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Time of India
12-05-2025
- Entertainment
- Time of India
The Royals ending explained: Why Aviraaj left the conference — and what to expect in season 2
The Royals ending explained: Bhumi Pednekar, Ishaan Khatter, Sakshi Tanwar, and Zeenat Aman's The Royals failed to hit the mark with viewers. The show directed by Priyanka Ghose and Nupur Asthana and written by Neha Veena Sharma which was highly anticipated when announced, opened to mixed reactions. Nevertheless, many binge-watched the series, trying to make sense of the numerous twists and turns thrown their way. If you found yourself puzzled by the final moments or wondering what it all really meant, we're here to break it down and explain how The Royals concludes. (Spoilers ahead, you kno what to do) The Royals ending explained So, if you made it more than halfway through the show, you already know that this royal family is essentially broke and forced to rely on Sophia's business to avoid going completely homeless. In an effort to salvage their situation, the Raj Tilak and the business launch are scheduled for the same day but things quickly spiral out of control. The board ends up firing Sophia from her own company, leaving her in a deeply confused and vulnerable state. Cut to the pivotal scene where everyone suddenly comes clean about their secrets: the royal sister admits she's not straight (just like her father, as she points out), Digvijay aka Diggy reveals he's now on a cooking show, and it's officially confirmed that the late Maharaja was gay. Moments later, we see Padmaja trying to speak to Aviraaj (aka Fizzy) about something important, but he brushes her off. After Sophia's dismissal from the company, Fizzy finds her, urges her to return, and insists she must complete her project to help save the royal family. In the midst of this emotional moment, the two finally confess their love for each other. As things begin to look up, Sophia organizes a fashion show where royal jewelry and other heirlooms are auctioned off, earning crores. Just when it seems the funds still aren't enough, Adi, the late Maharaja's lover, steps in with money the Maharaja had set aside for him. They then hold a press conference, which quickly descends into chaos as everyone's phones light up with notifications revealing the royal family's secrets. The episode ends with Aviraaj walking out with Sophia after learning he is Padmaja's illegitimate son. What will happen in The Royals season 2? Let's start by clarifying that this analysis is purely speculative, as there has been no official confirmation of a second season of The Royals so far. My breakdown is based solely on the events of the season one finale. That said, if a second season does materialise which seems quite likely, it will most probably pick up from the explosive revelations in the final episode. The world has now learned that Aviraaj is Padmaja's illegitimate son, and that the late Maharaja was, in fact, gay. While Padmaja initially suspects Adi of leaking the secret, she soon discovers that Dhondi is the one plotting against her, seeking revenge for the humiliation she inflicted on him and his daughter. Season two will presumably explore the fallout of these revelations, potentially through flashbacks that fill in the missing pieces. It's expected to follow the royal family as they attempt to manage the chaos and restore their image. Additionally, Sophia's professional future hangs in the balance, another thread likely to be picked up if the story continues. The Royals review Netflix's The Royals, featuring Bhumi Pednekar, Ishaan Khatter, Sakshi Tanwar, and Zeenat Aman, is a series that promises intrigue but ultimately delivers disappointment. Despite its ensemble cast, the show struggles to find its footing. Bhumi Pednekar and Ishaan Khatter appear miscast, with performances that feel unconvincing and disconnected from their characters. Even seasoned actors like Sakshi Tanwar and Zeenat Aman seem underutilized, their talents overshadowed by underwritten roles and a lackluster script. The pacing is sluggish, making it a challenge to stay engaged through the episodes. While the creators attempt to sustain interest with a barrage of twists and turns, the plot becomes increasingly convoluted and monotonous rather than gripping. I watched 'Royals' on Netflix over the past few days to distract myself. And well, I just wanted to say that it is SO bad. Literally unwatchable and perhaps the worst web series I've ever watched. Not even an exaggeration 😭 The Royals on Netflix is a royal mess. Royal cringeHate watched it so you don't waste your timeIshaan deserves better. The man can act, dance, looks gorgeous!While Netflix needs to reevaluate themselves because every release in the recent past has been crap. The Royals series is just writer struggling to make bhumi Pednekar character to be pseudo feminist and clumsy so confusing I mean as a viewer I was confused what she wanted in life #theroyalsnetflix Also Ishaan 🥵 The Royals on Netflix is so cringe that even a weed smoking Zeenat Aman can't save it. @bhumipednekar needs to put on that weight back, she was a better actor then. Ishan Khatter in spite of being a promising actor fails to shine as well. Netflix is losing it! In the end, The Royals feels like a missed opportunity, a glossy production that lacks the substance and storytelling finesse to make it worth the viewer's time.
