Latest news with #Ramayana
Pink Villa
an hour ago
- Entertainment
- Pink Villa
16 Photos: Sai Pallavi shares ‘random' moments from her life in FIRST post after Ramayana announcement
Sai Pallavi 's recent Instagram post has caught all our attention as the starlet gave a peek into some candid moments from her life. The actress has been quite rare in posting pictures on social media, and her new pictures have gone viral in no time. Sai Pallavi's first Instagram post since Ramayana announcement Taking to Instagram, Sai Pallavi shared a set of 16 photos, each showing her in a different mood altogether. From clicking goofy selfies, soaking in the sun, chasing sunsets, to setting fashion goals with her traditional outfits, the actress has summed it all up. She captioned the post as 'As random as the thoughts in my head.' Sai Pallavi set to play Sita in Ranbir Kapoor starrer Ramayana The Amaran actress had recently been in the news after the makers of Nitesh Tiwari-directed Ramayana dropped the first teaser glimpse of the massive project. Sai Pallavi will play the role of Sita in the magnum opus, opposite Ranbir Kapoor as Lord Rama. Fans have been extremely excited to witness the diva play such a powerful role in the movie, despite her look not having been revealed so far. According to reports, Sai Pallavi has secured a substantial paycheck of Rs. 6 crores for each part of the Ramayana duology. Sai Pallavi's work front Sai Pallavi's last on-screen stint was as Rebecca Indhu Varghese, the wife of martyred Major Mukund Varadarajan, in the Sivakarthikeyan -led biographical war drama Amaran. Her portrayal received immense appreciation from audiences and critics alike. Besides her work on the most anticipated Ramayana, she also has her Hindi debut film, opposite Aamir Khan's son, Junaid Khan. Titled Ek Din, the project is reportedly scheduled for release in November this year.
India Today
3 hours ago
- Entertainment
- India Today
Why every actor now wants to play the villain in pan-India films
In a striking shift across Indian cinema, the boundary between hero and villain is increasingly blurred. With pan-India spectacles becoming the norm, a new casting trend has emerged: top stars, across industries, are willingly stepping into the shoes of powerful Yash's much-hyped portrayal of Ravana in 'Ramayana', to Bobby Deol's bloody rampage in 'Animal', and Kamal Haasan's haunting Supreme Yaskin in 'Kalki 2898 AD', the villain has never looked more glamorous and compare this to a Hollywood tradition, where major stars frequently take on supporting or antagonist roles without necessarily being the central protagonist. From ensemble classics to recent examples like 'Oppenheimer', it is a familiar format. And now, that playbook is being adopted widely in Indian cinema, especially across pan-India films. But what is fuelling this surge of star-powered antagonists? And does it mark a fresh chapter in Indian storytelling or simply a marketing tactic dressed in dramatic grey?The rise of the star-villainThis trend of heroes turning villains isn't entirely new, it is rooted in Indian cinema's legacy. Legendary actor-politician Sr NTR played Ravana in 'Bhookailas' and again in his own production 'Seetharama Kalyanam', despite director KV Reddy's warning that such negative roles might clash with his divine image. In Tamil cinema, MGR took on a dual role in 'Ninaithathai Mudippavan', and Sivaji Ganesan played a rare negative part in 'Goondukili'. In Malayalam, Mohanlal debuted as a sadistic villain in 'Manjil Virinja Pookkal', while Mammootty's transformation as a ruthless landlord in 'Paleri Manikyam' was chilling and acclaimed. Even Rajinikanth built his early career on negative roles in films like 'Moondru Mudichu' and '16 Vayathinile'. But the modern wave, especially after 'Baahubali', has given villains a whole new cinematic weight. It has brought back the trend to the mainstream, but now with a different visual language and a new set of creative and commercial villains take centre stageStarting with Rana Daggubati as Bhallaladeva, his character was arguably more layered than the titular role of Baahubali. His cold ambition, wounded pride and emotional contradictions made him a towering presence in both films. It is no coincidence that the writing of the character rose in scale because Rana was playing the role. 