
Naseeruddin Shah clarifies post backing Diljit Dosanjh was taken down by Facebook
Other than this, the 'Umrao Jaan' actor also shared a message for trolls and wrote, 'And to the trolls, particularly the one who said to me 'Pakistan nahin ab kabristaan', I can only quote Jigar Moradabadi: 'Mujhe de na ghaiz mein dhamkiyaan, giren lakh baar ye bijliyan, / Meri saltanat yehi aashiyaan, meri milkiyat yehi chaar par' (Don't threaten me in anger, let lightning strike a thousand time/ My nest is my domain, these four feathers all I own).'Shah's original post was a staunch defence of Dosanjh, who has been under scrutiny for his role in 'Sardaar Ji 3'. Shah wrote, "I STAND FIRMLY WITH DILJIT. The dirty tricks deptt of Jumla Party has been awaiting a chance to attack him. They think they've got it at last. He was not responsible for the casting of the film, the director was (sic)," in a now-deleted post.The controversy surrounding 'Sardaar Ji 3', which stars Dosanjh alongside Neeru Bajwa and Hania Aamir, reached new heights as Shah's comments were brought into the spotlight. Dosanjh has been targeted by film bodies, including the All Indian Cine Workers Association, calling for a ban on his upcoming projects. The backlash falls amidst heightened tensions between India and Pakistan in the aftermath of the Pahalgam terrorist attack.- EndsMust Watch
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Mint
an hour ago
- Mint
Movie promotions, fan theories and communities now have a new home: Reddit
Along with tried and tested models of engagement on Instagram, X (formerly Twitter) and Facebook, besides regular media interactions, print and television advertising, movie promotions, and marketing are now finding a new home in news aggregation and social media forum Reddit. Besides official marketing by studios and producers, the platform also hosts movie reviews, fan activity and audience reactions by movie buffs, digital creators and influencers who are slowly building communities with like-minded entertainment enthusiasts. However, industry experts point out that, unlike other platforms that prioritise algorithms or follower counts, every post and comment on Reddit that speaks to hyper-targeted communities is subject to upvotes or downvotes from real users—meaning content must earn its place at the top. While the service does offer brands the opportunity to promote their presence on Reddit, including AMAs (ask me anything), through paid efforts, the smart way is to work with community moderators or run promoted posts that blend in, in order to feel native. Some brands do this well while others get called out. Read more: 'Trash TV' takes off as audiences crave a peek into celebrity lives 'Reddit stands apart in the entertainment and pop culture landscape by fostering authentic human conversations. It enables open, in-depth dialogue across over 100,000 active communities. Many of these communities are deeply immersed in films, OTT content, web series, celebrity culture, and digital storytelling," the platform said in response to Mint's queries. Entertainment is a key driver of engagement on Reddit, and one of the top topics on the platform in India so far this year, it added. Communities such as those on movies, television, Bollywood, and Tollywood have become hubs for trendspotting, fan theories, detailed reviews, and real-time audience reactions that often influence broader conversations in the entertainment industry. Meaningful partnerships To be sure, Reddit has a local team focused on developing entertainment partnerships to offer enhanced community experiences to redditors. Through these partnerships, studios like Zee Studios have brought key talent to Reddit to do AMAs ('Ask Me Anything" sessions, which are online Q&As) about their projects in Indian communities. However, the platform is designed more to foster unfiltered conversations and build communities dedicated to specific interests, ranging from niche genres to new releases. 'We're seeing more film and OTT teams tap into Reddit not just to market, but to listen. AMAs with actors, dropping clues for fans to uncover, even just letting fan theories grow on their own, it's all part of how shows build hype now," said Jagdish Lobo – associate vice-president at QYUKI, a new media company that provides digital distribution and content production services for artists. Global hits like Stranger Things and The Boys have done this brilliantly. 'Even if the studio isn't directly involved, the fan communities do half the job. In India, we're still early in this space, but it's picking up," Lobo added. Entertainment industry experts point out unlike other platforms, Reddit isn't about the most polished video or the biggest follower count. It rewards the most interesting conversation. That's a huge advantage for storytellers. They can test ideas, sense how people feel about characters or twists, and get real feedback, not just likes. 