Well Done C.A Sahab
Canadian rapper Tommy Genesis is under fire for her controversial portrayal of Maa Kali in her new music video True Blue. Covered in blue paint, gold jewellery, and a bindi — and seen licking a crucifix while folding hands in 'namaste' — her visuals have enraged both Hindu and Christian communities. The internet exploded with criticism, calling the act 'pathetic,' 'desperate,' and 'deeply disrespectful.' Faith groups and fans alike are demanding the video be removed, reigniting global debates on cultural appropriation and religious insensitivity in art. Tommy Genesis, of Tamil and Swedish descent, has yet to issue a statement. Watch the full controversy breakdown and social media fallout here.
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India Today
32 minutes ago
- India Today
Kaalidhar Laapata review: Abhishek Bachchan shines but film falls short
'Kaalidhar Laapata', directed by Madhumita and led by Abhishek Bachchan, is the Hindi remake of her own Tamil film, 'KD A Karuppu Durai'. While the core storyline remains intact, the Hindi version has its own flavour. The film shines in its heartfelt portrayal of an unlikely bond between a forgotten man and a spirited child. However, it falters in places. Some scenes lack emotional depth and the pacing isn't always steady. But even with these flaws, 'Kaalidhar Laapata' manages to strike a chord, thanks largely to its honest and affecting story begins with Kaalidhar (played by Abhishek Bachchan), a middle-aged man struggling with memory loss. Feeling burdened with his medical bills, his siblings plan to get rid of him. He overhears his siblings talking about abandoning him at the Kumbh Mela. Feeling hurt and unwanted, Kaalidhar decides to escape. He hops onto the first bus he can find to go as far away as possible from his spends the night at a village temple, where he meets Ballu (played by Daivik Bhagela), an eight-year-old orphan with an infectious zest for life. Despite their age gap, the two strike up an unexpected friendship that initially gets off to a rocky start, with Ballu trying to trouble Kaalidhar at every point. However, the two, both dealing with abandonment issues, eventually find comfort in each other. Ballu gives Kaalidhar the nickname 'KD', and he sets out on a mission to tick off KD's bucket list, which includes - a lifelong supply of biryani, acting, riding a bike, wearing a suit, dancing in a baraat, trying alcohol, no not the desi kind but the angrezi wali (English one) and meeting his first love truly feel how important Kaalidhar becomes to the little boy when, in one touching moment, the doctor treating KD asks a distraught Ballu, 'What is he to you?' and Ballu simply replies - sabkuch (everything). Ballu, once left on the temple steps, finds a home in KD, and KD, in him. And still, you can't help but wish the film gave us a few more of these moments, something that fully captured the bond that grows between them. Shot in Madhya Pradesh, the sets and locations are as real as they could be as they provide authenticity and rustic charm to its story. Initially, the pace of the film feels a bit slow, but once KD and Ballu come together, the film begins to shine. Their bond is the soul of the story. It is humorous and touching, but only in Bachchan, in a role that's more restrained than dramatic, does a fine job portraying a man who's quietly broken yet still holding on to hope. He's not trying to steal the spotlight but fits the role with ease. His chemistry with Daivik Bhagela is the USP of the film. Daivik is a delight to watch. He is natural, expressive and full of life. There's no exaggeration in his performance, which makes his character even more the film has its flaws as well. Zeeshan Ayyub's talent seems to be wasted, and there are moments when you are ready with your tissues, but the moment passes without tugging at your heartstrings. A key example is the missed opportunity for a heartfelt scene between KD and Ballu at the railway station. This could have added more emotional weight to the film. It's a moment you keep expecting, but it never film also leaves some inconsistencies unexplained. For example, while Kaalidhar is introduced as someone suffering from serious mental illness with memory loss and hallucinations, this aspect is forgotten quite conveniently as the film progresses. He suddenly is all fine and even starts to earn a living for himself and Ballu, without much explanation about his 'Kaalidhar Laapata' reminds us that life can surprise us with joy, even in tough times. And shows how friendship can cross age barriers, healing our pained hearts.- Ends3 out 5 to Kaalidhar Laapata.
