OTT releases this week: New movies, web series to watch this weekend; Panchayat, Squid Game 3, Raid 2 and more
OTT releases this week: A number of new movies and web series will be available on OTT this weekend on platforms like Amazon Prime Video, Netflix and Z5. Let's have a look at the ones that are available to watch online.
Plot: Honest income-tax officer Amay Patnaik, known for his daring raids, is transferred to Bhoj, Madhya Pradesh, for his 75th raid on corrupt politician Dada Manohar Bhai. Suspended during the raid, Amay returns later with his team's support.
Cast: Ajay Devgn, Riteish Deshmukh, Supriya Pathak
Plot: As elections approach in Phulera, rival camps led by Pradhan and Bhushan engage in mind games, smear tactics and power struggles. Tensions rise from sabotage and emotional manipulation to family insults and power cuts. Both sides try hard to appear strong before the final vote.
Cast: Jitendra Kumar, Raghubir Yadav, Neena Gupta
OTT release: Amazon Prime Video
Plot: The viral South Korean web series returns for one last time. In this season, Seong Gi-hun and other players struggle to survive dangerous games with deadly results. In-ho welcomes the rich VIPs watching the games. His brother Jun-ho secretly searches for the hidden island. But, Jun-ho doesn't know that someone close to him might be a traitor.
Cast: Lee Jung-jae, Lee Byung-hun, Wi Ha-joon
Plot: The web series follows Armaan Mistry, a smart but unusual detective with OCD. Suspended from Mumbai Police for unknown reasons, he still solves cases secretly. The web series slowly reveals the real reason behind his sudden suspension from duty.
Cast: Ram Kapoor, Mona Singh, Shikha Talsania
Plot: Set in the 1980s, the village of Viraatapalem suffers from a strange curse. Every bride dies on her wedding day. Because of this, no one has been married for years. When brave police constable Meena is posted there, she starts digging into the mystery.
Cast: Abhignya Vuthaluru, Charan Lakkaraju, Lavanya Sahukara
Genre: Supernatural/Thriller (Telugu)
Plot: Sub-Inspector Bidhan Sen investigates strange cases in Birbhum: a theft, a missing person and a headless body. As he digs deeper, he finds the killer is someone he trusted.
Cast: Soham Majumdar, Debchandrima Singha Roy, Amit Saha
Genre: Crime/Thriller (Bengali)
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Time of India
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- Time of India
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Time of India
an hour ago
- Time of India
Connecting parents and teens in the post-'Adolescence' social media landscape
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Since social media entered the lives of Indians and spelt its seductive charm on them confining them to their respective digital bubbles the texture of our social fabric changed forever. While for others it is mostly a source of discontentment when they find their physical connections suffer at the altar of the digital world, for teen parents there is sense of chilling fear of the evils of the cyber world. 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They were glued to the phone and texting most of the time and my wife who was sitting next to me and I felt what is the point in taking them on the trip if they would be on their phone all the time…and we both wondered who were they texting all the time…when we asked them they said friends…God alone knows who these friends are' Parents are now resigned to seeing their children inhabiting the digital world more than the physical world and this generates feelings of being slighted and also gives rise to a gnawing sense of fear. Whether it is a car ride, a trip to the shopping mall or dinner table at home they are now used to seeing their children mostly with their heads down frantically pressing the keys of their fancy smartphones . While they feel marginalised and unhappy in such moments what gives them sleepless nights are the thoughts of their children becoming victims of cyber traps including scams, cyberbullying, and online predators. These traps can lead to emotional distress, financial loss, and even physical danger. Online predators can also use the internet to exploit them for sexual and violent purposes. This has compelled them to rethink and reframe parenting style, and many parents are consciously trying to be 'friends' with their children. Traditionally Indian parents especially fathers believed that parenting is about control, righteousness and restrain and emotions such as love and care were meant to be hidden deep in their hearts. Not anymore. In an age of intense social media influence, nuclearization of families and increasing permission to express one's individuality parents (surprisingly often led by the fathers) are reframing their parenting style to imbibe codes of friendship encouraging open communication, sharing of life experiences and having fun together!! 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Surveying 2,450 children/pre-teen and teens aged 5-14 and an equal number of parents across 14 cities, this comprehensive study reveals 55% of parents allow their children full discretion over their career aspirations—a level of freedom seldom seen in previous generations. This trend points to a more open-minded friendly and empathetic parental approach, where traditional pressures are being replaced by encouragement for self-expression and personal exploration. While many brands (think of Lego's ' Play is your superpower campaign' which encourages families to build in more playtime together in their everyday lives, McCain's campaign titled ' Jugalbandi ' that humorously portrays how families, amidst all their differences, find a moment of unity and agreement) have for years been making concerted efforts to showcase themselves as family unifiers not too many brands have specifically leveraged the 'Friends' role which parents are now playing with admirable gusto. 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Hans India