'Reddit is where the internet goes to think out loud. Studios have clocked this and are quietly slipping into subreddits to seed conversations, float theories, leak just enough to spark curiosity—and then let Reddit do what it does best: spiral. Very rarely does this happen through official handles. Most of it unfolds through burner accounts, soft alliances with community moderators, or well-timed posts that feel fan-driven," said Krunal Kanabar, head-strategy and IP, NOFILTR Group, an influencer marketing agency. Community engagement This has played out globally with titles like Everything Everywhere All At Once, and closer home with shows like Scam 1992, where Reddit didn't launch the hype but definitely helped cultify it, Kanabar said. To be sure, the company claims each subreddit operates under its own set of rules and is managed by independent volunteer moderators. These communities are highly engaged and self-regulating, and in many cases, users are quick to identify and question posts that appear to be speculative, agenda-driven, or lacking credibility. Read more: Regional content gains ground on OTTs even as Hindi dominates Yash Chandiramani, founder and chief strategist, Admatazz, a digital marketing agency, said, unlike traditional platforms, Reddit thrives on deep engagement, subculture awareness and long-form discussion. This means it has the users' attention. So any show or movie with a fan following, fan theories, and speculation works well on Reddit and movie marketers have started subtly seeding content as well. 'Reddit's strength lies in its super hyper-targeted, deep communities. Instead of shouting at a mass audience, for example, you can engage horror devotees or Bollywood enthusiasts. The threaded nature of discussions allows fans to dissect every plot twist, create theories, and contribute to shareable moments in real time, sustained engagement that's rarely seen on platforms with vanishing content or short-form formats," Joshua Carvalho, director BC Web Wise, a digital marketing agency, said. 'Reddit's pseudonymous culture encourages a kind of honesty we don't often see elsewhere. When creators show humility and speak candidly in AMAs or comment threads, they earn genuine community advocacy, not the glossy endorsements you'd expect from influencer marketing," Carvalho added.

The Hindu
2 hours ago
- The Hindu
Veena maker Sheik Mabu felicitated in Vijayawada
Members of 'Mana Kosam – Mana Prapancham', a Facebook friends group, felicitated renowned Veena maker Sheik Mabu and Swara Super Speciality Hospital CEO V. Venkat, at a programme held here on Sunday. Film actor Balaji, motivational speaker Annadata Mani, singer Chintalapudi Trinadha Rao, fitness motivator Anu Prasad and others felicitated Mr. Mabu and Dr. Venkat. Speaking on the occasion, Facebook group members Y.V. Rao, Devi Vemuri and K.V. Rao said that the veena maker created a record by making the smallest veena and has won many awards. They requested the government to award Padma Shri to Mr. Mabu. Mr. Mabu, meanwhile, explained how his forefathers, father and other family members, have been making veenas for the last few decades. 'There has been a great demand for Nuzvid veenas across the globe,' he said. Mr. Mabu, who presented veenas to many leaders, celebrities and others, appealed to the government to extend support to make more veenas.


Scroll.in
2 hours ago
- Scroll.in
‘Inside the Mirror': A coming-of-age novel set in the 1950s gets women's desire for true freedom
Can a young woman shape her own destiny without fracturing the roots she springs from? This question underlies the emotional current of Parul Kapur's novel, Inside the Mirror. As India shook the dust of colonialism from its shoulders, everything shimmered with possibility. Set in the vibrant times of 1950s Bombay, the novel follows 19-year-old twin sisters Jaya and Kamlesh Malhotra as they stand at the intersection of obedience and individuality. Born into a respected Punjabi family, the girls are offered what many would call privilege. Kapur renders the Malhotra household as a microcosm of a nation in flux, bruised but hopeful, aspiring towards progress while still shackled to propriety. The father is emblematic of this paradox. Forward-thinking by most measures, he has mapped out their futures – one in medicine, the other in teaching. These are professions that promise security and respect. He does not question whether the ambitions he permits are his daughters' own, because he does not need to. He believes that education equals emancipation, that opportunity is freedom. But ambition handed down, however benevolently, can bind just as tightly as any prohibition. Portrait of two artists in becoming Jaya Malhotra enters medical college not out of desire but with a sense of dutiful inertia. Inside, she harbours dreams of becoming an artist. The hospital compound, dense with the scent of formalin and suffering, alienates her from the very profession her father deems noble. They say artists are sensitive beings. For Jaya, this sensitivity becomes both a burden and a compass. It is through art that she begins to recover herself. Amidst this, a romance also blooms for Jaya. Kapur treats this thread with a light touch. Kirti Dasgupta, a charming senior whose presence at first seems to promise both mentorship and affection, but is also casually steeped in the kind of entitlement that often passes unnoticed in men of ambition. He admires Jaya's intensity but doesn't quite know what to do with it. Their love is not any destiny-altering epic but it does shape Jaya's own longing to not just create art but who she must insist on being. She gets to know about Group 47, a fictional version of the Progressive Artists' Group that was founded in 1947. This collective, rooted in post-independence urgency, speaks of reinventing Indian Modern Art. Jaya finds resonance in them, but more importantly, she meets her mentor – Sringara. Through Sringara, both the reader and Jaya get a glimpse of the figure of a woman who has chosen art as her existence. She is unapologetically herself, assured in ways that Jaya aspires to be. 