
Suriya's Etharkkum Thunindhavan director breaks silence on film's box office failure: ‘It didn't connect, I take responsibility'
Pandiraaj on Suriya not surpassing Etharkkum Thunindhavan's Box Office revenue
Talking with Cineulagam, director Pandiraaj said, 'Suriya fans lament that I didn't give a hit to him, but have to every other actor I worked with. That's not true. I worked the hardest for Etharkkum Thunindhavan for three years during the COVID-19 pandemic. But, it didn't work out, and it's not in our hands.'
'I gave a big hit for Karthi with Kadaikutty Singam. I wanted to give a bigger hit for his brother Suriya with Etharkkum Thunindhavan. It didn't connect. I take responsibility. There were mistakes, I agree. But one can't dismiss saying that I didn't work hard for the film,' the filmmaker added.
Pandiraaj continued that even though the film did not do as expected in theaters, the producers were happy with the numbers they got. Continuing his words, the director highlighted how Suriya's films after ET did not perform well at the box office.
The Thalaivan Thalaivii director said, 'The films that came after Etharkkum Thunindhavan didn't surpass its collection. One can ask anyone in the trade. It's the truth. But we can't go around propagating that. Indeed, the two films that came after that didn't come close to Etharkkum Thunindhavan's collection.'
Suriya's previous works
Following the release of Etharkkum Thunindhavan in 2022, Suriya has subsequently worked in 2 films, namely Kanguva and Retro.
Kanguva, directed by Siva, was a much-hyped venture, with the actor spending close to 2 years on the film. The period epic flick tanked at the box office and received mixed-to-negative reviews.
Following the movie's failure, the actor appeared in the movie Retro, directed by Karthik Subbaraj. The romantic actioner with Pooja Hegde received generally positive reviews and is considered an above-average venture at the box office.
Suriya is next set to appear in the movie titled Karuppu, directed by RJB (RJ Balaji). The action entertainer has Trisha Krishnan as the female lead and is expected to release this year.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
2 hours ago
- Time of India
For the time being, for all of us
As curator of the sixth Kochi-Muziris Biennale, Nikhil Chopra faces a formidable task: restoring the dynamism of the international art event, which had diminished post-Covid. He promises a 'blood and bones, skin and flesh, mud and stick' edition—low on screens and tech, rich in tactile materials. The Biennale will feature more women artists than men, and Chopra, one of the country's leading durational performance artists, states that there is no avoiding politics. Excerpts from an interview: You are one of the few endurance performance artists in the world who has performed in Kochi Biennale in 2014. In Kerala, we have ancient traditional art forms like Theyyam, where the performer endures intense physical pain before transcending into a divine state. As an artist who interweaves different art forms, how would you describe a duration performance? A durational performer creates a situation, goes through trauma and pain and emerges from it to express oneself. In this process, the art itself is taken to a different level. It breaks the conventions of what an art exhibition is expected to be. You have to break the white walls and make them disappear. Theyyam is an art form on an entirely different level; I can't even describe the experience of watching it. While performing, endurance and trauma form the very foundation of the work. Art gives us the opportunity to engage with pain, pleasure, joy, or melancholia — using these emotions as material to complete the work. What we experience as trauma often leads to transformation. One has to pass through this channel of incineration and what emerges on the other side is a better version of yourself. You should be able to transcend the ordinary and discover an extended you — a super-you! Of course, the presence of an audience is very important. It's about anticipation and desire. In the long-duration performance I did in Mumbai in 2007, I created a 5,000 sq ft skyline of the city — a 72-hour performance. I don't even know where the energy came from. During that time, I endured pain and trauma, but I was able to draw every significant building in the landscape. I had a camera placed on top of the building, which worked like a telescope to give me a 360-degree view of the city, and I used that image as the reference for the drawing. A lot of preparation goes into these performances. I even dress up in costume to embody the character. In Mumbai, I had transformed myself into Queen Victoria. I rode on that experience and built a career on it. At the Kochi Biennale, I presented a 60-hour performance. I imprisoned myself in one of the rooms in the Director's Bungalow. I started by