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A soul-stirring Bharatanatyam ballet of devotion and deception
Ravindra Bharathi came alive with the grand premiere of Sirikakolanu Chinnadi, a Bharatanatyam ballet that dazzled with exquisite costumes, jewellery, music, and dialogue. Originally a radio broadcast drama by the famed Veturi Sundararama Murthy, it was the dearest wish of the late Padma Shri Dr. K. Viswanath that the story be transformed into a dance ballet. Although he originally intended it to be a film, circumstances prevented it, and the vision lived on in this evocative new form. The monumental task of choreographing and creating this ballet was entrusted to Dr. Smitha Madhav, who embraced the challenge with patience, devotion, and years of creative effort. The richly layered narrative, set in the luminous era of Sri Krishnadevaraya, was staged with classical finesse and majestic grandeur. At the heart of the story is Aliveni, a devadasi of profound devotion to Lord Krishna, caught in a whirlpool of love, deception, divine longing, and social condemnation. Through masterful choreography, soul-stirring music, and deeply expressive abhinaya, the production transported audiences to Sirikakulam—a sacred land envisioned as Vaikuntha itself. The music, composed by maestro Embar S. Kannan, gave the ballet a tonal richness that added to its emotional impact. The program's prologue opened with a vibrant homage to Telugu land and the Krishna River. Stunning imagery was projected on a screen, eliminating the need for traditional props. In 'Sīrulu Galugu Telugu Thalli,' young dancers in a riot of multicolored costumes celebrated the beauty of the land—said to surpass even Amaravati—setting the sacred tone for the story. Three noblemen in bright tunics encounter Aliveni, debate her identity, and try to win her over. She, however, remains detached, immersed in her devotion to Krishna. Smitha portrayed this enraptured mood with refined sensitivity. At a grand performance at the Andhra Maha Vishnu Temple, Emperor Krishnadevaraya notices her divine connection and appoints her as the temple devadasi, granting her lands and sacred honors. However, the provincial governor Marthanda becomes infatuated with her. Smitha's portrayal of Aliveni offering services to the Lord was marked by reverent, elegant gestures. Back home, tension brews between her and her mother Rangaji—a show-stopping performance by Bhargavi—along with her friends Chanchala (Ananya) and Jalaja (Aditi). Rangaji and Chanchala, driven by greed and cynicism, mock Aliveni's spiritual path. Jalaja's innocent questions about Krishna offer a tender moment, with Aliveni responding in the lyrical format of 'Nanda Kishorudu,' echoing the yaksha-prashna tradition. The supporting characters were deeply compelling: Bhargavi as the domineering and exploitative mother, Ananya as her crafty companion, and Aditi as the gentle and innocent Jalaja. These performances showcased abhinaya at its finest. Aliveni counters skepticism with a moving performance of 'Raayi Kaade,' declaring the deity as not merely a stone, but a living and loving Lord who resides in her heart. The narrative intensifies halfway through the 90-minute ballet. In a dream sequence set to 'Katthina Silanu,' Krishna appears, responding to Aliveni's yearning. She proves her devotion through 'Kondaneti Dhara.' Rangaji's fury escalates, and she imprisons her daughter. In the heart-wrenching 'Na Jeeva Veena Pai,' Aliveni pleads to Krishna, comparing herself to a silenced veena, desperate and abandoned. Rangaji, in collusion with Marthanda, plots to deceive Aliveni. Disguised in crown and garments, Marthanda (played with exuberance by guest artiste Hari Mangalampalli) approaches Aliveni pretending to be Krishna. She is deceived. The truth is revealed when Aliveni collapses during a dance performance before Krishnadevaraya, her pregnancy exposing the betrayal. A vivid courtroom scene follows, rich in drama and eloquence. After Aliveni sings 'Brindavaname' in despair, her innocence is proven through Marthanda's confession and Rangaji's remorseful admission. The emperor and his court poet Allasani Peddana reflect on the events. Marthanda is punished; Aliveni is spared. The finale is poignant and unforgettable. A broken-hearted Aliveni walks into the Krishnaveni River, symbolizing her liberation. In a stunning theatrical gesture, the dancer stepped off the stage and walked through the central aisle, dissolving the boundary between performer and audience. This moment marked not just the end of her story, but an immersive experience of spiritual transcendence. The ballet powerfully explored the eternal tension between worldly desire and divine love. Each scene was sculpted with classical precision—mudras, jatis, and expressions seamlessly aligned with raga and rasa. Sri. Y Harish Chandra Prasad founder Malaxmi Group presided as Chief blessings from Seetha Mahalakshmi the ballet was produced by Madhav-Director Varna Arts Academy. Presentation was assisted by the Department of Language and Culture, Govt. of Telangana and Raga Saptha Swaram whose convenor Smt. V. S. Rajyalakshmi was indefatigable in her organizational skills to make the recital well attended and appreciated.
