Ram Charan's Peddi: Samantha Ruth Prabhu To Be Paid THIS MUCH For Just One Item Song?
Interestingly, even when a film already features a well-established lead actress, producers are increasingly opting to cast additional high-profile stars specifically for item songs. These musical numbers have become a staple in many films, often turning into chart-topping hits that captivate audiences regardless of the movie's plot or main cast. This trend highlights the immense popularity and commercial appeal of item songs in today's cinema landscape.
For instance, Tamannaah Bhatia's energetic dance performance in the track Aaj Ki Raat from the film Stree 2 (2024) has went viral on social media, garnering widespread acclaim and excitement. Her earlier performance in Jailer was equally celebrated for its charisma and style. Likewise, Pooja Hegde made a remarkable impression with her lively dance number in Coolie, winning over fans and critics alike.
Perhaps most notably, Samantha Ruth Prabhu's Oo Antava from Pushpa became a nationwide sensation, with its catchy tune and vibrant choreography capturing the imagination of viewers across the country.
This growing emphasis on item songs featuring star performers underlines their powerful role in boosting a film's visibility and box office appeal, often becoming an unforgettable highlight that remains etched in the audience's memory long after the credits roll.
Now, in a surprising turn, one actress is reportedly being paid a sum for a single song that rivals the fee of leading actors for entire films. Samantha Ruth Prabhu is reportedly gearing up for yet another special number. She is expected to appear in a song in an upcoming Telugu film titled Peddi, directed by Buchi Babu and starring Ram Charan, with music composed by A.R. Rahman. The film is being developed as a pan-India project.
Industry sources reveal that Samantha Ruth Prabhu may be paid as much for this single song as she usually earns for a full-fledged acting role, with some reports even suggesting the amount may touch Rs 5 crore. Although discussions are still underway, an official announcement is expected soon.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Hindu
4 minutes ago
- The Hindu
50 years of Rajinikanth: Behind the ‘family-friendly' superstar's turn towards gritty narratives
What does it take to become a Superstar? Not a superstar. But the Superstar. What does it take to personify larger-than-life, to become a cornerstone in the cultural fabric of an Indian state that can no longer separate the man from the myth? From his rich-complexion and cigarette-flipping style to an international fanbase and a controversial swing at politics, Rajinikanth has grown beyond life as we know it, in an ascent to the throne that was marked by one godly quality — the magnetic charm to pull crowds to theatres, a spell that even today, 50 years since his debut, fills theatre halls in Tamil Nadu. Everyone knows about the famed story of how Shivaji Rao Gaikwad, a bus conductor and a graduate from the Pune Film Institute, became Rajinikanth in K Balachander's 1975 film Apoorva Raagangal. Perhaps it was the alignment of the stars that brought Shivaji in front of Balachander's lens, but it isn't kismet that made the legend who continues to rule all headlines. It certainly wasn't just the hits; even a prudently sourced hit-to-flop ratio tells that a five-decade-long career in films cannot be chiselled with accurate script choices alone, but an anchored approach to adapt, to have the courage to go where the winds of time take you. In fact, 'Rajinikanth' is a phenomenon Shivaji aggressively brought to life by constantly adapting to the market forces. 'Naan sonnadhayum seiven, solladhadhaiyum seiven' He may not have had any say in being cast as a villain in the initial phase of his career, but 1979's Bhuvana Oru Kelvi Kuri was one of the early markers of what followed for Rajinikanth in the next few years (and a career-defining collaboration with director SP Muthuraman). Although cast in supporting roles quite waywardly, films like Bairavi, Mullum Malarum, Priya, and Aarilirunthu Arubathu Varai featured the star in author-backed roles that brought out the performer in Rajini. While he had begun his action stints in the 70s, the superstar took cognisance of Amitabh Bachchan's success with the angry-young-man narrative in the '70s, and Billa began Rajinikanth's long, serious tryst with the action genre. ALSO READ: There's nothing Rajini-can't: When the Superstar flexed his acting chops The 1980s were all about cementing his position as the most-sought-after star, and Rajini churned out an average of seven films in a year in this decade. Action entertainers and family dramas continued to fill his repertoire, with the occasional oddball comedic turns in films like Thillu Mullu and Guru Sishyan working wonders in his favour. But in the 1980s, the superstar also took a strategic step that would eventually make him a household