered the film's reception, stating, \"We could've made all of that better, but we'll never know, I guess.\" The actor's introspection extends to the film’s director, Srikanth Odela, whose ambitious vision may have faltered under the weight of high expectations. Nani pointed out that as the scale of 'The Paradise' expanded, the focus shifted from storytelling to the grandiosity of set pieces, resulting in a disconnect within the narrative. Such insights reveal the complexities inherent in filmmaking, where the initial artistic vision can become diluted amid logistical challenges and audience demands. Despite the criticisms, Nani lauded Odela’s originality, emphasizing his wealth of ideas. However, he also recognized that the intricate stitching together of these elements may have led to a compromise in the film’s overarching narrative. \"He's a very, very original guy. He has a lot of ideas, but after stitching them together, his bigger vision somewhere got a little diluted,\" Nani elaborated. This candid reflection not only sheds light on the creative process behind 'The Paradise' but also serves as a broader commentary on the film industry’s often relentless pace, which can sometimes overshadow the art itself."},"img":{"url":"https://images.prismic.io/prad/0DKjDkbXD6pJFzpz_nani.JPG?auto=format%2Ccompress&rect=0%2C9%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-10-08T09:42:00+0000","embed":{"embed_url":null}},"uid":"nani-opens-up-on-the-paradise-backlash"}}]},"politics":{"edges":[{"node":{"data":{"title":{"text":"CBN seeks Modi support for AP projects"},"content":{"text":"Andhra Pradesh Chief Minister N. Chandrababu Naidu on Thursday met Prime Minister Narendra Modi in Delhi and sought the Centre’s support for major infrastructure projects in the state. The Chief Minister raised several key issues concerning the development of Andhra Pradesh. According to an official release here, he briefed the Prime Minister on major development projects in the State, its economic situation, and issues relating to agriculture and irrigation. On irrigation, the Chief Minister discussed the latest status of the Polavaram project and explained the benefits of linking the Godavari and Cauvery rivers. He said that the Godavari–Cauvery river-linking project would ensure adequate water availability to the southern States of Andhra Pradesh, Telangana, Tamil Nadu and Karnataka. The Chief Minister said that road networks and power grids had been developed across the country under NDA governments and that taking forward the river-linking project could pave the way for the creation of a national water grid. The Chief Minister said extensive arrangements were being made in Andhra Pradesh for the Godavari Pushkarams to be held in 2027. He requested the Prime Minister to provide financial assistance for the development projects being undertaken for the Pushkarams. He said devotees from not only the two Telugu States but also from across the country and abroad were expected to attend the Godavari Pushkarams. The Chief Minister informed the Prime Minister that Andhra Pradesh had recorded 53 per cent deficit rainfall due to El Niño impact, which had severely affected the agricultural sector. He explained the measures being taken by the State Government to mitigate the impact of drought. The Chief Minister sought the Centre’s support for major infrastructure projects in Andhra Pradesh, including the proposed Outer Ring Road in the capital Amaravati. He requested approval for the Visakhapatnam Metro and also briefed the Prime Minister on the proposed Beach Road project. The Chief Minister also explained the objectives of the Swarna Andhra–2047 Vision, which seeks to ensure that the benefits of development reach all sections of society. Chandrababu also briefed the Prime Minister on the objectives of the Global Horticulture Hub recently launched at Madanapalle with the support of the Centre. He informed him that the foundation stone had been laid for the Indian School of Agriculture, on the lines of the Indian School of Business. Congratulating the Prime Minister on completing 25 years as head of the government, Chandrababu Naidu stated that he was transforming India into a global power through foresight, clear goals, decisive action and effective governance. The Chief Minister praised PM Modi’s rare achievement in serving the nation and lauded his inspirational leadership as both Chief Minister and Prime Minister. The Chief Minister particularly appreciated the Prime Minister’s emphasis on cooperative federalism, making the States partners in the journey towards Viksit Bharat. He said PM Modi had also enhanced India’s stature and credibility in international affairs."},"img":{"url":"https://images.prismic.io/prad%2Fec716876-5cce-44bb-97ec-1809a9696d1b_modicbn.jpg?auto=format%2Ccompress&rect=0%2C0%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T13:45:00+0000","embed":{"embed_url":null}},"uid":"cbn-seeks-modi-support-for-ap-projects"}},{"node":{"data":{"title":{"text":"US probes Harvard, MIT over J-1 visa fraud"},"content":{"text":"The Trump administration on Thursday announced investigations into nine leading American universities, including Harvard, Yale, Stanford and the Massachusetts Institute of Technology, over suspected misuse of J-1 visas to employ foreign researchers and graduate students. The Department of Labour's Inspector General said subpoenas had already been served as investigators examined possible violations involving federally funded research programmes. The universities under investigation are Harvard, Yale, Stanford, Brown, the University of Pittsburgh, the University of California Davis, the California Institute of Technology, Arizona State University and MIT. Vice President JD Vance said the administration suspected the institutions of using foreign researchers to reduce labour costs. \"Now there are nine universities in particular that we believe merit an investigation,\" Vance said. He claimed that American graduate students and researchers were paid approximately $20,000 more than comparable workers brought into the country under J-1 visas. Vance also questioned the proportion of foreign researchers employed by the institutions. He said the nine universities were using J-1 visas for federally funded grants at a rate of about 61 per cent, compared with a national average of 38 per cent. \"Something weird is going on at these universities,\" he said. Labour Inspector General Anthony DiEsposito confirmed that formal investigations were underway. \"Subpoenas have been served, investigations are underway, and nobody will be getting a free pass because their name is carved into an expensive building,\" he said. DiEsposito said approximately 61 per cent of postdoctoral researchers and federally funded workers at the institutions were foreign nationals. He said investigators would examine whether universities had improperly used visa classifications to avoid employment obligations or exploit taxpayer-funded programmes. The investigation will also examine possible national security implications. DiEsposito specifically raised concerns about China and the potential exposure of American research and intellectual property to foreign influence. \"We will investigate whether foreign influence, improper financial relationships or visa abuse are compromising federally funded research,\" he said. The administration did not identify specific researchers accused of wrongdoing or provide university-specific evidence during the announcement. DiEsposito also announced the establishment of a visa fraud strike team bringing together investigators from across the federal government. He said the task force's broader investigations had contributed to 171 indictments, 203 convictions and 80 arrests. The J-1 exchange visitor programme enables foreign nationals to participate in approved educational, research and cultural exchange activities in the United States. American universities use the programme to host international scholars and researchers, including participants in scientific and technological research. The investigations announced Thursday could therefore attract attention among international academics, including those from India, seeking research opportunities at leading US institutions."},"img":{"url":"https://images.prismic.io/prad/YAqyWQ4U8VPUh4NG_j1visa.JPG?auto=format%2Ccompress&rect=0%2C127%2C900%2C444&w=2028&h=1000"},"datetime":"2026-10-08T14:07:00+0000","embed":{"embed_url":null}},"uid":"us-probes-harvard-mit-over-j-1-visa-fraud"}},{"node":{"data":{"title":{"text":"Trump announces cash payments for US seniors"},"content":{"text":"US President Donald Trump has announced that more than 20 million Americans enrolled in Medicare will receive payments exceeding $100, unveiling another round of direct financial assistance as his administration highlights its economic record ahead of the November congressional elections. Speaking at a Republican campaign rally in San Antonio, Texas, Trump said the payments would begin the following day and would include more than 1.4 million senior citizens in Texas. The President claimed that his administration had discovered billions of dollars originally intended for improvements to Medicare that had not been spent. \"Tonight I have more breaking news. Our administration has also located billions and billions of dollars that were so -- supposed to be spent on improving Medicare, which it didn't get improved,\" Trump told supporters. He accused the previous administration of concealing the money to present a more favourable financial picture. Trump said the funds would now be returned to senior citizens. \"And I'm pleased to -- Announce that, starting tomorrow, over 20 million seniors on Medicare will receive checks or deposits for over $100 each,\" he said. The President said more than 1.4 million beneficiaries in Texas would be covered. He did not provide a detailed breakdown of the funding, eligibility criteria or the mechanism through which the payments would be made. Trump presented the Medicare and healthcare payments as part of a wider effort to return money to American households. He also promised a $5,000 payment to every adult American citizen if Republicans retained control of both chambers of Congress in November. At a separate White House event, a reporter questioned whether the administration's financial announcements were intended to influence voters before the midterm elections. The question referred to healthcare refunds, payments to seniors and the proposed $5,000 dividend. Trump defended the measures, arguing that economic growth and tariff revenues had made them possible. \"Well, what we're doing is we have tremendous growth,\" he said. The President did not provide additional documentation during the exchanges to substantiate the alleged healthcare overcharging or the source of the Medicare funds."},"img":{"url":"https://images.prismic.io/prad%2Fcae14d82-3b4e-4dfc-a1f1-b19343472096_trump.jpg?