Category: Entertainment

As 2024 comes to a close, the film critics at Deadline have chosen their top three international movies of the year. Several of these films were recently included on the International Feature Oscar shortlist, though not all were submitted by their home countries. Reflecting on the year’s cinematic achievements, Deadline’s Awards Columnist and Chief Film Critic Pete Hammond remarked, “There was an exceptional list to choose from.”

Hammond’s top selections all premiered at the Cannes Film Festival, which he described as “another reason that iconic French fest sets the table for cinema for the rest of the year.” Other highlighted films debuted at major festivals in Berlin, Venice, and Toronto, showcasing a diverse array of global talent. Below are the top picks from Hammond and fellow critics Damon Wise and Stephanie Bunbury, presented alphabetically under their respective names.

Pete Hammond’s Picks

The Count of Monte-Cristo

This latest adaptation of Alexandre Dumas’ classic tale, The Count of Monte-Cristo (Le Comte de Monte-Cristo), captivated audiences with its premiere out of competition at Cannes, earning a massive standing ovation. Directed by Alexandre de la Patellière and Matthieu Delaporte, who previously worked on The Three Musketeers, the film delivers a sweeping three-hour epic. The story of Edmond Dantes, wrongfully imprisoned for 14 years and bent on exacting revenge, is brought to life with a riveting performance by Pierre Niney in the titular role. Hammond called it “the stuff great adventure movies are made of.”

Emilia Pérez

After its Cannes debut, Emilia Pérez became a sensation, winning prizes for its four female leads and earning director Jacques Audiard a Jury Prize. This Spanish-language musical, submitted by France for the Best International Film Oscar, is unique in every respect. It tells the story of a drug cartel boss who decides to change both his life and gender. Featuring stunning performances by Karla Sofía Gascón, Zoe Saldaña, Selena Gomez, and Adriana Paz, the film dazzles with originality. Hammond noted, “Even on its second viewing, it only gets better.”

Flow

Latvia’s submission for Best International Feature Film, Flow, stands out as a haunting animated feature in a year rich with exceptional animation. Directed by Gints Zilbalodis, the film premiered in the Un Certain Regard section at Cannes. It follows a cat who survives a catastrophic flood and bands together with four other animals to survive as their world crumbles. Hammond praised its “gorgeous animation” and emotional resonance, describing it as a story that “will live in your hearts long after seeing it.”

Damon Wise’s Picks

April

At the Venice Film Festival, Dea Kulumbegashvili’s April emerged as a standout, winning the Special Jury Prize. The film, described as a nuanced abortion drama, follows an experienced obstetrician on trial after a patient loses her unborn child. Damon Wise compared the film’s atmosphere to the work of Michael Haneke, noting its “immaculate but knowingly enigmatic compositions.”

Bring Them Down

Christopher Andrews’ Bring Them Down is a rural Irish thriller that unfolds with a unique storytelling approach, withholding key details until halfway through the film. Starring Christopher Abbott as a shepherd and Barry Keoghan as a duplicitous neighbor, the movie evolves into a gripping tale of betrayal and violence. Wise highlighted Keoghan’s performance, stating, “His shiftiness creates a mood of its own in the film’s tense, violent third act.”

Loveable

Lilja Ingolfsdottir’s Loveable, a Norwegian drama, offers a raw deconstruction of suburban relationships. The film focuses on Maria, a 40-year-old divorcee questioning her choices seven years into a new relationship. Helga Guren delivers a powerful performance, embodying Maria’s complexities with vulnerability and strength. Wise likened it to Marriage Story, saying, “This makes Baumbach’s film look like a Pixar comedy by comparison.”

Stephanie Bunbury’s Picks

Dahomey

Directed by Mati Diop, Dahomey explores the cultural history of the West African kingdom now known as Benin. The film reflects on the looting of 7,000 artworks by French invaders in 1890, some of which were only returned to Benin in 2020. Diop’s film blends historical reflection with imaginative storytelling, featuring a statue of King Behanzin coming to life. Bunbury described it as “an intellectually dense film bursting with ideas, some of them contradictory, some troubling, all of them provocative.”

My Favourite Cake

This Iranian romance centers on Mahin, a septuagenarian who defies societal norms to pursue a relationship with a kind taxi driver. Directors Maryam Moghaddam and Behtash Sanaeeha craft the story with charm and subtlety, presenting it as both a rom-com and a critique of restrictive cultural norms. Bunbury praised the film’s “simple charm” and “campaigning fervor.”

When Fall Is Coming

In When Fall Is Coming, French director François Ozon offers a poignant exploration of familial relationships through the story of Michelle, an elderly woman living in Burgundy. Hélène Vincent delivers a mesmerizing performance as Michelle, who harbors dark secrets despite her outward virtue. Bunbury described the film as “a wistful but unsentimental meditation on families: how they fail us and how, with love, they might be rebuilt.”

Conclusion

From sweeping epics to intimate dramas, 2024 has been an exceptional year for international cinema. These top picks from Deadline’s critics showcase the global richness of storytelling, with films that challenge, entertain, and leave a lasting impression. As Pete Hammond summarized, “There was an exceptional list to choose from.”

While Bollywood celebrated a triumphant 2023 with Shah Rukh Khan leading the charge, and other major film industries such as Telugu, Tamil, and Kannada enjoyed similar success, the Malayalam film industry struggled in the shadows. Last year was particularly challenging for Malayalam cinema, with only a handful of films making a mark.

However, 2024 proved to be a game-changer for Malayalam cinema. As critics compile their lists of the year’s best Indian movies, it is evident that Malayalam films dominate these rankings. In a year when industries like Hindi and Tamil faced setbacks with numerous underwhelming releases, Malayalam cinema not only delivered remarkable creative masterpieces but also shattered records. Here’s a look at some of the finest Malayalam films that defined 2024.

9) Bramayugam

In a daring departure from the norm, Mammootty played Chathan, a mystical goblin in human guise, in Rahul Sadasivan’s Bramayugam. Shot entirely in black and white, this period folk horror film demonstrated the experimental spirit of Malayalam cinema. Mammootty’s extraordinary performance elevated the film, making it one of the most memorable cinematic experiences of the year. Cinematographer Shehnad Jalal, editor Shafique Mohamed Ali, music composer Christo Xavier, and art director Jotish Shankar contributed significantly to the film’s distinct visual and narrative style.

8) Aavesham

Director Jithu Madhavan struck a perfect balance between comedy and action in Aavesham. Fahadh Faasil excelled as Rangannan, whose humorous portrayal captivated audiences, especially with his memorable “Eda Mone!” delivery. The film transitioned seamlessly from comedy to a gripping gangster drama, with Fahadh’s exceptional performance proving his versatility. As a full-fledged entertainer, Aavesham stood out as a favorite among audiences this year.

7) Aadujeevitham (The Goat Life)

After 14 years of anticipation, Blessy’s Aadujeevitham finally graced the big screen, and it was worth the wait. Starring Prithviraj Sukumaran in a career-defining role, the film adapted from a beloved novel explored the harrowing journey of survival with emotional depth. Exceptional technical contributions from cinematographer Sunil KS and editor A Sreekar Prasad ensured Aadujeevitham became a monumental success, both critically and commercially.

6) Kishkindha Kaandam

Mystery dramas often focus solely on suspense, but Kishkindha Kaandam balanced mystery with emotional depth. Directed by Dinjith Ayyathan, the film featured stellar performances from Asif Ali, Aparna Balamurali, and Vijayaraghavan. Writer Bahul Ramesh’s nuanced storytelling, combined with Dinjith’s direction, ensured a deeply moving narrative. The film also proved that Malayalam cinema could create exceptional works on modest budgets.

5) Ullozhukku

Christo Tomy’s Ullozhukku challenged stereotypes by focusing on the stories of two women reclaiming their autonomy. The film critiqued societal norms that pit women against each other, perpetuating isolation and division. With powerful performances by Urvashi and Parvathy Thiruvothu, Ullozhukku became a technically and visually stunning exploration of resilience and solidarity.

4) Paradise

Legendary Sri Lankan filmmaker Prasanna Vithanage directed Paradise, a politically charged film set against the backdrop of Sri Lanka’s economic crisis. Starring Roshan Mathew and Darshana Rajendran, the movie depicted the struggles of ordinary people amidst political and economic collapse. The narrative resonated globally, drawing parallels with other humanitarian crises. Cinematographer Rajeev Ravi’s exceptional work further enhanced the film’s impact.

3) Family

Don Palathara’s Family redefined horror, portraying the chilling reality of how tightly-knit conservative societies can enable child sexual abuse. Set in the picturesque Idukki district, the film highlighted the societal structures that shield predators. The minimalist visuals captured the haunting atmosphere, while the cast, including Vinay Forrt, Divya Prabha, and Mathew Thomas, delivered compelling performances.

2) All We Imagine As Light (Prabhayay Ninachathellam)

Payal Kapadia’s All We Imagine As Light emerged as a poetic masterpiece, exploring the lives of migrants in Mumbai. The film delved into themes of belonging, community, and resilience, with stellar performances by Kani Kusruti, Divya Prabha, and others. Winning the Grand Prix award at the Cannes Film Festival, the movie showcased Malayalam cinema’s global appeal.

1) Aattam

Anand Ekarshi’s Aattam took the top spot as the year’s finest Malayalam film. Featuring Zarin Shihab and Vinay Forrt, the film offered a profound exploration of human complexities through its meticulously crafted characters. With its innovative storytelling and technical brilliance, Aattam earned multiple accolades, including Best Feature Film and Best Screenplay at the National Film Awards.

As 2024 draws to a close, Malayalam cinema has emerged as a beacon of creativity and resilience, proving its mettle on both national and international stages. This remarkable year will undoubtedly be remembered as a turning point for the industry.

Renowned composer and award-winning musician A.R. Rahman has been named the Honorary President of the Trinity Laban Conservatoire of Music and Dance, a distinguished London-based institution celebrated for its innovative programs in music, musical theatre, and contemporary dance. This honorary role, which Rahman will hold for a five-year term, underscores his significant contributions to the performing arts both in India and on the global stage.

This notable appointment arrives during a vibrant phase of Rahman’s career, as he continues to excel in the international music industry and demonstrates unwavering dedication to nurturing young talent. Rahman, known for his Academy Award-winning compositions and groundbreaking ventures in musical theatre, views this honor as a step toward advancing his vision for the future of music and performing arts in India.

Reflecting on his journey, Rahman recalled a pivotal moment in 2000 when he met musical theatre legend Andrew Lloyd Webber. “When I met the king of musical theatre, Andrew Lloyd Webber, he casually asked me, ‘Are you going to take the mantle of musical theatre forward?’ At the time, I didn’t fully grasp what he meant,” Rahman said. “But as I worked on projects like Bombay Dreams on Broadway and The Lord of the Rings in England and Canada, I began to realize the depth of his vision. It was a serious, visionary thought.”

Rahman has great optimism for the future of musical theatre in India but emphasizes the necessity of fostering local talent and developing essential infrastructure. “If we invest in our talent and build the right infrastructure, we can open up a whole new genre of entertainment in India,” he stated. However, he acknowledged that collaboration is key to achieving this ambition. “But I can’t do it alone. I need government support, incentives for performers, musicians, and the infrastructure to support this growth. We are now at a technological crossroads where visuals can be easily generated, but nothing compares to the magic of live performance.”

He also noted the growing global appetite for live entertainment, citing the recent success of major Western music tours. “Western artists have made billions on recent tours. People want to experience real performances,” Rahman observed. The timing of his new role aligns with his aspirations for transformative projects in India. “The honour of being appointed Honorary President of Trinity Laban comes at a perfect time, as it also empowers me to undertake transformational projects in India, particularly through collaborations like the KM Music Conservatory and exciting future initiatives at Trinity Laban.”

Through this prestigious position, Rahman aims to influence the global music community while simultaneously bolstering the performing arts in India. His collaborations with institutions such as Trinity Laban, the KM Music Conservatory, and the Sunshine Orchestra are designed to pave the way for young talent to flourish in an increasingly dynamic global entertainment industry.

“The next five years at Trinity Laban could mark a new era of global collaboration in music and dance,” he remarked.

Looking ahead, Rahman’s upcoming projects include several ambitious endeavors. These include Chhava and Lahore 1947, an Indian period epic, the Gandhi series, and collaborations with acclaimed filmmakers Imtiaz Ali and Mani Ratnam. Alongside these, Rahman is also committed to fulfilling international assignments, further expanding his already remarkable global footprint.

As Rahman steps into this influential role, his efforts are poised to create meaningful changes in the landscape of global music and performing arts, bringing his unparalleled passion and creativity to inspire future generations.

In today’s increasingly globalized media landscape, much of the music we encounterremains deeply rooted in the traditions of our respective regions. One artist who has successfully blended the musical traditions of the East and the West is A.R. Rahman, the iconic Indian composer also known as ARR or Allah Rakha Rahman.

Rahman is celebrated for his groundbreaking cinematic soundtracks. He made a powerful debut in Kollywood with the Tamil film Roja in 1996, which set the tone for a stellar career that would eventually conquer Bollywood and Hollywood. His work on Slumdog Millionaire earned him two Oscars, and he received further acclaim with nominations for his compositions in 127 Hours.

Beyond his success in films, Rahman has ventured into diverse musical territories. Over the course of his career, he has contributed to over 145 films, created original compositions, worked on musicals, and collaborated with artists like Mick Jagger as part of the supergroup SuperHeavy.

When discussing his creative process, Rahman emphasizes the primacy of melody. “Melody is king,” Rahman shared in an interview with Euronews Culture. “You can do crazy orchestration and everything, but if you don’t have anything to remember, I think it’s useless.”

However, crafting melodies for global audiences comes with its challenges. Rahman notes that musical preferences differ across cultures. For instance, Western music often adheres to the structured theoretical lines of linear scales, while Indian music is built on the complexities of seven mutable swaras within the framework of raga. “India accepts everything, but it’s not the other way around,” Rahman observes. He elaborates by demonstrating melodies that Western audiences might find intricate, referring to the nuanced use of microtones.

“Tuning for Western songs is easier than for an Indian one,” he explains. “We have such complex ragas. These are certain bandishes that every Hindustani student learns.”

Bringing cultures together has been a constant theme in Rahman’s illustrious career. This mission gained further recognition with his appointment as the Honorary President of Trinity Laban, a renowned London-based conservatoire for contemporary dance, music, and musical theatre. This role brings Rahman’s journey full circle, as he once studied Western classical music at Trinity College of Music in London on a scholarship at the age of 13.

Trinity Laban has an impressive legacy, with alumni ranging from Afrobeat pioneer Fela Kuti to contemporary jazz stars like Ezra Collective and Tom Misch. Reflecting on Rahman’s appointment, artistic director Aleksander Szram described him as “the living embodiment” of the institution’s vision to push artistic boundaries. “We strive to lead the arts beyond convention, to make change and to break expectations,” Szram stated.

Rahman’s innovative spirit was evident from the very beginning of his career. “Even on Roja, my first film score, it broke with all the traditions. I was already so bored of what was traditionally expected of a movie,” he said. For Rahman, reinvention is essential. “The world needs reinvention,” he insists.

This philosophy of reinvention extends to education, an area where Rahman has made significant contributions. He founded the KM Music Conservatory in his hometown of Chennai to provide aspiring musicians with professional training and career opportunities. To make music accessible to marginalized communities, Rahman also launched the Sunshine Orchestra, which offers free training to children from disadvantaged backgrounds.

“When I started KM, I felt like if the rich kids wanted to master violin for 12 years, they could because they can always find a job, money, and everything,” Rahman reflects. However, for children from less privileged communities, societal barriers often make such dreams unattainable.

Rahman believes that music can transcend these barriers. “Once you’re in that orchestra, no one cares who you are,” he explains. “When you hear a sound, you don’t judge who’s playing it, right?” This inclusive vision fuels Rahman’s drive. Despite his monumental achievements, he remains motivated by a sense of purpose. “You might feel like I’ve done it all,” he says, referencing his numerous accolades, including Oscars, Grammys, and National Awards. “But I want the fire to burn, and the only way to burn that fire is by having a purpose in life.”

Rahman’s passion for music is deeply rooted in his spiritual beliefs. He views music as a powerful medium for uncovering truth and achieving inner purity. “Certain religions say music is forbidden,” he notes, reflecting on how people’s understanding of life’s purpose can be clouded by societal norms. “My ultimate quest is to see how many veils you can remove to find the truth within you.”

For Rahman, inspiration can come from any source—a street musician playing the flute, a grand symphony, or even the azan from a mosque. He believes that music can serve as a pathway to self-discovery. “The search to purity within yourself, to see the truth, could be through music leading you to something,” he explains.

Whenever Rahman encounters creative blocks, he turns to the works of Sufi philosopher Baba Bulleh Shah. By stripping away the lyrics from Bulleh Shah’s poetry, Rahman seeks to uncover the underlying melody. “There’s something about those lyrics, the power those lyrics have, that elevates the whole value of that tune,” he says.

At 57, Rahman shows no signs of slowing down. In addition to his role at Trinity Laban, he has an array of ambitious projects in the pipeline. These include plans to establish a new theatre in Chennai, develop the virtual metal band Secret Mountain, adapt Slumdog Millionaire for the stage, and direct his own films.

For Rahman, the journey is far from over. “The best is yet to come,” he says, embodying the boundless creativity and passion that have defined his career.

Instead of relaxing at home after Thanksgiving, many Americans chose to visit movie theaters, spurred by the premieres of Disney’s “Moana 2” and the appeal of Universal Pictures’ “Wicked” and Paramount Pictures’ “Gladiator II.” Together, these films created a record-breaking boost for the domestic box office.