'Baahubali' didn't just make Prabhas a pan-India hero, it turned Rana into one then, star villains have become a strategic casting choice. In 'Master', Vijay Sethupathi's Bhavani opens the film, setting the emotional tone even before Vijay's JD enters. His performance oozes menace and tragic backstory, elevating what could have been a routine gangster role. Similarly, Fahadh Faasil's psychologically unhinged cop in 'Pushpa' offered an eerie counter to Allu Arjun's rustic charisma. In 'Maamannan', again, Fahadh's portrayal of an upper-caste antagonist became the emotional core of the film's political then there came 'Animal', where Bobby Deol's largely silent, blood-drenched villain became a national obsession. His screen time was brief, but the impact was thunderous. A comeback narrative emerged overnight, one that has since translated into major roles for him in 'Hari Hara Veera Mallu', 'Kanguva' and 'Daaku Maharaaj'. The same goes for Kamal Haasan's Supreme Yaskin in 'Kalki 2898 AD', brief but are stars choosing the dark side?For one, it is commercially viable. As pan-India films target multiple linguistic markets, producers need faces that resonate across regions. A Bollywood star playing a Telugu or Kannada villain instantly expands the film's reach in the Hindi-speaking belts. As per trade reports, many of these actors, like Saif Ali Khan in 'Devara' or Sanjay Dutt in 'KGF 2', command hefty pay for relatively short shooting too, the villain role offers room to break free from formulaic heroism. Actors are no longer confined to righteous leads. They can be morally messy, psychologically broken, and theatrically powerful, all without carrying the burden of the viewer, it is a win. These face-offs between established stars have cinematic gravity. What could be more intriguing than Jr NTR clashing with Hrithik Roshan in 'War 2'? Or Ranbir Kapoor as Rama going up against Yash in 'Ramayana'? Or Prabhas crossing paths with Kamal Haasan in 'Kalki 2898 AD'? These aren't just rivalries, they are multi-layered battles of ethos, acting styles, and The multi-starrer pullThese casting choices also feed into the growing appetite for ensemble-led blockbusters. Take 'Kalki 2898 AD', where Prabhas, Amitabh Bachchan, Deepika Padukone, Kamal Haasan and Disha Patani all co-exist. Or the upcoming film 'Coolie', which brings together Rajinikanth, Nagarjuna and Upendra. In each case, the villain is not a throwaway baddie, but a carefully crafted piece of the stars in a film means scope to attract more markets. But more importantly, it allows the audience to witness their favourite stars in unexpected combinations. Fans don't just turn up for one actor, they show up for the clash of flip sideBut it all comes at a cost. As more actors are cast in stylised villain roles, the risk of typecasting increases. Sanjay Dutt, post'KGF 2', Bobby Deol after 'Animal', and Vijay Sethupathi following 'Master' have all found themselves featuring in similar roles - bloodied, generic but larger-than-life. While the success is undeniable, the range starts to narrow. Even Fahadh Faasil, who is celebrated for his versatility, is now being used repeatedly as the off-kilter antagonist in big-budget There is also the question of sustainability. Bigger budgets to accommodate multiple stars mean smaller films are being squeezed out. When three actors co-lead one Rs 300 to 400 crore project, that is potentially three solo films not being made, leaving the theatres empty. The increasing budgets for giving that big-screen experience is also impacting other films, which are made considerably on lower budgets. The industry's middle layer, indie, mid-budget and small-budget cinema, is increasingly under concern is the rising trend of glorified violence. From Rolex in 'Vikram' to the final bloodbath in 'Animal', violence is now rendered with such style and bravado that it becomes seductive. The moral complexity is lost to slow-motion swagger. Are we now cheering brutality just because a beloved actor delivers it?Where does it go from here?This trend shows no signs of slowing down. Upcoming films like 'Ramayana', 'Coolie', 'The Raja Saab' and 'SSMB 29' are doubling down on hero-villain dualities featuring superstar pairings. The villain is no longer a secondary role. It is often the second lead, or in some cases, who forms the real emotional core of the audiences will not settle for style alone. For these star-villain roles to be impactful, the writing must evolve too. Not every villain can be Bhallaladeva and not every face-off can rest on legacy alone. The emotional architecture of these characters must rise to match the trend of heroes stepping into villainous roles has unlocked new space, for performance, for audience thrill, and for expanding the idea of pan-Indian stardom. It's where star power collides with story tension, and where anti-heroes stand shoulder to shoulder with traditional leads. But how long this lasts will depend on how smartly the industry evolves. The challenge isn't just casting bigger names, it's about writing stronger characters. And above all, it's about keeping the balance, and knowing when to push boundaries and when to pull back.- EndsMust Watch