name in India — winning over the northern Indian filmgoers. In 1983, Rajinikanth made his Bollywood debut with the slick masala actioner Andhaa Kaanoon, a remake of Vijayakanth's film Sattam Oru Iruttarai. And Bollywood welcomed him with open arms. The southern storm took over North Indian theatres with many Hindi films, some remakes of his Tamil films (John Jani Janardhan) or other Tamil films (Dosti Dushmani), some shot simultaneously in Tamil and Hindi (Jeet Hamaari), and some were straight Hindi films (Meri Adalat, Bewafai, Asli Naqli, Hum). Once again, most of these Tamil and Hindi films were action dramas. But, the more surgical manoeuvres came in the 90s, when Rajinikanth solidified his stronghold over the coveted, elusive demographic — the Tamil families. The experience of working with a myriad of filmmakers in the 80s came in handy as the superstar began tailoring the formula behind the pulpy masala fiction that filmmakers of today carry as the bible of Tamil mass cinema. Take, for instance, the move to do Veera with director Suresh Krissna. As the director revealed in many interviews, any other star would follow up on a blockbuster, like their film Annaamalai, with a film like Baashha. Interestingly, Suresh had pitched Baashhaafter Annaamalai. However, the superstar insisted that they do something entirely different, like Veera, something that would temper audience expectations before doing yet another action drama like Baashha. The gamble worked, with all three performing well in theatres. From Dharma Durai and Baashha, to Padayappa and Muthu, and Annaamalai and Arunachalam, several Rajinikanth blockbusters spelt the formula the superstar wished to follow — these films were 'packaged' with the right masala cinema elements, had perfected Rajinikanth's image as the proletariat hero who rises above injustice, and found blockbusters on television due to their re-watch value. This followed well into the early 2000s, with Chandramukhiand Sivaji: The Boss, but the widening gaps between the films weren't just signalling an upscale in film production; it was time for India's greatest superstar to now go beyond the skies and cement his legacy. 'Yen vazhi, thani vazhi' And thus began the experiments, bolstered with technological advancements in filmmaking — if not for Rajini, who else could have done an Enthiranand followed it up with a Kochadaiiyaan? He had the backing of the industry to break into new horizons. The mammoth failure of Lingaa only drove the superstar more frantic and restless as he desperately had to capture the now-elusive audience who had been quick to dismiss him as old and obsolete. Thanks to Pa Ranjith, Rajinikanth used his platform to voice for the voiceless in Kabaliand Kaala, and yet, the naysayers dismissed them as unsuccessful attempts. Meanwhile, even 2.0, while shattering box office records, couldn't reinforce his legacy, which is when Rajini took a detour that continues to define his career — he was finally ready to test the limits of his superstardom. In the last five to six years, Rajinikanth's films have only grown grittier, one more serious and grounded than the other. Karthik Subbaraj's Pettawas slick and stylish, but had surprisingly underplayed Rajini's romance with Simran; the story was instead anchored to a gruesome revenge arc. Even in Darbar, a largely forgettable film, Rajini played a ruthless cop with anger management who brings wrath upon those who killed his daughter. Jailer, his most violent to date, has him behead men and even murder his own son. Vettaiyan, directed by TJ Gnanavel, was arguably the most sober Rajini film in a long time; an encounter specialist investigates a conspiracy in this solemn take against fake encounters. And so it's a circle come true for the man who started as a villain/anti-hero in bleak narratives. Even a failure like Annaatthe reinstated that he could no longer just saunter around heroines, drop a punchline and waltz through action scenes in slow-motion — the youth audiences of today want more from the man who could pack a screen even with an A-certificate film. Relentless, realistic action films are, after all, the trend today for big Tamil stars. They have enough filmmakers and heroes to do the family-friendly commercial masala flicks. A few years ago, you wouldn't expect the Rajinikanth to decapitate a man on screen. The industry forces would have compelled him to stay in the family-friendly lane. But this isn't your wildfire to contain. With blood splattered all over his face, he now smiles at you with death-bringing eyes to say that there's been a change in power. The superstar is now in charge, and Coolie — his first A-certificate film in 36 years, directed by a filmmaker with a penchant for fake blood and guns — would make it clear that Rajinikanth is the quintessential superstar who no longer needs to play safe to win over all. He is and he will be the superstar for all age groups, aarilirundhu aruvadhu varai.