painting the walls black and then added white stripes to give the feeling of being inside a prison. Through whatever I could see from the windows of Aspinwall House, I painted those scenes into the white spaces of the stripes. I kept wondering what lay beyond those walls. Eventually, I staged an escape from the prison—as a Spanish conquistador, a Vasco da Gama-like figure. I depicted him weeping as he escaped, disappearing into the distance while waving a red handkerchief. It was almost like demanding an apology from the colonizers—for what they had done and for all they had taken from us. How has your journey been from participating as an artist in the 2014 Kochi Biennale to taking on curatorial role for the 2025 edition? I'm not a newcomer to Kochi. My engagement with this town goes back decades — beginning with a brief but vivid encounter when I was seven years old. I studied at Bharatiya Vidya Bhavan school after my father was posted here as the manager of Grindlays Bank in the late 1970s. Moving from Shimla to Kochi was a cultural shock. It was the first time I had seen crows. At school, children came without shoes and we ate meals served on a thali with round rice and sambar. Years later, I returned to Kochi, this time as an invited artist. More recently, I came back as part of HH ArtSpace, which I run with my partners, to curate a project featuring nine live artists from South Asia. This time, I return in a different role — jointly curating the Kochi Biennale, in collaboration with HH ArtSpace. How many artists are part of this edition? Have local artists also been invited? We have a total of 70 artists participating — 30 international, 30 national and 10 from Kerala. Among the international artists, a significant number is from South Asia. In addition, 28 artists are currently doing site visits. What makes this group particularly interesting is that many of them have never travelled outside their home countries and some are visiting India for the first time. I've intentionally reached out to artists who don't need to be pre-empted — those who will respond instinctively to the patina on the walls, who won't be troubled by debris, a falling roof, or damage on the surfaces. We've managed to get them genuinely excited about being part of the Biennale. We sent out 70 invitations, thinking we might hear back positively from 60. But to our surprise, every single artist said yes. The Biennale holds a special place in their hearts because it's rooted in the geopolitics of Kochi — in a region like Kerala, where people are deeply engaged with politics, and where public opinion matters. When you bring work to this place that is politically charged, you know you will get to hear opinions. You don't have an exhibition of this calibre, significance or ambition anywhere else in this region — not in India, Pakistan, Bangladesh, or Sri Lanka. The Kochi Biennale Foundation will be announcing the list of participating artists soon. Many of the Indian artists we've invited have never exhibited before — we've gone deep into the interiors of the country, far from the big Metros, to find fresh voices. We also have more women artists than men this year, many of them working from places like Baroda, Chandigarh, and from marginalized communities. We're also giving significant space to artists from Kerala. One of the most renowned artists will be exhibiting in the same space as a young Malayali woman artist. Similarly, international artists will be placed alongside local ones. I'm deeply interested in creating these kinds of dialogues. Why did you choose 'For the Time Being' as the title for this edition? We just played on the word. Art is a physically fleeting and intoxicating experience. Kerala is abundant and ecologically explosive. If you throw something, it grows. Forests have flourished and you have a colonialization that grew on pepper. To what extent will political themes be explored in this edition of the Biennale? We don't want to be didactic or serve it to you. At the same time, we do not want to shroud everything in mystery. Our aim is to make the experience readable, immersive, physical, and intellectually engaging. We are artists — we use our material to express our politics. I don't invite artists based solely on the political positions they hold. We are interested in their social commitment. This edition includes voices from places like Kyrgyzstan, Sulaymaniyah and Palestine — regions marked by complexity and struggle. Art wants to generate dialogue. We can use its framework to navigate difficult conversations. But we want you to get there, rather than forcing the narrative. We're not going to serve you a cup of tea and say, 'Let's talk about Palestine.' Instead, we aim to create a safe space where you feel comfortable discussing politics and having difficult conversations. In today's climate of political backlash and online attacks—often leading