The trio of blockbuster releases helped the five-day Thanksgiving weekend box office revenue soar to an estimated $420 million, surpassing the previous record of $315.6 million set in 2018. This significant milestone underscores the resurgence of the moviegoing experience during the holiday season.

Disney’s “Moana 2” led the charge, achieving the highest-grossing five-day opening in history by earning $221 million domestically. This figure eclipsed the previous record set by “The Super Mario Bros. Movie,” which earned $204.6 million in 2023. Alan Bergman, co-chairman of Disney Entertainment, expressed his enthusiasm in a press release, stating, “‘Moana 2’ has far surpassed our high expectations this weekend and is a testament to the phenomenon that Moana has become.”

Paul Dergarabedian, senior media analyst at Comscore, highlighted the strategic advantage of releasing three major films during the same period. “Having all three of these films seems to be a strategy, whether by design or by accident, that really draws massive amounts of attention to the movie theater experience,” he said. He also noted that the unexpected $420 million box office haul reshaped perceptions of the year’s overall potential.

“Wicked” contributed significantly to the holiday success, grossing $262.4 million domestically, including $80 million earned between Friday and Sunday. Similarly, “Gladiator II” added to the momentum, with its cumulative earnings reaching $111.2 million after generating $30.7 million over the same three-day period. Both films, which debuted on November 22, have collectively been nicknamed “Glicked,” drawing comparisons to the summer 2023 trend of “Barbenheimer,” which paired the releases of “Barbie” and “Oppenheimer.”

In fourth place, Amazon MGM Studios’ Christmas action movie “Red One” earned $12.89 million during its third weekend of release. Distributed internationally by Warner Brothers Discovery, this film was followed by Lionsgate’s “The Best Christmas Pageant Ever,” which grossed $3.27 million in its second weekend.

Industry analysts predict that the box office momentum will persist in the coming weeks. The three leading films are expected to maintain their strong performance, drawing audiences well beyond the holiday weekend. Daniel Loria, editorial director at The Boxoffice Company, pointed out that “Gladiator II” faces little competition until mid-December, when Sony’s “Kraven the Hunter” is set to release. Similarly, “Moana 2” will dominate the family animation genre until December 20, when “Sonic the Hedgehog 3” and “Mufasa: The Lion King” hit theaters. “Wicked” will continue its run with a special interactive experience starting December 25, allowing audiences in approximately 1,000 North American theaters to participate in sing-along showings.

Michael O’Leary, president and CEO of the National Association of Theatre Owners, noted that some moviegoers have faced difficulties securing advance tickets. This demand could translate into extended interest and attendance in the coming weeks.

Industry experts attribute much of this success to a revitalized focus on theatrical-driven marketing. Loria emphasized how Universal, Paramount, and Disney capitalized on this strategy to ensure their films’ success. According to data from The Boxoffice Company, 75% of all showtimes during the Thanksgiving weekend were dedicated to “Moana 2,” “Wicked,” and “Gladiator II.” This approach allowed theaters to cater to a diverse audience base seeking animated adventures, musical fantasies, or epic historical action.

Dergarabedian remarked on the evolving relationship between theatrical releases and streaming platforms. “That was additive and complementary: having the big screen and the small screen for Disney working together to build up the potential revenue and viewership,” he explained, highlighting how the synergy between the two formats amplifies a film’s reach and profitability.

This record-breaking Thanksgiving weekend not only underscores the enduring appeal of the big screen but also signals a promising trajectory for the box office in the weeks ahead. With no direct competition for the leading films in the immediate future, theaters are poised to continue reaping the rewards of a strong holiday season.

Shivangi Desai, a 22-year-old final-year law student at the Indian Law School (ILS) Pune, has brought pride to India by winning the prestigious Miss Charm India 2024 title. This remarkable achievement will see her represent India at the global Miss Charm 2024 competition in Vietnam this December. A dynamic blend of intellect, beauty, and cultural advocacy, Shivangi’s journey exemplifies resilience and determination, inspiring young aspirants across the nation.

Shivangi’s journey in pageantry began at the age of 16 when she won the May Queen title at the RSI Army Institute in Pune in 2018. This success set the stage for numerous accolades, including the Miss Teen India North title at Miss Teen Diva, Miss NDA, and 1st Runner-Up at Miss Universe Gujarat. Her early achievements provided a strong foundation for her triumph at Miss Charm India 2024, showcasing her dedication and talent in the competitive world of pageantry.

Shivangi’s upbringing has played a pivotal role in shaping her character and aspirations. As the daughter of an Indian Navy officer, she grew up attending ten different schools across India, adapting to new environments and challenges. This upbringing instilled in her qualities like resilience, discipline, and adaptability, which have been instrumental in her success both in academics and pageantry.

Beyond her achievements in pageantry, Shivangi is deeply passionate about promoting India’s rich culture and heritage. Her commitment to this cause is evident in her authorship of the book Beyond the Usual, which explores India’s lesser-known tourism gems. Her efforts to highlight India’s cultural wealth align seamlessly with her aspirations to represent the country on the global stage.

In addition to her accomplishments in pageantry, Shivangi excels academically as a law student. She has participated in and won national and state-level moot court competitions, interned with leading law firms such as Trilegal and Khaitan & Co., and authored research papers. Her ambition to become a top lawyer specializing in fashion, sports, and entertainment law reflects her multifaceted personality and determination to succeed in every arena she pursues.

Shivangi credits her success at Miss Charm India 2024 to the guidance and mentorship she received from Pageant Coach Ritika Ramtri and the Glamanand Supermodel India team. Their support helped her hone her skills and prepare for the rigorous competition, contributing significantly to her victory.

As she prepares to represent India at Miss Charm 2024, Shivangi’s story is a testament to the power of perseverance, passion, and purpose. Her achievements in academics, pageantry, and cultural advocacy position her as a role model for young Indians. Shivangi Desai’s journey is far from over, and she is set to make a lasting impact on the global stage, showcasing India’s grace, intelligence, and charm to the world.

Arshia Puri won the prestigious Miss Bharat Connecticut, during a glittering inaugural Miss Bharat CT pageant which made a stunning debut in Connecticut, showcasing the beauty and talent of participants across various categories. The event held on November 10, 2024 at the beautiful Villa Louisa in Bolton, CT recognized a diverse group of winners from across the Constitution state.

Hannah Newman was crowned Tween Bharat CT, while Pooja Prashanth claimed the title of Teen Bharat CT. In the married categories, Priti Goyal was honored as Mrs. Bharat CT, and Yash Malhotra was named Mr. Bharat. The couple category saw Sujal and Minar Muzumdaar awarded as Mr. and Mrs. Bharat CT, while Namita Dandekar and Sudhir Oak were celebrated as Mr. and Mrs. Elite Bharat CT. Ukti Goel earned the title of Mrs. Bharat CT, and Pallavi Jawale was recognized as Mrs. Bharat Elite CT.

The inaugural edition of the pageant that brought together the most beautiful women of Indian origin from across the state was organized under the guidance of Vice President Mohana Namle and State Director Amey Tumne, along with the unwavering support of Rashmi Bedi, the CEO and Founder of My Dream Tv, and President Surya Bedi, the dedicated team of My Moda Glam poured immense effort into crafting an unforgettable event.

The atmosphere was electric as Bollywood actress and celebrity Tulip Joshi graced the stage, adding a touch of glamour by crowning the deserving winners amidst a backdrop of elegance. The night sparkled with empowered individuals exuding beauty and confidence, highlighted by mesmerizing fashion show performances orchestrated by the talented Paromita Ghosh. It was truly awe-inspiring to witness the remarkable talent emerging from the state of Connecticut.

The judging panel was comprised of esteemed professionals from the pageant and fashion industry, including Mukta Munjal, Dr. Jaya Daptardar, Anushka, Kiruthiga, Priya, Shilpi, Mrs. Bharat New York, and Tom. Their expertise ensured that each contestant received fair and knowledgeable evaluations.

Overall, the night was a glorious celebration of artistry, confidence, and cultural pride, leaving a lasting impression on all attendees.

Pope Francis addressed the U.N. climate summit on Wednesday, delivering a powerful message that stressed the importance of addressing both ecological and foreign debt in the fight against climate change. He warned that both forms of debt are “mortgaging the future” of nations, particularly those already struggling under the weight of crippling economic burdens.

In his message to the 29th Conference of the Parties (COP29) to the U.N. Framework Convention on Climate Change, which is currently taking place in Baku, Azerbaijan, from November 11 to 22, the pope emphasized the need for global efforts to find sustainable solutions that would not further damage the development potential of countries already facing severe economic challenges. “Efforts should be made to find solutions that do not further undermine the development and adaptive capacity of many countries that are already burdened with crippling economic debt,” he stated.

One of the key focuses of COP29 is the establishment of a “New Collective Quantified Goal on Climate Finance,” which aims to mobilize resources to support climate change mitigation and adaptation efforts across nations. Climate finance, as defined by the U.N., refers to the financial resources, whether local, national, or transnational, that are allocated to help mitigate the effects of climate change and support global sustainability initiatives.

Cardinal Pietro Parolin, the Vatican’s Secretary of State, is representing the Holy See at the summit. On November 13, he read Pope Francis’ message to the assembly, reinforcing the pope’s call for increased international solidarity and cooperation on climate issues.

Pope Francis used his platform at the climate summit to underscore what he sees as a growing indifference toward environmental issues in the modern era. “We cannot wash our hands of it, with distance, with carelessness, with disinterest. This is the real challenge of our century,” he declared. He highlighted how indifference to climate change has compounded the problem, calling it “an accomplice to injustice.”

The pope’s remarks come at a critical moment in global climate discussions. The Conference of the Parties (COP) has been convening annually since 1995 to assess and address the goals of the 1992 United Nations Framework Convention on Climate Change (UNFCCC). The Holy See became a full member of the UNFCCC and the 2015 Paris Agreement in 2022, further demonstrating its commitment to global climate action.

Pope Francis also reiterated the Holy See’s support for the work of COP29, particularly in the area of integral ecology and environmental education. He emphasized that the climate crisis is not only an environmental issue but also a profound human and social issue, affecting the poorest and most vulnerable communities around the world. “It is essential to seek a new international financial architecture that is human-centered, bold, creative, and based on the principles of equity, justice, and solidarity,” he urged.

The pontiff emphasized that such a new financial framework must prioritize the needs of the most vulnerable nations, many of which are already facing the worst impacts of climate change despite contributing the least to the global crisis. He called for a financial system that enables all countries to pursue both low-carbon and equitable development pathways that ensure every nation can reach its full potential while safeguarding human dignity.

“A new international financial architecture that can truly ensure for all countries, especially the poorest and those most vulnerable to climate disasters, both low-carbon and high-sharing development pathways that enable everyone to reach their full potential and see their dignity respected,” Pope Francis stressed.

The pope’s remarks underscore the urgent need for a shift in how the world approaches climate finance, as well as the role of international cooperation in addressing the mounting pressures of both ecological and economic debts. His call for a human-centered financial system reflects his ongoing advocacy for a more equitable world, where the wealthiest nations support the sustainable development of poorer countries, rather than perpetuating a cycle of exploitation and debt.

Pope Francis’ message to the U.N. climate summit also aligns with his broader environmental teachings, which have been a cornerstone of his papacy. His 2015 encyclical, *Laudato si’*, called for urgent action to combat climate change and protect the planet, emphasizing the moral and ethical responsibility to care for the Earth and its most vulnerable inhabitants. In his address to the COP29 assembly, the pope reiterated this commitment, framing the climate crisis as a deeply interconnected issue that requires a global response rooted in justice and solidarity.

As the COP29 conference continues, world leaders, policymakers, and climate activists will continue to grapple with the complex and multifaceted challenges of addressing global climate change. Pope Francis’ message serves as a powerful reminder that climate change is not only an environmental issue but one that touches on broader themes of economic justice, human dignity, and the future of humanity itself.

In his call to action, the pope highlighted the responsibility of both wealthy and developing nations to work together in finding innovative and equitable solutions to the climate crisis. He urged world leaders to take bold steps in addressing both foreign and ecological debts, which, if left unaddressed, could hinder the development and prosperity of future generations.

Pope Francis’ message to the U.N. climate summit is a timely reminder that the fight against climate change is not just about reducing emissions and protecting ecosystems but also about addressing the systemic injustices that have contributed to the crisis. The Holy See’s continued advocacy for a just and human-centered approach to climate finance is a call for greater international cooperation, solidarity, and action to ensure that the future of our planet is one of sustainability, justice, and dignity for all.

Pope Francis’ message to COP29 underscores the interconnectedness of economic and environmental challenges facing nations today. By calling for a new financial architecture centered on equity and justice, he emphasizes the moral imperative to address both foreign and ecological debts, ensuring that all nations, especially the most vulnerable, can thrive and contribute to a sustainable future.

Indian-American artists have made a strong impact at the 67th Grammy Awards, which will take place on February 2, 2025, at Los Angeles’s Crypto.com Arena. A lineup of nominees with Indian roots spans several categories, underscoring the increasing global influence of these musicians.

The list of nominees features Chandrika Tandon, Anoushka Shankar, Varijashree Venugopal, Ricky Kej, Noshir Mody, and Radhika Vekaria. Each artist has made noteworthy contributions in their respective genres, representing a diverse spectrum of music.

Entrepreneur and musician Chandrika Tandon has received a nomination for her album Triveni in the Best New Age, Ambient, or Chant Album category. Tandon, also nominated previously for her album Soul Call in the Best Contemporary World Music category, is known both for her artistic work and her business acumen. She is the founder and chairperson of Tandon Capital Associates, a financial advisory firm established in 1992. Tandon is also notably the sister of Indra Nooyi, former CEO of PepsiCo, adding a unique blend of corporate and artistic success to her profile.

Joining her in the same category is Anoushka Shankar, who received a Grammy nomination for her album Chapter II: How Dark It Is Before Dawn. Shankar, daughter of the legendary sitar maestro Ravi Shankar, carries forward her family’s legacy in Indian classical music with a modern touch. This nomination is part of her broader recognition in the industry, where she is seen as an innovator in the genre. Shankar received a second Grammy nomination this year in the Best Global Music Performance category for her collaboration on the track A Rock Somewhere with Bengaluru-based vocalist, violinist, and composer Varijashree Venugopal.

Venugopal, who is a first-time Grammy nominee, made a significant contribution to A Rock Somewhere, bringing her skills in both voice and violin to the project. In addition, Venugopal has collaborated with Ricky Kej on his album, adding another dimension to her Grammy debut. Kej, who is based in Bangalore and has previously won three Grammy Awards, has now received his fourth nomination for his album Break of Dawn. Although Kej currently resides in India, he was born in North Carolina, giving him a background that bridges both cultures.

Adding to the representation in the Best New Age, Ambient, or Chant Album category is Radhika Vekaria, nominated for her album Warriors of Light. Vekaria was born in the UK to parents who emigrated from East Africa, with family roots tracing back to India. Now based in Los Angeles, Vekaria’s nomination highlights her cultural journey and the influences that shape her work.

Noshir Mody, a musician born in Mumbai, is also a first-time Grammy nominee. His track Kashira has been nominated in the Best Global Music Performance category. This nomination marks a milestone in Mody’s career, as he gains international recognition for his work, representing a distinct style that combines his Indian heritage with global sounds.

Additionally, the Best Global Music Performance category features Pakistani-American artist Arooj Aftab, who has been nominated for her song Raat Ki Rani, part of her album Night Reign, which is also competing in the Best Alternative Jazz Album category. Aftab, who gained significant attention in 2022, made history as the first Pakistani woman to win a Grammy with her song Mohabbat in the same category. Her latest nomination underscores her continued success and artistic influence.

These Grammy nominations reflect the vibrant diversity and artistic contributions of Indian-American and South Asian artists to the global music industry. With nominations across different genres, each artist represents a unique blend of cultural heritage and modern influence, celebrating a shared legacy on a worldwide stage.

In the 1960s, Lata Mangeshkar brought a seismic shift to Bollywood’s music industry by demanding that playback singers be paid on par with lyricists and composers, a notion largely unheard of at the time. Back then, even popular singers like Mohammed Rafi and Manna Dey were paid modestly at around ₹300 per song, despite their fame. Yet, Lata’s strong stance on fair pay changed the game. As Bollywood transitioned from vinyl records and cassettes to YouTube and streaming platforms, the value and visibility of singers skyrocketed. This journey has led to a new era where India’s top singers command massive fees, with one singer, AR Rahman, emerging as the industry’s highest earner.

Currently, AR Rahman holds the distinction as India’s highest-paid singer. Industry sources reveal that Rahman commands an astounding ₹3 crore per song whenever he chooses to lend his voice. This fee is 12 to 15 times more than what other top singers in the country typically charge. Sources say Rahman sets this high rate deliberately to limit requests, as he wants to prioritize his focus on music composition. He usually only sings songs he has personally composed, but if he agrees to lend his voice to another composer’s work, the producers are required to meet his premium price.

In the list of top-earning full-time singers, Shreya Ghoshal ranks highest, charging approximately ₹25 lakh per song. Following her is Sunidhi Chauhan, who demands between ₹18-20 lakh per song, positioning her as one of the highest-paid singers. Arijit Singh matches Sunidhi’s rate, earning between ₹18-20 lakh for each song, as per industry estimates. Completing the top five is Sonu Nigam, who commands a fee of ₹15-18 lakh for a single recording. Meanwhile, rapper Badshah and singer Diljit Dosanjh have recently increased their rates, potentially setting them up to break into the top ranks of India’s highest-paid music artists in the near future.

Actor Richard Gere recently announced his intention to relocate to Spain and has sold his Connecticut property for $10.75 million. Gere, who purchased the house in New Canaan for $10.8 million in 2022, has decided to leave the United States, where he has lived with his wife, Alejandra Silva, since their marriage in 2018. The sale of his Connecticut home marks a financial loss, as he sold it for $50,000 less than his purchase price.

