
Newswrap, July 30: From Samantha's dinner date with Raj Nidimoru to Sunny Deol's new film with Farhan Akhtar
Samantha is rumoredly dating The Family Man director Raj Nidimoru. The two was spotted together while returning from their romantic dinner date in Mumbai. The rumored couple were dressed in casual and comforting outfits.
Sunny Deol signs a big mass actioner with Farhan Akhtar's Excel Entertainment
Sunny Deol signed a big-budget action thriller with Farhan Akhtar and Ritesh Sidhwani's Excel Entertainment. Pinkvilla exclusively reported that the movie will be directed by Tamil filmmaker Balaji. The makers are planning to roll the untitled ambitious film from December 2025 onwards.
Tiger Shroff teams up with Murad Khetani for an action thriller
Pinkvilla has exclusively learnt that Tiger Shroff has signed on for an exciting high-concept action film with producer Murad Khetani. Kannada filmmaker Sachin Ravi will helm it.
The high-concept action movie will go on the floors in October 2025 with a 45-day schedule.
Param Sundari: Sidharth Malhotra and Janhvi Kapoor's much awaited Pardesiya song out
Param Sundari's first song Pardesiya sung by Sonu Nigam is officially out now. Featured on Sidharth Malhotra and Janhvi Kapoor, the romantic track is an instant hit as the internet has already started grooving over it.
Param Sundari is officially confirmed to release on August 29.
Tom cruise and Ana De Armas spotted holding hands amid dating rumors
Amid dating rumors, Tom Cruise and Ana De Armad locked hands as they strolled through Woodstock's picturesque downtown on Sunday and looked visibly happy in each other's company.
The Hollywood star who always keeps his private life lowkey has subtly confirmed his relationship with the actress.
Hrithik Roshan and Kiara Advani's romantic track from War 2 set to out tomorrow
The romantic track of War 2, featuring Hrithik Roshan and Kiara Advani, is all set to take the buzz a notch higher. Titled Aavan Javan, the song, sung by Arijit Singh, will be released tomorrow in Hindi, Telugu, and Punjabi.
The teaser has been made out and it's already building the excitement among fans.
Stay tuned to Pinkvilla for more updates.
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Scroll.in
16 minutes ago
- Scroll.in
‘Tamil: The Best Stories of Our Times': Tamil modernity, a field of tensions between past and future
In Tamil: The Best Stories of Our Times, editor and scholar Perundevi brings together 22 short stories by some of the most acclaimed voices in contemporary Tamil literature, including Jeyamohan, Perumal Murugan, Salma, and Imayam. The stories carry the sediment of caste, class, gender, and postcolonial legacies in their syntax, their silences, and their small rebellions. The editor's introduction traces the Tamil short story's genealogy from its Manikodi-era roots in the 1930s to the hyper-realistic, genre-bending work of the present day. She invokes Pudumaippithan's idea of suchumangal – the 'subtler aspects of life' –and sets the tone for the stories to follow. What I've always liked about Tamil fiction is how they're not outright wrapped in moral clarity and, instead, find their meaning in the more minor contradictions of society, family, and life. They refuse to be indulgent character studies and instead are very matter-of-fact in asking the numerous, seemingly heavy-handed questions they do. How does a woman's worth become entangled in her womb? How is a tailor's pride interwoven with a worn-down sewing machine? More importantly, they all seem to ask the same question of how identity – ethnic, religious, and gendered – splinters in the echo chamber of diaspora and memory. Confronting social forces The variety of narratives that Perundevi has chosen reflects the editor's disinterest in sticking to only one particular undertone within a social subject. It's not just a woman's distress; it's also class and caste that come into play. Many of these stories confront large social forces – patriarchy, religious orthodoxy, and neoliberalism. But they're not overly didactic, and they couldn't afford to be, since they stirred up masses and had a significant impact on readers. A favourite of mine was JP Sanakya's 'The Rules of the Game' in Janani Kannan's translation. Its opening is visceral, and plays out as a scene from a film: a woman, pregnant from gang rape, becomes a figure of familial shame rather than sympathy. What the editor also comments on, in the introduction, is that the story refuses to follow the traditional victim arc and instead overturns the trope on its head with the protagonist quietly resolving to shove her elbows to crawl from her own societal, protective bubble. However, we see the trope handled in a sensitive way in Imayam's 'Heartbreak', also translated by Kannan, with the protagonist constantly giving the benefit of the doubt to her husband when he starts misbehaving with her after their time together as a married couple violently progresses ahead without a child. Another quietly explosive story is Devibharathi's 'The Tool of His Trade', translated by N Kalyan Raman, which is very similar to the Marathi film Lathe Joshi, directed by Mangesh Joshi. Like Joshi, the protagonist here is rendered obsolete by changing times. His tailoring tool is not just a physical object; it is the crux of his dignity, his history, and his self-worth. The story echoes a broader theme whose vein runs through the anthology, along with others: how technological, social, and political changes subtly displace the working class, often without offering anything to replace what is lost. What I also appreciated about the collection is how the stories balance realism with allegory, even magic realism, without losing political urgency. In Keeranur Jakirraja's 'The Saga of Butchery', translated by Raman) a man sacrifices a camel on Bakr-Id to stand out, only to be haunted – literally – by its severed head. 'Hussain knew that the weapon of last resort was always money and that it had no substitute,' the narrator remarks, a line that captures the tragic comedy of class aspiration. The translator effectively brings out the stink of camel meat, which, quite poetically, could be taken to reflect the stink of class aspirations that haunt the protagonist, much like the camel. The writer merges the grotesque with the satirical and gives us a story about masculine pride and performance (or performance pressure) in the face of 'giving your word' to society. Elsewhere, magic realism turns poetic. In Perumal Murugan's 'The Blouse', translated by Raman, an elderly village woman refuses to wear a blouse at her son's wedding, despite her family's attempts to civilise her into 'respectability.' The moment she relents, a blouse-induced cyst grows under her armpit 'as big as a newborn's head.' 