Time of India
14 hours ago
- Business
- Time of India
City forest to come up in Ayodhya soon
Ayodhya/Lucknow: A barren piece of land will be converted into a city forest, creating another attraction for visitors heading to the Ram Temple in Ayodhya. Spread over a 230-acre area along the Saryu river, the project is estimated to cost Rs 20 crore. The local development authority has submitted the detailed project report to the housing department for approval. The Ayodhya development authority has identified land near Dashrath Samadhi for developing the city forest. To be set up in Sita Rampur village, the chosen site is situated close to the solar city. Vice-chairman of the authority, Ashwini Kumar Pandey said, "We will name the mini forest as Shabri Van Vatika. It will improve the environmental conditions of the city and will be a prime tourist destination." As no such project has been undertaken in the state so far, the govt has sought the budget estimates required on a yearly basis to complete various phases of the project. The authority officials, meanwhile, said that apart from focusing on planting local species of trees, both flower-bearing and fruit-bearing trees will also be planted. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like American Investor Warren Buffett Recommends: 5 Books For Turning Your Life Around Blinkist: Warren Buffett's Reading List Undo To cater to the tourists, restaurants and commercial complexes will be developed strategically within the 230-acre layout, and walkways will be developed to attract the local population interested in morning and evening walks. "Once we get the approval, we will work on the elements and amenities that will have to be provided. We will incorporate some features from the Vedic scriptures like the Ramayana, to recreate the vanvas of Ram and Sita," a senior officer said.
Time of India
14 hours ago
- Entertainment
- Time of India
Kareena Kapoor Khan cheers for son Taimur as he scales a mountain in Greece: 'Flying high, my boy'
Actress Kareena Kapoor Khan recently turned into a proud cheerleader for her elder son, Taimur Ali Khan, who showcased his adventurous spirit during the family's vacation in Greece. Kareena shared a picture of Taimur mid-ascent on her social media stories. Wearing crampons and secured with ropes, Taimur was seen climbing a mountain with determination and focus. Check out the post here: A fearless climb and a proud mum When Kareena captioned the picture, 'Flying high, my boy,' it captured not just the emotional high but also the physical peak of the moment. It is more than just a snapshot of Taimur's adventure—it also reflects the Pataudi family's passion for adventurous sports. From Sara Ali Khan's Himalayan treks to Ibrahim Ali Khan's football training, adventure clearly runs in the family. Kareena's vacation diaries: beach, bikini, and lungi dance Social media has been abuzz with admiration following the actress's glimpses of her holiday in Greece. In one of the posts, Kareena strikes a striking pose on the beach. She is seen wearing a bright yellow bikini top paired with a brown skirt, black sunglasses, and a matching cap. To highlight her effortless style and natural glow, she kept the look minimal. Parenting in the spotlight Kareena, known for candid moments with her sons Taimur and Jeh, has consistently been a hands-on mother. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like My 4-year-old kidneys are failing, only you can help Donate For Health Donate Now Undo Whether cheering for Taimur at his school's annual day or celebrating milestones with Jeh, her parenting style blends glamour with groundedness. On the work front Kareena was last seen in Singham Again, released during Diwali 2024. Directed by Rohit Shetty, the film featured an ensemble cast including Ajay Devgn, Deepika Padukone, Ranveer Singh, and others. Kareena portrayed Avni Kamat, whose kidnapping sets off a high-stakes rescue mission inspired by the Ramayana.