The actor had envisioned transforming the Connecticut estate into a farm. Set on 32 acres of land, the property includes 11 bathrooms, a pool, various gardens, and a three-bedroom guest cottage. Originally, it was sold to Gere by musicians Paul Simon and Edie Brickell, who also took a loss on the property after they paid $16.5 million for it over 17 years ago. According to Sotheby’s listing, the estate boasts “period details” that capture an old-world charm, and it remains a stunning representation of architectural craftsmanship.

Gere’s decision to move comes as he considers the happiness and cultural roots of his wife, Alejandra Silva, a native of Spain. In an interview with Vanity Fair Spain, Gere shared his appreciation for Spain, where Silva’s family resides, stating, “For Alejandra, it will be wonderful to be closer to her family, her lifelong friends, and her culture.” He also expressed his gratitude for Silva’s willingness to spend the last six years in the United States, noting, “She was very generous in giving me six years living in my world, so it is only fair that I give her at least another six living in hers.”

The relocation is also anticipated to be an enriching experience for their young children, Alexandra and James, who are five and four years old, respectively. Reflecting on the move, Gere described Madrid as a “great adventure” for himself, Silva, and their children. He expressed his admiration for Spanish culture, saying, “I love Spain and the ability of the Spanish people to live transmitting joy and happiness.”

While Gere prepares for a new chapter in Spain, he still maintains ties to the U.S. through another property. He mentioned that he keeps a house “in the countryside near New York,” indicating he’ll continue to have a connection to his current homeland. Gere and Silva’s relationship, which began in Positano, Italy, in 2014, culminated in marriage four years later. At the time, sources close to the couple spoke about the depth of their happiness, noting they were “extraordinarily happy,” with one source adding, “They’re so comfortable with each other, have fun together, and are looking forward to their future together.”

The world’s largest icebergs, sometimes exceeding the size of entire countries, are born as they break off the Antarctic ice sheet. These colossal ice masses, drifting and melting in the Southern Ocean, create distinct and temporary ecosystems around them.

It all began with a significant crack. Late in 2016, scientists observed a swiftly expanding fissure in the immense Larsen C Ice Shelf, which extends into the Weddell Sea from the West Antarctic Peninsula. Within months, this crack grew to an enormous scale, ultimately leading to one of the most massive icebergs ever recorded breaking away into the ocean.

The iceberg, labeled as A-68, was an immense structure, more than double Luxembourg’s area at 2,200 square miles (5,700 sq km) and around 770 feet (235m) thick. Initially, it barely moved, trapped in the seasonal Antarctic sea ice. However, it eventually began drifting northward, carried by ocean currents and wind.

This giant iceberg set out on a notable four-year voyage from the Antarctic sea ice to a distant island in the Southern Ocean. Iceberg A-68 became widely known, particularly when its travels captured attention on social media during the Christmas of 2020. During a time when Covid-19 lockdowns isolated many, people followed A-68’s journey with great interest, rooting for it as it crossed the Southern Ocean. There was even a chance of a dramatic finish, as ecologists feared A-68 could collide with South Georgia Island, potentially devastating its ecosystems.

The iceberg eventually broke apart and melted before reaching the island, dispersing billions of tons of chilled freshwater into the ocean. Over the years, it shattered into smaller pieces and gradually vanished, disappearing into slushy seawater by April 2021. This process significantly impacted the surrounding marine habitat, creating conditions that supported a unique ecosystem. Scientists tracking A-68 from its birth to its end gathered valuable insights into the effects of massive icebergs on marine environments. A-68, for its short existence, became a mobile refuge for various species.

With years of data collection, researchers can now tell A-68’s complete story and analyze its environmental impact on the ocean.

Breaking Away from Antarctica

On Antarctica’s side closest to South America, the West Antarctic Peninsula stretches into the Southern Ocean. This peninsula, home to numerous penguin colonies and other thriving life forms, is the most habitable region of the continent. To the east, it is bordered by the Larsen ice shelves, vast plains of floating glacier ice that extend tens of thousands of square kilometers. The seas beneath these ice shelves remain mostly uncharted due to the thick ice, which blocks vessel access and sunlight from reaching these regions, isolating the marine habitat beneath for thousands of years.

The Antarctic ice shelves are not stationary. Ice flows continuously from the continent towards the ocean, creating a dynamic environment as the ice interacts with the thinner seasonal sea ice. Occasionally, a significant chunk breaks off—a process known as “calving.” According to Geraint Tarling, a polar ecologist with the British Antarctic Survey, “Calving is a natural event.”

In July 2017, the growing fissure in Larsen C led to the detachment of a massive ice block, which represented about 10% of the shelf. This newly calved iceberg was the largest in the ocean at the time, and among the top six over the last 30 years. The US National Ice Center designated it as “A-68.” Within days, a portion of it broke off, creating fragments known as A-68a, A-68b, A-68c, and so on.

Embarking on Its Journey

The formation of A-68 exposed a previously hidden seabed that had remained beneath the ice for millennia. Polar scientists were eager to investigate this newly uncovered area before changes in the ecosystems began. “There was a big move to get expeditions in there,” says Tarling, noting, “Unfortunately, when it calved, there was a huge amount of ice around… The opportunity was lost.”

Thus, A-68a remained in place for a couple of years, trapped in its icy surroundings. In July 2018, it began drifting within the Weddell Gyre—a circular ocean current. By summer 2019, it had traveled about 155 miles (250 km) north. Then, as it reached the edge of Antarctica’s year-round sea ice, it drifted into “Iceberg Alley,” a path where powerful currents steer icebergs northwards.

In these waters, A-68a encountered warmer temperatures. By April 2020, a chunk measuring 67 square miles (175 sq km) had broken off, leading scientists to anticipate a collapse. Yet, A-68a persisted. Describing this iceberg as unique, Tarling notes, “It was the sixth-largest ever detected” and “stayed together for an incredibly long period.”

During the same period, Roseanne Smith, then a student researching polar and alpine change, tracked A-68a’s progress using satellite data. “I was doing it from home,” she recalls, adding, “It was a case of waking up every morning and then checking where the iceberg had moved to.”

Smith’s work at the British Antarctic Survey revealed that vast but thin layers of freshwater spread more than 620 miles (1,000 km) from the iceberg. “Satellites are only able to tell you anything about the conditions in the top few centimeters of the surface ocean,” she explains.

Approaching South Georgia Island

By the summer of 2020, the iceberg was drifting closer to South Georgia, raising concerns among scientists. South Georgia’s marine ecosystem is enriched by glacial runoff, which fertilizes surrounding waters, promoting photosynthetic plankton growth that sustains krill and other marine life. The island also serves as a breeding ground for species like elephant seals, king penguins, and wandering albatrosses.

An impact with the island’s shallow seabed could have damaged these ecosystems. “That probably would mean that there would be low levels of survival at those colonies for that particular year,” Tarling explains. This potential danger prompted an urgent attempt to arrange an expedition to assess the iceberg’s effects on the region’s marine environment.

In February 2021, the RRS James Cook vessel was directed to study the freshwater layer around A-68a, although Tarling could not join due to pandemic restrictions. The ship conducted transects, measuring water conditions and observing marine life.

The Final Break-Up

In December 2020, satellite images showed A-68a was “fraying at the edges” and developing cracks. As the iceberg approached South Georgia, one corner became lodged in the shallow waters off the island, breaking off from the main body. “It got very, very close,” says Tarling. Fortunately, this break spared the island, though it carved an indentation in the seabed.

The final break-up was driven by strong ocean currents that exerted a shearing force on the iceberg. This unusual event caused one section to break off, with pieces dispersing into the sea. Tarling’s team had to alter their research approach in response to the iceberg’s rapid disintegration, making observations around a collapsing iceberg for the first time.

In the peak of its melt, A-68a released around 1.5 billion tons of freshwater into the ocean daily. By late January 2021, as the RRS James Cook arrived, the researchers deployed gliders to monitor the icy fragments. Meanwhile, A-68a’s main body was melting at a rate of 23 feet (7 meters) per month due to the warmer northern waters near South Georgia.

Ultimately, in mid-April 2021, A-68a had disintegrated into fragments so small they no longer qualified as giant icebergs. Over three and a half years, A-68 shed a staggering 802 billion tons of ice, marking the end of its journey.

As scientists now assess the legacy of A-68, they reflect on the iceberg’s transformative effect on the ocean. This single calving event not only provided a unique glimpse into how massive icebergs influence the Southern Ocean but also highlighted the fleeting nature of such phenomena.

Oscar and Grammy-winning music composer A.R. Rahman has officially joined the creative team of the upcoming series Gandhi, directed by renowned filmmaker Hansal Mehta. The announcement came on Wednesday, October 2nd, coinciding with Gandhi Jayanti, the national holiday celebrating the birth of Mahatma Gandhi. Rahman, recognized globally as one of the most influential and talented musical forces, is set to bring his artistic mastery to this series, which explores the life of India’s most iconic leader and his role in the nation’s struggle for independence.

The project will see Rahman scoring the music for the series, a task he sees as both a challenge and an honor. Reflecting on the significance of the project, Rahman expressed his deep respect for Mahatma Gandhi and the opportunity to explore the leader’s early life. “Watching Gandhiji’s younger life is a revelation, his experiments with truth, life, and so many other things show the evolution of his character. I am deeply honoured to be scoring the music for this story, in collaboration with Applause Entertainment and under the articulate direction of Hansal Mehta,” Rahman said in a statement.

The Gandhi series, which stars Pratik Gandhi in the titular role, is an ambitious and large-scale production, based on the works of esteemed Indian historian Ramachandra Guha. Guha’s extensive writings on Mahatma Gandhi serve as the foundation of the series, which promises to present Gandhi’s life story with an unprecedented level of detail and emotional depth. The show is expected to offer a unique perspective on the events that shaped Gandhi into the global symbol of peace and non-violence that he is remembered as today.

Hansal Mehta, known for directing critically acclaimed films and series such as Scam 1992 and Aligarh, expressed his excitement about Rahman’s involvement in the project. In a statement, Mehta described how vital Rahman’s music would be to telling the story of Gandhi’s life. “‘Gandhi’ is a deeply human retelling of M.K. Gandhi’s life story, a story that continues to inspire generations. Having A.R. Rahman joining us on this journey is truly a dream come true. His music has the unique ability to elevate storytelling, and for a project of this scale and significance, we couldn’t think of anyone better to bring the emotional and spiritual nuances of Gandhi’s life to the forefront.”

This collaboration marks another milestone in the career of both Rahman and Mehta. Rahman’s body of work is widely celebrated for its ability to convey deep emotion and elevate the visual experience of films and shows. With Gandhi, he is tasked with creating a soundtrack that not only complements the historical narrative but also deepens the audience’s connection to the story’s emotional and spiritual core.

In addition to Mehta and Rahman’s enthusiasm for the project, Sameer Nair, Managing Director of Applause Entertainment, the production company behind the series, also shared his thoughts on the significance of Rahman’s contribution. Nair highlighted the global importance of the story being told and how Rahman’s music would play a critical role in reaching audiences far and wide. “‘Gandhi’ is not just a series, it’s a global narrative on the triumph of the human spirit. A.R. Rahman’s music will infuse a soul-stirring dimension to this iconic story to resonate with audiences around the world. With Rahman’s score, I believe we are crafting something truly special – a series that both entertains and inspires,” Nair stated.

Applause Entertainment, known for its work on several notable Indian series and films, is pulling out all the stops to ensure Gandhi is not just another historical drama but an experience that will captivate viewers both in India and internationally. With Rahman’s musical genius, the series is expected to reach new heights in terms of its emotional impact, providing a fresh perspective on one of the most revered figures in modern history.

A.R. Rahman’s musical style, which blends Indian classical music with modern electronic sounds and Western influences, has made him a household name both in India and across the world. Over his career, Rahman has won numerous prestigious awards, including two Academy Awards, two Grammy Awards, a BAFTA Award, and a Golden Globe Award. His compositions have been featured in internationally acclaimed films such as Slumdog Millionaire, 127 Hours, and Dil Se. His involvement in Gandhi signals a high level of artistic commitment to ensuring the story of India’s independence is not only historically accurate but emotionally resonant.

Meanwhile, Hansal Mehta’s work on Gandhi is anticipated to be another major milestone in the filmmaker’s already impressive career. Known for tackling complex narratives and giving voice to marginalized characters, Mehta has built a reputation for delivering thought-provoking and critically acclaimed content. His previous work includes the breakout hit series Scam 1992: The Harshad Mehta Story, which explored the life and controversies surrounding stockbroker Harshad Mehta. With *Gandhi, Mehta is taking on an even more ambitious project, one that encompasses not just the personal evolution of a man but also the history of an entire nation.

Pratik Gandhi, who shot to national fame with his performance in Scam 1992, takes on the lead role of Mahatma Gandhi in this series. Known for his versatility and dedication to his craft, Pratik’s portrayal of Gandhi is expected to add a new dimension to the character, allowing audiences to see beyond the public figure to the man behind the movement. The series will likely explore lesser-known aspects of Gandhi’s life, including his personal struggles, philosophical explorations, and the development of his non-violent resistance strategy, Satyagraha.

In essence, the collaboration of Rahman, Mehta, and Pratik Gandhi, backed by the prestigious Applause Entertainment, creates high expectations for the upcoming series. With Rahman’s music serving as the emotional backbone, Mehta’s direction, and Pratik Gandhi’s performance, *Gandhi* promises to be a deeply moving portrayal of one of the most significant figures in modern history. The series, though centered on an Indian leader, carries universal themes of peace, justice, and human dignity that are likely to resonate with viewers around the world.

As the release date for Gandhi draws closer, the anticipation for this series continues to build. Audiences can look forward to a captivating and inspiring narrative, enhanced by Rahman’s soul-stirring score, Mehta’s visionary direction, and a talented ensemble cast. Together, they are poised to bring Mahatma Gandhi’s story to life in a way that honors his legacy while offering new insights into his journey and the independence movement he championed.

The IIFA Utsavam Technical Awards 2024 proved to be an unforgettable night, showcasing the creative and technical geniuses behind Indian cinema. Set against the vibrant backdrop of Yas Island, Abu Dhabi, the prestigious Sobha IIFA Rocks event delivered a spectacular celebration of music, art, and the magic of cinema. Hosted by the charismatic duo of Siddhant Chaturvedi and Abhishek Banerjee, the event brought together some of the biggest names in the entertainment industry to honor the best in Indian cinema.

The spotlight of the evening belonged to “Ponniyin Selvan Part – 2,” which clinched three significant awards at the IIFA Utsavam Technical Awards. The film took home accolades for Best Cinematography, Best Production Design, and Best Background Score. A. R. Rahman, the renowned music maestro, was recognized for his outstanding contribution, winning Best Background Score for “Ponniyin Selvan Part – 2” (Tamil). This added to Rahman’s long list of achievements, further cementing his status as a legend in the Indian music and film industry.

The grand finale of the IIFA Festival was a night to remember. Legendary music trio Shankar–Ehsaan–Loy captivated the audience with their soulful and high-energy compositions. Celebrating 30 years of musical brilliance in Bollywood, their performance created a powerful connection with the audience, setting a perfect tone for the rest of the night. Shilpa Rao added her magic with powerful vocal performances, bringing an additional layer of emotion to the event. Following her, Honey Singh took the energy to new heights with his blend of rap and Bollywood beats, ensuring the audience remained on their feet. Lulia Vantur also brought her own charm to the stage with an elegant and captivating performance, rounding off an extraordinary night of music and artistry.

In addition to celebrating musical talent, IIFA Rocks 2024 honored the technical professionals whose expertise plays a crucial role in bringing Indian cinema to life. The night paid tribute to the technical masterminds in various categories, including Cinematography, Screenplay, Dialogues, Editing, Choreography, Sound Design, Sound Mixing, Background Score, and Special Effects. These behind-the-scenes wizards are often the unsung heroes of filmmaking, and the IIFA Technical Awards gave them the recognition they deserve.

Among the night’s major winners, G. K. Vishnu took home the award for Best Cinematography for his work in “Jawan.” In the Screenplay category, Vidhu Vinod Chopra, Jaskunwar Kohli, Anurag Pathak, Aayush Saxena, and Vikas Divyakirti won for their collaborative efforts in “12th Fail.” Ishita Moitra was recognized for her exceptional work in crafting the dialogues for “Rocky Aur Rani Kii Prem Kahaani.” The Editing award went to Sandeep Reddy Vanga for his sharp and innovative editing in the movie “Animal.”

In the Choreography category, the popular duo Bosco – Caesar won for their stunning work in “Pathaan.” Sound Design was awarded to Sachin Sudhakaran and Hariharan M for “Animal,” while the Sound Mixing award went to Sampath Alwar, Chris Jacobson, Rob Marshall, and Marti Humphrey for their exceptional efforts in “Jawan.” Harshavardhan Rameshwar won the award for Best Background Score for “Animal,” showcasing his musical prowess in enhancing the emotional depth of the film. Finally, in the Special Effects category, the award went to Redchillies.VFX for their remarkable work in “Jawan,” elevating the film’s visual experience.

In the South Indian cinema segment of the IIFA Utsavam Technical Awards, the winners also delivered an impressive display of creativity and technical mastery. Ravi Varman won the award for Best Cinematography (Tamil) for his visually captivating work in “Ponniyin Selvan Part – 2.” The Screenplay award (Tamil) went to Alfred Prakash and Vignesh Raja for “Por Thozhil,” demonstrating their skill in crafting compelling narratives. Mahesh Babu P received recognition for his work in Dialogues (Telugu) for “Miss Shetty Mr. Polishetty,” while Ujwal Kulkarni took home the Editing award (Telugu) for his work in “Salaar: Part 1 – Cease Fire.”