The Hindu
09-05-2025
- Entertainment
- The Hindu
The fall of Gemini Studios in Chennai through the lens of writer Ashokamitran
There is nothing in Chennai to indicate the existence of Gemini Studios, a landmark, except the Anna Flyover that continues to be referred to as Gemini Flyover. The once glorious studio, its owner S.S. Vasan, the memorable films he made, the heroes and heroines, and innumerable workers of the film industry of a previous era continue to live through the evocative writings of Ashokamitran. Karaintha Nizhalkal is a novel, and My Years with Boss is an account of his experience as an employee of Gemini Studios. In a way, Karaintha Nizhalkal is a fictionalised version of My Years with Boss. The fall of men who once dominated the tinsel world and how easily the world moves forward without them is the central and poignant theme of both books. 'Vasan must have found himself dwelling more and more on the earlier times. Ah, Chandralekha! Ah, Nishan! Ah, Mangala! Dazzling women, gorgeous palaces, galloping horses, the swish of rapiers criss-crossing against a taut musical score... Vasan had made up his mind about the next film,' writes Ashokamitran about Vasan, who was addressed as Boss. The biggest flop The next film Raj Tilak had a stellar cast: Vyjayanthimala, Padmini, Gemini Ganesan, Pran, and Meenakshi. In Tamil, it was Vanjikottai Valiban. 'It was the last time Vasan yielded to his obsession to make a second Chandralekha. Of course, he couldn't, for everyone now knows that Raj Tilak was the biggest flop Gemini ever made. The cycle had indeed come to an end,' he writes. Gemini Studios, which once produced blockbusters like Chandralekha and Avvaiyar, faded into oblivion. Vasan being Vasan, who was also the owner of Ananda Vikatan, managed to keep up appearance. Ashokamitran wrote the novel after he quit Gemini Studios, and it is haunting. In the novel, film producer Reddiyar was also losing his standing in the film world. Changing times, however, proved cruel to people like Nataraja Iyer, a character in Karaintha Nizhalkal. Iyer, the production manager of Reddiyar, who knows the film world like the back of his hand, ends up begging at the Saidapet bus stand. Ashokamitran would have fashioned the character of Iyer and others after real-life figures from Gemini Studios. Sampath, a character in the novel, recounts a heart-wrenching account: 'I am not able to face him. He is suffering. Both his legs are swollen. Not able to go to hospital. He said he did not have money for vehicle. I felt like crying. What is cinema? It is car and food. So long as films are made, even an ordinary worker will not eat food which is less than ₹5 or ₹10. Two cars will go to Sowcarpet, eight kilometres away, to buy beedis which cost just 10 paisa.' Both books offer insights into the dynamics of film-making while remaining windows to the Tamil film world. Ashokamitran makes a particularly sharp observation about Parasakthi. 'There was a great deal of contemporaneity in it; almost every line had an allusion to the political and social scene in Tamil Nadu. The makers of a film like Parasakthi represented a real threat to the supremacy of Gemini Studios,' he writes, hinting at Vasan's failure to adapt himself to the changing cinematic trends and contemporary and socially relevant subjects. The film had a far-reaching impact not only on Tamil film world but also on Tamil Nadu's political landscape. Serialised in a magazine Ashokamitran's prowess as an ace-storyteller is evident throughout the novel, which was first serialised in 1967 in Deepam, a literary magazine launched by Na. Parthasarathy. The film world he had written about and the characters he had populated in the novel belong to a period when modernity had not fully made its presence felt in Tamil film-making. The essence of the novel, however, remains contemporary even after more than half-a-century. Film producers, directors, actors, extras, music directors, outdoor unit organisers, and scores of faceless workers who contribute to the making of a film today bear resemblance to the characters of the novel. One scene stands out. Going through difficult times, Reddiyar visits the house of heroine Jayachandrika, who fails to turn up after committing herself to his film. After hurling abuses at her, he shifts his tone. 'Don't take these words to heart. I can say one more thing. I have known your mother for 30 years since she came from Vaitheeswarankoil. Maybe, I am your father. Who knows?' says Reddiyar. The words, like a slap in the face, also capture the darker side of the film world and the countless stories about the survival of women in the industry.