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T03:36:00+0000","embed":{"embed_url":null}},"uid":"trump-announces-cash-payments-for-us-seniors"}},{"node":{"data":{"title":{"text":"Messi bids farewell to Argentina"},"content":{"text":"Lionel Messi closed his last appearance for the Argentine national team with a win, a goal and the recognition of a Monumental Stadium that accompanied the Argentine captain until the end. Messi's farewell to Argentina was celebrated in grand style, befitting a historic night, with live music, tributes, lights, drones, and a spectacular artistic display before, during, and after the match against Benin. After a goalless first half, Argentina found a way to break down the African side's resistance in the second. Nicolas Otamendi opened the scoring, setting Lionel Scaloni's team on the path to victory. With the game firmly under control, Nicolas Paz extended Argentina's lead, and then, in the final moments, came the most anticipated moment of the night: Messi scored the third goal, bringing his farewell match to a close in front of the Argentine public. On the night of his farewell, Lionel Messi spoke from the heart and left a message for future generations: he expressed gratitude for everything he experienced wearing the Argentine jersey, recalled the most difficult moments, praised his teammates, and asked that the national team be supported and defended in the years to come. Visibly emotional, Messi took the microphone at the Monumental Stadium after his final match to put into words what it meant to him to wear the sky blue and white jersey. \"“It’s very difficult to say anything, there are so many emotions. The first thing I think about is my dad. All I can do is express my gratitude. Playing for the Argentine national team is the best thing that can happen to you. It was the best thing that ever happened to me. I experienced one of the best moments of my career here, when we returned to play after winning the championship. It was the most wonderful thing that ever happened to me,” he recalled about that celebration at the Monumental Stadium after Qatar 2022.  He also highlighted the support he received throughout the country: “I was lucky enough to travel the country, I was everywhere, and you all always filled the stadium and were with us everywhere. I will always be grateful for that.”  “I'm saying goodbye to the National Team, I'm going to miss you all, I'm going to miss it, but now it's my turn to be on that side,” he expressed.  The festivities began before kickoff with a performance by Un Poco de Ruido (UPDR), featuring Sebastián Mendoza and Roman, el Original. Next up were Santi Cairo, Q' Lokura, and Damas Gratis, who energised the crowd in front of a packed Monumental Stadium. The Argentine National Anthem was performed by Fabio Santana, a veteran of the Falklands War. After Argentina's 3-0 victory over Benin, the party continued at the Monumental with a show specially prepared for the occasion. A display of drones, banners, pyrotechnics, lights, and various technical resources transformed the stadium and ushered in the second part of the celebration. The musical finale featured Soledad Pastorutti and, later, Ulises Bueno, who presented his show \"Trampa\". The day concluded with a message from Lionel Messi himself, putting the finishing touch on an unforgettable night for the captain and all the fans who attended his farewell match with the Argentine National Team."},"img":{"url":"https://images.prismic.io/prad/yyD8xd1I1GMdr9i5_messi.JPG?auto=format%2Ccompress&rect=0%2C78%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-07T03:52:00+0000","embed":{"embed_url":null}},"uid":"messi-bids-farewell-to-argentina"}},{"node":{"data":{"title":{"text":"BJP booth-level agent booked in Hyd "},"content":{"text":"rolls during the Special Intensive Revision (SIR), even as Hyderabad Police have booked a booth-level agent (BLA) of the BJP for allegedly submitting 30 pre-printed Form-7 applications.  S. Balachander, a Booth Level Agent (BLA) of the BJP in Musheerabad constituency in Hyderabad, has been booked for submitting pre-printed Form-7 applications seeking deletion of voters from the electoral roll at a polling station. A case under Sections 217 and 318(2) of the Bharatiya Nyaya Sanhita (BNS) and Section 31 of the Representation of the People Act, 1950, has been registered against him at Chikkadpally Police Station. This followed a complaint lodged by T. Praveen Kumar, Electoral Registration Officer (ERO) of the Musheerabad Assembly constituency. The ERO complained that Balachander brought 30 digitally pre-printed Form-7 applications to Polling Station No. 210 on September 28. The applications sought the deletion of the names of 30 electors, including a Congress BLA and his family members, from the electoral roll.  Balachander, who had signed the forms, tried to submit them to the Booth Level Officer (BLO) at the polling station. When the BLO refused to receive the bulk submission and did not issue any acknowledgement for the 30 forms, Balachander left the forms at the polling station premises before the BLO and left the place. After the verification, election authorities found that all 30 electors whose names were mentioned in the Form-7 applications were residing at the respective premises recorded in the electoral records.  This was the first case filed in Telangana after Chief Electoral Officer C. Sudharsan Reddy, on October 5, ordered action against applicants who knowingly made false statements of declaration in Forms 6, 6A, 7 & 8 under provisions of Section 31 of the Representation of the People Act, 1950. The CEO had asked DEOs to conduct an inquiry under Rule 20 of the Registration of Electors Rules, 1960, before taking the action. Similar pre-printed forms had surfaced in the Bahadurpura and Goshamahal constituencies in Hyderabad. All the names mentioned in the forms were Muslims, leading to allegations about a deliberate attempt to target the community.  After Telangana Pradesh Congress Committee (TPCC) lodged a complaint, the CEO issued an order to the Commissioner of the Greater Hyderabad Municipal Corporation, the District Election Officer, Hyderabad and all collectors and DEOs of districts across the state to “take appropriate action” against individuals found knowingly filing false claims or declarations in electoral-roll forms. Election authorities across Telangana have received 28,753 Form-7 applications, including around 5,000 from Hyderabad. TPCC electoral office had filed a complaint with the Commissioner of Police, Hyderabad, seeking FIRs over alleged misuse of Form 7s. All India Majlis-e-Ittehadul Muslimeen (AIMIM) on Tuesday complained to the Chief Electoral Officer of Telangana, Sudharsan Reddy, regarding the misuse of Form 7 for the targeted deletion of Muslim voters in the Goshamahal Assembly constituency. In a letter to the CEO, AIMIM president and Hyderabad MP Asaduddin Owaisi complained that at polling station number 28, one Thudumu Janardhan submitted 122 Form 7 applications. In these forms, the names of the voters against whom deletion is sought are pre-printed, while the applicant has written his own name and contact number as the person filing the Form 7, he said. Owaisi alleged that there is a deep conspiracy to delete Muslim voters through fraudulent and bulk submission of Form 7 applications. The Claims and Objections phase of the SIR process will end on October 7, and the deadline for disposal is November 5. Final electoral rolls will be published on November 9, 2026."},"img":{"url":"https://images.prismic.io/prad/ahkg-WwE-mjc6HZc_boothlevelagent.JPG?auto=format,compress"},"datetime":"2026-10-07T06:22:00+0000","embed":{"embed_url":null}},"uid":"bjp-booth-level-agent-booked-in-hyd-"}},{"node":{"data":{"title":{"text":"Mamata’s 2021 Injury Makes a Comeback"},"content":{"text":"Amidst the ongoing war of attrition between West Bengal Chief Minister Suvendu Adhikari and his predecessor Mamata Banerjee, a 2021 image has emerged that has spawned several memes, including an illustration with the slogan of “Khela Hobe” (let the games begin).  “Break a leg” may have a different meaning in the English language, but Mamata campaigning on a wheelchair, left foot in cast; or a poster depicting a plastered leg, visible under the hem of a white saree, on a football, with “Khela Hobe” written in bold did prove the idiom true in context of the overall 2021 Assembly election result. Though the Nandigram seat proved otherwise for the Trinamool Congress founder, where she had rushed to prove a point to Suvendu, she lost the poll contest by less than 2,000 votes to her once close aide. Suvendu’s recent claim implying that the cast was a hoax has ignited controversy, with a leg injury marching back onto West Bengal’s political centre stage with medical records, legal notices, and uncomfortable questions about patient confidentiality following. The incident dates back to March 2021, when the then Chief Minister sustained an injury to her left leg while campaigning in Nandigram. She subsequently campaigned in a wheelchair with her leg in a cast. The visual became one of the defining images of that election. Even at that time, the campaign triggered fierce political debate, with her supporters raising it as evidence of a “dangerous attack” on a political leader and critics questioning the narrative. The latter pointed out that it was due to the impact of an open door hitting her after rebounding off a pole. Through this, her image of campaigning from a wheelchair became politically potent and remained embedded in Bengal's electoral folklore. Five years later, the argument has taken a turn from political theatre to medical ethics and concealment of truth. Suggesting that the episode needed investigation, CM Suvendu has now publicly referred to medical documents relating to Mamata's 2021 treatment and alleged that the records showed no evidence of fracture or dislocation. Mamata has responded by sending a legal notice to the hospital and officials connected with her treatment, demanding to know how confidential medical records allegedly found their way into the public domain. The notice questioned under what legal authority such records were disclosed and whether any court order or other lawful process had permitted their release. While the question remains whether a fracture did occur, it has also started a debate over whether a patient's medical records, particularly those of a public figure, can be circulated or discussed publicly without consent. Though her critics allege a possible attempt at “cover-up” behind the argument on patient privacy and data protection, Mamata camp contends that public disclosure of records cannot be justified. The resulting debate has put the hospital, where Mamata was said to have undergone treatment before being wheeled out in 2021, in a precarious position. While the hospital's role then was seen as treating an injured patient, in 2026, it is being asked whether it adequately guarded sensitive medical information connected to that same patient. The focus has thus shifted from broken bones to broken firewalls, from wheelchairs to paperwork. On the one hand, the controversy stands as classic Bengal politics involving drama, rivalry, and fierce contest. On another, it touches a genuine public-policy concern about who gets access to medical information and under what circumstances. For now, the argument shows little sign of healing. What began as a disputed campaign injury has evolved into a debate about confidentiality, data protection, and institutional responsibility. The image of an injured leg that once dominated elections has now inspired this debate about hospital records. In the state’s endlessly inventive political ecosystem, it appears that even an old injury cannot retire quietly. About five years after the cast came off, the paperwork is still very much on crutches."