to censorship of artistic expression, whether in art or cinema—do you believe in the idea of self-censorship? What seems to be poetic is often political — there's no running away from politics. I am ready to do whatever it takes to defend the artists I'm bringing to the Biennale. Art holds a mirror to the world. If you don't like what you see, that's not the artist's fault. At the same time, it's essential to understand the parameters within which we're working. Self-censorship is extremely important for the artist to know where the canvas ends, and the wall starts. As an artist do you have to draw your boundaries? The success of the Biennale lies in all of us coming out better than we went in. I trust we cannot do a Biennale anywhere else in this region. There is no place more open or liberated than Kochi for such an I speak to artists, I don't drive socio-political points to them. But I do make them aware of the contexts and complexities we face in India. I'm not calling artists who will take to the streets with protest banners. I'm inviting those who might choose to sing a song in their studio when they're feeling to do so. It's up to you, the audience, to connect it with Gaza, Africa, South America, or North America. It is a mess—we live in a political mess. And yet, most of the artists are speaking a language of love, camaraderie and friendship. When the Biennale first launched in 2012, it was embraced by the local community as something of their own—a source of pride and ownership. Do you still feel that same sense of connection and local engagement today? While walking through the streets or doing site visits, it brings me great joy to tell people that we're part of the Biennale. We make it a point to say we're not tourists — we invite them to be part of the event. At every shop and café, the Biennale is seen as a baton of hope. There's genuine anticipation because livelihoods are linked to it; it boosts local businesses and the economy. You can clearly see that the Biennale has become an integral part of the city. Did you face any budgetary constraints and did they affect the scope or scale of the Biennale? This is a blood and bones, skin and flesh, mud and stick Biennale. There will be very little digital and video work and less reliance on high-end tech. This is a Biennale of metal, wood, mud, earth, terracotta, textiles, tactile materials. I think the eight lakh people coming to Biennale will connect with the artists. Money is important and I have had to do the brutal work of saying 'No'. But behind every 'No', is a larger 'Yes' We have had hitches and regrets , but it is important to focus on success and strengths. Is there still uncertainty about whether Aspinwall will remain the main venue for the Biennale? We've identified 15 venues for the Biennale, and Aspinwall is one among them. However, final discussions are still under way and a decision is expected soon. That said, we're excited about the inclusion of several new venues this year. We've been conservative with the number of sites due to budget considerations, but I wouldn't call this a smaller Biennale. There's a great deal of physicality and volume in the works and the experiences will be deeply engaging. There is a criticism that art is for the intellectual elite? Do we need art literacy? People already have a kind of art literacy—whether it's through traditions like rangoli, pookkalam, or the incredible makeup and ritual of Theyyam. Someone from Finland may not fully grasp the context of Theyyam, but they will still understand the art. I think it's a bit condescending to assume people need art to be explained to them. To me, there's no such thing as a truly 'white' space. Every space is alive and constantly evolving. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.


Time of India
4 hours ago
- Time of India
WWE Summer Slam 2025 US, UK, Saudi Arabia, India Timings, Full Match Card, Streaming Options, and More
Image via WWE: SummerSlam 2025 Official Poster The biggest party of the summer is back, and it is bigger than ever! WWE SummerSlam 2025 is set to make history with its first-ever two-night format, following in the footsteps of WrestleMania. The 38th edition of the premium live event will take place at the iconic MetLife Stadium in East Rutherford, New Jersey, on August 2 and 3. MetLife has previously hosted major events like WrestleMania 29 and 35, and now adds this historic SummerSlam to its resume. This year's card is stacked, with six matches scheduled for each night and major WWE superstars like John Cena , Cody Rhodes , CM Punk, and Rhea Ripley all set to compete. SummerSlam 2025 also marks the fourth time the event has been held in East Rutherford, following previous editions in 1989, 1997, and 2007. SummerSlam 2025: Global Start Times and Streaming Details for US, UK, Saudi Arabia, and India UK - Both nights of SummerSlam will kick off at 1:00 