Hindustan Times
19 hours ago
- General
- Hindustan Times
HistoriCity: Mythical flying machines and the false science of ‘Vaimanika Shashtra'
Valmiki's Ramayana is believed to be dated between the 7th century BCE and the 3rd CE. In one of the earliest references to an airborne vehicle it shows the abduction of Sita in the Pushpak Vimana (flowery aircraft), a celestial craft that changed hands from Brahma to Kuber to Ravan. Rama won the epic war and returned the craft to Kuber. The word Vimana today means aircraft but its earlier meanings have been wider and more heavenly. The Adi Parva of the other great epic Mahabharat refers to the Vimana as a divine chariot enjoyed by deities; in the Jain tradition a Vimana is described as a palace which is the abode of the deities serving Mahavira. In temple architecture, particularly, in south India, Vimana means the pyramidal structure built over the garbh-griha or the sacred sanctorum of a temple. These ancient references are also corroborated by at least one known inscription. In the Girnar rock edict left by emperor Ashoka, it is written that 'In times past, for many hundreds of years, there had ever been promoted the killing of animals and the hurting of living beings, discourtesy to relatives, (and) discourtesy to Sramanas and Brahmanas. But now, in consequence of the practice of morality on the part of King Beloved of the Gods, Priyadarsin, the sound of drums has become the sound of morality, showing the people representations of aerial chariots, elephants, masses of fire, and other divine figures'. In the more than two thousand years since Ashoka's edicts were decreed, innumerable Sanskrit texts have been produced. The Gupta period (4th -6th BCE) itself saw the production of a large number of treatises and other works but none mentioned much about flying machines. As per available records it was about half a millennium later that the Samarangana Sutradhara, a 11th century work on temple architecture and attributed to king Bhoja of Dhar, spoke of a flying chariot or vehicle, the Vimana. Dr Mattia Salvini, Sanskrit and Buddhist scholar writes in The Samaranga Sutradhara: Themes and Context for the Science of Vastu: 'The author says something that should not pass unobserved, the instructions to make flying machines are purposely incomplete.' Salvini attributes the exclusion to 'ethical considerations'; he cites the following shloka to support his view: yantranam ghatana nokta guptyartham najnatavasat taira hetu (In this respect, that should be known as the reason, i.e that the details are not fruitful when disclosed). Vaimanika Shastra In 2015, a paper presented at a Science Congress in Mumbai claimed on the basis of the Vaimanika Shastra that aviation technology not only existed during the Vedic period but that it was also more advanced than today. The paper was dismissed as fanciful and false science, which threatened to bring disrepute to the genuine achievements of India such as those in mathematics and astronomy. The paper, titled 'Ancient Indian Aviation Technology' by former pilot Anand Bodas and Ameya Jadhav drew flak from the scientific community and has been forgotten as an embarrassing episode. The paper also brought back into scrutiny the Vaimanika Shastra itself. The shastra published in 1950s is based on a 'divine revelation' received in 1904 by an illiterate ascetic from the mythical sage Bharadwaja. The Vaimanika Shastra makes such impossible assertions, including flying speeds of 8,000 mph, that it was discarded as a flight of fancy. It says for instance, some of the construction materials include the urine of a donkey, cow and an elephant! One of the five aircraft described in the text is shaped like a multi-tier wedding cake, and had precise dietary instructions for pilots. Author Angela Saini writes in Geek Nation: How Indian Science is Taking Over the World, 'There were recipes too, for what these pilots should eat ('56 [roots] should be purified, powdered, and duly cooked, and made into balls, and given out for use as food'). And there was a detailed description of how to generate electricity to power the dynamos that would drive the aircraft ('get a . . .flame-faced lion's skin, duly cleaned, add salt, and placing in the vessel containing spike-grass acid, boil for . . .15 hours. Then wash it with cold water').' In a 1974 essay (A Critical Study of the Work: Vymanika Shastra), S M Deshpande, H S Mukunda and others analysed the historicity of the so-called Shastra and the claims it made. They wrote, 'What we feel unfortunate in history is that some people tend to eulogise and glorify whatever they can find about our past, even without valid evidence... the work 'Vymanika Shastra' was brought into existence sometime between 1900 and 1922…the only evidence in favour of Maharshi Bhardwaja being the author is the textual statement and nothing more'. After examining the technical aspects of the five planes, training of pilots, fuel composition and other claims in the Vaimanika Shastra, the scientist wrote a scathing conclusion. They said, 'the planes described are at best poor concoctions, rather than expressions of something real. None of the planes has properties or capabilities of being flown; the geometries are unimaginably horrendous from the point of view of flying; and the principles of propulsion make them resist rather than assist flying. The drawings definitely point to a knowledge of modern machinery. This can be explained on the basis of the fact that Shri Ellappa who made the drawings was in a local engineering college and was thus familiar with names and details of some machinery... Also, no data have been given about the weights of crafts and their components. This is serious since weight is fundamental to the flying of heavier than air machines. Moreover, the unit of mass does not even appear anywhere in the text.' HistoriCity is a column by author Valay Singh that narrates the story of a city that is in the news, by going back to its documented history, mythology and archaeological digs. The views expressed are personal.