Mint
an hour ago
- Mint
Why India's music labels are eyeing regional catalogues
Tepid growth in paid subscriptions and increasing content creation costs are pushing music labels to step up consolidation efforts in the industry. Experts say this is a relatively easy way to expand libraries and improve market share. Entering newer realms brings an opportunity to collaborate with more artists, many of whom are well known in smaller, specific markets, improving their monetisation as well. Saregama's acquisition of NAV Records, a Haryanvi music catalogue, last month shows how players are looking at unlocking potential in newer languages. This June, Sony Music India announced a strategic joint venture with LA-based global entertainment firm The Hello Group (THG) to form THG India, designed to help Indian artists, particularly within the booming live music sector. Earlier, Warner Music India had formed partnerships with key regional players, including a majority stake in Divo, a South Indian music label, and a strategic alliance with Sky Digital, which specialises in Punjabi music. The company also acquired 26% of Global Music Junction, a dominant player in the Bhojpuri, Kannada, Gujarati, Haryanvi, and Oriya language markets and the music and entertainment subsidiary of JetSynthesys. Big companies like Saregama maintain 30-35% of all music releases in India, and partnering with regional labels can, in some cases, account for over 50% releases in the market for the specific language . 'These moves illustrate how regional strengths can be scaled through strategic partnerships. They have helped unlock value by streamlining rights and royalty systems, expanding digital distribution, and bringing under-leveraged catalogues into the streaming mainstream while maintaining their cultural identity," said Vivek Raina, managing director, Believe India, a global digital music company, that has acquired majority stake in south Indian label Think Music, Ishtar (formerly Venus Music) in the Hindi catalogue space, and the catalogue of White Hill Music. According to a recent Ficci EY media and entertainment report, the Indian music industry's revenue declined by 2% to reach ₹5,300 crore in 2024. The industry recorded 12 million paid streamers and 192 million free streamers in the year. The right tune Consolidation can act as a strong accelerator, especially for regional or mid-sized players that have valuable IP and deep local roots but limited access to infrastructure, global platforms, or capital, Raina added. Entertainment industry experts emphasize that organic growth for music players includes expanding artist rosters, creating original content, leveraging social media trends, optimizing playlists, and deepening audience engagement through live events or fan communities. Inorganic growth comes via acquisitions, mergers, catalogue licensing deals, and strategic partnerships with brands, streaming platforms, or tech companies. Organic methods build long-term brand equity and loyal audiences, while inorganic moves offer rapid scale, larger catalogues, and immediate market share gains. Both can be highly complementary — organic growth sustains creativity and authenticity, while inorganic strategies accelerate reach and revenue, enabling music labels and platforms to stay competitive in a fast-evolving industry. A senior executive at a leading label pointed out that as monetization from paid subscriptions plateaus and content costs continue to rise, few companies can afford to keep producing content on their own. Music labels such as T-Series, Sony Music, and Saregama, among others, have seen film soundtrack acquisition costs spike five to eightfold since the pandemic. Meanwhile, audio streaming platforms have lowered their pay rates (the amount paid per stream for a song) by about half over the past few months, as audience preferences shift away from music to other genres of entertainment, such as stand-up comedy and podcasts on YouTube. 'Capital expenditure goes up with rising content costs, and there is no way anyone can make more content on their own. This (acquisitions or joint ventures), on the other hand, is a one-time investment that allows you a stronger footprint in the market without having to create from scratch," the person said, adding that it automatically allows for better commercial terms from audio streaming platforms that music labels sell rights to. Such catalogue partnerships make sense for smaller labels which are heavily dependent on streaming and YouTube revenue and are unlikely to operate at scale, according to Mandar Thakur, CEO of Times Music. 'The former has dried up and the latter has begun to focus on long-form content. As long as you have a catalogue, you should make something out of it or the current wave of capital could go down," Thakur added. Consolidation in India's music industry could help smaller and national players by pooling resources, expanding catalogues, and increasing bargaining power with platforms, brands, and advertisers, said Gaurav Dagaonkar, co-founder and CEO of Hoopr, a music licensing platform. 'It can enable shared marketing, technology adoption, and data-driven strategies that might otherwise be costly for individual players. A unified catalogue offers better licensing opportunities, attracts larger deals, and improves discoverability for diverse music," Dagaonkar said. For artists, it can mean wider reach and fairer monetisation. That said, the trend can also have a downside. Bigger players entering regional markets can lead to monopolistic scenarios, inflating costs in the short term as they pay relatively higher sums to artists and then suddenly leading to correction. While challenges like maintaining creative diversity remain, strategic consolidation could be a viable path forward, fostering competitiveness, scalability, and sustainable growth in an increasingly globalised and digital-first music ecosystem, Dagaonkar added.