Time of India
2 hours ago
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'F1' box office collections day 7: Brad Pitt's film holds strong, crosses Rs 35 crores
(Picture Courtesy: Facebook) Brad Pitt's high-octane racing drama 'F1' has had a solid run at the Indian box office during its opening week. The film, which hit theatres last Friday, has managed to earn Rs 35.48 crore in seven days, with early estimates suggesting a collection of Rs 3.50 crore on Thursday. A steady week for 'F1' As reported by the Sacnilk website, 'F1' had a promising start last weekend. It pulled in Rs 5.5 crore on its opening day. The buzz continued through the weekend, with Saturday and Sunday bringing in Rs 7.75 crore and Rs 8.15 crore respectively. As expected, weekdays did see a dip. Monday recorded Rs 3.35 crore, while Tuesday witnessed a slight uptick at Rs 3.75 crore. The film remained stable on Wednesday and Thursday as the collections were Rs 3.48 crore and Rs 3.50 crore respectively. Tamil viewers surprise, English shows lead While the English version continues to dominate with a 19.23% occupancy on Thursday, the Tamil version surprised many by clocking over 20% occupancy, showing that the film is finding traction in the South too. Tamil shows, especially evening and night screenings, saw healthy turnouts. On the other hand, the Hindi version is doing modest business, with 8.31% occupancy overall on Day 7. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trending in in 2025: Local network access control [Click Here] Esseps Learn More Undo The Telugu version is faring lower but still contributing to the total. Brad Pitt's F1 Accused of Copying Saif Ali Khan's Ta Ra Rum Pum | Siddharth Anand Reacts Big names, bigger buzz 'F1' stars Brad Pitt in a charismatic role as a veteran Formula One driver returning to the track. He's joined by a stellar cast that includes Javier Bardem, Kerry Condon, Tobias Menzies, and rising star Damson Idris. ETimes review for the movie reads, "Brad Pitt nails the role of a driver with laid-back arrogance, shining in every scene—whether he's strutting in with retro swagger or brushing off the media with monosyllabic replies. Don't miss the finale, where it's just him in the cockpit, the world around him fading into silence—what he calls 'flying.' Damson Idris is equally compelling as the new-age driver, skillfully balancing raw talent with the modern demands of social media and public presence."
Time of India
3 hours ago
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How censorship affects the artistic expression in film
(Picture Courtesy: Facebook) For filmmakers, cinema is more than entertainment—it's a medium to voice ideas, reflect reality, and challenge norms. But censorship can often shackle this intent. The recent controversy surrounding 'JSK: Janaki vs. State of Kerala', starring Suresh Gopi, lays bare the struggle. The CBFC's objection to the character name "Janaki"—a reference also associated with a Hindu goddess—forced the makers into a difficult corner, raising questions about how far creative choices can stretch before crossing invisible lines. Narratives rewritten, messages muted Censorship doesn't just trim scenes—it can twist the spine of a story. In JSK's case, the board's refusal to clear the film due to its title and character representation has delayed its release. Such interference risks muting stories that tackle real, difficult issues like sexual assault. When films are modified to appease sensibilities, their emotional and social impact can be lost. Janaki vs State Of Kerala - Official Hindi Teaser (Picture Courtesy: Facebook) 'We are moving backwards' - Actor Vinu Mohan Speaking to the media regarding the 'JSK' censorship controversy, the 'Nivedhyam' actor Vinu Mohan said, 'There's a sequence I acted in that film, and if the film was released today, I fear I could have invited some issues. There was a time when art was valued as a form of expression. Sadly, we now seem to be heading towards a mindset where it's more likely to be seen as offensive.' He further said that censorship would become a norm. The actor added, 'That's why we're protesting — to ensure these incidents don't become a pattern,' Director Abhinav Sunder Nayak on 'Oppenheimer' censorship - Those scenes were crucial to character exploration During the time when Christopher Nolan's epic drama film 'Oppenheimer' was released, the Indian audiences were only able to watch the censored version which removed the explicit scenes in the film. (Picture Courtesy: Facebook) Reacting to the same, the director Abhinav Sunder Nayak told exclusively to ETimes, 'I cannot arrive at a conclusion whether the censorship of the explicit sequences in the movie has hampered my experience as I have not watched the full version yet. From what I saw from the censored version of 'Oppenheimer', I think Christopher Nolan wanted to explore much into the fact that J Robert Oppenheimer was a womanizer, and the inclusion of those explicit sequences could have worked well as the movie lays emphasis on character study. ' 'How can one experience what the director intended to convey?' The 'Mukundan Unni Associates' director further said that the director's original message gets affected if some pivotal sequences are edited away from the movie. Abhinav further told us, 'From what I saw, I think Nolan wrote the film's story highlighting the sex life of Robert Oppenheimer and that should be also viewed from a psychological perspective. If those pivotal sequences are cut away from the movie then how can one experience what the director intended to convey? I really can't point out what all I have missed from that character's life journey. ' Fear of silence, fear of repercussions Perhaps the most damaging consequence is the unseen one: fear. The fear that bold content won't make it past the board often leads to self-censorship. 'JSK's struggle has stirred Kerala's film fraternity to protest—not just for one film, but for every story waiting to be told without fear.
