Priyamani's Good Wife OTT release: When and where to watch the Tamil courtroom drama. Check language versions
Tired of too many ads?
Remove Ads
About Good Wife
When and where to watch
Priyamani's work
A woman's world shatters overnight. But instead of crumbling, she fights back—with the law on her side. That's the premise of Good Wife, the much-anticipated Tamil courtroom drama starring Priyamani in a fierce new avatar. Directed by the acclaimed Revathy, this web series marks a powerful blend of legal intrigue and emotional redemption, promising viewers a story that's as raw as it is riveting.Good Wife is the official Tamil remake of the hit American series of the same name, but it's far from a carbon copy. Set in an Indian context, the show follows a woman whose world collapses after her husband's explosive scandal surfaces online, threatening their 16-year marriage. Forced to return to a courtroom after years away, she steps back into the legal world—not just to earn a living, but to reclaim her voice.What makes this courtroom saga stand out is its focus on the protagonist's emotional rebuilding. Through challenging legal cases, betrayals, and moments of vulnerability, she navigates a life reshaped by public scrutiny. Priyamani brings grit and nuance to this role, embodying both heartbreak and tenacity with ease.Good Wife will premiere on JioHotstar on July 4, 2025, with the entire season dropping at once for a binge-worthy experience. In a first-of-its-kind move, the series will be available in seven Indian languages—Tamil, Telugu, Malayalam, Kannada, Hindi, Bengali, and Marathi—allowing it to reach audiences across linguistic and regional divides.Known for her powerful roles in The Family Man and Paruthiveeran, Priyamani continues to push boundaries with Good Wife. This series comes ahead of her appearances in The Family Man Season 3 and Thalapathy Vijay's Jana Nayagan, making 2025 a landmark year in her career.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
19 minutes ago
- Indian Express
Artist Krishen Khanna turns 100: ‘Creating art is like breathing, I live it daily'
The cacophony and bustle of Gurugram feel distant in the quiet of modernist Krishen Khanna's home in the corporate sprawl. At 100, he still paints regularly. 'I have just started painting now. My thoughts are much more lucid and I am working in ways that I haven't before,' he says. Immersed in a set of monochrome drawings on canvas at present, he has also recently completed a large painting that reflects his enduring fondness for music. Rendered in sombre shades, it depicts a dancer in red moving to the rhythms of a tabla and a sarangi. 'It went through many iterations,' says Khanna, 'Creating art is like breathing, I live it daily.' Much like the calmer life that he now leads, the centennial celebration on July 5 was an intimate affair, with wife Renu, their three children and five grandchildren. 'We've all come together for the occasion,' says his son Karan, also a photo artist. The sole surviving member of the Progressive Artists' Group — founded in 1947 to forge a modern vocabulary for Indian art — Khanna has carried forward its legacy. He recalls fond memories of a changing art world in India but does not hide the loneliness of being the last one standing among his friends. 'He is still painting and thinking about art but he often speaks about losing his friends to time, including those younger to him,' says close friend, poet and critic Ashok Vajpeyi. A keeper of stories, in an interview with The Indian Express he had recalled the evening of 1961, when, after years of balancing a banking job with art, he resigned from Grindlays Bank to lead life as a full-time artist. He reminisced: 'On my last day at work, (MF) Husain, (VS) Gaitonde and Bal Chhabda were waiting outside. The moment I stepped out, Bal took off my tie and said I wouldn't need it anymore. We had tea to celebrate, then dinner at The Coronation Durbar. Raza even threw a party in Paris — they had all been urging me to make the leap.' Largely self-taught, he was only seven when he made his first interpretation of Leonardo da Vinci's iconic The Last Supper, a theme that reappeared throughout his artistic career. He had been introduced to the mural through a print that his father had brought back from Europe. Though his rendering received accolades, art wasn't a career even in distant consideration. Attaining the Rudyard Kipling Scholarship at 13, he travelled to England to study at the Imperial Service College in Windsor, where he excelled both in academics and extracurriculars. Forced to return to Pakistan following the outbreak of World War II, in 1942, after his family relocated to Lahore, he enrolled at Government College to complete his undergraduate studies and also began taking evening classes at the Mayo School of Art, later honing his drawing skills at artist Sheikh Ahmed's Studio One. The more onerous ordeals were yet to come, arriving in the form of the Partition, which brought with it widespread violence and mass displacement. Khanna moved with his family to Shimla. The trauma