The Hindu
08-05-2025
- Entertainment
- The Hindu
The fall of a great studio through the lens of writer Ashokamitran
There is nothing in Chennai to indicate the existence of Gemini Studios, a landmark, except the Anna Flyover that continues to be referred to as Gemini Flyover. The once glorious studio, its owner S.S. Vasan, the memorable films he made, the heroes and heroines, and innumerable workers of the film industry of a previous era continue to live through the evocative writings of Ashokamitran. Karaintha Nizhalkal is a novel, and My Years with Boss is an account of his experience as an employee of Gemini Studios. In a way, Karaintha Nizhalkal is a fictionalised version of My Years with Boss. The fall of men who once dominated the tinsel world and how easily the world moves forward without them is the central and poignant theme of both books. 'Vasan must have found himself dwelling more and more on the earlier times. Ah, Chandralekha! Ah, Nishan! Ah, Mangala! Dazzling women, gorgeous palaces, galloping horses, the swish of rapiers criss-crossing against a taut musical score... Vasan had made up his mind about the next film,' writes Ashokamitran about Vasan, who was addressed as Boss. The biggest flop The next film Raj Tilak had a stellar cast: Vyjayanthimala, Padmini, Gemini Ganesan, Pran, and Meenakshi. In Tamil, it was Vanjikottai Valiban. 'It was the last time Vasan yielded to his obsession to make a second Chandralekha. Of course, he couldn't, for everyone now knows that Raj Tilak was the biggest flop Gemini ever made. The cycle had indeed come to an end,' he writes. Gemini Studios, which once produced blockbusters like Chandralekha and Avvaiyar, faded into oblivion. Vasan being Vasan, who was also the owner of Ananda Vikatan, managed to keep up appearance. Ashokamitran wrote the novel after he quit Gemini Studios, and it is haunting. In the novel, film producer Reddiyar was also losing his standing in the film world. Changing times, however, proved cruel to people like Nataraja Iyer, a character in Karaintha Nizhalkal. Iyer, the production manager of Reddiyar, who knows the film world like the back of his hand, ends up begging at the Saidapet bus stand. Ashokamitran would have fashioned the character of Iyer and others after real-life figures from Gemini Studios. Sampath, a character in the novel, recounts a heart-wrenching account: 'I am not able to face him. He is suffering. Both his legs are swollen. Not able to go to hospital. He said he did not have money for vehicle. I felt like crying. What is cinema? It is car and food. So long as films are made, even an ordinary worker will not eat food which is less than ₹5 or ₹10. Two cars will go to Sowcarpet, eight kilometres away, to buy beedis which cost just 10 paisa.' Both books offer insights into the dynamics of film-making while remaining windows to the Tamil film world. Ashokamitran makes a particularly sharp observation about Parasakthi. 'There was a great deal of contemporaneity in it; almost every line had an allusion to the political and social scene in Tamil Nadu. The makers of a film like Parasakthi represented a real threat to the supremacy of Gemini Studios,' he writes, hinting at Vasan's failure to adapt himself to the changing cinematic trends and contemporary and socially relevant subjects. The film had a far-reaching impact not only on Tamil film world but also on Tamil Nadu's political landscape. Serialised in a magazine Ashokamitran's prowess as an ace-storyteller is evident throughout the novel, which was first serialised in 1967 in Deepam, a literary magazine launched by Na. Parthasarathy. The film world he had written about and the characters he had populated in the novel belong to a period when modernity had not fully made its presence felt in Tamil film-making. The essence of the novel, however, remains contemporary even after more than half-a-century. Film producers, directors, actors, extras, music directors, outdoor unit organisers, and scores of faceless workers who contribute to the making of a film today bear resemblance to the characters of the novel. One scene stands out. Going through difficult times, Reddiyar visits the house of heroine Jayachandrika, who fails to turn up after committing herself to his film. After hurling abuses at her, he shifts his tone. 'Don't take these words to heart. I can say one more thing. I have known your mother for 30 years since she came from Vaitheeswarankoil. Maybe, I am your father. Who knows?' says Reddiyar. The words, like a slap in the face, also capture the darker side of the film world and the countless stories about the survival of women in the industry.