In the Choreography category (Telugu), Prem Rakshit won for the popular song “Chamkeela Angeelesi” from “Dasara.” Thota Tharani was awarded for his stunning Production Design (Tamil) in “Ponniyin Selvan Part – 2,” while A. R. Rahman once again received the Best Background Score (Tamil) award for the same film, adding to his multiple wins for the evening. Mindstein Studios earned the Special Effects award (Visual – Malayalam) for their stellar work in “2018: Everyone Is A Hero,” showcasing the continued innovation in South Indian cinema’s technical field.

The night, co-powered by Maisour and Siggnature Finest Cardamom Seeds, was a true celebration of the remarkable talent and creativity that goes into making Indian cinema one of the most influential and beloved film industries in the world. With its vibrant blend of performances and recognition of the technical expertise that drives the industry forward, the IIFA Utsavam Technical Awards 2024 delivered an unforgettable night of celebration, honoring the unsung heroes who work tirelessly behind the scenes.

As the awards season continues to unfold, IIFA remains a crucial platform for recognizing the contributions of both stars and technical experts in Indian cinema. From music maestros to visual effects pioneers, the event highlighted the dynamic range of talent that brings films to life, ensuring that Indian cinema continues to shine on the global stage. The IIFA Utsavam Technical Awards 2024 was a powerful reminder that while stars may shine in front of the camera, it is the technical brilliance behind the scenes that often transforms a good film into a great one.

Yehuda Maor, a ballet teacher who had spent two decades teaching in San Francisco, found himself at a crossroads when he lost his long-held job. Ballet, the very essence of his life, had suddenly disappeared. Looking for ways to stay connected to the dance world, Maor’s journey took a surprising turn. It was not in the bustling streets of the United States or Europe that he found solace, but in India.

“At the end of the day, it was only India that would give a 75-year-old dance teacher a position,” stated a documentary, *Call Me A Dancer*, which follows Maor’s story alongside that of his student, Manish Chauhan. The documentary captures the deep bond between Maor and Chauhan, a street dancer from Mumbai, and highlights the passion and determination that each of them brings to their love for ballet.

The film is scheduled to be showcased at the Silicon Valley Jewish Film Festival on November 10, 2024, and is currently being screened across India. It has already garnered several accolades, including the 2024 Miami Jewish Film Festival Next Wave Prize for Best Film and the 2023 San Francisco Dance Film Festival Audience Award for Best Film.

From San Francisco to Mumbai: Maor’s New Chapter

When Maor first arrived in Mumbai, it was far from love at first sight. He disliked the heat and felt unsafe in the unfamiliar environment. Crossing the street in the chaotic city was particularly unnerving for him. “I would follow any woman with three children crossing the street to get to the other side,” Maor humorously recalled. Despite the challenges, Maor soon found himself at the Danceworx school, where he began teaching ballet.

It was here that he met Manish Chauhan, a street dancer who had never encountered ballet before. Maor was immediately reminded of his own experience as a child when he first saw Swan Lake. The magic of that performance had changed his life, and now, he saw the same spark in Chauhan’s eyes.

“Manish’s eyes opened when he joined my class. The more I trained him, the more he wanted,” Maor said, reflecting on the young dancer’s growth. Chauhan quickly progressed, but it was not without immense effort. Another student, Amiruddin Shah, had joined the class at a younger age and had a more natural talent. Maor recognized the potential in both boys and used their friendly competition to push each of them to excel.

“Yehuda got a second lease of life with these two boys. He found something to sink his teeth into,” the film highlights. Maor motivated the boys with small rewards, such as a Starbucks Frappuccino for hard work. Their dedication paid off, and in just three years, they achieved what most dancers would accomplish in nine.

Reflecting on his own journey, Chauhan stated, “People saw me as an acrobat, but Yehuda saw me as a dancer. I don’t want to be an acrobat. Call me a dancer.”

Manish Chauhan: The Protagonist of His Own Story

For Chauhan, pursuing ballet was not an easy path. His father, a taxi driver, had taken out a loan for his college education, unaware that Chauhan was using the money to pay for dance school instead.

The documentary gives a glimpse into Chauhan’s life, contrasting the modern dance studios of Mumbai with his ancestral village, two hours away. In the village, the aspirations of young men typically revolve around joining the army or pursuing an MBA, not dancing ballet. Yet, Chauhan’s determination was unwavering, even as he had to repair worn-out ballet slippers just to continue attending classes.

As the film follows Chauhan’s journey, it takes the audience through various locations, including a kibbutz in Israel, where Chauhan had to learn Hebrew, and dance studios in New York, where limited resources meant practicing in parks. Finally, it all culminates at the Kennedy Center in Washington, D.C., one of the most prestigious performance venues.

The film also explores the emotional rollercoaster of Chauhan’s family. His grandmother dances with him in one touching scene, while his father, portrayed in the movie by actor Alok Nath, struggles to understand his son’s choices. Chauhan’s mother tearfully receives the first paycheck from her son’s dance career, while his sister talks about her own aspirations, including marriage.

“Do what your heart tells you to do,” Chauhan’s grandmother advises, standing as his biggest supporter. On the other hand, a practical Mumbai audience member suggests, “Get a business manager.” Chauhan, however, remains focused on his craft. “I am a role model for other aspiring dancers. How could I sell out to Bollywood?” the film’s director, Lesley Shampaine, explains on his behalf.

Shampaine and co-director Pip Gilmour spent five years following Chauhan’s life, capturing his highs and lows. Shampaine shared that she had first seen Maor perform in Israel when she was seven years old and later studied under him in New York. “I too am a dancer and have performed for over 13 years. I understand the world of dance,” she said. Shampaine is currently in India on a Fulbright scholarship, researching arts education.

Supporting the Arts: A Patron’s Role

One of the key figures in Chauhan’s rise was Mariam Ram, an arts patron who first learned about the young dancer through a newspaper snippet. Recognizing his lack of a financial safety net and the pressure to support his family, Ram offered her help.

“Patrons of art are a rare breed. I wish I had one,” commented an audience member in Mumbai, reflecting on the importance of such support.

Chauhan’s story became the inspiration for the Netflix film Yeh Ballet, written and directed by Sooni Taraporevala. “From the slums to the world of beauty, it makes for a great story for a movie,” Taraporevala said. The film’s success provided a financial boost for Chauhan and his family. Yet, despite more lucrative offers coming his way, Chauhan remained committed to pursuing ballet as an art form. Ram’s support enabled him to travel to New York, eventually leading to his solo performance at the Kennedy Center.

“I choreographed a solo act and didn’t care if anyone called me an acrobat,” Chauhan stated, reflecting on his journey. His determination had finally earned him the respect he had long sought.

However, Maor expressed mixed emotions about his star pupil’s success. “I’ll get no credit for their success. Royal Ballet will take the credit for Aamir, and now Manish too has found wings,” he lamented, even as he sat in the audience at the Kennedy Center, watching his student’s solo performance.

In the final scene, Chauhan steps onto the stage wearing a maroon-colored dhoti, as Raj Kapoor’s iconic song Mera Jhoota Hai Japani fills the room, marking a moment of triumph for both student and teacher.

Vijay, the celebrated actor, is reportedly preparing to leave the film industry for a career in politics. His second-to-last film, Thalapathy—which translates to “Commander”—positions him as the G.O.A.T. (Greatest of All Time) in this Tamil masala spectacle. Catering fully to his dedicated fan base, Vijay delivers an over-the-top performance in a film that’s almost immune to criticism. While I watched the Hindi dubbed version, the movie’s core remains untouched—a critic-proof crowd-pleaser.

The story revolves around two roles that Vijay takes on, one of which is a character that could be deemed “wicked.” The film follows a standard formula of a father-son conflict, ending with a science-based twist that suggests a sequel might be on the horizon. Whether this will mark Vijay’s final film remains uncertain.

The plot kicks off in 2008, with Vijay’s character Gandhi and his teammates from the Special Anti-Terrorism Squad (SATS), a unit tied to India’s intelligence agency, RAW. They attack a train in Kenya, where Rajiv Menon, a traitorous officer, is attempting to smuggle uranium. In the ensuing chaos, the uranium is recovered, the train explodes (with no mention of civilian passengers), and Menon along with his associates are eliminated.

Gandhi and his three comrades, Kalyan (Prabhudheva), Prashanth (Sunil), and Ajay (Ajmal Ameer), lead secretive lives, telling their families that they work for the Indian Tourism Development Corporation. Gandhi’s wife, Anu (Sneha Prasanna), is pregnant but grows suspicious of his behavior, suspecting an affair due to his secretive lifestyle. Finally, Gandhi is forced to reveal his true identity to Anu, who is left shocked and in disbelief.

In an attempt to smooth things over, Gandhi allows Anu and their young son Jeevan (S.J. Akhilan) to accompany him to Bangkok, where the SATS team is heading for their next mission. However, tragedy strikes when Gandhi’s family is attacked. During the ensuing chaos, Anu begins experiencing labor pains and must be rushed to the hospital. In a brief moment when Gandhi leaves Jeevan alone to complete admission procedures, his son is kidnapped. Shortly thereafter, a burnt body is found, and the presence of a toy Spiderman that Gandhi had given his son leads everyone to believe that it is Jeevan’s remains.

Devastated, Gandhi informs Anu, who has just given birth to their daughter, about the tragic loss. Distraught, she leaves Gandhi and takes their newborn daughter with her. Heartbroken, Gandhi resigns from his job and takes up work as an immigration officer. Fast forward to 2024, when Gandhi is called upon by his former boss, Nazeer (Jayaram), to train officers at the newly-established Indian Embassy in Moscow. Oddly enough, the embassy soon comes under attack, and during the skirmish, Gandhi spots a young man among the attackers who bears a striking resemblance to him.

It turns out that the man is, in fact, Jeevan, who is alive. Gandhi brings him home, reuniting the family, including their now-grown daughter, Jeevitha (Abhyukta Manikandan). However, this joy is short-lived as Nazeer is murdered in front of Gandhi by a masked assailant, and more killings follow. Meanwhile, Jeevan finds himself drawn to his childhood friend, Srinidhi (Meenakshi Chaudhary), who is Sunil’s daughter.

As the plot progresses, several twists unfold, and Gandhi comes to realize that his son Jeevan has now taken on the role of the new villain. The script is peppered with coincidences, but the filmmakers seem unconcerned with logic—the goal here is pure entertainment.

Director Venkat Prabhu, along with his team of writers, delivers a film designed purely for spectacle, a relentless rollercoaster of songs, dances, and action sequences. The cinematography by Siddharth Nuni is breathtaking, and the production values are grand. While the Hindi lyrics penned by Riya Mukherjee fail to make a lasting impression, Yuvan Shankar Raja’s background score is serviceable, albeit stereotypical.

Vijay shines in his dual role, giving his fans exactly what they expect. Whether he’s portraying the seasoned Gandhi or the younger Jeevan, his performance hits all the right notes for his audience. His emotional scenes, particularly when he discovers what he believes to be his son’s remains and later breaks the tragic news to his wife, stand out as moments of genuine intensity.

The supporting cast, however, doesn’t have much room to shine. Sneha Prasanna’s Anu, Prasanth as Sunil, and Jayaram as Nazeer are competent but underutilized. Prabhudheva’s portrayal of Kalyan, though brief, leaves a lasting impression. Yogi Babu as Diamond Babu brings a touch of comic relief but doesn’t contribute significantly to the story.

The film’s runtime is an issue, stretching beyond 183 minutes. A more concise version would have packed a greater punch, allowing the film to resonate even more with its audience. Despite its excessive length, *Thalapathy* offers plenty of entertainment for Vijay’s devoted fan base and is expected to perform well at the box office. That said, with a tighter script, the film could have earned a higher rating.

In the end, the movie invites the audience to suspend disbelief and simply enjoy the ride, without questioning the improbable plot elements. As one of Vijay’s final films, it serves as a grand tribute to his cinematic journey, while also hinting at a future in politics.

“Vijay delivers exactly what his fans want in Thalapathy,” said one critic, praising his ability to embody both the intense action hero and the heartbroken father with equal ease.

While the movie is unlikely to win over those outside of Vijay’s fan circle, it successfully serves its purpose of being a full-blown masala entertainer, with plenty of action, emotional drama, and larger-than-life sequences that cater to its target audience.

Great Britain’s electricity system has achieved a new milestone, recording its greenest summer ever as an increasing number of wind and solar farms significantly reduced the need for gas power plants. This marks a major step toward the nation’s goal of a low-carbon future.

According to energy generation data, which was commissioned by the *Guardian*, Britain’s reliance on gas power fell to a historic low in August, representing less than one-fifth of the total electricity generated for the month. The country only used 4 terawatt hours (TWh) of gas-generated electricity in August, marking its lowest level for a one-month period.

As a result, the carbon intensity of the power grid dropped to 144 grams of CO2 per kilowatt-hour in August, which is the lowest level ever recorded for a single month. This represents a 40% reduction in carbon intensity compared to the same month in 2022. The data analysis, conducted by the energy thinktank Ember, revealed that these record lows were not just a one-off event. When averaged across the entire summer from June to August, the grid’s carbon emissions remained low, marking this summer as the greenest in Britain’s history.

The current Labour government is working toward an ambitious goal of running the UK’s power grid almost entirely on zero-carbon electricity by 2030. This shift is being driven by the rapid development of wind and solar farms across the country. As part of this effort, the government held a flagship auction this week to allocate renewable energy subsidies, which resulted in contracts being awarded for 131 new projects. These new projects are expected to generate enough clean electricity to power 11 million homes in the UK. However, the auction secured only half the offshore wind capacity needed annually for the rest of the decade if the government aims to meet its net zero emissions target.

Frankie Mayo, an analyst at Ember, commented on the record-low reliance on fossil fuels, saying, “Having the lowest monthly fossil fuel share on record shows that homegrown wind and solar can reduce reliance on imports. This is a great starting point on the path to clean power by 2030 for the new government.”

While celebrating the progress, Mayo also highlighted the continued presence of gas in the energy mix, which poses a threat to energy bills. “Clean power is delivering cheap, low-cost power – ramping up deployment at scale can’t come soon enough,” Mayo added.

The analysis also confirmed earlier forecasts that Britain was on track for a record-breaking summer in solar power generation. Solar power generation reached an average of 1.86 TWh over the summer months, marking a 20% increase from the same period last year. Wind farms also reached record highs, generating 7.04 TWh of electricity in August alone, which is a 46% increase from August 2022. On average, between June and August, wind power output reached 5.6 TWh per month, an increase of 40% compared to the previous summer.

In addition to the surge in wind and solar power, Britain’s fleet of nuclear reactors also contributed significantly to the green summer. In August, the country’s nuclear power plants generated 3.89 TWh of electricity, the highest output from nuclear sources in nearly two years.

Emma Pinchbeck, the chief executive of Energy UK, an industry body, remarked on the shift toward greener energy sources, recalling a time when coal was responsible for 40% of the country’s electricity generation. She stated, “It wasn’t that long ago that coal was providing 40% of our electricity and the prospect of running the grid on predominantly low-carbon power would have been dismissed by many as impossible.”

Pinchbeck emphasized the rapid pace of change in the energy sector, noting that new records like these are being set regularly. “The regularity with which new records like this are set shows the pace at which cleaner homegrown sources are providing an ever-increasing share of our power,” she said.

Luke Clark, a director at Renewable UK, a trade association for green power, echoed this sentiment but cautioned that the UK must continue to accelerate its efforts if it hopes to meet the government’s 2030 decarbonization target. Clark explained, “These record-breaking figures show that we’re making great progress, but to achieve the new government’s target of decarbonising our electricity system by 2030, we’ll need to increase the rate at which we build new wind and solar farms by securing even higher volumes of new capacity in each annual auction for contracts.”

The UK’s Energy Secretary, Ed Miliband, also praised the progress but acknowledged that there is still much work to be done. “While these figures are to be welcomed, we have a mission to make Britain a clean energy superpower, with solar and wind power at the heart of our plans,” Miliband said.

Miliband pointed to the latest auction as a crucial step toward this goal. “Just this week we achieved a record-setting round of renewables projects, with enough power for 11 million homes – essential to give energy security to families across the country,” he said. He also highlighted the establishment of Great British Energy, a government-backed initiative aimed at unlocking billions of pounds in private investment. According to Miliband, this initiative will not only help deliver new energy projects but will also create tens of thousands of high-quality jobs and offer long-term protection for consumers against rising energy bills.

Overall, this summer’s record-breaking reductions in carbon emissions and increases in renewable energy generation mark a significant achievement for Britain. However, the government, industry leaders, and energy experts agree that continued investment in wind, solar, and other low-carbon energy sources is essential to ensure the country meets its ambitious climate targets by 2030.

The UK’s journey toward a fully decarbonized electricity grid is well underway, but there is still much work to be done in the coming years to ensure the transition to a cleaner, greener energy system remains on track.

In a pivotal scene from GOAT (The Greatest of All Time), set in Thailand, Gandhi (played by Vijay) experiences a profound loss. The scene is simple—there are no flashy camera angles, emotional music, or excessive dramatics. Venkat Prabhu, the director, allows the scene to unfold naturally, giving Vijay the space to shine. In this moment, Vijay sheds his superstar persona and fully embodies a father in despair. His breakdown is raw, ending in tears and cries of anguish. Later, in front of his wife, Anu (Sneha), he endures another emotional breakdown, but this time it is subtler, internal, and more genuine. The way Vijay portrays vulnerability in these scenes is a testament to his ability as an actor, particularly when cornered or shaken. Throughout *GOAT*, Venkat Prabhu often taps into this non-starry side of Vijay, and the film finds its strength in these moments. However, the movie struggles to maintain this momentum due to its reliance on an outdated formula, centered around the gimmick of a de-aged Vijay acting alongside his present-day self. This idea, while interesting, only takes the film so far.