he witnessed would remain with him forever, periodically surfacing in his art. His 1947 oil, Refugee Train Late 16 HRS, portrays anxious people waiting to cross the border. Through his 2016 diptych Benediction on a Battlefield that depicts the Pandavas paying obeisance to Bhishma before he passed away, he also reflects on the agony of families separated due to the Partition. ******* Happenstance had also played a role in ushering him into the mainstream art world. On a ship, his wife had met an acquaintance who knew artist SB Palsikar. She wrote to him, requesting him to see Khanna's work. Impressed by his calibre, Palsikar returned from his Mumbai studio with a small canvas depicting people reading the newspaper after Mahatma Gandhi's assassination. Titled News of Gandhiji's Death, the 1948 work was featured at Bombay Art Society's Golden Jubilee Exhibition in 1949, where apart from the audience, it also attracted the attention of Husain, who made his way to Khanna's home. The long chat between the two marked the beginning of a lifelong friendship and also Khanna's eventual induction into the PAG that had been founded by Souza, Raza, Husain, KH Ara, HA Gade and SK Bakre. It also led to Khanna's first Husain, which was sent to him by the artist after he misplaced a copy of Clive Bell's Art that he had borrowed from Khanna. It later occupied a wall at Khanna's residence alongside works of other artist friends. 'We discussed anything and everything… I was very fortunate that I had such wonderful people who also had wonderful insights into art,' said Khanna in a 2015 interview. Sharing deep camaraderie, they supported each in all ways possible. Khanna, for instance, arranged accommodation for several artists, including Tyeb Mehta, when they were moving to Delhi. He even persuaded Kumar Gallery to give Mehta the same monthly stipend of Rs 500 that he received in the early '60s. Vajpeyi recalls how Khanna was the perennial peacemaker and also credits him for being the anchor who ensured that they were in correspondence through letters even when each of them was navigating different continents. Khanna himself widely exhibited internationally through the '50s and '60s, including London, Tokyo, New York and Brazil. As the first recipient of the prestigious John D Rockefeller III Fund fellowship, in 1962 he travelled to New York, passing through countries like Singapore, Indonesia and Japan, which led to engagements with the East Asian art of Sumi-e in his work. During this period, the primarily figurative artist also briefly explored abstracts. 'I intermittently do several things. I had some shows of abstract art and then moved on. It's a chance method of seeing,' he had said. The experiments extended beyond the canvas and included forays into photography in the late '60s and '70s, when he created composite images through layered projections. The '80s, meanwhile, saw him produce one of India's most monumental public murals — adorning the ceiling at ITC Maurya's lobby in Delhi, The Great Procession is a visual epic that dwells on myriad encounters through multiple protagonists and scenes. A voracious reader, while his references span a spectrum — including Indian and Christian mythology, music, poetry and literature — the constant thread in his engagements has remained his sensitivity to the human condition and the marginalised. If in the '60s, truck drivers whom he would see from his Nizamuddin home at night became his protagonists, he later painted a series depicting scenes at dhabas as an extension of home for those on the road. His most enduring theme, though, has been the silent struggles of the bandwallas. Once part of the British regimental marches, Khanna mulls how they were later compelled to belt songs at weddings and now strive for sustenance. 'Among the very few artists of that period who came from a position of privilege, he brought learning, education and erudition to his art practice, which in turn gained him a certain patronage. But despite that, an interesting anomaly is how his subjects always remained the marginalised… With the sense of empathy and dignity that he represented them, most viewers tend to celebrate their presence in his compositions. Only a few are really able to discern that he is reflecting on the life of the less advantaged, while asserting a need for greater inclusivity. How beautifully he does this is what I think we will remember him for,' says art critic and curator Kishore Singh. Vajpeyi notes how there are still dimensions of Khanna's art that deserve greater recognition. 'While his figurative and neo-narrative style have been widely discussed, somehow his command as a colourist has not received its due acclaim,' he says. Khanna, meanwhile, remains far from complacent — his quest to explore new artistic frontiers continues. Once a familiar presence at art soirees in the Capital, his family now helps him stay connected to the art world, especially works of some of the younger artists. Reflecting on his remarkable journey with characteristic humility, Khanna simply says, 'It has been a wonderful life.'
