Cody Rhodes' return confirmed? WWE star spotted in Orlando, 2 hours away from where Saturday Night's Main Event is being held
Cody Rhodes I Credits: WWE/Netflix
Cody Rhodes' absence from WWE ever since his loss to John Cena at WrestleMania 41 has left fans puzzled. There has been a lot of speculation about his return but nothing has come out of it. Amid all the noise on social media, the WWE star has been spotted in Orlando with his family and friends.
Saturday Night's Main Event takes place in Tampa, Florida this time around, and Orlando is just two hours away. Insider reports have suggested that Cody is set to return soon. The picture has left fans wondering if he is set to make his post-WrestleMania 41 pursuits known in the upcoming special WWE program. SNME will take place on May 24, 2025, with his rivalry with heel John Cena yet to reach a proper closure. The Cenation Leader will take on R-Truth in a non-title match in the event.
Its official 🚨
Cena Vs Truth in a non title match at Saturday Nights Main event #SmackDown pic.twitter.com/AuR7XnnxrR — FADE (@FadeAwayMedia) May 17, 2025
Cena defeated the 'QB 1' with the help of Travis Scott, leaving the American Nightmare frustrated and distraught. The shenanigans were expected to be addressed by Cody, but he has been off television since the loss. Cody Rhodes spotted with his wife and friends
Cody Rhodes was spotted with his wife, Brandi Rhodes, and a group of friends in Orlando. The WWE star posed in front of the Epic Universe in Orlando, which is just two hours away from where the Saturday Night's Main Event show is being held.
🚨| CODY RHODES AT EPIC UNIVERSE IN ORLANDO🤯
SNME IS A 2 HOUR DRIVE AWAY👀 pic.twitter.com/w51E42wZrY — #WeWantCody (@WeWantCody_) May 22, 2025
He was wearing a grey suit, while his wife was seen wearing a green dress. Fans have already started joking about the star wearing a suit to a theme park. An X user commented, 'My man went to a theme park in a suit?????? I mean at what point??'.
Cody Rhodes' suit attire has played a major role in his WWE gimmick, and fans have concluded that this indicates his return to the ring in the upcoming WWE event.
Will Cody Rhodes return? No one knows. However, it must be noted that Cody's protege Jade Cargill was similarly spotted in Toronto ahead of the Elimination Chamber event, where she returned after a long-term hiatus from WWE. Will we see Cody following the path of his friend? Time will tell.
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22/5/2025 12:31:45
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India Today
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From the India Today archives (2011)
(NOTE: This article was originally published in the India Today issue dated June 20, 2011)"As I begin to paint, hold the sky in your hands; as the stretch of my canvas is unknown to me."—M.F. Husain With the death of Maqbool Fida Husain in a London hospital on the morning of June 9, India has not only lost her most iconic contemporary artist but also perhaps one of the last living symbols of the very idea of her modern, secular and multicultural nationalism. Born in 1915 at the temple town of Pandharpur in Maharashtra, Husain came from a lower middle class Sulemani Muslim family and rose through the ranks to become India's most famous painter of people, places and a visual artist-especially a mid-20th century modernist painter-Husain was precariously perched on the crest of a nascent and evolving national consciousness. In the post-Partition era, when he first burst on the Indian art scene, Husain became a much celebrated symbol patronised by the Nehruvian state looking to create modernist role models. Yet, that very celebrity made him and his works vulnerable to be hijacked, misrepresented and reviled three decades later by a semi-literate cabal claiming to represent the collective voice of a largely silent Hindu majority. In fact, the torrid love affair between Husain and 'modern secular' India and their eventual dismaying disengagement makes for a civilisational sociologist Veena Das remarks, this "impossible love" had an inherent fragility because the idol, the image and the word are all strongly contested entities. It is also further complicated by the illicit intimacy between history and the 'perception of history' in post-colonial imaginations. The tantalising and tragic relationship-between a nation's notion of the self and Husain's visualisation of it in his art practice-became the vexed terrain over which competing political