GOAT opens with a nod to the Mission: Impossible series, a clear inspiration for the filmmakers. The plot then shifts focus to a four-member Anti-Terrorism Squad led by Naseer (Jayaram). The team includes Sunil (Prashanth), Ajay (Ajmal), Kalyan (Prabhu Deva), and Gandhi. Their work of saving the world seems effortless, but it’s their personal lives that present the real challenges. Drawing inspiration from The Family Man, the film depicts the marital struggles between Anu and Gandhi, leading to comedic moments that feel natural, thanks to the seasoned actors. As viewers, we’ve seen countless espionage films and naturally expect betrayal, but Venkat Prabhu cleverly subverts these expectations. His smart writing manages to provide twists and turns that keep the audience engaged.

This film represents Venkat Prabhu’s boldest project since Mankatha, not only in terms of content but also in technical execution. The use of de-aging technology eliminates the need for the audience to suspend disbelief, relying instead on the effectiveness of visual effects. However, this is where the film falters. While the younger version of Vijay, Jeevan, is convincingly portrayed, other visual choices, particularly those showing Vijay in his teens, detract from the experience. The hurried action sequences, which feature zooming cars, skidding bikes, and ricocheting bullets, fail to generate the intended sense of urgency. Instead, the chaotic visuals overwhelm the viewer, detracting from the overall impact of the film.

Despite its shortcomings, GOAT finds its footing with the performances of its cast. Veterans like Prashanth, Sneha, Prabhu Deva, and Vijay himself, deliver standout performances. Even Meenakshi Chaudhary, a relatively new face, makes a mark, despite her character being somewhat underdeveloped. Each supporting character, though primarily there to serve the protagonist’s story, is given moments that add emotional depth to the narrative. However, these small details also crowd the plot, leading to a sense of fatigue as the story drags in the first half before picking up the pace later on.

Vijay appears to thoroughly enjoy playing the role of Jeevan. This younger version of his character allows him to shed his superstar image and embrace a more uninhibited performance. It’s a refreshing departure from the familiar roles he’s taken on for years. As Gandhi, he plays to his strengths, but as Jeevan, he shows what he’s truly capable of when freed from the constraints of his established persona. It’s a bold character choice, especially for someone nearing the end of his acting career. One can’t help but wonder what more he could have achieved had he explored this path earlier.

The film doesn’t shy away from referencing Vijay’s potential political ambitions, but these moments are inconsistent in their impact. Venkat Prabhu also taps into nostalgia, a strategy that often works to elicit cheers and applause from the audience. In today’s era of instant gratification, it’s understandable why a filmmaker would opt for this route, but it feels overused at times. There are plenty of nods to Vijay’s contemporaries, and some cameos serve more as metaphors than integral plot points. Yogi Babu’s obligatory appearance provides comic relief, but his role overstays its welcome. The climax, set against the backdrop of a Chennai Super Kings versus Mumbai Indians cricket match, is designed to thrill audiences. It’s in this final act that Venkat Prabhu truly comes into his own, combining intrigue, humor, sentiment, and mass appeal. Up until this point, the film feels understated, lacking the boldness that Prabhu is known for.

The meandering pace in the first half can be attributed to the simplicity of *GOAT’s* plot, which relies heavily on technology rather than a compelling story. While the de-aging effects provide novelty, they can’t carry the film on their own. This approach leaves Venkat Prabhu somewhat boxed in. The story itself lacks the complexity or engagement needed to match the innovative visuals. For instance, the character arc of Mohan, set up as a formidable rival to Gandhi, borrows heavily from the Mission: Impossible playbook. But his nefariousness is diluted by a hurried script that prioritizes flashy moments over character development. The writing often falls short of its potential, and the rushed conclusion leaves much to be desired.

The placement of songs in GOAT also feels off. While tracks like “Chinna Chinna” and “Whistle Podu” may please fans, they don’t serve the film’s narrative. This fan service, though effective, feels excessive in a film already saturated with such moments.

Ultimately, GOAT is a celebration of Vijay’s many talents—his dancing, action sequences, comic timing, vulnerability, and charm are all on full display. But there’s a bittersweet undertone, as this marks one of the final chapters in his illustrious career. Venkat Prabhu, weighed down by this burden of legacy, takes a cautious approach in *GOAT*, often holding back when he might have otherwise pushed boundaries. While the film falls short of being the “greatest of all time,” it still serves as a fitting tribute to one of Tamil cinema’s most beloved stars, who is nearing the end of his journey. As audiences prepare for Vijay’s final film, *GOAT* is a reminder of the incredible career that’s been and the anticipation for one last hurrah.

GOAT Movie Cast:Vijay, Prashanth, Sneha, Mohan, Prabhu Deva

GOAT Movie Director:Venkat Prabhu

GOAT Movie Rating: 2.5/5

Kerala-born rapper Hanumankind, originally named Sooraj Cherukat, has made a remarkable entrance into the global music arena with his latest music video, “Big Dawgs.” Released just four weeks ago, the video has already amassed over 45 million views on YouTube, marking him as a rising sensation in the Indian hip-hop scene.

Hanumankind’s journey to fame is as distinctive as his stage name. Growing up in Malappuram, Kerala, in a family deeply rooted in spirituality, his choice of the name “Hanumankind” reflects a nod to the Hindu deity Hanuman. However, he emphasizes that there is no direct religious connection to the name.

His upbringing took him across various parts of the world, including Houston, Texas, where he attended Houston Community College, as well as time spent in Nigeria, Saudi Arabia, and Italy. This diverse global exposure is evident in his eclectic musical style. Returning to India in 2012, Hanumankind pursued a business course in Coimbatore before fully immersing himself in the world of music, channeling his varied experiences into his work.

His debut EP, *Kalari,* was his initial foray into the Indian hip-hop landscape, but it was his collaboration with producer Kalmi on the project *Surface Level* that truly captured significant attention. Today, at 32 years old, Hanumankind stands as a prominent figure in Indian hip-hop, with an estimated net worth of $3 million (₹25 crores).

The music video for “Big Dawgs” has particularly stood out, not just for its powerful beats and assertive lyrics but also for its audacious visuals. The video was shot in Ponnani, a coastal district in Kerala often referred to as the “Mecca of Kerala.” Directed by Bijoy Shetty and produced by Brown Crew Productions’ Kalmi, the video showcases Hanumankind performing inside the “Wall of Death,” a stunt that has captivated audiences globally.

In an interview with Rolling Stone, the rapper shared that the video was about more than just artistic expression; it was also about embracing risk. “If you want something, take that risk, man, or else it won’t happen. Even if you fail, it’s still the act of doing,” Hanumankind explained. The video’s gritty, compelling visuals, captured by cinematographer Abhinay Pandit, perfectly complement the song’s explosive blend of desi swagger and punk-infused energy.

The overwhelming success of “Big Dawgs” highlights Hanumankind’s ability to transcend boundaries and elevate Indian hip-hop to an international platform. The track’s rapid rise has seen it surpass international hits, reaching the number one spot on Spotify’s global chart. What makes this achievement even more remarkable is that the song was written in just 20 minutes, with the recording process taking only slightly longer.

Hanumankind is quickly becoming one of the prominent voices in Indian hip-hop, alongside other trailblazers like Sidhu Moosewala, Honey Singh, and Badshah. His work on “Big Dawgs” has not only sparked conversation but has also set a new benchmark for what Indian hip-hop can achieve on the global stage.

In a competitive atmosphere at the 54th Kerala State Film Awards, both veteran actor Mammootty and rising star Prithviraj emerged victorious in different categories. The announcement was made on Friday by Saji Cherian, Minister for Culture and Films, in Thiruvananthapuram.

Prithviraj secured the Best Actor award for his remarkable performance in the film Goat Life, directed by the acclaimed Blessy. Goat Life dominated the awards, bagging nine honors, including Best Director for Blessy and Best Screenplay Adaptation. The film’s technical brilliance was also recognized, with K.S. Sunil winning Best Cameraman, and Oscar winner Resul Pookutty and Sharath Mohan taking home the award for Best Sound Mixing. Renjith Ampadi was honored as the Best Makeup Artist, and the film was named the Most Popular Film of the year. Additionally, actor Gokul received a special mention from the jury for his contribution to the film.

On the other hand, Mammootty, despite not winning the Best Actor award, celebrated a significant achievement by receiving the Best Film award for *Kathal*. He not only produced the film but also starred in it, showcasing his versatility in the industry.

The Best Actress award was jointly won by seasoned actresses Urvasi for her role in Ullaozhuku and Beena R. Chandran for Thadavu. This year’s awards also featured some unexpected wins, such as popular music director Vidhyadaran Master claiming the Best Male Singer award, while Ann Amy was recognized as the Best Female Singer.

The jury for the 54th Kerala State Film Awards was led by veteran Indian director Sudhir Mishra. Minister Cherian highlighted that this year marked the highest number of entries in the history of the awards, with 160 films contending, including 38 from debut directors. He explained, “The two sub-committees were led by Priyanandan and N. Alagappan, each reviewing 80 films, and 38 films were subsequently evaluated by the main jury.”

Reflecting on his win, Prithviraj expressed both excitement and humility. “This is my third state award, and it stands out as the toughest one. I feel excited and happy as this film came out like this because of a huge team effort. I am most happy as Blessy, the director, got the Best Director award. The award is for the entire team, as this, in 2009, looked only like a dream, and finally, it became a reality. Blessy’s single-minded focus and a very detailed screenplay were the crucial factors. As an actor, I had enough and more material. I feel blessed, and he gave me a lot of freedom. As an actor, it was really challenging as physical transformation—losing weight—is just one aspect, but the biggest challenge was to get into the character. And more so because the film shooting took four years, and maintaining the character for that long is tough, and hence this will be the toughest. I wish I get more such roles,” said Prithviraj.

Blessy, celebrating his third Best Director award out of the eight films he has directed, was overjoyed by the film’s success. “Of course, I am happy, and getting around nine awards is huge. I am most happy for Gokul for the special jury mention, and it’s a great beginning for him. An award is not the biggest challenge, but to reach the audience and how they accept it. The biggest struggle was to visualize the book into a film,” said Blessy.

The event highlighted the diverse talents in the Malayalam film industry, with both veterans and newcomers being recognized for their contributions. The awards ceremony, marked by the presence of notable figures from the industry, celebrated the artistic achievements and hard work of everyone involved in the filmmaking process. The success of Goat Life at the awards reflects its impact not just on critics but also on audiences, while Mammootty’s recognition for Kathal underscores his enduring influence in Malayalam cinema.

The Kerala State Film Awards continue to be a prestigious platform, showcasing the best of Malayalam cinema and honoring those who contribute to its rich legacy. This year’s awards, with their wide-ranging categories and competitive entries, have once again highlighted the vibrant and dynamic nature of the industry.

Vyjayanthimala, whose name evokes images of a precious pearl necklace adorning Lord Vishnu, remains a mesmerizing figure even at 91, captivating audiences with her timeless dancing skills. Her legacy in Indian cinema is profound, though her personal life often drew mixed reactions. Despite achieving unparalleled fame for her acting and dancing, her relationships sparked controversy. She was labeled a “home-breaker” for her romance with a married man and was linked with the legendary actor Dilip Kumar. Rumors suggested that Kumar was so enchanted by her that he personally selected the sarees she wore in every scene of the classic film *Gunga Jumna* (1961). Another prominent rumor connected her with Raj Kapoor, which Vyjayanthimala dismissed as mere publicity, leading to a public spat with Kapoor’s son, Rishi Kapoor.

Vyjayanthimala’s journey into the film industry began at the age of 16, shortly after her arangetram, the debut performance of a Bharatnatyam dancer. She quickly defied societal norms, not only with her acting but also by transitioning into politics, challenging conventional expectations at every turn.

Her cinematic debut came with the Tamil film *Vaazhkai* in 1949, followed by a successful career in Tamil, Telugu, and Hindi cinema. Her role as Chandramukhi in Bimal Roy’s *Devdas* (1955) was a turning point, although she was far from the first choice for the role. The part was initially offered to actresses Nargis, Suraiya, and Bina Rai, all of whom turned it down. Vyjayanthimala was cast with little confidence from the filmmakers, and the scriptwriter Nabendu Ghosh expressed doubts, believing she was too young for the role. However, her stellar performance proved the skeptics wrong, earning her the Filmfare Award for Best Supporting Actress. Demonstrating her maturity, she declined the award, insisting she was as much a leading lady as Suchitra Sen, who played Paro.

Vyjayanthimala also broke cultural barriers by becoming the first South Indian actress to wear a swimsuit on screen, a daring move considering her orthodox Tamil Brahmin Iyengar background. This was during a time when actresses were expected to embody traditional values, and such bold choices were often met with disapproval. She made this bold statement in Raj Kapoor’s *Sangam*, cementing her status as arguably India’s first female superstar, dominating three film industries and becoming one of the earliest pan-India stars.

At the height of her career, Vyjayanthimala made the surprising decision to retire from acting after marrying Dr. Chamanlal Bali, the love of her life. In her memoir *Bonding*, she recalls how she fell ill while shooting in Kashmir, prompting Chamanlal to travel from Bombay to treat her. Though he was already married with three children, their love flourished, leading Chamanlal to divorce his first wife and marry Vyjayanthimala. The couple later had a son, Suchindra Bali.

Beyond her success in cinema, Vyjayanthimala also made significant strides in politics. She joined the Indian National Congress (INC) in 1984 and won the Tamil Nadu General Election that year with a substantial margin, overcoming skepticism. Reflecting on her entry into politics, she wrote in her memoir *Bonding*, “Being a member of Parliament also meant facing people’s preconceived notions about her. ‘How would she fare?’ they asked derisively. A pretty fairy from the arena of fine arts, what was she doing in the hard-as-nails battleground of politics? Would she make it? She won like she had always done, by silently proving the detractors wrong.”

Her political career continued to flourish as she secured another victory in 1989 and was later nominated to the Rajya Sabha for a six-year term in 1993. However, by 1999, she became disillusioned with the direction of the INC and resigned. In her resignation letter to Sonia Gandhi, she expressed her concerns, stating, “Painfully watching the party drifting from its avowed principles after the death of Rajiv Gandhi, the party has lost touch with its grassroots and one can see day in and day out that sincere party workers are being steadily ignored.” Subsequently, she joined the Bharatiya Janata Party (BJP) in 1999.

In recognition of her contributions to Indian cinema and society, Vyjayanthimala was awarded the Padma Shri by the Government of India in 1968. More recently, she was honored with the Padma Vibhushan, India’s second-highest civilian award. Despite her age, she remains deeply connected to dance, continuing to practice and perform. Her 90th birthday celebrations were marked by a graceful dance performance that took the internet by storm, proving that her passion and talent remain undiminished.

Vyjayanthimala’s life is a testament to her indomitable spirit, her ability to break boundaries, and her unwavering dedication to her craft and beliefs. From her groundbreaking roles in Indian cinema to her successful political career, she has left an indelible mark on both fields, continuing to inspire generations with her achievements and grace.

In the middle of M. Night Shyamalan’s new thriller, Trap, a young girl gets the chance of a lifetime to dance onstage with her idol, a singer known as Lady Raven, portrayed by Shyamalan’s daughter Saleka. The girl is naturally nervous, but a stage manager reassures her, saying, “It’s not about being good; it’s about having fun!” This line also serves as advice for the audience, who may have certain expectations from a Shyamalan film—be it a chilling twist (The Sixth Sense), confusing plot elements (Lady in the Water), or something so absurd it becomes laughable (The Village). However, Trap invites viewers to enjoy the ride and laugh along with it rather than be frightened or confused.

Shyamalan himself described the film’s concept as “if The Silence of the Lambs happened at a Taylor Swift concert,” a terrifying scenario that also sounds like a dark joke, more likely to appear in a Batman comic than in real life. Consequently, Trap is more humorous than horrifying, with the plot shape-shifting between sinister and absurd—an approach that seems intentional. The movie doesn’t aim to be “good” in a traditional sense but rather aims to provide viewers with a wild and entertaining experience.

The film’s success largely hinges on Josh Hartnett’s performance. The actor, enjoying a resurgence in his career following his role in Oppenheimer last year, stars as Cooper, a father who takes his daughter Riley (played by Ariel Donoghue) to a Lady Raven concert. However, Cooper has a dark secret—he’s a serial killer known as “The Butcher,” a fact that’s only a surprise if you haven’t seen any of the film’s trailers. The concert is actually an elaborate trap set by authorities to capture Cooper, who must find a way to escape without arousing suspicion, especially from Riley. Hartnett shines as he navigates Cooper’s dual personas, moving seamlessly from an awkwardly affectionate father to a calm and calculated fugitive. As Cooper realizes the increasing difficulty of leaving the concert with his daughter, Hartnett infuses the character with subtle anxiety—his smiles become strained, his lies more convoluted, and his posture stiffens, enough for Riley to sense that something is wrong.

Hartnett’s portrayal is key to unlocking the film’s unique appeal. Trap may have its share of plot holes, but it’s far from mindless. Shyamalan skillfully balances tension and humor by keeping the story anchored in Cooper’s perspective. The film suggests that to a serial killer like Cooper, what most people see as normal is actually strange and perhaps even amusing. Cooper seems to relish the challenge of weaving through the arena, creating distractions that simultaneously delight him and disturb others, all while trying to navigate a crowd of concertgoers and law enforcement. His interactions with others are awkward and stilted, with strange pauses, as if he’s always one step ahead in a world that moves too slowly for him. The result is a film that’s oddly funny, right down to a mid-credits scene designed for laughs. Cooper’s ridiculous maneuvers in and out of restricted areas while returning to Riley are reminiscent of a heightened version of the restaurant scene in Mrs. Doubtfire, and the plot twists and turns in unexpected ways, each time revealing Shyamalan’s gleeful manipulation of the narrative.