Mint
24 minutes ago
- Mint
KVN Productions Announces Major Strategic Film Launch with Jana Nayagan
Chennai, India – KVN Productions has officially announced the launch ofJana Nayagan, a highly anticipated feature film positioned as a milestone project for the studio. This production is being presented as a legacy-defining initiative, designed to commemorate a decades-long impact on the Indian film industry. According to KVN Productions' founder and producer Venkat K. Narayana,Jana Nayagan represents more than just a film—it reflects a legacy brand's culmination and a deep connection with its long-standing audience base. "This project holds strategic importance for us and for all stakeholders First Roar—our teaser launch—demonstrates the emotional and cultural significance of this journey," Narayana stated. Each element of the film has been executed with precision, highlighting KVN Productions' commitment to high-value storytelling, consistent production quality, and alignment with audience expectations. The First Roar The marketing rollout for Jana Nayagan began with the teaser titled The First Roar, which achieved rapid digital traction. Within 24 hours, the teaser garnered over32.4 million views, surpassing key benchmarks in the regional film segment. As of the latest report, the total viewership has exceeded33.2 million, signaling robust market anticipation and audience engagement ahead of its theatrical release. The film features a robust ensemble cast and crew known for their market draw and artistic credibility. With direction by H. Vinoth and music composed by Anirudh Ravichander, the production brings together proven creative leadership and commercial viability. This strategic collaboration supports the film's positioning as a high-impact release for Q1 2026. Jana Nayagan is scheduled for a global theatrical release onJanuary 9, 2026, with plans for wide distribution across key international markets. KVN Productions is aligning with regional and global partners to ensure optimized reach and box office performance Jana Nayagan stands as a pivotal business and creative venture for KVN Productions, reflecting a strategic culmination of legacy value, market momentum, and future-facing distribution. With early digital performance indicators pointing toward high consumer interest, the project is poised to deliver both cultural impact and commercial success upon its global launch in January 2026. Note to readers: This article is part of Mint's paid consumer connect Initiative. Mint assumes no editorial involvement or responsibility for errors, omissions, or content accuracy. Want to get your story featured as above?click here!
&w=3840&q=100)
First Post
29 minutes ago
- First Post
Battle of Galwan motion poster: Salman Khan collaborates with Shootout At Lokhandwala director Apoorva Lakhia to narrate the story of India's most brutal battle
The rumours surrounding Salman Khan's next film have always created a stir among the masses. With great excitement, everyone eagerly awaits the superstar's upcoming projects. As evident from the buzz around his film based on the Galwan Valley conflict, fans were eagerly waiting to catch a glimpse of this much-talked-about project and now, the wait is over. The motion poster has finally been revealed. Titled Battle of Galwan, the motion poster of Salman Khan's much-awaited film has been unveiled. It showcases Salman Khan with bloodstains on his face, a proud moustache, and sheer patriotism in his eyes. It further elaborates on the film's theme, which is based on one of India's most brutal battles fought without a single bullet being fired. Fought over 15,000 feet above sea level, this battle stands as a testament to India's indomitable spirit. The motion poster perfectly captures the intensity and pride the film is set to exude. STORY CONTINUES BELOW THIS AD The Galwan Valley clash in 2020 was a deadly confrontation between Indian and Chinese troops in the Galwan Valley, a disputed border region in Ladakh, India. The clash, which occurred on June 15, resulted in casualties on both sides—marking the first fatalities in the Sino-Indian border conflict in nearly 45 years. The fighting involved hand-to-hand combat using sticks and stones, as firearms were prohibited in the area. Now, the excitement has peaked to witness Salman Khan like never before in Battle of Galwan. This is truly going to be a one-of-a-kind experience, a story that every Indian deserves to witness.