alignments fought their proxy wars for a good two decades before it eventually led to Husain's self-imposed exile from India in 2006. Four years later, he accepted Qatari nationality, spending his time between Dubai, London and Husain was educated in the streets of Indore, a madrassa in Baroda, the Indore School of Arts and very briefly the J.J. School of Arts, Mumbai. He was an immensely talented and intelligent man with an enormous curiosity about the world who learnt effortlessly from life and people. He arrived in what was then Bombay in the early 1930s, penniless but bursting with enthusiasm and energy, traits that he retained all through his first started out by walking the streets of Bombay offering to paint portraits of people who could afford to pay him Rs 25. There were not too many commissions but some of these early portraits still survive. In 2008 in London, I saw a portrait Husain had done of Lord Ghulam Noon's elder brother in a Bhendi Bazaar sweet shop. Soon, he moved to painting cinema hoardings, first for V. Shantaram's Prabhat Studios and later for New perched high on bamboo scaffolding, Husain learnt to be able to concentrate amid the noise and chaos of the street below. He used to paint 40 foot hoardings for four annas a foot under the blazing sun in Mumbai for many years. From painting hoardings, he progressed to designing toys and painting children's furniture for Rs 300 a month. "But even at that time I knew I would be an artist one day," he used to say, adding, "there was a time when I painted furniture by day and my own art by night. I painted non-stop." Cinema held a life-long fascination for Husain and decades later, he went on to make several much-talked about films. Of these Through the Eyes of a Painter (1967) won the Golden Bear at the Berlin Film Festival but the most well-known is Gaja Gamini (2000) that featured Madhuri Dixit as his muse. In 2004 he made the semi-autobiographical Meenaxi: A Tale of Three Cities with Tabu in the lead role which ran into trouble with Muslim life started to change radically around the time of Independence. Francis Newton Souza (1924-2002), the prodigious enfant terrible of Indian art, spotted Husain's talent by chance and immediately included him in his Progressive Artists Group (PAG) in 1947. Husain's work was noticed right from that first showing and with the encouragement of Rudi von Leyden, the German Jewish art critic, he held his first one-man show in Mumbai in 1950. With prices ranging from Rs 50 to Rs 300, the exhibition sold out. As Husain told me with a chuckle, "I was a best seller right from start."advertisementWhat differentiates Husain from his Progressive contemporaries is his deeply rooted 'Indianness' and his celebration of Indian life and people. While his contemporaries were busily assimilating European art from Byzantium downwards, Husain sought inspiration in temple sculptures (Mathura and Khajuraho), Pahari miniature paintings and Indian folk the mid-1950s Husain got national recognition with two very seminal canvases 'Zameen' and 'Between the Spider and the Lamp'. 'Zameen' was inspired by Bimal Roy's Do Bigha Zameen (1955) but instead of bemoaning rural poverty and indebtedness, it presents a symbolic celebration of life in rural India with a vibrancy that had never been seen before. "I realised one did not have to paint like Europeans to be modern," he maintained. Nor did he, at any time, understand the angst of existentialism."Alienation as a concept is alien to my nature," he would joke. The next year he painted the more enigmatic 'Between the Spider and the Lamp'. This painting, considered by cognoscenti to be his best of all time, features five women reminiscent of ancient Indian sculpture with an oil lamp hanging from the top of canvas and some unintelligible words in a script that looks like ancient Brahmi, Magadhi or some long forgotten dialect. From the hand of one woman, painted as if frozen in a mudra, hangs a large spider by its thread. Some critics have suggested the women were the pancha kanyas (Ahalya, Kunti, Draupadi, Tara, Mandodari) of Hindu mythology. When this painting was shown, despite the ripples it created, no one came forth to buy it for Rs 800. It now hangs at the National Gallery of Modern Art, New Delhi, on loan from the Husain became a living icon of Hindu-Muslim, gangajamni culture, his art acquired a quintessentially Indian form and content while being global in its relevance and appeal. 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