Like Shyamalan’s recent work, Trap draws on everyday fears about parenting, embedding them in an otherwise outlandish story. Cooper’s psychopathy stems from a troubled relationship with his mother, yet he has managed to be a good father to Riley. At the concert, he’s frustrated that his identity as The Butcher threatens to spoil Riley’s fun, especially when she needed a break after being alienated by her friends. Trap explores the idea that while parents may know their children better than anyone else, they cannot always control what happens to them, protect them from harm, or avoid hurting them inadvertently. Despite the film’s efforts, this poignant message feels somewhat underdeveloped as the plot progresses. The tension surrounding whether Cooper will be caught overshadows the emotional weight of Riley’s strained relationship with her father.

Shyamalan once described his film Lady in the Water, which was a box office flop and widely panned by critics, as a kind of “jazz”—a chaotic mix of elements that doesn’t necessarily follow traditional narrative rules. This description also fits Trap, a film that embraces its disorderly nature, with offbeat, seemingly out-of-tune moments that might alienate viewers looking for a conventional horror movie. Yet, the film’s oddities come together to form a cohesive whole, and its peculiarities are strangely satisfying, especially at this stage in Shyamalan’s career. At its core, Trap is quintessentially Shyamalan—a film about a serial killer that ends up being endearingly ridiculous. Now, that’sa twist.

After months of elaborate pre-wedding festivities, Anant Ambani, son of India’s wealthiest individual, concluded his highly anticipated marriage to pharmaceutical heiress Radhika Merchant in a grand ceremony in Mumbai. The event drew a star-studded guest list that included global celebrities like Kim and Khloé Kardashian, Nick Jonas, Priyanka Chopra, and former UK prime ministers Tony Blair and Boris Johnson, alongside prominent figures from Indian entertainment, sports, business, and politics.

The Ambani family, known for their leadership of Reliance Industries, spared no expense for the occasion. The wedding took place at the Ambani-owned Jio World Convention Center, where roads were closed for a red-carpet arrival amidst Mumbai’s rain. Guests arrived dressed in elaborate traditional attire, setting potential trends in Indian wedding fashion. International attendees also adhered to the dress code, showcasing designs by renowned Indian fashion houses.

Inside the venue, transformed to resemble Varanasi, celebrities such as Priyanka Chopra and John Cena were seen enjoying themselves, with videos circulating widely on social media showing the Ambani family joining Indian singer Daler Mehndi on stage. Anant arrived in a golden sherwani, later changing for the ceremony, while Radhika stunned in a meticulously crafted ensemble by Abu Jani Sandeep Khosla, adhering to Gujarati traditions with her attire changes throughout the event.

Nita Ambani, Anant’s mother, spoke of her inspiration drawn from Varanasi for the wedding’s theme, emphasizing its cultural and artisanal richness. Her own attire, a peach silk ghagra designed by Abu Jani Sandeep Khosla, symbolized the extensive craftsmanship involved in the wedding’s preparations.

The event, managed by renowned fashion designer Manish Malhotra, remained secretive about details leading up to the wedding, generating widespread speculation and interest across social and traditional media platforms. Pre-wedding rituals included a star-studded sangeet featuring performances by Justin Bieber and a private haldi ceremony, both imbued with traditional significance.

Anant Ambani, a Brown University graduate and director at a Reliance-operated energy business, married Radhika Merchant, daughter of pharmaceutical entrepreneurs Viren and Shaila Merchant. The wedding dates were chosen auspiciously according to Hindu tradition, reflecting meticulous planning and cultural adherence.

Criticism amidst awe surrounded the event’s opulence, with estimates placing costs in the hundreds of millions of dollars. Local residents expressed mixed feelings, highlighting economic benefits alongside concerns about ostentatious display of wealth in Mumbai, where local businesses reportedly thrived during the celebrations.

The festivities extended to the Ambani family’s residence, Antilia, culminating in a divine blessings ceremony and a reception themed “Indian chic,” marking the culmination of seven months of festivities. The wedding journey began with an engagement party followed by a communal dinner for villagers, a pre-wedding bash attended by global figures, and a Mediterranean cruise featuring performances by international artists.

Anant’s sister Isha’s wedding in 2018 similarly captivated global attention with its extravagant celebrations, reinforcing the Ambani family’s penchant for lavish events that blend tradition with international allure.

Jaya Prada, Bollywood actor will attend the event

The Federation of Indian Associations (FIA) has announced plans to host a ‘Star Awards Night,’ to celebrate excellence within the community. The event set to take place on Aug,16 at the Matrix Club in Naperville will also celebrate India’s Independence.

According to a release, ‘FIA Star Awards Night’ will recognize excellence across more than 19 categories, including Best Community Service Organization, Entrepreneur of the Decade, Community Leader of the Year, Best Medical Professional, Fashion Icon, and others.

In conjunction with the awards ceremony, this year’s event will also mark FIA’s grand celebration of India’s Independence Day. To commemorate the special occasion, Sparsh Shah, a talented singer, rapper, and Guinness World Record holder born with Osteogenesis Imperfecta, will perform patriotic songs to open the event.
The organizers also announced that Jaya Prada, a renowned Bollywood star and multiple Filmfare Award winner will grace the event with her presence. Considered by many as the most beautiful face to grace Indian cinema, Jaya Prada left the film industry at the peak of her career, as she joined the Telugu Desam Party (TDP) in 1994 and entered politics.

Sunil Shah, chairman and founder of FIA, expressed his enthusiasm for the event, “In our continued tradition of honoring the community leaders who selflessly serve us, we have added more categories to the awards list. For the first time, we will have two award-winning international celebrities flying specifically for this FIA event to Chicago, Sparsh Shah and Bollywood Celebrity Jaya Prada.”

Pratibha Jairath, president of FIA, said, “This will be a mega-event. The presence of our community members in Chicago at this prestigious event would be incredibly meaningful as we come together to honor those who have excelled in their respective fields and made a positive impact on our community.”

“With over four months of meticulous planning dedicated to selecting the award winners, this promises to be one of the most significant events Chicago lands has ever witnessed,” she added.

The Federation of Indian Associations (FIA) is one of the oldest and largest non-profit grass-root umbrella organization. committed to promoting the cultural, social, and economic welfare of the Indian community in the United States. Through various events and initiatives, the organization strives to foster unity and celebrate the rich heritage of India.

Indo-American Arts Council & The Town Hall Present
a fusion of Bollywood glamour with classical Indian music on Saturday, July 20, 2024  at The Town Hall, NYC

The Bollywood & Beyond concept has been curated considering the two different types of music blending together and bringing the flavours of Indian music to the audiences. Kavita Krishnamurti Subramaniam will start the concert with her famous Bollywood numbers followed by Dr. Subramaniam performing his original fusion compositions which are based on Indian ragas and performed with Indian & western instruments. Towards the end, both Dr. Subramaniam and Kavita ji will collaborate for some fusion compositions with voice with some really interesting alaaps and trade offs.

Global violin icon Dr. L. Subramaniam and multi-platinum singer Kavita Krishnamurthi, towering figures in Indian and world fusion music, will headline Bollywood & Beyond at The Town Hall in New York City on Saturday, July 20, at 8:00pm.

This concert is a presentation of Town Hall and the Indo-American Arts Council (IAAC). A soulful, expressive singer with a powerful voice, Kavita has long been a star playback singer in the Indian film industry, interpreting offscreen the songs that the on-screen actors later lip sync.

It is a demanding art, as the vocalist must account for the actions and emotions that drive the film’s entire musical storyline. She followed her first major Bollywood hit, “TumseMilkar Na Jaane Kyon,” from the Hindi film Pyaar Jhukta Nahin (1985), with two enormously popular songs from the movie Mr. India (1986).

After giving voice to heroines and leading ladies in countless hit films, by the 1990s, Kavita had become a major star. But success in playback singing did not limit her. Kavita has also performed with orchestras, sung ghazals, devotionals, and Hindi pop, collaborated with jazz, pop, and classical Western artists, and

explored global music fusion, most notably with her husband, Dr. L. Subramaniam.

Born in a musical family (both his parents were accomplished musicians), Dr. L. Subramaniam was a child prodigy who followed in the footsteps of his father, a distinguished Carnatic violinist. He studied with his father and performed his first concert when he was six. “My mother would play the veena (a stringed instrument) but was also a singer,” he recalled in an interview, “and it was my father’s dream to bring the violin to the fore and make it a solo instrument.

Till then, the violin, in Carnatic South Indian music, was primarily used as an accompaniment. I wanted to play like him and be like him because he was my guru, teacher, and father.” Before fully dedicating to music, he completed his studies as a medical doctor. (For good measure, he later got a Masters degree in Western Classical music at CalArts and a PhD. for his thesis on Raga Harmony from Jain University, Bangalore.)

Fulfilling his father’s dream, “which was to bring the violin to the world stages,” Dr. Subramaniam seemed to cross musical borders from the beginning of his music career. He brought the Carnatic tradition of South India to Western Classical music, most notably as a soloist and composer for orchestras around the world, including the New York Philharmonic Orchestra (with a piece commissioned by Maestro Zubin Mehta), the Houston Symphony, and the Berlin State Opera.

“The idea here is not to make an orchestra play Indian music,” Dr. Subramaniam once explained. “But to create something where both Western and Indian musicians feel like they’re playing their own music while creating something unique. With this context, we combine elements of Carnatic music with parts of Western classical music, like harmony and counterpoint, to build something entirely original.”

He has written music for films, including Salaam Bombay!, Mississippi Masala, and Little Buddha, and ballet, including the Kirov Ballet and the Alvin Ailey Company. He also collaborated with Western jazz and pop musicians (including the late Beatle George Harrison, jazz pianist Herbie Hancock, and singer-songwriter Stevie Wonder), performed jugalbandis (classical music duets) with North Indian musicians, and explored global music fusion.

Backed by a seven-piece band comprising Indian and Western instruments, anchored by tabla player Tanmoy Bose, in Bollywood & Beyond Kavita Krishnamurti and Dr. Subramaniam will offer a program that will blend different types and genres of music, including Kavita’s Bollywood hits, Dr. Subramaniam’s original compositions based on Indian ragas and performed with Indian and Western instruments, and fusion-based duets. Bollywood & Beyond is a rare

opportunity to explore Indian music, from classical tradition to film music to global fusion, with two of its greatest stars.

A Rare Opportunity to Explore Indian Music with Two of its Greatest Stars, Global Violin Icon Dr. L. Subramaniam And Multi-Platinum Singer Kavita Krishnamurthi Accompanied By Tanmoy Bose (Tabla) And Full Ensemble

Global violin icon Dr. L. Subramaniam and multi-platinum singer Kavita Krishnamurthi, towering figures in Indian and world fusion music, will headline Bollywood & Beyond at The Town Hall in New York City on Saturday, July 20, at 8:00pm.

This concert is a presentation of Town Hall and the Indo-American Arts Council (IAAC). A soulful, expressive singer with a powerful voice, Kavita has long been a star playback singer in the Indian film industry, interpreting offscreen the songs that the on-screen actors later lip sync.

It is a demanding art, as the vocalist must account for the actions and emotions that drive the film’s entire musical storyline. She followed her first major Bollywood hit, “TumseMilkar Na Jaane Kyon,” from the Hindi film Pyaar Jhukta Nahin (1985), with two enormously popular songs from the movie Mr. India (1986).

After giving voice to heroines and leading ladies in countless hit films, by the 1990s, Kavita had become a major star. But success in playback singing did not limit her. Kavita has also performed with orchestras, sung ghazals, devotionals, and Hindi pop, collaborated with jazz, pop, and classical Western artists, and explored global music fusion, most notably with her husband, Dr. L. Subramaniam.

Born in a musical family (both his parents were accomplished musicians), Dr. L. Subramaniam was a child prodigy who followed in the footsteps of his father, a distinguished Carnatic violinist. He studied with his father and performed his first concert when he was six. “My mother would play the veena (a stringed instrument) but was also a singer,” he recalled in an interview, “and it was my father’s dream to bring the violin to the fore and make it a solo instrument.

Till then, the violin, in Carnatic South Indian music, was primarily used as an accompaniment. I wanted to play like him and be like him because he was my guru, teacher, and father.” Before fully dedicating to music, he completed his studies as a medical doctor. (For good measure, he later got a Masters degree in Western Classical music at CalArts and a PhD. for his thesis on Raga Harmony from Jain University, Bangalore.)

Fulfilling his father’s dream, “which was to bring the violin to the world stages,” Dr. Subramaniam seemed to cross musical borders from the beginning of his music career. He brought the Carnatic tradition of South India to Western Classical music, most notably as a soloist and composer for orchestras around the world, including the New York Philharmonic Orchestra (with a piece commissioned by Maestro Zubin Mehta), the Houston Symphony, and the Berlin State Opera.

“The idea here is not to make an orchestra play Indian music,” Dr. Subramaniam once explained. “But to create something where both Western and Indian musicians feel like they’re playing their own music while creating something unique. With this context, we combine elements of Carnatic music with parts of Western classical music, like harmony and counterpoint, to build something entirely original.”

He has written music for films, including Salaam Bombay!, Mississippi Masala, and Little Buddha, and ballet, including the Kirov Ballet and the Alvin Ailey Company. He also collaborated with Western jazz and pop musicians (including the late Beatle George Harrison, jazz pianist Herbie Hancock, and singer-songwriter Stevie Wonder), performed jugalbandis (classical music duets) with North Indian musicians, and explored global music fusion.

Backed by a seven-piece band comprising Indian and Western instruments, anchored by tabla player Tanmoy Bose, in Bollywood & Beyond Kavita Krishnamurti and Dr. Subramaniam will offer a program that will blend different types and genres of music, including Kavita’s Bollywood hits, Dr. Subramaniam’s original compositions based on Indian ragas and performed with Indian and Western instruments, and fusion-based duets. Bollywood & Beyond is a rare opportunity to explore Indian music, from classical tradition to film music to global fusion, with two of its greatest stars.

About Indo-American Arts Council (IAAC): The IAAC supports all the artistic disciplines in classical, fusion, folk and innovative forms influenced by the arts of India. We work cooperatively with colleagues around the U.S. to broaden our collective audiences and to create a network for shared information, resources and funding. Our focus is to help artists and art organizations in North America as well as to facilitate artists from India to exhibit, perform and produce their work here. The IAAC is a 501(c)(3) tax-exempt organization. All donations are taxdeductible to the fullest extent allowable by law. For information, please visit www.iaac.us. The Town Hall Presents: BOLLYWOOD & BEYOND: DR. L. SUBRAMANIAM AND KAVITA KRISHNAMURTHI

ZEE5 Global, the world’s largest home-grown video streaming platform and a multilingual storyteller, is thrilled to announce its next direct-to-digital, Rautu Ka Raaz. Produced by Zee Studios and Phat Phish Records and directed by Anand Surapur, Rautu Ka Raaz features Nawazuddin Siddiqui in the lead role as Inspector Deepak Negi. The mystery thriller also stars Rajesh Kumar, Atul Tiwari and Narayani Shastri in supporting roles and is set in the picturesque village of Rautu Ki Beli in Uttarakhand. The film had its Gala Premiere at the 54th International Film Festival of India (IFFI) last year where it received a warm welcome and is now set for its digital premiere on 28th June.

The film revolves around the mysterious death of a warden at a blind school in Rautu Ki Beli, a sleepy town which hasn’t witnessed a murder in over a decade and a half. This is where SHO Deepak Negiaka Nawazuddin Siddiqui and his team step in as they are tasked with solving this rare and high-profile murder investigation. The film showcases a unique and jovial camaraderie between SHO Deepak Negi (played by Nawazuddin) and sub inspector Dimri (played by Rajesh Kumar) who are forced out of their lazy state of being owing to this murder investigation. So, get ready to witness a mystery thriller unraveling the laziest murder investigation ever.

Archana Anand, Chief Business Officer, ZEE5 Global, said, “At ZEE5 Global, we pride ourselves on delivering engaging stories to our viewers, and ‘Rautu Ka Raaz’ exemplifies this commitment. This finely crafted murder mystery offers a thrilling combination of suspense and drama. After the stellar success of ‘Haddi,’ ZEE5 Global is delighted to collaborate again with ZEE Studios and the immensely talented Nawazuddin Siddiqui to present this unique and compelling plot. We believe ‘Rautu Ka Raaz’ will resonate with audiences worldwide, further cementing our status as the world’s largest destination for South Asian content.”

Umesh Kr Bansal, Chief Business Officer, Zee Studios added, “Rautu Ka Raaz is not just a film; it is an exploration of human emotions set against the backdrop of a thrilling mystery. With Nawazuddin Siddiqui at the helm, viewers can expect a performance that is both powerful and nuanced. We are proud to present this gripping tale in partnership with ZEE5 Global, and we believe it will captivate audiences from start to finish.”

Director and Producer Anand Surapur said, “Rautu Ka Raaz is a small-town film that transports viewers to the breathtaking landscapes of Uttarakhand and its surrounding areas. The film’s stunning visuals, coupled with a gripping narrative, will draw audiences in from start to finish. We are incredibly fortunate to have the remarkable Nawazuddin Siddiqui leading our talented cast. His unparalleled acting prowess breathes life into this powerful story, delivering a performance that will be etched in the audiences’ minds for years to come. Without giving away too much, I can say that Rautu Ka Raaz is full of suspense and drama, but it stays true to the smalltown pace of life and hence, even the characters operate at their own rhythm. In fact, this is what sets the film apart from other mystery thrillers”.