AM BST. Night 1 on Sunday, August 3, and Night 2 on Monday, August 4. The event will stream live on Netflix as part of WWE's historic £4 billion, 10-year deal with the platform. United States - In the United States, SummerSlam begins at 6:00 PM ET / 3:00 PM PT on both nights. A three-hour pre-show will kick off the festivities starting at 3:00 PM ET, streaming live on Peacock and WWE's official social channels (YouTube, Twitter, and Facebook). The main card will then stream exclusively on Peacock Premium or Premium Plus. Saudi Arabia - Fans in Saudi Arabia can catch all the action live on Netflix starting at 9:00 PM AST on both nights. I ndia - In India, SummerSlam 2025 will be live-streamed on Netflix, with the main card starting at 3:30 AM IST on Sunday, August 3, and Monday, August 4 (early morning local time). SummerSlam 2025: Complete Match Card Revealed for Both Nights August 2 (Night 1) World Heavyweight Championship: Gunther (c) vs. CM Punk WWE Women's Tag Team Championship: Raquel Rodriguez & Roxanne Perez (c) vs. Charlotte Flair & Alexa Bliss Randy Orton & Jelly Roll vs. Drew McIntyre & Logan Paul Roman Reigns & Jey Uso vs. Bron Breakker & Bronson Reed WWE Women's Championship: Tiffany Stratton (c) vs. Jade Cargill Sami Zayn vs. Karrion Kross August 3 (Night 2) Undisputed WWE Championship – Street Fight: John Cena (c) vs. Cody Rhodes WWE Tag Team Championship – TLC Match: Wyatt Sicks (Dexter Lumis & Joe Gacy) (c) vs. #DIY vs. Street Profits vs. Motor City Machine Guns vs. Fraxiom vs. Andrade & Rey Fenix United States Championship – Steel Cage Match: Solo Sikoa (c) vs. Jacob Fatu Women's Intercontinental Championship – No DQ/No Countout: Becky Lynch (c) vs. Lyra Valkyria Women's World Championship – Triple Threat: Naomi (c) vs. IYO SKY vs. Rhea Ripley Intercontinental Championship: Dominik Mysterio (c) vs. AJ Styles How to Watch and Stream SummerSlam 2025 Live Around the World? SummerSlam 2025 marks a major shift in WWE broadcasting. For the first time, the event will stream live on Netflix in most international markets, following the WWE Network's integration with the platform in January 2025. In the U.S., fans can watch exclusively on Peacock, while a few remaining countries with existing WWE Network contracts will transition to Netflix once those deals expire. Also read: Hulk Hogan's daughter Brooke Hogan is returning to her music career following WWE icon's passing In addition to traditional pay-per-view, WWE has also partnered with Fandango to bring SummerSlam to the big screen. The 2025 edition will be shown exclusively in select Regal Cinemas, with plans to expand to more theater chains for future events. For real-time updates, scores, and highlights, follow our live coverage of the India vs England Test match here. Catch Rani Rampal's inspiring story on Game On, Episode 4. Watch Here!


Hans India
5 hours ago
- Hans India
Gargi Kundu opens up about facing harsh comments on her skin and identity
Actress and content creator Gargi Kundu has opened up about the harsh criticism she has faced over the years. She revealed that she was often mocked for her skin tone, appearance, and identity. Speaking candidly, she shared how these experiences shaped her journey and strengthened her resolve. Gargi, who is known for her role in the show 'Society' on Jio Hotstar, shared, 'I was mocked for my looks every day. People called me 'behenji', said my specs were too big, and even made fun of my skin colour. It hurt—but I never let it define me.' 'It felt like I was being judged for just being myself. I wear my glasses with pride. I love my skin. And I'm not here to meet someone else's standards,' she asserted. The actress shared life inside the society house wasn't any easier for Gargi. For the unversed, Gargi Kundu began her artistic career with classical training in Bharatanatyam and folk dance, and was actively involved in theatre and Bollywood-style performances from a young age. Her early exposure to the performing arts laid the groundwork for her later work across various creative platforms. During the COVID-19 pandemic, Gargi worked as a medical professional, offering help on the ground while also turning to storytelling to express the grief and uncertainty of the time. This period marked a turning point as she began creating short, relatable videos online—many of which went viral. Her growing popularity on social media led to roles in Bengali television and films, and eventually to appearances in pan-Indian OTT content including web series, music videos, and advertisements. She made her debut in the world of reality television with the show, 'Society.' The show featured 25 contestants competing in a tier-based format—Royals, Regulars, and Rags—facing daily challenges to win the title of 'Asli Baazigar.' Hosted by comedian Munawar Faruqui and co-hosted by Shreya Kalra, the show focused on social dynamics, survival, and strategy.