},"img":{"url":"https://images.prismic.io/prad/2d36b82d-3407-4f77-8df5-5ca7d2becc6d_Mamata.JPG?auto=format,compress"},"datetime":"2026-10-07T08:44:00+0000","embed":{"embed_url":null}},"uid":"mamatas-2021-injury-makes-a-comeback"}}]},"entertainment":{"edges":[{"node":{"data":{"title":{"text":"Anupam Kher: Success in US, but heart in India"},"content":{"text":"Veteran actor Anupam Kher has spoken about the emotional struggles of Indian immigrants in the US, saying that behind their professional success often lies loneliness and a strong sense of nostalgia for India. During his ongoing theatre tour across America, Kher said many first-generation Indians have built successful lives and seen their children thrive, but still remain deeply connected to their homeland. He described their journeys as stories worthy of films, filled with struggle, sacrifice and achievement. Kher said his theatre production explores loneliness, relationships and the experiences of three generations, with humour, music and emotion helping audiences connect with the subject. He believes theatre offers a unique bond between performers and viewers, especially after the isolation of the Covid-19 pandemic. His tour has also given him an opportunity to travel across the US with his team and interact closely with members of the Indian diaspora. The actor also highlighted India's cultural diversity, family values and tolerance as qualities that continue to inspire him. While appreciating America's professionalism, infrastructure and systems, he said Indian cinema and theatre have become important tools of India's cultural influence abroad. Kher further noted that technology and AI can transform communication, but cannot replace genuine human connection, encouraging young artists to remain original and authentic."},"img":{"url":"https://images.prismic.io/prad/vXM-_nkGzkqaYHCC_kher.JPG?auto=format%2Ccompress&rect=0%2C205%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-08T12:46:00+0000","embed":{"embed_url":null}},"uid":"anupam-kher-success-in-us-but-heart-in-india"}},{"node":{"data":{"title":{"text":"Nana Patekar passes away"},"content":{"text":"Veteran actor Nana Patekar, one of Indian cinema’s most celebrated performers, has passed away at the age of 75 in Goa.  An official confirmation from the Manipal hospital, Goa, stated that the actor was found unconscious at his Dona Paula - Goa residence and was rushed to the hospital. Doctors declared him brought dead. The acclaimed actor, known for his powerful performances across Hindi and Marathi cinema, leaves behind a remarkable body of work spanning over four decades. Born Vishwanath Patekar on January 1, 1951, in Maharashtra, Nana Patekar established himself as an actor known for his intensity, dialogue delivery and ability to portray complex and unconventional characters. For the uninitiated, he made his Hindi film debut with Gaman in 1978 and went on to become one of the most respected performers of his generation. Nana’s breakthrough came with films such as Salaam Bombay! and Parinda. He went on to deliver powerpack performances in films including Angaar, Tirangaa, Krantiveer, Agni Sakshi, Khamoshi: The Musical, Yeshwant, Ab Tak Chhappan, Apaharan and Raajneeti. The legendary actor was equally recognised for his work in Marathi cinema and theatre. He also ventured into filmmaking and made his directorial debut with Prahaar: The Final Attack in 1991. His comic performance as Uday Shetty in the Welcome franchise went on to become a rage, especially amongst the younger generation of audiences. Among his other notable films are Raju Ban Gaya Gentleman, Wajood, Hu Tu Tu, Gang, Deewangee, Bhoot, Welcome, Welcome Back, Natsamrat and The Vaccine War, among several others. Nana Patekar was also a recipient of the Padma Shri, awarded to him in 2013 for his contribution to cinema and the arts. During his fine career, he won three National Film Awards and many other prestigious honours. Beyond cinema, the star was known for his association with social causes, particularly his efforts to support farmers and families affected by agrarian distress He maintained a relatively private life away despite being one of the industry's most recognisable faces."},"img":{"url":"https://images.prismic.io/prad/aBXRCbXTa9BF5XMe_nanapatekar.JPG?auto=format%2Ccompress&rect=0%2C54%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-08T02:20:00+0000","embed":{"embed_url":null}},"uid":"nana-patekar-passes-away"}},{"node":{"data":{"title":{"text":"Fan Murder Case: SC Setback for Darshan"},"content":{"text":"Jailed Kannada superstar Darshan suffered a major setback on Thursday in the Renukaswamy murder case after the Supreme Court dismissed a petition challenging the approver status granted to accused number 14, Pradosh S. Rao, effectively narrowing Darshan’s options to question the prosecution’s decision to treat Pradosh as an approver.   The development assumes significance as the procedure of recording of Pradosh’s statement as an approver was completed before the trial court in Bengaluru on Wednesday. The Supreme Court upheld the orders of the Karnataka High Court and the trial court and declined to interfere with the decision to grant Pradosh approver status in the case. The Bench observed that there were no grounds warranting the intervention of the apex court and found no merit in the petition. The petition had been filed by Darshan’s wife, Vijayalakshmi, questioning the decision to grant Pradosh the status of an approver. During the hearing, the counsel appearing for Darshan reportedly contended that the prescribed procedures and Supreme Court guidelines had not been properly followed while granting approver status to the accused. However, the Supreme Court rejected the challenge and observed that the matter did not require its interference. The Bench also told the counsel appearing for Darshan that Pradosh could be subjected to questioning during cross-examination before the trial court. The court reportedly declined a request by the counsels for additional time to advance their arguments, stating that it had already examined the relevant material pertaining to the case. The petition was subsequently dismissed, with the apex court upholding the orders passed by the Karnataka High Court and the trial court. The Supreme Court also took note of developments in the trial, including the fact that the mother of the deceased fan Renukaswamy, had turned hostile. In the circumstances, the court observed that the presence of an approver could be necessary in the case. The recording of Pradosh’s statement as an approver before the trial court on Wednesday has added significance following the Supreme Court’s decision. His statement is expected to form part of the evidence in the ongoing trial, while the defence will have an opportunity to question him during cross-examination. Pradosh, who was originally arrayed as accused number 14 in the case, was subsequently granted approver status by the trial court. The decision was challenged before the Karnataka High Court and later before the Supreme Court. With the apex court now dismissing the challenge and upholding the lower court orders, Darshan and the other accused will have to contest the evidence involving Pradosh during the trial rather than continue challenging his approver status before the higher courts. The Renukaswamy murder case relates to the murder of Renukaswamy, whose body was recovered in Bengaluru in June 2024. Darshan and several others were arrested in connection with the case and are facing trial. The Supreme Court’s latest order is, therefore, being viewed as a significant setback for Darshan’s defence strategy, particularly with the approver’s statement having been recorded before the trial court. The defence will now have the opportunity to test the contents and credibility of Pradosh’s statement through cross-examination as the trial proceeds."},"img":{"url":"https://images.prismic.io/prad/a0a9ZBQrHKpQQjPn_darshan.JPG?auto=format%2Ccompress&rect=0%2C66%2C480%2C237&w=2028&h=1000"},"datetime":"2026-10-08T08:42:00+0000","embed":{"embed_url":null}},"uid":"fan-murder-case-sc-setback-for-darshan"}},{"node":{"data":{"title":{"text":"VDK’s Dedication Through Rashmika’s Eyes"},"content":{"text":"Actress Rashmika Mandanna will be seen sharing screen space with husband Vijay Deverakonda in the upcoming period drama, 'Ranabaali'. The movie will mark their primary association after the wedding.  As Rashmika conducted an 'Ask Me Anything' session on her Instagram handle on Wednesday, one of the netizens was curious to know about her experience of working with VD. The 'Animal' actress shared that despite all the fun they have while working together, Vijay is extremely dedicated when it comes to his work. She added that she also gets to learn a lot from him whenever they work together. An Instagram user wrote, \"Hi mam (red heart emoji) What was your experience like working with Vijay sur on the set of ranabaali?\" Replying to the question, Rashmika shared, \"Alwaysssss lots of FUN (Monkey and red heart emoji) but on a serious note he is super dedicated and serious when it comes to set as you all know !! And I get to learn a lot from him too as always!! (Two red heart emojis) (sic).\" Earlier, the director of 'Ranabaali', Rahul Sankrityan, shared that he gave Rashmika's character in the film his mother's name. He took to his X (Earlier known as Twitter) timeline and penned, \"While writing #Ranabaali, I found myself walking down memory lanes for every little detail of its world.And when I sat down to write my female protagonist, I began with something deeply personal, I gave her my mother’s name. Jayamma.\" \"Through every emotion she goes through, I took utmost care to make sure she remains a woman who could inspire the women of today, even though she belongs to another time,\" he added. Meanwhile, Rashmika and Vijay have already wrapped up the shoot for 'Ranabaali'. Sharing the update on social media, Rahul Sankrityan dropped a clip of his unit, along with the caption, \"And thats a wrap to the 130 days of madness with my relentless and restless army. @RanabaaliFilm @MythriOfficial @TheDeverakonda @iamRashmika.\""},"img":{"url":"https://images.prismic.io/prad/Mo1BXZeBxMlWjbl2_rahmvdk.JPG?auto=format,compress"},"datetime":"2026-10-07T18:30:00+0000","embed":{"embed_url":null}},"uid":"vdks-dedication-through-rashmikas-eyes"}},{"node":{"data":{"title":{"text":"‘Indian 3’ Moves Ahead in Post-Production"},"content":{"text":"The makers of ace director Shankar's 'Indian 3', the third Instalment in the popular 'Indian' franchise, featuring actor Kamal Haasan in the lead, on Thursday, released a poster from the film, much to the delight of fans and film buffs, even as sources confirmed to media that post production work on the film was now going on at a brisk pace.  Lyca Productions, which is producing the film, took to its social media timelines to share a new poster of the upcoming instalment and wrote, \"Senapathy is back with zero tolerance. The resurgence begins in #Indian3 War Mode.\" Sources confirmed to media that post production was now in full swing as a considerable portion of the third instalment had been shot during the making of the second instalment itself.  For the unaware, the first instalment of the 'Indian' franchise, 'Indian', which featured Kamal Haasan, Manisha Koirala and Urmila Matondkar in the lead, was first released in the year 1996. It went on to emerge a huge blockbuster. Its success led to director Shankar and actor Kamal Haasan consider the possibility of making a sequel to the hit film.  In 2017, they announced 'Indian 2', the sequel to the first part. However, 'Indian 2' faced several delays, with its makers managing to complete it only in 2024.  In fact, work on the film came to a grinding halt after a mishap on the sets of the film left three people dead and over 10 injured. The accident left everybody involved rattled with Shankar, Lyca and Kamal Haasan announcing financial aid to the families of those killed in the mishap.  When attempts to restart shooting were made, Covid struck and the project had to be put on the backburner. To add to this, there were disagreements between the director, actor and producers. After a lot of discussions, the disputes were resolved and shooting resumed, with popular production house Red Giant Movies stepping in to help with production.  