Nawazuddin Siddiqui added, “The trailer of Rautu Ka Raaz is a tantalizing glimpse into the gripping world that awaits the viewers. I am someone who enjoys watching crime dramas, and hence, I can confidently say that this film will be an entertaining watch with a unique twist. What really sets Rautu Ka Raaz apart are the quirky characters and the lazy but breathtaking backdrop of Uttarakhand. The trailer encapsulates the film’s suspenseful plot and highlights the film’s USP i.e a smart cop unravelling a lazy murder investigation. We had a Gala Premiere at IFFI last year where we received a warm response and now with the film’s release on ZEE5 Global, I am looking forward to the film reaching ZEE5 Global’s viewers across 190+ countries.”

India had an extraordinary year at the Cannes Film Festival, securing three significant awards and a notable honor, which industry experts believe will positively influence the country’s independent cinema.

Payal Kapadia’s “All We Imagine as Light” won the competition grand prix, Anasuya Sengupta received the best actress award in the festival’s Un Certain Regard section for “The Shameless,” and Chidananda S. Naik’s “Sunflowers Were the First Ones to Know” was named the best film in the La Cinef section. Additionally, Indian cinematographer Santosh Sivan was honored with the annual Pierre Angénieux ExcelLens in Cinematography award.

“All We Imagine as Light” marked the first Indian film in competition in three decades since Shaji N. Karun’s “Swaham” in 1994. Other Indian films at Cannes included “Sister Midnight” in the Directors’ Fortnight, “Santosh” in Un Certain Regard, and “Girls Will Be Girls,” which had previously won two prizes at Sundance, in the Cannes Écrans Juniors sidebar. Overall, nine Indian films featured across various Cannes sections.

Despite this success, financing independent films in India remains a daunting challenge. Most of the funding for films like “All We Imagine as Light,” “The Shameless,” “Sister Midnight,” and “Santosh” came from European sources. Nandita Das, an actor and filmmaker who has served on Cannes juries and whose film “Manto” was part of Un Certain Regard in 2018, hopes these wins will lead to increased Indian funding for independent films.

Das remarks, “Now we are all feeling very proud and happy with this win [for ‘All We Imagine as Light’], but which producer in India would have actually produced this film? A lot of the money is really coming from Europe.” She emphasizes that a producer’s role extends beyond financing to supporting the director in realizing her vision. “I’m very obviously happy that Payal could do this film, but I feel like she could do it because she had that support and those producers from Europe. Now, whether this will percolate into people having more faith in indie films in India, and therefore support it? I don’t know.”

Das reflects on India’s arthouse Parallel Cinema movement that thrived from the 1950s to the 1980s but waned in the 1990s. “It’s now that time where I hope there will be a revival of that independent voice and space for more independent films,” she says.

Mohaan Nadaar, from The Production Headquarters, which funds debut and women empowerment Indian-themed films, financially backed “The Shameless.” Nadaar believes that the Cannes wins validate independent cinema, suggesting that funding for indie films in India will “eventually” become easier. “When people realize that these films will also eventually get sold in the international market worldwide and raise monies,” he explains, citing “All We Imagine as Light,” which has been sold to North America and other territories.

Regarding local distribution of Indian indies, Nadaar expresses cautious optimism. He plans to release the queer love story “The Shameless” in India, Nepal, and Bangladesh, stating, “There’s an audience for it.” He notes, “There’s a lot of LGBT and queer movie demand also here. It will do well if it releases sensibly across limited screens.”

Producer and box office analyst Girish Johar shares Nadaar’s views, acknowledging that while Cannes-winning films will gain attention, their theatrical market in India is limited to around 100 screens in metropolitan areas. Johar adds that the Cannes success has instilled a “sense of pride,” and now, out of 20 indie films pitched to Indian producers, “there is an iota of hope that one or two can be greenlit by them.”

Looking beyond Cannes to the Oscars, where India recently won for the “Naatu Naatu” song in “RRR” and the live-action documentary short “The Elephant Whisperers,” there is anticipation that “All We Imagine as Light” will be India’s official entry in the international feature category. Filmmakers must apply to the Film Federation of India, which appoints a committee to select the entry. Past decisions have been inconsistent, from overlooking “The Lunchbox” in 2013 to shortlisting Pan Nalin’s “Last Film Show” in 2022. India has only three nominations—“Mother India,” “Salaam Bombay,” and “Lagaan”—and no wins in this category.

Das points out, “The kind of films that have gone to the Oscars has been very arbitrary and erratic, depending on who is in that committee and what their wisdom is telling them. So I don’t think it’s such an obvious choice, when we’d be happy for it to go.”

“Last Film Show” producer Dheer Momaya believes “All We Imagine as Light” should “definitely” be India’s entry, citing its strong response at Cannes and recognition among voting members. He criticizes the timing of the Indian selection process, which announces its candidate in late September or early October. “By then you’ve already lost that opportunity, that first mover’s advantage to cement yourself in the voters’ heads,” he says, noting that favored contenders start their Oscar campaigns as early as July.

With the Oscar voting membership becoming more diverse, Momaya is hopeful that international voters will relate to “All We Imagine as Light.”

Das concludes, “The more local a film is, the more global it is, especially for something like the Oscars. You want the film to truly depict the context of that country, tell a story that is truly quintessential of that country, not something that’s more generic. So in that sense, this [‘All We Imagine as Light’] film seems to fit that space of being authentically Indian.”

Global, 21st May 2024: May 28th marks the 141st birth anniversary of one of India’s most influential revolutionaries, Vinayak Damodar Savarkar who played a crucial role in India’s struggle for independence against British rule. And on this day, ZEE5 Global, the world’s largest streaming platform for South Asian content, is setting the stage for the world digital premiere of Swatantrya Veer Savarkar.

The biographical period drama promises an honest portrayal of Savarkar’s extraordinary life, shedding light on his relentless struggle against British colonial rule. Directed, co-written, and co-produced by the talented Randeep Hooda himself, the movie boasts an impressive cast led by Randeep Hooda in the titular role and Ankita Lokhande as his wife, Yamuna bai Savarkar. Audiences can stream Swatantrya Veer Savarkar starting May 28 exclusively on ZEE5 Global.

Swatantrya Veer Savarkar is an authentic biographical drama, chronicling the life journey of Vinayak Damodar Savarkar, the most dreaded Indian revolutionary ever. He is one of India’s most influential yet controversial figures in the struggle for independence and yet very little is known or written about him in popular culture. He is infact the originator of ‘Hindutva’ and ‘Akhand Bharat’ and the inspiration behind great leaders and freedom fighters like Netaji, Bhagat Singh and Khudi Ram Bose. The film narrates Savarkar’s story solely from his perspective, fearlessly embracing his ideals and beliefs that were initially contentious but eventually found their way into the fabric of modern India.

Archana Anand, Chief Business Officer at ZEE5 Global said, “With the world digital premiere of ‘Swatantrya Veer Savarkar,’ we at ZEE5 Global aim to highlight the life of one of India’s most influential yet controversial revolutionaries. This film is part of our ongoing effort to cater to distinct viewer preferences worldwide, providing content that resonates, educates, and inspires. We believe in the power of storytelling to celebrate unsung heroes and bring their remarkable legacies to a global audience.”

Randeep Hooda said, “I am really looking forward to the world digital premiere of Swantantrya Veer Savarkar on ZEE5 Global and what better day to pay a tribute to the most influential revolutionary of the Indian Armed Revolution than his 141st birth anniversary, 28th May. I must admit that I learnt a lot more about this inspiring hero after I started working on this project and I want to share this film with as many people as possible to counter the false narrative spread in popular culture to bury his legacy. It was an honour playing the life of this influential yet maligned revolutionary who has left such rich and inspiring legacy behind. I would urge every Indian to watch this film to know the hidden chapters of Indian History and decide for themselves if he was deservedly Veer or not.”

Ankita Lokhande said, “Portraying Yamuna bai, the wife of the legendary Veer Savarkar, was a truly fulfilling experience as an actor as this is a character unlike anything I have essayed before, and I feel truly honored to have brought her story to life. During filming, I had the opportunity to learn about Yamuna Bai, and I was blown away with the kind of strength and support she showed towards her husband. I learned so much being her. This role has definitely helped me to grow as an actress, and I hope to get more of such opportunities to portray such women on screen in my upcoming films as well. As an actor, it is a privilege to be a part of a project that entertains, educates and celebrates the unsung heroes of our history. It has been a humbling and an enriching journey, and I hope viewers will feel the same way after watching the film on ZEE5 Global”.

Stream Swatantrya Veer Savarkar exclusively on ZEE5 Global starting May 28!

Users can download the ZEE5 Global app from Google Play Store / iOS App Store. It is available on Roku devices, Apple TVs, Android TVs, Amazon Fire TV and Samsung Smart TVs. Users can also access ZEE5 Global on www.ZEE5.com

ZEE5 Global is the digital entertainment destination launched by Zee Entertainment Enterprises Limited (ZEEL), a global Media and Entertainment powerhouse. The platform launched across 190+ countries in October 2018 and has content across 18 languages: Hindi, English, Bengali, Malayalam, Tamil, Telugu, Kannada, Marathi, Oriya, Bhojpuri, Gujarati, Punjabi, including six international languages Malay, Thai, Bahasa, Urdu, Bangla and Arabic. ZEE5 Global is home to 200,000+ hours of on-demand content.

Indian-American television producer and versatile artist, Aashna Patel, has earned a nomination for the 51st Daytime Emmy Award, 2024, in the Legal/Courtroom Program category. The ceremony will be broadcast on June 7 on CBS.

Patel has been recognized for her contributions to the syndicated shows “Justice For the People with Judge Milian” and “We The People with Judge Lauren Lake.” Her illustrious career spans television, film, theater, and voiceover work.

In under two years, Patel has produced 405 episodes across nine court shows, collaborating with renowned networks and platforms such as NBC, CNN, Disney, Warner Brothers, E! Entertainment, and the Travel Channel.

As a host, Patel has explored diverse topics including entertainment, food, lifestyle, wellness, fitness, and travel, with her work featured on airline channels such as American Airlines, United Airlines, Virgin America, and Air Canada.

Patel has also interviewed numerous celebrities on the red carpet, including Tom Hanks, Jennifer Aniston, and Dwayne Johnson, and has emceed various charity events.

Beyond television and film, Patel’s musical talents include releasing a pop album with Universal Music, Canada, and performing national anthems at NBA and MLB games.

Additionally, she is a performance coach for executives at major companies like Google and Facebook, and serves as a spokesperson for brands in health, wellness, beauty, and technology.

Her voice-over work includes projects for Warner Bros and Disney. Currently, Patel is writing her first children’s book.

Sky Islands features the Extended Talking Gong Ensemble, with percussionist Ibarra, Claire Chase on flute, Alex Peh on piano, and Levy Lorenzo on percussion alongside the Bergamot String Quartet comprising violinists Ledah Finck and Sarah Thomas, violist Amy Huimei Tan and cellist Irène Han.

This preview performance is followed by a panel discussion with the performers and climate scientist Daniel Ibarra on the real-life ecosystems or “sky islands” that inspired Ibarra’s composition and exploring how art and science can amplify the urgency in the fight against climate change. The event will be held on Tue, May 28 at 6:30 p.m. at Asia Society New York.

A musical call to action, Sky Islands draws awareness to dwindling biodiversity, changing climate, and global community practices.

“Sky islands” are distinct ecosystems at high altitude ranges, known for becoming hotspots for biodiversity and unusual forms of life. Geographically isolated with few or no outside predators, sky islands are home to many species of small mammals that don’t exist anywhere else in the world, making them wondrous areas where we can see evolution “sped up”.

Ibarra was intrigued by the “sky islands” on the mountain tops of rainforests in her home region of Luzon, Philippines, home to the world’s largest number of unique mammal species. In this latest musical work commissioned by Asia Society, Ibarra captures, through sound and sculpture, the beautiful and somewhat magical existence of sky islands.

Sky Islands takes inspiration from the musical traditions of Luzon’s sky islands and features Philippine Northern style interlocking rhythms and melodies found in bamboo and gong and flute music of the Kalinga and Cordilleras Region in Luzon. Highlighting Luzon’s rainforests—an endangered region with 31 endemic species, including the Philippine Eagle, and a region that has both volcanic and non-volcanic mountains amidst diverse fauna—Sky Islands aims to connect audiences to these fragile and beautiful ecosystems.

Sky Islands is commissioned by Asia Society, with support from Fromm Music Foundation at Harvard University, NYSCA, and NYFA Anonymous Was A Woman Environmental Artists Grants. This program is part of the COAL + ICE exhibition and series of programs at Asia Society, Feb. 13-Aug. 11, 2024, designed to provoke thought and action on climate change.

Tickets for the May 28 performance and panel discussion are $8 Asia Society Members, $15 Nonmembers. Students/Seniors may use coupon SENSTU at check out. Tickets may be purchased at here or by calling the Asia Society Box office at 212-517-ASIA (2742).

The world premiere of Sky Islands will be presented at Asia Society New York on Thu, Jul 18 and Sat, Jul 20 at 7:15 to 9:00 p.m. Tickets for the July performances are $20 Asia Society Members, $30 Nonmembers. Students and seniors: use coupon code SENSTU at checkout. Tickets may be purchased at AsiaSociety.org/NY or by calling the Asia Society Box office at 212-517-ASIA (2742).

Members of the media interested in complimentary tickets to the May 28 work in progress performance and discussion or the July performances should email pr@asiasociety.org

The most successful duo of Mohanlal and Shobana is making a comeback as shooting for Malayalam superstar Mohanlal’s 360th film commences on Monday in the state.

Shobana herself announced this, expressing her happiness, and noted that this would mark their 56th film together.This marks the 14th film produced by Renjith for his own Rejaputra films.

Actor Shobana and Mohanlal who are celebrated as Mollywood’s evergreen couple onscreen is all set to reunite in this epic film.

“The director is Tharun Moorthy. Can you guess who is the hero? Yes, it is none other than Mohanlal. It is Lalji’s 360th film. Would like to wish him all the best. This is our 56th film together. So, I am super excited. Just hope everyone loves the film,” the charismatic actor said.

Mohanlal and Shobana were last seen in Mampazhakalam. The two of them have starred in several movies including ‘Thenmavin Kombathu’, ‘Pavithram’, and Manichithrathazhu.

Netizens went gaga over the announcement. “After a long time, the legendary pair is rejoining,” commented one user. “Omggg this is such big news I’ve wanted this to happen since a freakin long time! I literally can’t wait to see you two back on screen,” another user commented. Yet another user wrote, “What a legend to have completed 40 years, and then gifting us another film. Bro we’d been waiting to see you. Thank you and God bless you.”.

While Shobana took a bit of a hiatus from acting and has been busy with stage performances, Mohanlal has gone on to act in several movies. He was last seen in Malaikottai Vaaliban. He will soon be seen in Barroz, which also stars Guru Somansundaram and Komal Sharma.

The film depicts Mohanlal portraying the role of a taxi driver, reminiscent of roles that propelled him to superstar status. Directed by Tarun Murthy, with the story penned by K.S. Sunil and cinematography by Shaji, the film features popular comedian turned character actor Jagdish in a significant role. The film is expected to hit the theatres during Puja holidays in October.

ZEE5 Global, the world’s largest streaming platform for South Asian content, unveiled the trailer of the second season of its much acclaimed series, ‘The Broken News’ today. The show which is based on the BBC Studios format ‘Press’ is directed by Vinay Waikul and written by Sambit Mishra.

The new season will see Sonali Bendre, Jaideep Ahlawat, and Shriya Pilgaonkar reprise their roles as Ameena Qureshi, Dipankar Sanyal and Radha Bhargava respectively. Returning after a gap of two years, the new season will see the fight for ideologies between the two broadcast news channels, ‘Josh 24×7’ and ‘Awaz Bharti’ scale new heights and will premiere on 3^rd May, exclusively on ZEE5 Global.

In this thrilling new season, the ‘sach’ versus ‘sansani’ battle escalates beyond the newsroom, evolving into a personal struggle for survival.

The upcoming season produced by BBC Studios Productions India will continue to capture the fictional lives, lies, loves, and struggles of journalists and their battle between truth and sensationalism. The upcoming chapter marks the homecoming of many actors such as Faisal Rashid, Indraneil Sengupta, Sanjeeta Bhattacharya, Taaruk Raina, among others. Additionally, the new season will see the entry of actors – Akshay Oberoi, Suchitra Pillai and Geetika Vidya Ohlyan in pivotal roles.

The trailer for the second season features Radha Bhargava, previously incarcerated due to Sanyal, now released on bail. She is poised for a comeback, determined to cleanse the broadcasting system by dismantling Dipankar and his manipulative tactics. Recognizing that unbiased news reporting alone cannot combat Josh 24×7’s propaganda, she is prepared to engage in unorthodox methods to purge the corrupt system.

In Radha’s absence, Ameena shoulders the responsibility of fighting the ‘Sach’ battle alone, venturing into the streets to uncover truth amidst personal risk. Dipankar’s brand of ‘sansani’ news dominates TRPs but he is compelled to utilize his ‘sansani’ ideology to sway public opinion and further his personal and corporate agendas. However, the pertinent question remains the same: Breaking news ki race mein ab break hoga har rule! Jab sach bhi bane sansani, kya Dekhaga India?

Actor Sonali Bendresaid, “The Broken News will always be special to me as it marked my OTT debut. We truly were ecstatic with the response to the first season and I am glad that we are returning with another season. In the first season, Ameena and Radha were a team however, in this new season, Ameena will be fighting the battle for ‘Sach’ on her own. Working with the wonderful team at ZEE5 Global, BBC and our director Vinay Waikul has also been a true pleasure. He’s a visionary director who has poured his heart and soul into ensuring that viewers remain engaged and hooked throughout. I’m thrilled for the show to release on ZEE5 Global and can’t wait for audiences to see and react to what we’ve created. I am confident that everyone will enjoy watching season 2 as much as we enjoyed making it.”