'She imagined the blouse as a hacksaw that would cut off all the fingers of her daily activities,' Murugan writes. Like 'The Saga of Butchery', several stories examine the fragility of male identity within modern structures of power. In Aravindan's 'Screening', translated by Yashasvi Arunkumar, a man's polite, self-effacing demeanour hides an internal crisis that erupts when he voices a desire considered too crude for public discussion. 'Whether it was anger or desire, he had long learnt to lock it away inside himself. After so many years of such discipline, what kind of disgrace was this?' the protagonist wonders. The story unfolds like a psychological thriller, using silence and suggestion to critique a social order that rewards restraint but punishes emotional honesty. The eyes of the beholder At their heart, many of these stories return to questions of how we are seen and how that gaze reshapes the self. Latha's 'Cheenalatchumi's Queue', translated by Kannan, is set in Singapore, and reclaims diasporic Tamil womanhood from both Western racial hierarchies and intra-community casteism. The protagonist rejects the derogatory name 'Cheena Latchumi' and insists on being seen on her own terms. The translations throughout the collection are on the whole excellent. Raman's translations stand out for their clarity and precision, while Kannan captures the inner rhythm of women's emotional landscapes with restraint and empathy. As a collective effort, I think the translations maintain fidelity to Tamil idioms and cadence without overwhelming the English narrative with excessive gloss. However, I would've liked a tiny glossary at the end to better understand the lesser-known Tamil terms. As somebody who is entirely unfamiliar with the language, some of the specific references were a little opaque to me, especially sensitive terms like yov. Finally, I'd like to add I find it refreshing that Preundevi's anthology does not aim to represent Tamil identity in any fixed or homogeneous way. Instead, it offers something more valuable: a recognition of Tamil modernity as a field of tensions between past and future, caste and class, men and women, language and silence. The anthology, like the literary tradition it emerges from, offers no easy resolutions.


Time of India
43 minutes ago
- Time of India
Pearle Maaney and Srinish Aravind give a wholesome twist to ‘Pottala Muttaye'; Watch the video
Malayalam television's beloved couple, and Srinish Aravind, have once again taken the internet by storm,this time with their heartwarming recreation of the trending Tamil dance number 'Pottala Muttaye' from the film Thalaivan Thalaivi. Tired of too many ads? go ad free now The song, originally featuring and , has gone viral for its infectious rhythm and nostalgic charm, and Pearle-Srinish's version is winning hearts for all the right reasons. The video, which quickly grabbed attention on social media, features the couple joyfully dancing to the catchy tune, perfectly capturing the mood of the original. From Srinish's adorable dance moves to Pearle's effortless grace and infectious energy, the duo has truly nailed the vibe. But what makes the video even more special is the appearance of their two daughters, Nila and Nithara, adding a delightful family twist that viewers can't get enough of. Pearle, dressed in a traditional "Tamil Ponnu" look, looks absolutely stunning and brings a radiant charm to the performance. Fans and celebrities alike are pouring in their love for the video. 'Love this,' wrote TV host Arya. Actors Anumol, Niranjana Nair, and Ankhitha Vinod also chimed in with their appreciation, leaving heartwarming comments under the post. The video has quickly gone viral, with fans calling it 'pure family goals' and praising the couple for their chemistry and the adorable presence of their little ones. Pearle and Srinish, who found love during their time on Malayalam, have been fan favorites ever since. Though they've taken a step back from regular TV appearances, they continue to stay connected with their audience through social media. Pearle is especially active in the digital space, running her celebrity interview show and vlogs that give fans a peek into her personal and professional life.


India.com
an hour ago
- India.com
Coolie Trailer Drops Today: Rajinikanth, Aamir Khan & Nagarjuna Promise Power-Packed Comeback — All You Need to Know
New Delhi: The makers of Rajinikanth's much-awaited film Coolie have officially announced the trailer release date and time. The action-packed trailer will be unveiled today, August 2, 2025, at 7 PM IST during a grand event at the Jawaharlal Nehru Indoor Stadium in Chennai. Coolie Trailer Launch: Timing, Venue & Where to Watch Fans are already buzzing with excitement to witness Rajinikanth's return to the big screen. On Saturday, the makers of the movie shared a carousel post revealing the trailer release details. According to the announcement, the Coolie trailer will be launched at 7 PM IST, ahead of the film's audio launch event. The caption on the post read: "#Coolie varraan solliko! The day is here! #CoolieTrailer from today 7 PM." Star-Studded Poster Unveiled Alongside the trailer announcement, a new poster featuring the film's star ensemble was released. The poster includes Rajinikanth, Nagarjuna, Aamir Khan, Shruti Haasan, Upendra, Soubin Shahir, and Sathyaraj. Aamir Khan Joins Rajinikanth After 30 Years Directed by Lokesh Kanagaraj and produced by Sun Pictures, Coolie is a Tamil action thriller boasting a multi-star cast. It marks the first collaboration between Rajinikanth and Aamir Khan in nearly three decades. The two last shared screen space in the 1995 film Aatank Hi Aatank, alongside Juhi Chawla and Om Puri. In Coolie, Aamir Khan will be seen playing a character named Dahaa. The film's soundtrack is composed by Anirudh Ravichander. So far, songs like Monica, Chikitu, and PowerHouse have already been released and received well by fans. Coolie is scheduled to hit theatres on August 14, 2025, clashing with Hrithik Roshan and Jr. NTR's much-anticipated War 2.