As the second instalment's duration was long, the makers decided to release the film as two parts -- 'Indian 2' and 'Indian 3', with actor Kamal Haasan making it evident that he was more excited about the third instalment of the franchise than the second.  Now, two years after 'Indian 2' released, the makers have released a new poster from 'Indian 3', much to the joy of fans of the franchise."},"img":{"url":"https://images.prismic.io/prad/c9-YnKy-xDMFX6ST_indian3.JPG?auto=format,compress"},"datetime":"2026-10-08T09:15:00+0000","embed":{"embed_url":null}},"uid":"indian-3-moves-ahead-in-post-production"}},{"node":{"data":{"title":{"text":"Delhi HC issues summons on Kangana’s plea"},"content":{"text":" Actress and BJP MP Kangana Ranaut has approached the Delhi High Court seeking protection of her personality and publicity rights against the alleged unauthorised use and misuse of her identity, including through pornographic and obscene content posted across digital platforms.  A single-judge Bench of Justice Vikas Mahajan issued summons in the suit and also issued notice on the interim injunction application filed by the actress. During the proceedings, counsel appearing for Ranaut submitted that she was aggrieved by pornographic and obscene content posted against her on social media. The High Court asked Ranaut’s counsel to provide the names of the defendants against whom a takedown order was being sought, indicating that an appropriate order may be passed on the interim injunction application after the details are furnished. It also directed the actress’ counsel to file a revised memo of parties after certain defendants were removed from the proceedings. The matter has now been listed for further hearing on February 3, 2027. The development comes amid a growing number of personality rights disputes before the Delhi High Court involving allegations of AI-generated impersonation, deepfakes, fake endorsements and unauthorised commercial exploitation of public figures’ identities. In recent months, former cricketer Gautam Gambhir, former India captain Sunil Gavaskar, spiritual leader Sri Sri Ravi Shankar, actors Arjun Kapoor, Allu Arjun, Nagarjuna, Varun Dhawan, Kajol, Aishwarya Rai Bachchan and Abhishek Bachchan, singer Jubin Nautiyal, filmmaker Karan Johar, podcaster Raj Shamani, Congress MP Shashi Tharoor and actor Naga Chaitanya have secured or sought court protection against the unauthorised use of their identity, likeness or AI-generated imitations. The Delhi High Court had recently passed an interim order directing the removal of certain objectionable online content featuring Bollywood actress Tabu while hearing her suit seeking protection of her personality and publicity rights against the unauthorised use of her identity across digital platforms."},"img":{"url":"https://images.prismic.io/prad%2Fe317ae87-9050-49c9-bbec-82091b70a041_kangana.jpg?auto=format%2Ccompress&rect=0%2C41%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-08T09:39:00+0000","embed":{"embed_url":null}},"uid":"delhi-hc-issues-summons-on-kanganas-plea"}}]},"tech":{"edges":[]},"fashion":{"edges":[]},"business":{"edges":[]},"health":{"edges":[{"node":{"data":{"title":{"text":"A Simple Eye Test Can Protect  from Diabetic Blindness"},"content":{"text":"As diabetes continues its relentless rise across India, the threat of diabetic retinopathy looms large, often unnoticed until it’s too late. Over 21 million Indians are at risk of developing this insidious condition, which quietly deteriorates vision without pain or clear symptoms. By the time individuals recognize blurred vision or other warning signs, irreversible damage may have already occurred, making routine screening essential in the battle against preventable blindness. Diabetic retinopathy affects the delicate retina, the tissue responsible for converting light into the visual signals that shape our world. When blood sugar levels remain elevated over time, the tiny blood vessels in the retina can weaken and leak, leading to potential vision loss. This condition can progress without any noticeable symptoms, which is why healthcare professionals emphasize the importance of early detection through regular retinal exams. According to the Indian Council of Medical Research (ICMR), more than 101 million Indians currently live with diabetes, underscoring the urgent need for a paradigm shift in how diabetic eye health is managed across the nation. The pathophysiology of diabetic retinopathy is often exacerbated by a lack of awareness among patients and medical practitioners alike. Dr. Vishali Gupta, President of the Vitreo Retina Society of India, highlights a critical gap: many individuals postpone eye examinations until vision impairment is evident, often overlooking the crucial role that proactive diabetes management plays in eye health. “Preventing blindness starts with strict diabetes control, routine screening, and standardized referral pathways,” she asserts. Without integrating eye health into comprehensive diabetes care, the risk of irreversible vision loss only increases, leaving patients vulnerable to a preventable fate. A concerted effort is needed to treat diabetic retinopathy not just as an eye issue but as a significant public health challenge. Dr. R Kim from Aravind Eye Hospital advocates for the integration of retinal screening into broader healthcare protocols, akin to regular blood sugar monitoring. The adoption of artificial intelligence in screening processes presents an innovative solution for improving early detection, particularly in underserved regions. By prioritizing education, routine screenings, and interdisciplinary cooperation within the healthcare system, India can take essential steps toward mitigating the looming threat of diabetic blindness."},"img":{"url":"https://images.prismic.io/prad/3a3b5486-3f57-4f8d-af38-fc2d697267f8_Telangana+Eye+Test.JPG?auto=format,compress"},"datetime":"2026-10-04T15:47:00+0000","embed":{"embed_url":null}},"uid":"a-simple-eye-test-can-protect--from-diabetic-blind"}},{"node":{"data":{"title":{"text":"The Hidden Danger Behind Chest Pain"},"content":{"text":"Chest pain is frequently associated with heart attacks, yet a lesser-known condition, aortic dissection, can present equally alarming symptoms. Dr. N. Murali Krishna, a cardiology consultant at Manipal Hospital in Vijayawada, warns that this condition arises from a tear in the aorta's inner layer, the vital blood vessel that transports blood from the heart throughout the body. The rarity of aortic dissection does not diminish its urgency—every moment counts, as delayed diagnosis could precipitate life-threatening complications such as organ rupture, stroke, or kidney failure. The nature of pain caused by aortic dissection sets it apart from typical heart attack discomfort. Patients typically describe the sensation as sharp, ripping, or tearing, often radiating from the chest to the back or abdomen as the dissection progresses. Dr. Krishna emphasizes that this pain typically escalates to its peak within seconds to minutes, necessitating immediate medical attention. Accompanying symptoms may include breathlessness, sweating, and weakness, but in some cases, patients experience few signs, complicating timely diagnosis and treatment. Understanding the risk factors for aortic dissection is crucial for prevention. Hypertension emerges as a significant contributor, alongside hereditary connective tissue disorders, pre-existing aortic aneurysms, and certain congenital heart conditions like a bicuspid aortic valve. While older individuals are more commonly affected, younger adults are not exempt from this serious cardiovascular threat. A thorough examination, including blood pressure readings in both arms, ECG, and blood tests, can aid in assessing the risk, while CT angiography is employed to visualize the aorta and assess any tears. Dr. Krishna urges vigilance when experiencing sudden chest or upper back pain. He advises against self-diagnosis and stresses the importance of seeking emergency care, particularly if the pain escalates quickly or is coupled with faintness, weakness, or breathlessness. Patients should provide medical personnel with detailed accounts of their symptoms, including the onset and intensity of pain, to facilitate accurate diagnosis. This proactive approach can be lifesaving, as the subtleties of aortic dissection's presentation often challenge even the most seasoned healthcare providers."},"img":{"url":"https://images.prismic.io/prad/8822f77d-8219-4cf7-ad6d-2c029df74875_heart+attack.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-21T10:09:00+0000","embed":{"embed_url":null}},"uid":"the-hidden-danger-behind-chest-pain"}},{"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"}}]},"nri":{"edges":[{"node":{"data":{"title":{"text":"US suspends green card route for 8 tech firms"},"content":{"text":"The Trump administration on Thursday announced the suspension of a key employment-based green card process for eight major technology and outsourcing companies, including India's Infosys, Tata, Wipro and HCL, as Vice President JD Vance launched a sweeping crackdown on alleged visa fraud. The action also covers Cognizant, Capgemini, Microsoft and Adobe. It prevents the companies from filing new permanent labour certification applications and halts the processing of pending applications under the programme. US Labour Secretary Keith Sonderling announced the decision at a press conference led by Vance, saying the action followed ongoing criminal and federal investigations. \"Due to ongoing criminal investigations led by the Department of Labour's Inspector General Anthony DiEsposito, who will get into this shortly, I am hereby suspending from the Permanent Labour Certification Program some of the largest IT outsourcing firms in the world, Cognizant, Infosys, Tata, Wipro, HCL, and Capgemini,\" Sonderling said. He added that Microsoft and Adobe were also being suspended because of multiple active federal investigations. \"We will not accept or process any pending permanent labour certification applications involving these companies,\" he said. The Permanent Labour Certification programme, commonly known as PERM, is a crucial step for many employers seeking employment-based permanent residence for foreign workers. Sonderling said the companies named in the action had collectively requested nearly three million foreign workers since 2009. They had received more than 230,000 H-1B visa approvals and over 100,000 permanent labour certifications, according to figures he presented. The administration did not release company-specific findings or details of the alleged violations during the press conference. Vance accused employers of using the H-1B programme to replace American workers with lower-paid foreign employees. \"The H-1B visa program is meant to allow companies to bring in really the best of the best from outside the United States of America for positions that are completely impossible to fill with American workers,\" he said. He singled out Microsoft, alleging that the company had laid off 6,000 American workers while benefiting from 6,300 H-1B visas and nearly 3,000 green cards. Vance said the administration wanted companies to change their hiring practices rather than leave the American market. Asked whether the suspension was temporary or permanent, he said, \"The suspension of PERM is gonna last as long as it needs to.