Actor Jaideep Ahlawat said, “I am thrilled to dive back into the world of ‘The Broken News’ for its second season on ZEE5 Global. This time around, viewers can expect more newsroom drama, action and lines getting blurred as things get personal. Playing Dipankar has been a true delight and it was great getting back together with the gang of The Broken News. I’m eagerly looking forward to seeing how the audiences’ receive Season 2 on ZEE5 Global.”

Actor Shriya Pilagoankarsaid, “I couldn’t be more thrilled for the return of ‘The Broken News’ on ZEE5 Global. This show holds a special place in my heart, and I’ve been eagerly anticipating its comeback for quite some time now. The dynamic between Radha and Dipankar is going to be intensely personal this season, as they both strive to outmaneuver each other at every turn. It’s going to be a rollercoaster ride for the viewers, with twists and turns keeping them guessing until the very end. Working alongside Jaideep sir and Sonali ma’am has been an incredible experience for me. They are both powerhouses of talent, and I’ve learned so much from sharing the screen with them. I can’t wait for audiences to see the magic that we’ve all created together.”

Director Vinay Waikul said, “I am thrilled to direct another season of The Broken News, bringing the high pressure and dynamic environment of newsrooms and the battle between truth and sensationalism to audiences again. The first season was immensely appreciated by all and this season promises to keep audiences engaged as we take this newsroom drama to the next level. I am thankful to the producers, writer, talented actors and crew members for making this show a memorable experience”.

ZEE5 Global is the digital entertainment destination launched by Zee Entertainment Enterprises Limited (ZEEL), a global Media and Entertainment powerhouse. The platform launched across 190+ countries in October 2018 and has content across 18 languages. The platform brings together the best of Originals, Movies and TV Shows, Music, Health and Lifestyle content in one destination. In addition, ZEE5 Global offers features like 15 navigational languages, content download options, seamless video playback and Voice Search. The platform also recently launched ZEE5 Global Add-ons in the US where one can access and subscribe to multiple South Asian streaming platforms like Chaupal, Oho Gujarati, NammaFlix, Simply South and iStream all in one single destination, ZEE5.

ZEE5 Global Twitter: https://twitter.com/ZEE5GlobalCorp

ZEE5 Global LinkedIn: https://www.linkedin.com/company/ZEE5 Global/

Director Blessy’s survival epic Aadujeevitham (The Goat Life), starring Prithviraj Sukumaran in the lead, continues its triumphant streak at the box office, buoyed by a wave of positive reception. Based on Benyamin’s 2008 novel of the same title, Aadujeevitham draws inspiration from the harrowing real-life ordeal of Najeeb Muhammad, also known as Shukoor, who, in the 1990s, journeyed to the Persian Gulf states to support his family but found himself trapped in a life of servitude as a goat herder in the desert for over three years.

Prithviraj’s portrayal of Najeeb stands as a cornerstone of the film’s acclaim, widely hailed as one of his most compelling performances to date. The revelation that Prithviraj hadn’t met the real-life inspiration until after filming wrapped sparked intrigue, prompting reflections on how he managed to encapsulate the character’s essence without direct interaction.

Following the film’s success, Prithviraj engaged in a poignant exchange with Najeeb, bridging the chasm between reel and real experiences. Reflecting on the journey, Prithviraj shared, “In 2008, when Blessy first approached me for this role, I grappled with how to approach it. Should I seek insight from you directly, or should I interpret the Najeeb envisioned by Benyamin and Blessy? Ultimately, we decided that I would portray the Najeeb conceived in our minds, based on the novel and Blessy’s vision. That’s the Najeeb you’ll witness in the film. There’s a stark contrast.”

During their conversation, Prithviraj inquired if Najeeb, amidst his days herding goats, could discern the passage of time. Najeeb somberly responded in the negative, stating, “The sun rose and set… that’s all I knew,” leaving Prithviraj momentarily speechless.

Najeeb delved into the depths of his anguish, revealing, “I often thought escape was impossible. There were no gods left to pray to. I contemplated death as preferable to continued existence. Many times, I lay on the sand, hoping some creature would end my suffering. Yet, upon waking, thoughts of my family consumed me. My wife was eight months pregnant when I arrived there. Her well-being was my sole preoccupation.”

The exchange also includes reflections from Najeeb’s wife and son, offering poignant insights into their shared ordeal.

Prithviraj, moved by Najeeb’s resilience, remarked, “At times, I’ve felt you’re chosen by a higher power to share your story with the world. You are divine providence’s emissary.” Najeeb, though bearing the scars of his past, managed a pained smile in response. When asked if he would ever return to that place, Najeeb’s immediate response was a resolute “No.” “It’s still a nightmare,” he added.

Najeeb further revealed, “Even my wife and family learned of my trials only after the novel’s publication, through Benyamin’s work.”

This book describes end to end playing techniques of Mridangam and elaborates unique concepts in Music

“My style in Carnatic Music, especially playing Mridangam, an ancient South Indian classical percussive instrument is very unique,” says T. Shankaranarayanan Nandakumar, while describing the objective of writing of his new book, “Intricacies of Mridangam”  is being released in hardcover both Barnes and Nobles and Amazon. “I want to pass on this rich knowledge and skills that I have received from my Masters to the new generation, who are often not familiar with the nuances of this ancient musical instrument.”

World renowned for his mastery of the Mridangam and with expertise in various other percussion instruments, including konnakol (vocal percussion), thavil, ghatam, kanjira, and morsing, Nandakumar is a well-known south Indian music artist, showcasing his versatility in Carnatic music and has devoted his entire life to the cause of popularizing Indian classical music around the world.

Nandakumar developed a string interest in music at a very young age. Throughout his professional career, he has accompanied many well-known names in Carnatic music and continues to perform all over the world. As a percussionist, TSN has accompanied luminaries in Carnatic music, including Semmangudi Srinivasa Iyer, M. D. Ramanathan, Bhimsen Joshi, T. N. Krishnan, M. Balamuralikrishna and others. His role as an accompanist has greatly enhanced the events with the performances of these eminent artists.

Through his musical engagements, TSN engages in cultural diplomacy, fostering an appreciation for Indian music and drumming traditions. This indirect form of education occurs as audiences experience the artistry and cultural depth of the mridangam during performances. He has taken up his life mission to perpetuate Indian ancient art form and has dedicated himself in teaching the same to hundreds of students worldwide.

With the mission to spread the knowledge and provide education on this ancient Indian musical instrument, Nandakumar established TSN’s Percussive Arts Centre. Inc (TSNPAC), where students are trained in diverse instruments. Since its inception in 1998 in Mumbai, India, TSNPAC has evolved into a hub for students to refine their skills and collaborate within the realm of Carnatic arts. Upon migrating to New Jersey, USA, TSN seamlessly incorporated TSNPAC, offering courses in higher learning for Carnatic percussion enthusiasts in the United States. Today, TSNPAC stands as a beacon for aspiring artists seeking to master the intricacies of Carnatic percussion.

Nandakumar’s belief that “Music is like a horizon which is never ending and has no boundaries” has enabled him to take music with him wherever he goes. Since his coming to the United States, Nandakumar continues his life’s mission through stage performances at prestigious orchestras, participation in global music events, educational initiatives and contributions, collaborations, global impact, and philanthropic endeavors. He has demonstrated a commitment to social responsibility through charity work, including organizing a 24-hour non-stop Akanda Seva Bhajan in aid of India’s tsunami victims.

According to Nandakumar, playing Mridangam requires mastering of several intricacies and mathematical calculations. This new volume is aimed at providing the skills to an enthusiastic learner of Mridangam to be able to play with any artist without practice.

TSNPAC conducts Mridangam Arangetram annually, where students, without prior rehearsal, accompany main artists like A. Kanyakumari, culminating in a graduation ceremony. Notably, TSNPAC’s influence extends globally, with dozens of professional student performances, including drumming, at the Cleveland Thyagaraja festival. TSNPAC’s significant milestones include a decennial celebration marked by a grand performance featuring over 100 students.

TSN’s participation in international festivals and workshops has contributed to the global awareness of Indian percussion, showcasing the richness of Indian drumming traditions and providing a platform for cross-cultural exchange. By actively participating in musical collaborations and performances in the United States, TSN not only showcases the beauty of the mridangam but also educates audiences about the intricacies and significance of this traditional Indian percussion instrument.

“Through music, you can reach god,” says Nandakumar who wants to spread this path to the Almighty. “I feel very good about my accomplishment in spreading my knowledge about music to everyone. I have students all over the world, students of Indian origin and from other nationalities, some of them have become full-time musicians and are accompanying renowned artists,” Nandakumar says with pride.

In recognition of his great accomplishments, TSN was honored with The Lifetime Achievement Award by the Shanti Foundation in Chennai. He was awarded the “Best Teacher Award” from several organizations with the most prominent being awarded by Shanmukhananda Fine Arts and the Cleveland Thygaraja Aaradhana Festival and by the Shanmukhananda Fine Arts, Sangeetha Sabha, Mumbai in 2007, Bharat Ratna Dr. M. S. Subbulakshmi Sangeetha Pracharya Award), and Visionary Award by Academy of Indian Music, USA.

Dedicating his entire life to the spreading of Carnatic Music, Nandakumar has been highly sought after as a teacher in India and abroad. He has conducted several musical concerts, lectures, demonstrations, and workshops at universities in the United States abroad like Lamar University of Houston and Indiana University of Pennsylvania. TSN conducted special classes in percussive arts at the Sri Venkateswara Temple in Pittsburgh, and the Academy of Indian Music in New Jersey and Switzerland. He also conducted 24 hours nonstop Akanda Seva Bhajan (Offered a Prayer through the medium of music) with his students in Mumbai for the tsunami-affected victims of India.

Nandakumar says, “My aim of contributing to Carnatic music by spreading knowledge has been successful and I forever am indebted to my parents and my teacher. I feel even more proud that some of my students have become masters of mridangam and it’s an honor knowing that the knowledge I shared with my students is now spreading around the world, imparting to many generations.”

Nandakumar’s new volume, “Intricacies of Mridangam” gives an overview of the ancient South Indian Classical Carnatic music style for the percussive instrument, mridangam. This book describes end to end playing techniques of Mridangam and elaborates unique concepts in Music, which are explained with examples as well as some original creations and compositions from the author.

The funds generated from the sale of the book will support (TSN’s Percussive Arts Centre. Inc) TSNPAC’s initiatives, such as organizing events that offer students the chance to participate in full-fledged concerts.

“Intricacies of Mridangam” is now available for purchase online! You can find it at the following links: Barnes & Noble: https://www.barnesandnoble.com/w/intricacies-of-mridangam-nandakumar-t-s/1145052967?ean=9798877049864 and at: Amazon on: https://a.co/d/bGpdmcv

A lawyer sits opposite his client, delivering a grave ultimatum.

“You have one month to secure a co-signer for your visa,” he solemnly states. “Otherwise, you’ll be forced to depart from the United States.”

Such dismal scenes are commonplace at Khalil Immigration Law, where individuals facing defeat often seem to vanish into thin air. Even the office’s decor fails to inspire confidence, with a plaque offering a tepid reassurance: “We’ll do what we can!”

This surreal setting is just one of many eccentric locales viewers encounter in the newly released film “Problemista.” The story follows Alejandro, portrayed by writer-director Julio Torres, as he embarks on a frantic journey to remain in the US and fulfill his aspirations.

Early in the movie, we witness a pivotal moment between Alejandro and his lawyer, Mr. Khalil, played by Laith Nakli. Faced with impending deadlines, Khalil urges Alejandro to find a solution promptly. Could a newfound acquaintance serve as his sponsor?

“I mean, we’ll see,” Alejandro responds with a shrug.

Rather than proposing a groundbreaking legal strategy, Khalil’s reaction is unexpectedly lighthearted. “We’ll see,” he echoes, envisioning the phrase adorning a new plaque in the waiting room. “That’s a much better motto for us.”

Such humorous interludes pepper “Problemista,” a film that underscores the uncertainties inherent in the US immigration system and the surreal hurdles confronting those who navigate it.

Despite the absurdities, Alejandro persists against the odds, contending with the erratic behavior of his employer, art critic Elizabeth Asencio, portrayed by Tilda Swinton, whose default mode seems to be confrontation.

For Torres, the film is both a work of fiction and a reflection of personal experiences. Having migrated from El Salvador to pursue his education in the US, Torres empathizes deeply with Alejandro’s struggles. Recalling his own anxiety while transitioning from a student visa to a work visa, he admits, “I would wake up and my heart was already racing.”

Similarly, Nakli, who portrays the well-intentioned but ineffective immigration lawyer in “Problemista,” finds parallels between his own journey and Alejandro’s plight. Despite achieving success in his acting career, Nakli’s past legal troubles continue to cast a shadow over his life.

In 1998, Nakli, originally from the UK and a former bodybuilding champion, faced federal charges related to conspiracy to possess and distribute controlled substances. Reflecting on his remorse, he expressed profound regret for betraying the trust of the country that welcomed him.

Transitioning from bodybuilding to acting, Nakli found himself haunted by his past, yet hesitant to share his story due to shame. Despite the closure of his deportation case under the Obama administration, Nakli remains vigilant, aware that any misstep could reignite legal proceedings.

The perpetual uncertainty weighs heavily on Nakli, reminiscent of the tense atmosphere depicted in “Problemista,” where waiting room scenes evoke a palpable sense of dread.

Nakli’s decision to pursue a presidential pardon underscores the ironic juxtaposition of his role as an immigration lawyer in the film. Torres believes Nakli’s experience highlights the unforgiving nature of the immigration system, which disproportionately affects immigrants like Nakli.

“Problemista” offers a satirical lens through which to examine the labyrinthine bureaucracy of immigration. Torres drew inspiration from his own struggles, recalling the absurdities of navigating the visa process through unconventional means, such as the gig economy and online platforms like Craigslist.

The film’s surreal elements mirror the Kafkaesque realities of immigration, where legal pathways are convoluted, and success often hinges on bending the rules. Despite the challenges, Torres maintains that “Problemista” isn’t merely an exposé but a testament to resilience in the face of adversity.

Both Alejandro and Torres embody the spirit of a “problemista” – individuals who thrive amidst challenges and find creative solutions to navigate life’s complexities.

As Nakli awaits a decision on his pardon application, he remains hopeful for a fresh start. Recognizing the transformative power of second chances, he embraces the possibility of redemption and a renewed sense of belonging in the country he calls home.

While uncertainties loom, Nakli’s resilience echoes the hopeful message of “Problemista,” where perseverance and resourcefulness ultimately triumph over adversity. Unlike the ghostly figures of rejected immigrants depicted in the film, Nakli’s story is one of resilience and the enduring pursuit of a brighter future.

Christopher Nolan’s biographical film Oppenheimer took center stage at the Screen Actors Guild (SAG) Awards on Saturday, with multiple winners acknowledging the significance of last year’s actors’ strike. Cillian Murphy secured the award for best actor, while Robert Downey Jr. clinched best supporting actor, and the Oppenheimer ensemble triumphed with outstanding performance by a cast.

In his remarks at the Shrine Auditorium in Los Angeles, Irish actor Murphy expressed gratitude for being recognized by his peers, reminiscing about his early struggles as an aspiring actor. He stated, “Twenty-eight years ago when I was trying to become an actor, I was a failed musician, and I felt extremely like an interloper. But looking out on all of you guys here today, I know I’m part of something truly wonderful.” Oppenheimer chronicles the life of J. Robert Oppenheimer, often hailed as “the father of the atomic bomb.”

Accepting the accolade for outstanding cast, British actor Sir Kenneth Branagh lauded the actors’ union strike, which caused delays in numerous Hollywood projects last year. He expressed appreciation, saying, “Thank you for fighting for us, thank you for every Sag-Aftra member whose support and whose sacrifice allows us to be standing here better than we were before.”

Lily Gladstone, star of Killers of the Flower Moon, claimed the title of best leading actress and also addressed the impact of the strike in her speech. “This has been a hard year for all of us,” remarked Gladstone, emphasizing solidarity with other unions.

The SAG Awards often serve as a barometer for predicting winners at the upcoming Academy Awards, slated for March 10. While Murphy is a frontrunner for the best actor category, the competition is tighter for best actress, with Gladstone and Poor Things star Emma Stone vying for the honor.

Da’Vine Joy Randolph from The Holdovers secured best supporting actress, while Robert Downey Jr. from Oppenheimer was recognized as best supporting actor. In television categories, Succession clinched best ensemble drama cast for its fourth and final season, and The Bear was awarded best ensemble comedy cast.

Barbra Streisand received this year’s lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper. Reflecting on her journey, Streisand reminisced, “I didn’t like reality, I wanted to be in movies. Even though I knew I didn’t look like the other women on screen. My mother said ‘you’d better learn to type’. But I didn’t listen. And somehow, some way, it all came true.”

During the In Memoriam segment of the show, tributes were paid to notable figures such as Matthew Perry, Harry Belafonte, Sir Michael Gambon, Tina Turner, and others. The Devil Wears Prada stars Meryl Streep, Anne Hathaway, and Emily Blunt reunited to present the first award of the night, offering a nostalgic sketch featuring iconic lines from the movie, nearly two decades after its release.

Idris Elba, the London-born actor, hosted the ceremony, marking the 30th SAG Awards, which were streamed on Netflix for the first time. Elba injected humor into the proceedings, joking, “Personally, I can’t wait to get home, and have Netflix recommend this show to me.”