Hindustan Times
an hour ago
- Hindustan Times
Shruti Haasan on standing out in a Rajinikanth film like Coolie; discussing acting with dad Kamal Haasan
As Lokesh Kanagaraj's Coolie gears up for release, Shruti Haasan says she has had a 'weird and chaotic' year. The actor-musician isn't just waiting for the audience to see her as Preethi in the ensemble film headlined by Rajinikanth; she's also busy planning shows to perform live with her band. 'It's been a crazy year due to different bits and bobs, you know what I mean?' asks Shruti earnestly in a chat with Hindustan Times. Sure, I say, and she opens up about her upcoming films, co-star Rajinikanth, father Kamal Haasan and more. Shruti Haasan is excited for everyone to see her in Lokesh Kanagaraj's Rajinikanth-starrer Coolie. Rajinikanth's fans will be 'super happy' with Coolie Lokesh has been nothing if not consistent while delivering hits with films like Kaithi, Master and Vikram. Given that he's kept his cards close to his chest with Coolie, I get curious about what the film is even about. 'If you look at Lokesh's previous films, they're always entertaining with action sequences and emotions that cater to the audience. Rajini sir's fans will be super happy because I think Coolie is going to be a really entertaining watch,' says Shruti, staying coy about the story. What made Shruti say yes to the project, however, I prod, and she's quick to answer, 'Definitely, when a project like this comes to you with an actor like that, a director like that, it's already exciting. But I really liked the character of Preethi and what she brought to the story. I can't reveal much, though.' Given that Coolie stars 'powerhouses' like Rajinikanth, Nagarjuna, Upendra, Soubin Shahir and Aamir Khan, is she worried she will get lost in the melee? 'No, I'm not nervous because I think Lokesh has done justice to every character. Plus, each of these actors is so different; it was a learning experience with everyone, especially Rajini sir. He has this energy and makes everyone feel positive and comfortable on set, which was amazing to see,' says Shruti. Working with Lokesh Kanagaraj again after Inimel Shruti might not have worked in any Lokesh film, but he did make his acting debut with her heartbreak song Inimel a year ago, which featured lyrics by her dad Kamal. And though Kamal has worked with Lokesh in Vikram, Shruti says she didn't have much interaction with the director before Inimel and Coolie, despite visiting the film's set. 'I wouldn't compare the music video Lokesh to the director Lokesh; they're completely different human beings. He's really clear and calm as a director, so shooting for Coolie felt very collaborative. I've been on sets before where people wonder why a character is doing something; it has happened to me several times. You are shooting, and you go, hey, but why would they do that? But this was one set that I've never heard any actor question the motivation for their characters because he's open to inputs as well,' she says. Shruti's upcoming work, discussing films with family Speaking of collaboration, I wonder what dinner table conversations are like in Shruti's home, given that her dad, mom Sarika and sister Akshara are all actors too. 'We don't all sit and have dinner together. Us individually having dinner conversations? Sure,' says Shruti with a chuckle, adding, 'It's really not about acting…it's never been about acting. It's maybe about movies we saw, news we read, or something on Instagram, like any other family. I watch all of my dad's stuff, not my sister's or mum's, and they haven't watched mine.' As for her upcoming films, apart from Coolie, which will be released in theatres on 14 August, Shruti has a cameo in Mysskin's upcoming film Train, which stars Vijay Sethupathi in the lead. 'I had a lovely time working with Mysskin sir. He's really fun and has a different style of working. It's a cameo, but I'm excited for people to see that. We don't know when we're going to shoot Salaar 2 yet. Honestly, I've been so busy with Coolie…now I get to sit and listen to a whole bunch of scripts to decide what to do next. If you ask me, this is my most exciting time,' she says, rounding off.