\" He added that the administration had tools to continue the suspension indefinitely but wanted companies to improve their behaviour. The Justice Department also announced that it was actively investigating companies suspected of favouring foreign workers over Americans. Attorney General Todd Blanche said criminal prosecutions and civil lawsuits were among the possible enforcement measures. The announcement could have significant implications for Indian technology professionals and outsourcing companies operating in the United States. Indian IT companies have long relied on employment-based visa programmes to deploy skilled professionals to American clients. The H-1B programme permits temporary employment in qualifying specialised occupations, while permanent labour certification is part of a separate process through which employers may sponsor workers for permanent residence. The suspension announced Thursday concerns permanent labour certification applications involving the named companies. It does not, by itself, establish the cancellation of existing H-1B visas or green cards."},"img":{"url":"https://images.prismic.io/prad/G4uza2k8K2TNO42n_techgaintsGC.JPG?auto=format%2Ccompress&rect=0%2C5%2C941%2C464&w=2028&h=1000"},"datetime":"2026-10-08T14:59:00+0000","embed":{"embed_url":null}},"uid":"us-suspends-green-card-route-for-8-tech-firms"}},{"node":{"data":{"title":{"text":"US bill seeks steep H-1B fraud penalties"},"content":{"text":"A Republican lawmaker has introduced legislation that would raise penalties for serious H-1B visa violations to as much as $250,000, extend some employer sponsorship bans to at least 10 years and sharply increase fines for immigration document fraud.  Rep. Beth Van Duyne of Texas announced the H-1B Visa Fraud Crackdown Act on Monday, saying existing penalties were too small to deter employers from abusing the programme. The legislation, H.R. 10643, is co-sponsored by Republican Reps. Brian Babin, Pat Fallon, Brandon Gill, Keith Self and Pete Sessions, all of Texas. \"When a business can lie to the government and push American workers aside for cheaper labor, and the worst it faces is a $5,000 fine, many view that as the cost of doing business,\" Van Duyne said. \"The H-1B Visa Fraud Crackdown Act changes the penalties. American jobs should go to American workers, and fraudsters should face real accountability for their actions.\" The bill would raise the maximum civil penalty for covered willful H-1B violations from $5,000 to $100,000. Van Duyne's office said those violations could include lying about the job being performed or underpaying an H-1B worker. For violations involving the willful displacement of US workers, the maximum civil penalty would increase from $35,000 to $250,000. The statutory changes are contained in the two-page legislation introduced in the House. Employers found responsible for serious willful violations would also face longer periods during which they could not sponsor H-1B workers. The minimum sponsorship ban would increase from two years to five years for serious willful violations. For violations that also involve displacement of US workers, the minimum ban would increase from three years to 10 years. The legislation would separately impose substantially higher penalties for immigration document fraud. For covered violations, penalties currently ranging from $250 to $2,000 would increase to between $1,000 and $10,000 per document. For violations following a previous order, fines would rise from the current $2,000-$5,000 range to between $20,000 and $50,000 per document. Van Duyne linked the legislation to allegations of H-1B fraud in North Texas. Her office said Homeland Security Secretary Mullin had confirmed that, as of June, nearly 60 per cent of H-1B employer fraud investigations nationwide were concentrated in the North Texas region. Van Duyne's office also said Labor Department Inspector General D'Esposito visited North Texas in August and found nearly 500 instances of likely H-1B visa fraud in a single building. It said no one answered the door at addresses he visited where an H-1B application had been approved. Those figures were presented by Van Duyne's office and were not contained in the text of the legislation. \"I'm thankful for the Administration's quick response,\" Van Duyne said. \"American workers should not lose opportunities because an employer is willing to break the law to get cheaper labor. If a business decides it makes more economic sense to break the law and kick American workers to the curb, they should feel major pain for undercutting our economy and our hardworking employees.\" The measure is proposed legislation and has not become law. It would have to clear the House and Senate and be signed by President Donald Trump before the higher penalties could take effect."},"img":{"url":"https://images.prismic.io/prad%2Fcf9b726b-0761-4f6a-bef9-41aa90a09c27_h1b+visa.jpg?auto=format%2Ccompress&rect=0%2C54%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-10-06T01:30:00+0000","embed":{"embed_url":null}},"uid":"us-bill-seeks-steep-h-1b-fraud-penalties"}},{"node":{"data":{"title":{"text":"Indian GC backlog stretches past decade"},"content":{"text":"Indian professionals seeking employment-based US Green Cards continue to face waits stretching back more than a decade in key categories, even as the start of a new fiscal year has restored visa numbers and brought some movement, according to the US State Department's October Visa Bulletin.  The sharpest disparity remains in the employment-based second preference, or EB-2, category, widely used by professionals holding advanced degrees or possessing exceptional ability. For applicants chargeable to India, the EB-2 final-action date is November 1, 2013. For most countries, the corresponding date is January 1, 2025. That means the cutoff governing Indian applicants remains more than 11 years behind the date applying to most of the world. The picture is similar in the EB-3 category for skilled workers and professionals. India's final-action date is January 1, 2014, compared with May 15, 2024 for most countries. The dates do not mean that every applicant will wait exactly that length of time. They indicate which priority dates are currently eligible for final action on permanent-residence applications, subject to visa availability and other requirements. There was better news for some Indian applicants at the beginning of fiscal 2027. India's EB-1 final-action date, covering priority workers such as people with extraordinary ability, outstanding professors and researchers and certain multinational executives, moved to February 1, 2023. The October bulletin also restored availability in EB-2 India after the category had become unavailable toward the end of the previous fiscal year because its annual visa allocation had been exhausted. The US State Department said the arrival of fiscal 2027 immigrant visa numbers allowed filing and final-action dates to advance across several categories. But the October numbers illustrate how India's employment-based backlog persists even when a new annual allocation becomes available. The separate \"Dates for Filing\" chart provides somewhat later dates for Indian applicants. Under that chart, EB-1 India stands at July 1, 2024, while both EB-2 and EB-3 India are at January 15, 2015. US Citizenship and Immigration Services determines each month whether applicants seeking adjustment of status inside the United States may use the State Department's Dates for Filing chart rather than the more restrictive Final Action Dates chart. The distinction is significant. A filing date can permit an eligible applicant to submit an adjustment-of-status application, while the final-action date determines when an immigrant visa number is available for the case to be approved. India is one of four countries currently treated as oversubscribed under the US preference-immigration system, along with mainland China, Mexico and the Philippines. The State Department said allocations are made, to the extent possible, according to priority dates. When demand exceeds the available numerical allocation for a country or category, a cutoff date is imposed. Federal immigration law sets numerical limits on employment-based immigrant visas and also places limits on the proportion available to nationals of any single country. The October bulletin says the worldwide employment-based preference level is at least 140,000 annually. The country limits have had an outsized effect on India because of the large number of Indian professionals in the US employment-based immigration pipeline. As a result, applicants from India can remain in temporary immigration status for years while waiting for their priority dates to become current. The Visa Bulletin is issued monthly by the State Department and can move forward, remain unchanged or retrogress depending on demand and the number of immigrant visas available."},"img":{"url":"https://images.prismic.io/prad/6a5229b9-ba41-4fbf-926a-a933bd8f60b1_SU+Greencard.JPG?auto=format,compress"},"datetime":"2026-10-05T15:30:00+0000","embed":{"embed_url":null}},"uid":"indian-gc-backlog-stretches-past-decade"}},{"node":{"data":{"title":{"text":"Hindu temple in US Ohio attacked with bricks"},"content":{"text":"A Hindu temple in Ohio’s Greater Cleveland area was attacked with bricks that shattered windows while priests and devotees were inside, the Coalition of Hindus of North America (CoHNA) said.  COHNA said the attack on the Shree Swaminarayan Hindu Temple Vadtaldham happened Friday afternoon. It did not report whether anyone was injured or specify how many windows were damaged. The organisation urged Richmond Heights Mayor Kim Thomas and city authorities to condemn the incident and called for swift police action. “We call upon Mayor Kim Thomas and @RichmondHtsOH to condemn such bigotry and @PoliceRichmond to take swift action against the perpetrator,” it wrote. The post did not identify a suspect or provide details about arrests. It also did not describe evidence establishing a religious motive. The organisation said the incident came as Hindus in Ohio began celebrating Hindu Heritage Month. It also referred to upcoming Navratri observances. Hindu Heritage Month is observed in October by Hindu community organisations in the United States. CoHNA has warned of rising hate and violence against Hindus in the United States and documented repeated incidents involving temples. Its published chronology includes the vandalism of a Gandhi statue at Shri Tulsi Mandir in Queens, New York, in August 2022 and graffiti at the SMVS Shri Swaminarayan Temple in Newark, California, in December 2023. The chronology records individual incidents rather than establishing a nationwide annual rate of increase. BAPS temples in Melville, New York, and the Sacramento area of California were vandalised in September 2024. In March 2025, the BAPS temple in Chino Hills, California, was defaced with hateful mesaged. The incident followed similar vandalism at its New York and Sacramento temples."},"img":{"url":"https://images.prismic.io/prad/O9EmTfDY0qB_UPfj_Hindutempleattacked.JPG?auto=format%2Ccompress&rect=0%2C31%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-03T02:53:00+0000","embed":{"embed_url":null}},"uid":"hindu-temple-in-us-ohio-attacked-with-bricks"}}]},"videos":{"edges":[{"node":{"data":{"title":{"text":"Scene Movie: Ammo Idi Evarraa Song"},"img":{"url":"https://images.prismic.io/prad/LyWcL53gRX0ndoMP_scenefirstsom%3Dng.JPG?auto=format%2Ccompress&rect=1%2C0%2C716%2C353&w=2028&h=1000"},"datetime":"2026-10-08T13:15:00+0000","third_party_url":null},"uid":"scene-movie-ammo-idi-evarraa-song"}},{"node":{"data":{"title":{"text":"The Traitors Telugu - Official Trailer"},"img":{"url":"https://images.prismic.io/prad/Y9xXfr4w4FhomHIL_tejasajja.JPG?auto=format%2Ccompress&rect=0%2C69%2C449%2C221&w=2028&h=1000"},"datetime":"2026-10-06T12:30:00+0000","third_party_url":null},"uid":"the-traitors-telugu---official-trailer"}},{"node":{"data":{"title":{"text":"JAILER 2 - Official Telugu Trailer"},"img":{"url":"https://images.prismic.io/prad/lP-WEbwlVT5b8X6W_jailer2trailer.JPG?auto=format,compress&rect=0,14,790,390&w=2028&h=1000"},"datetime":"2026-10-05T13:40:00+0000","third_party_url":null},"uid":"jailer-2---official-telugu-trailer"}},{"node":{"data":{"title":{"text":"AK 47: Narayanamma Lyric Video"},"img":{"url":"https://images.prismic.io/prad/h6kW6teka9N2q0tO_Adarshakutumbham.JPG?auto=format,compress&rect=28,0,669,330&w=2028&h=1000"},"datetime":"2026-09-27T19:11:00+0000","third_party_url":null},"uid":"ak-47-narayanamma-lyric-video"}},{"node":{"data":{"title":{"text":"Chiru at SIGMA Pre-Release Event"},"img":{"url":"https://images.prismic.io/prad/nM04eUDZc_Vg0HGy_chiruatsigmaprerelease.JPG?auto=format%2Ccompress&rect=20%2C0%2C578%2C285&w=2028&h=1000"},"datetime":"2026-09-25T18:30:00+0000","third_party_url":null},"uid":"chiru-at-sigma-pre-release-event"}},{"node":{"data":{"title":{"text":"Jailer 2: 'One Sun One Moon' Song"},"img":{"url":"https://images.prismic.io/prad/E4OibyLkghHPq2_K_onesunonemoon.JPG?auto=format,compress"},"datetime":"2026-09-25T08:33:00+0000","third_party_url":null},"uid":"jailer-2-one-sun-one-moon-song"}}]},"editorial":{"edges":[{"node":{"data":{"title":{"text":"25 Years of Seva: Action or Slogans?"