'An artist,' Jaya thinks, 'had to be an extremist.' This thought isn't romanticised but rendered with quiet conviction as the story unfolds. To be an artist is to risk exile, from family, from respectability and from comfort. Kapur does not glamorise this transformation. Instead, she allows it to build slowly through sketches, conversations, and Jaya's restless inner gaze. If Jaya's rebellion is painted on a canvas, Kamlesh's unfolds in measured rhythm. While she pursues a BA, her heart beats to the cadence of Bharatanatyam. She is excited for her upcoming arangetram, her debut solo performance. She spends hours refining her posture, her expressions, and the intricate mudras of the dance. It is clear that she genuinely loves it. In these moments, Kamlesh isn't fulfilling anyone else's dreams. There is a humming urgency in her desire to be seen, not just a daughter or twin, but as a performer, a woman who can hold the gaze of a room and decide what it sees. But in a Punjabi household unfamiliar with the cultural vocabulary of South Indian classical dance, its declaration feels rather scandalous. 'No respectable girl displayed herself like that in public,' the family frets. It is less about the dance and more about the questions, whispers, and judgment it will invite. We witness the events of her journey, but rarely are we allowed to enter her mind with the same intimacy that is afforded to Jaya. While the novel sublimely lingers in Jaya's uncertainty with her slow-burning rebellion and her inner struggles, Kamlesh is often glimpsed in motion. In many ways, she functions more as a foil than a fully fleshed-out counterpart. It is a loss, because it is a novel invested in female coming of age, and Kamlesh's partial opacity feels like an opportunity left only half-realised. In the shadow of history Kapur captures the post-independence mood, bearing its wounds from Partition with a steady hand. The Malhotra household is not untouched either. People arrive at their home seeking shelter as they attempt to rebuild their lives from the rubble. It reminds us how history forms an important part of our being. Bebeji, the twins' grandmother, is one of the most compelling links to this past. She was a local leader at the Lahore Congress Committee and participated in the independence movement. She even witnessed its bloody aftermath. Yet, the scars do not quiet her. Infused with the spirit of doing good, she runs a program for a slum colony. Her social consciousness becomes a kind of unspoken inheritance, one that both Jaya and Kamlesh absorb, even as they try to shape their own. Bebeji's presence deepens the girls' arcs. She has already pushed the boundaries of a woman's place in society in her own ways. And, survived it too. The legacy she offers is a living reminder that independence, whether personal or political, is never without cost. In the acknowledgements, the author writes that this book has undergone a long journey, written and rewritten until it found its final form. That journey is visible in the novel's bones. It bears the marks of careful research. The social fabric of 1950s Bombay, the post-Partition tensions, especially the evolving conversations around art, painting, and classical dance, are rendered with care without feeling like a lecture. Kapur strikes a rare balance when lyricism enhances the prose rather than making it feel ornamental. The passages detailing the social work and issues of the slum colony can feel like a detour from the story but, their effect is undeniable in hindsight. They add an emotional layer that grounds the story in lived socio-political reality. The novel would have been flatter without them. The story plays on a timeless conflict of self versus society. The girls want to find their own identity and purpose, while the family holds on to their reputation in society like fragile currency. 'A girl pulling herself out of the web of her family could cause the entire web to tear and collapse' That web is made up of duty, obligation, and the ever-present weight of 'log kya kahenge', whichis the real antagonist of their world. In different ways, both sisters push against what has been chosen for them to pursue lives of their own making. The novel doesn't pretend that making such a choice is easy. The slow drift between the twins, resulting distance from family, becomes a quiet but aching sign of what is risked when one refuses to stay within the lines. By its end, Inside the Mirror asks us not only to witness this transformation but also to sit with its cost.