},"img":{"url":"https://images.prismic.io/prad/ae9cYcBOoF08xU-u_modi.JPG?auto=format,compress"},"datetime":"2026-10-08T08:10:00+0000","third_party_url":null},"uid":"25-years-of-seva-action-or-slogans"}},{"node":{"data":{"title":{"text":"Nana Patekar: From Actor to Rural Reformer"},"img":{"url":"https://images.prismic.io/prad/iYwEeTCfz77ZrOfY_nana.JPG?auto=format%2Ccompress&rect=0%2C27%2C449%2C221&w=2028&h=1000"},"datetime":"2026-10-08T06:32:00+0000","third_party_url":null},"uid":"nana-patekar-from-actor-to-rural-reformer"}},{"node":{"data":{"title":{"text":"Flydubai Episode: Statecraft or Manufactured Consent?"},"img":{"url":"https://images.prismic.io/prad/xd7ajrzUDtA2tTcS_flydubai.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-10-05T11:55:00+0000","third_party_url":null},"uid":"flydubai-episode-statecraft-or-manufactured-consent"}},{"node":{"data":{"title":{"text":"Captain Machchhar: Courage vs Noise"},"img":{"url":"https://images.prismic.io/prad/ONpaQymA1ABT2ZIL_Machchhar.JPG?auto=format%2Ccompress&rect=0%2C30%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-04T05:41:00+0000","third_party_url":null},"uid":"captain-machchhar-courage-vs-noise"}}]},"gallery":{"edges":[{"node":{"tags":["gallery"],"last_publication_date":"2026-10-04T12:13:25+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/fMOvTQW_BEpfRQAh_shruthi.JPG?auto=format,compress"}},"uid":"shruti-haasan-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-10-04T12:07:55+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/UBpIzIDhP04TaKIc_bhagya2028.JPG?auto=format,compress"}},"uid":"bhagyashri-borse-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-10-03T10:57:06+0000","data":{"title":{"text":"Aishwarya Rajesh New Glam Stills"},"content":{"text":"Aishwarya Rajesh is an Indian actress who works predominantly in Tamil cinema, in addition to a few Telugu and Malayalam films. Aishwarya is a recipient of several awards including two Filmfare Awards South, two Tamil Nadu State Film Awards and six SIIMA Awards."},"img":{"url":"https://images.prismic.io/prad/xdGEw8Wy3a26lX2Z_aishwarya.JPG?auto=format,compress"}},"uid":"aishwarya-rajesh-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-10-02T17:50:37+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/VB0L3OmK91nMSwh0_nabha2028.JPG?auto=format,compress"}},"uid":"nabha-natesh-glam-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-29T11:43:24+0000","data":{"title":{"text":"Nidhhi Agerwal New Glam 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/3ZfRaN9LEK6PhAKU_niddhi2028.JPG?auto=format,compress"}},"uid":"nidhhi-agerwal-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-25T11:18:08+0000","data":{"title":{"text":"Sreeleela Stylish New Stills"},"content":{"text":"Sreeleela is an American actress of Indian origin who primarily works in Telugu cinema. She began her career as a child artist before making her lead debut in the 2019 Kannada film Kiss."},"img":{"url":"https://images.prismic.io/prad/7O8vuvW-nRobKyp8_sreeleela2028.JPG?auto=format,compress"}},"uid":"sreeleela-stylish-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-22T09:21:16+0000","data":{"title":{"text":"Anupama Parameswaran New Pics"},"content":{"text":"అనుపమ పరమేశ్వరన్ ఒక భారతీయ నటి. ఈమె తెలుగు, మలయాళ, తమిళ సినిమాలలో నటించింది.ఆమె భర్త పేరు రాజేష్ గోరువ. ఆమె నటించిన తొలి మలయాళ చిత్రం ప్రేమమ్‌లోని మేరీ జార్జ్, తెలుగు సినిమా శతమానం భవతిలో నిత్య ప్రాత్రలు ఈమెకు మంచి పేరు తెచ్చిపెట్టాయి."},"img":{"url":"https://images.prismic.io/prad/PGeINEpPe90fiQfG_anupama2028.JPG?auto=format,compress"}},"uid":"anupama-parameswaran-new-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-18T12:13:50+0000","data":{"title":{"text":"Ashu Reddy Black Spicy Pics"},"content":{"text":"This is Ashu Reddy, Telugu actress worked in movies and prominently known for BiggBoss3 and also social media influencer and beauty content activist. My videos also include entertainment, knowledge and information in many ways to many people."},"img":{"url":"https://images.prismic.io/prad/314HzBkvs5lFnVwg_ashureddy2028.JPG?auto=format,compress"}},"uid":"ashu-reddy-black-spicy-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-18T10:47:25+0000","data":{"title":{"text":"Anasuya Bharadwaj New 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/ZDW3Te-AlkGuINBe_anasuya2028.JPG?auto=format,compress"}},"uid":"anasuya-bharadwaj-new-saree-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-09-17T17:41:36+0000","data":{"title":{"text":"Payal Rajput Glam Stills"},"content":{"text":"Payal Rajput is an Indian actress who primarily works in Telugu and Punjabi films. She made her film debut with the Punjabi film Channa Mereya, for which she won the Filmfare Award Punjabi for Best Debut Actress. Rajput then made her Hindi film debut with Veerey Ki Wedding."},"img":{"url":"https://images.prismic.io/prad/6rmeRJW-0U0Yxkno_payal2028.JPG?auto=format,compress"}},"uid":"payal-rajput-glam-stills"}},{"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":"2026-05-02T12:20:57+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":"2026-03-29T07:22:02+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"}}]},"one":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"25 Years of Seva: Action or Slogans?"},"content":{"text":"“Pooch rahi hai purshis-e-ahvaal ek khalq-e-khuda basarkashi/aur haakim-e-waqt hai bas naaraa-baazi mein ghum hua jaathaa hai(A nation stands in open rebellion, demanding truths be known/While the King chants empty slogans, safely holding on to the throne) The classic Urdu couplet perfectly captures the eternal tragedy of modern governance. Translating to a stark reality where a nation stands demanding answers while its ruler remains comfortably lost in the echo chamber of empty rhetoric, this poetic wisdom has never felt more alive. As the nation marks 25 years of Seva of India’s Supreme Leader, the political landscape is buzzing with his latest brand-new, shiny mantra: “We will do it” (Hum karke rahenge), wrapped neatly in the grand promise of a Viksit Bharat (Developed India) by 2047. Meanwhile, out in the real world, the youth and the opposition are hitting the streets, desperately demanding answers for the systemic flaws in the SIR (Systemic Institutional Registration) process that allegedly disenfranchised lakhs of citizens. But why fix a broken voting process when you can just drop a fresh marketing campaign? The Supreme Leader’s detractors contend that his reign at the center has been less about policy sheets and more about theatrics in brand management. Borrowing a page straight out of Nike’s playbook, substituting \"Just Do It\" with a defiant \"We Will Do It\", he has perfected the art of the political punchline. When the historic textbook of this era is eventually written, it won’t be neatly categorized by tedious fiscal quarters or measurable economic indices, but rather by its dazzling marketing phases. Sloganeering has evolved into the ultimate weapon of mass distraction, a psychological sleight of hand ensuring that whenever the public starts looking down at the crumbling ground beneath their feet, they are suddenly ordered to look up at a shiny new billboard. It all began with the initial hook of “Acche Din”, a vague, utopian promise that proved highly effective until the promised prosperity failed to materialize, at which point the narrative bypassed accountability altogether to stage a brilliant rebrand. Enter Amrit Kaal, the celestial \"Golden Era\" conveniently deployed just as the present reality grew grim with rising inflation and youth unemployment, effectively reframing immediate economic hardship as an auspicious period of noble sacrifice for a future reward. This relentless manufacturing of an aura relies heavily on promises of prosperity, strength, and protection, all packaged neatly within these rhetorical slogans. Whenever the leader finds himself backed into a corner by inconvenient dissent over policy failures, the narrative effortlessly pivots, redirecting public anger toward external enemies or vulnerable minorities. Slogans of retaliation cleverly supply the grand spectacle of a resolute, unyielding leadership, while religious polarization provides the actual domestic fuel for electoral advantage. Thus, the very leader who failed to deliver the long-promised “Achhe Din” smoothly transitions from an accountable statesman to a mystical oracle or a man with divine powers, asking the public to trust him as the only messiah capable of delivering an elusive paradise in the distant future. Now, he has delivered his ultimate post-dated check with “Hum Karke Rahenge” and the grand vision of Viksit Bharat 2047, masterfully pushing the deadline for prosperity so far into the future that it completely immunizes him against immediate performance audits. In other words, the leader masterfully directs the public to fixate on a glorious future while lecturing them on a flawed past, ensuring they remain perfectly distracted from the painful present. Consequently, if you dare to complain about a broken institutional process today, you are simply dismissed as a cynic who lacks the patriotic foresight to see the glory awaiting everyone in 2047. This relentless coining of slogans is not merely a linguistic quirk; it is a display of overwhelming executive power. It possesses all the trappings of an emperor’s realm, where the ruler has the unilateral power to bend the national conversation to his whims and fancies. When youth, activists, and ordinary citizens line up to ask tough questions about systemic institutional failures, disenfranchisement, or economic distress, they are not met with press conferences or data-backed rebuttals. Instead, they are met with a wall of sound, a deafening chorus of new acronyms, state-sponsored celebrations, high-decibel campaigns, or labels painting the dissent as “Dimagi Naxals”. The ultimate triumph of this mass-communication technique is its ability to deafen. The Supreme Leader no longer needs to hear the anguished murmurs of an impoverished populace or the anger of a frustrated Gen Z. Why look at the potholes on the road when you can focus on the distant glitter of 2047? In the end, India’s political machinery has proven that you don’t actually need to solve problems to stay in power. You just need a better copywriter than the opposition. As the ruler chants his empty slogans from the safety of his throne, the public is left holding onto the hope that someday, the rhetoric of sloganeering will stop, and governance will finally begin. In a nutshell, the latest slogan, “We will do it,” subtly punctures the grand rhetoric of Amrit Kaal or the so-called hyperbole around the country becoming the world’s fourth economic power by inadvertently suggesting that substantial progress has yet to materialize and whatever claims made thereof were mere lies. By framing achievement as a distant, future promise, the tagline ironically echoes the famous Cadbury 5 Star marketing campaign, “Eat 5 Star. Do nothing”, leaving the public to wonder if years of ambitious declarations have simply yielded a period of prolonged inaction."},"img":{"url":"https://images.prismic.io/prad/ae9cYcBOoF08xU-u_modi.JPG?auto=format,compress"},"datetime":"2026-10-08T08:10:00+0000","embed":{"embed_url":null}},"uid":"25-years-of-seva-action-or-slogans"}}]},"two":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"Nana Patekar passes away"},"content":{"text":"Veteran actor Nana Patekar, one of Indian cinema’s most celebrated performers, has passed away at the age of 75 in Goa.  An official confirmation from the Manipal hospital, Goa, stated that the actor was found unconscious at his Dona Paula - Goa residence and was rushed to the hospital. Doctors declared him brought dead. The acclaimed actor, known for his powerful performances across Hindi and Marathi cinema, leaves behind a remarkable body of work spanning over four decades. Born Vishwanath Patekar on January 1, 1951, in Maharashtra, Nana Patekar established himself as an actor known for his intensity, dialogue delivery and ability to portray complex and unconventional characters. For the uninitiated, he made his Hindi film debut with Gaman in 1978 and went on to become one of the most respected performers of his generation. Nana’s breakthrough came with films such as Salaam Bombay! and Parinda. He went on to deliver powerpack performances in films including Angaar, Tirangaa, Krantiveer, Agni Sakshi, Khamoshi: The Musical, Yeshwant, Ab Tak Chhappan, Apaharan and Raajneeti. The legendary actor was equally recognised for his work in Marathi cinema and theatre. He also ventured into filmmaking and made his directorial debut with Prahaar: The Final Attack in 1991. His comic performance as Uday Shetty in the Welcome franchise went on to become a rage, especially amongst the younger generation of audiences. Among his other notable films are Raju Ban Gaya Gentleman, Wajood, Hu Tu Tu, Gang, Deewangee, Bhoot, Welcome, Welcome Back, Natsamrat and The Vaccine War, among several others. Nana Patekar was also a recipient of the Padma Shri, awarded to him in 2013 for his contribution to cinema and the arts. During his fine career, he won three National Film Awards and many other prestigious honours. Beyond cinema, the star was known for his association with social causes, particularly his efforts to support farmers and families affected by agrarian distress He maintained a relatively private life away despite being one of the industry's most recognisable faces."},"img":{"url":"https://images.prismic.io/prad/aBXRCbXTa9BF5XMe_nanapatekar.JPG?auto=format%2Ccompress&rect=0%2C54%2C450%2C222&w=2028&h=1000"},"datetime":"2026-10-08T02:20:00+0000","embed":{"embed_url":null}},"uid":"nana-patekar-passes-away"}}]},"three":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"US suspends green card route for 8 tech firms"},"content":{"text":"The Trump administration on Thursday announced the suspension of a key employment-based green card process for eight major technology and outsourcing companies, including India's Infosys, Tata, Wipro and HCL, as Vice President JD Vance launched a sweeping crackdown on alleged visa fraud. The action also covers Cognizant, Capgemini, Microsoft and Adobe. It prevents the companies from filing new permanent labour certification applications and halts the processing of pending applications under the programme. US Labour Secretary Keith Sonderling announced the decision at a press conference led by Vance, saying the action followed ongoing criminal and federal investigations. \"Due to ongoing criminal investigations led by the Department of Labour's Inspector General Anthony DiEsposito, who will get into this shortly, I am hereby suspending from the Permanent Labour Certification Program some of the largest IT outsourcing firms in the world, Cognizant, Infosys, Tata, Wipro, HCL, and Capgemini,\" Sonderling said. He added that Microsoft and Adobe were also being suspended because of multiple active federal investigations. \"We will not accept or process any pending permanent labour certification applications involving these companies,\" he said. The Permanent Labour Certification programme, commonly known as PERM, is a crucial step for many employers seeking employment-based permanent residence for foreign workers. Sonderling said the companies named in the action had collectively requested nearly three million foreign workers since 2009. They had received more than 230,000 H-1B visa approvals and over 100,000 permanent labour certifications, according to figures he presented. The administration did not release company-specific findings or details of the alleged violations during the press conference. Vance accused employers of using the H-1B programme to replace American workers with lower-paid foreign employees. \"The H-1B visa program is meant to allow companies to bring in really the best of the best from outside the United States of America for positions that are completely impossible to fill with American workers,\" he said. He singled out Microsoft, alleging that the company had laid off 6,000 American workers while benefiting from 6,300 H-1B visas and nearly 3,000 green cards. Vance said the administration wanted companies to change their hiring practices rather than leave the American market. Asked whether the suspension was temporary or permanent, he said, \"The suspension of PERM is gonna last as long as it needs to.\" He added that the administration had tools to continue the suspension indefinitely but wanted companies to improve their behaviour. The Justice Department also announced that it was actively investigating companies suspected of favouring foreign workers over Americans. Attorney General Todd Blanche said criminal prosecutions and civil lawsuits were among the possible enforcement measures. The announcement could have significant implications for Indian technology professionals and outsourcing companies operating in the United States. Indian IT companies have long relied on employment-based visa programmes to deploy skilled professionals to American clients. The H-1B programme permits temporary employment in qualifying specialised occupations, while permanent labour certification is part of a separate process through which employers may sponsor workers for permanent residence. The suspension announced Thursday concerns permanent labour certification applications involving the named companies. It does not, by itself, establish the cancellation of existing H-1B visas or green cards."},"img":{"url":"https://images.prismic.io/prad/G4uza2k8K2TNO42n_techgaintsGC.JPG?auto=format%2Ccompress&rect=0%2C5%2C941%2C464&w=2028&h=1000"},"datetime":"2026-10-08T14:59:00+0000","embed":{"embed_url":null}},"uid":"us-suspends-green-card-route-for-8-tech-firms"}}]},"four":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"Nani Opens Up on 'The Paradise' Backlash"},"content":{"text":"Following the mixed reviews that greeted the release of 'The Paradise,' actor Nani has candidly addressed the film's shortcomings, suggesting that greater time for editing and scoring could have significantly enhanced its narrative coherence. In an interview with The Hollywood Reporter, India, Nani expressed the team's dilemma: after multiple delays, they ultimately decided to stick to the film's third release date to meet the fervent expectations of their audience. The pressure to deliver after prolonged anticipation played a crucial role in their decision-making process, highlighting the delicate balance filmmakers must maintain between artistic integrity and audience demand. Nani reflected on how the rushed timeline affected the film's final product, particularly the editing and background score. \"More things would have made sense narratively with the edit and the score, if we had more time. We could've smoothened it out,\" he shared. This observation underscores a common challenge in the film industry—how external pressures can stifle creative expression. Despite acknowledging these issues, Nani noted the uncertainty in determining whether a delay could have altered the film's reception, stating, \"We could've made all of that better, but we'll never know, I guess.\" The actor's introspection extends to the film’s director, Srikanth Odela, whose ambitious vision may have faltered under the weight of high expectations. Nani pointed out that as the scale of 'The Paradise' expanded, the focus shifted from storytelling to the grandiosity of set pieces, resulting in a disconnect within the narrative. Such insights reveal the complexities inherent in filmmaking, where the initial artistic vision can become diluted amid logistical challenges and audience demands. Despite the criticisms, Nani lauded Odela’s originality, emphasizing his wealth of ideas. However, he also recognized that the intricate stitching together of these elements may have led to a compromise in the film’s overarching narrative. \"He's a very, very original guy. He has a lot of ideas, but after stitching them together, his bigger vision somewhere got a little diluted,\" Nani elaborated. This candid reflection not only sheds light on the creative process behind 'The Paradise' but also serves as a broader commentary on the film industry’s often relentless pace, which can sometimes overshadow the art itself."},"img":{"url":"https://images.prismic.io/prad/0DKjDkbXD6pJFzpz_nani.JPG?auto=format%2Ccompress&rect=0%2C9%2C1280%2C631&w=2028&h=1000"},"datetime":"2026-10-08T09:42:00+0000","embed":{"embed_url":null}},"uid":"nani-opens-up-on-the-paradise-backlash"}}]},"five":{"edges":[]},"review":{"edges":[{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: ‘Don’t Trouble the Trouble’"},"content":{"text":"When a film carries the backing of a filmmaker as influential as S.S. Rajamouli, expectations automatically rise. ‘Don’t Trouble the Trouble’ arrived with considerable attention, presented by Rajamouli and produced by his son S.S. Karthikeya. The promotional campaign also received a boost from NTR’s presence at the pre-release event and Mahesh Babu’s positive social-media response.  With Fahadh Faasil leading the cast and an intriguing fantasy premise at its core, the film created curiosity before release. Unfortunately, the final product struggles to translate that promise into an engaging theatrical experience. Story: The film revolves around Suri (Fahadh Faasil), an ambulance driver whose obsession with money has pushed him far away from basic human values. He is willing to cross almost any line if there is money involved. One decision made in pursuit of financial gain eventually turns his life upside down. Parallelly, Divya (Sara), a young girl who mysteriously acquires supernatural abilities, sets out on a journey to find her missing parents. What exactly does Suri do that changes the course of his life? How does Divya acquire her supernatural powers? What happened to her parents? And under what circumstances do Suri and Divya cross paths? These questions form the foundation of the story. The basic concept has enough potential for an entertaining fantasy adventure, but the film's execution fails to extract the maximum impact from the premise. Performances: Fahadh Faasil is undoubtedly one of the film's biggest strengths, but surprisingly, the screenplay does not provide him with enough material to deliver the kind of performance audiences may expect from him. After his appearance in ‘Pushpa’, there was considerable curiosity about whether this film would give Fahadh a stronger platform to showcase his range. Instead, his character is largely presented as a petty thief and cheat whose motivations revolve around money. There is an expectation that his character will become more layered after meeting Divya, but even the subsequent portions offer limited opportunities for Fahadh to truly dominate the screen. He performs his role with his usual natural ease, yet the character itself remains underwritten. The film ultimately feels like a missed opportunity for an actor of his calibre. Sara, meanwhile, makes a strong impression despite her age. Her character demands emotional shifts, lengthy dialogues and a range of expressions, and she handles those requirements effectively. Her screen presence adds some freshness to the narrative. The supporting cast, including Saurabh Sachdeva, Mahesh Manjrekar and Subbaraju, deliver performances that are adequate for their respective roles. Technical: The central idea chosen by director Shashank Yeleti is certainly interesting. A story combining an unlikely protagonist with a child possessing supernatural abilities could have developed into a fun fantasy entertainer. The major problem lies in the screenplay. Instead of building momentum around the unusual premise, the film repeatedly settles for routine scenes and predictable developments. Several sequences can be anticipated well before they unfold, which takes away much of the excitement. The narrative lacks the rhythm required to sustain a fantasy-driven story, and the director's storytelling gradually loses focus. The music by Kaala Bhairava does not leave much of an impression, while even the background score fails to provide the required elevation during crucial moments. The cinematography is passable, but the editing could have been considerably tighter. Both the first half and second half contain sequences that feel unnecessarily stretched, resulting in a slow and occasionally tedious viewing experience. Production values are decent, but the technical presentation never manages to compensate for the weaknesses in the writing. Analysis: The biggest disappointment is the gap between the film's intriguing premise and its execution. With Rajamouli presenting the project and Karthikeya serving as one of the producers, the film entered theatres carrying considerable expectations. The concept may have initially appeared exciting on paper, but the screenplay needed much stronger treatment to transform that idea into a compelling theatrical product. Fahadh Faasil is an actor capable of elevating even a relatively simple character, yet the writing here restricts him considerably. His character has limited depth, and the film does not fully exploit the potential of the actor-protagonist combination. The relationship between Suri and Divya could also have formed the emotional heart of the movie, but that opportunity is not explored with sufficient strength. The film might have worked better had the screenplay embraced its fantasy elements with more humour, adventure and emotional warmth. A more entertaining treatment could potentially have made it accessible to both children and adults. Instead, it occupies an uncertain middle ground. Apart from a few emotional moments, occasional comedy and some fantasy sequences, there is little that sustains the excitement. Plus Points: Fahadh Faasil’s performance Fantasy elements Climax Sara’s performance Minus Points: Predictable screenplay Weak execution Direction Music and background score Lengthy sequences Verdict: ‘Don’t Trouble the Trouble’ starts with an interesting fantasy idea but struggles to turn that concept into a consistently engaging film. Fahadh Faasil and Sara provide some watchable moments, while the fantasy portions and climax offer glimpses of what the movie could have been. However, a predictable screenplay, uneven pacing and underutilised characters ultimately dominate the experience. Final Word: For those who go looking for entertainment, the film unfortunately offers more trouble than the title promises to avoid. Banner: Arka Media Producers: Shobu Yarlagadda, Prasad Devineni, S.S. Karthikeya Director: Shashank Yeleti Music: Kaala Bhairava Cast: Fahadh Faasil, Sara Falekar, Saurabh Sachdeva, Mahesh Manjrekar, Subbaraju and others"},"img":{"url":"https://images.prismic.io/prad/bqNucWhmNWKKQiVy_DTTT.JPG?auto=format,compress"},"datetime":"2026-10-02T08:16:00+0000","embed":{"embed_url":null}},"uid":"review-dont-trouble-the-trouble"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'The Paradise'"},"content":{"text":"After delivering a major success with Dasara, director Srikanth Odela reunited with Nani for The Paradise, a film that arrived with enormous expectations. The project generated considerable buzz from the beginning, not only because of the successful director-actor combination but also because it reportedly became the first Nani film to cross the ₹100-crore mark in theatrical business.  With a period backdrop, a socially rooted storyline and an intense transformation in Nani’s appearance, the film promised something much bigger than a conventional action drama. Unfortunately, the final product struggles to translate that ambition into compelling cinema. Story: Set against a historical backdrop, The Paradise revolves around a community that continues to remain trapped in oppression even after Hyderabad and Telangana move beyond the era of Nizam rule. The fictional Paradise settlement is controlled for generations by the Malik family, who treat the local population as little more than slaves while denying them even the basic dignity of identity and recognition. Sammakka, played by Sonali Kulkarni, becomes one of the voices challenging this system. Her son Jadal, portrayed by Nani, is forced into a difficult life at a very young age and eventually lands in prison. When he returns, his personal journey becomes intertwined with the larger fight of his community. The central question is whether Jadal can break the cycle of oppression and secure the identity his people have been denied for generations. The premise has considerable potential, but the screenplay fails to extract the emotional and dramatic weight from it. Performances: Nani once again attempts to step outside his familiar image. His distinctive appearance, particularly the long-haired look designed for Jadal, immediately catches attention. Following his striking transformation in Dasara, expectations were naturally high for another unconventional portrayal. Nani carries the rugged appearance convincingly and performs the physically demanding action sequences with commitment. However, the character is written largely around aggression and action, leaving limited room for the actor to explore emotional depth. The film occasionally introduces sentimental moments, but they are not developed strongly enough to create a lasting impact. Mohan Babu plays Malik, a character that was heavily discussed before the film's release. Despite being positioned as a crucial figure in the narrative, the character receives surprisingly limited dramatic weight. Raghav Juyal also makes an impression in the space given to him, but his character is brought to an abrupt end instead of being developed into a stronger force within the story. Sonali Kulkarni's character is central to the film's larger theme, yet the screenplay doesn't provide her enough material to make the emotional struggle truly resonate. Kayadu Lohar's role is largely confined to the romantic and glamour elements. Sampoornesh Babu appears in a supporting part with barely enough dialogue to make an impression. Even the numerous experienced actors in the cast are unable to leave a strong mark because the writing does not give their characters sufficient substance. Technical: Anirudh Ravichander's involvement naturally raised expectations, particularly for the background score. While the music works in isolated stretches, the background score often becomes excessively loud rather than enhancing the emotional intensity of the scenes. A couple of songs stand out, but the soundtrack as a whole does not deliver the impact one might expect from a project of this scale. The cinematography does reasonably well in recreating the period atmosphere. The production design and visual detailing help establish the harsh world in which the characters live. The film carries considerable production value, and the scale is visible on screen. The biggest problem, however, lies in the writing and execution. Srikanth Odela appears to have had a strong central idea but struggles to turn it into a cohesive screenplay. The dialogue, scene construction, pacing and transitions frequently lack the required sharpness. Editing issues further affect the flow, making the lengthy narrative feel more exhausting than immersive. Plus Points: Nani's rugged transformation and performance Kayadu Lohar's presence The pre-interval sequence Production design and period atmosphere A few effective action moments Minus Points: Weak screenplay Underdeveloped characters Uneven pacing Excessive action Limited emotional impact Editing issues Underutilisation of senior actors Analysis: At its core, The Paradise is built around a potentially powerful idea: the fight of an oppressed community for recognition and dignity. The problem is that the film rarely develops this idea with the depth it deserves. Instead of building the characters and their conflicts gradually, the narrative repeatedly falls back on large-scale action and heightened moments. The influence of films such as KGF and Salaar can be felt in the treatment, particularly in the attempt to create a larger-than-life world populated by powerful factions and brutal action. But where those films built their worlds around stronger character motivations and narrative momentum, The Paradise struggles to establish the same emotional connection. The action sequences are undeniably aggressive, but intensity alone cannot compensate for weak storytelling. Several sequences appear designed primarily to shock rather than organically emerge from the story. The violence frequently moves away from realism, while the emotional scenes fail to generate the intended response. The film also introduces powerful-looking antagonists, only to gradually reduce their importance. This weakens the central conflict because the protagonist never gets a consistently formidable opposition. Even the effort to add political and historical references appears more like an attempt to generate additional buzz than something organically integrated into the screenplay. Nani gives the role everything he can, but the performance ultimately depends heavily on the material provided to him. The film clearly wants to present Jadal as an iconic figure, yet the writing does not sufficiently establish the emotional journey necessary to make that transformation convincing. Final Verdict: The Paradise begins with an interesting idea and a promising world, but struggles to turn that foundation into a satisfying cinematic experience. The gap between the film's promotional build-up and the actual content becomes difficult to ignore as the story progresses. Nani's commitment and the film's scale are evident, but they cannot fully compensate for an underdeveloped screenplay and inconsistent execution. What could have been a hard-hitting story about identity, dignity and resistance instead ends up feeling like an action-heavy film searching for an emotional core."},"img":{"url":"https://images.prismic.io/prad/gykUOtmdxL0XVM2y_TheParadise.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-23T20:38:00+0000","embed":{"embed_url":null}},"uid":"review-the-paradise"}},{"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"}}]}},"pageContext":{"isCreatedByStatefulCreatePages":true}}