Star Singer: Chinmayi Sripada set to grace the show, KS Chithra says, ‘We are all your fans'
South Indian playback singer Chinmayi Sripada is all set to make her much-awaited debut on Malayalam television with her appearance on the popular music reality show Star Singer.
The upcoming episode promises not only soulful music but also heartfelt moments and powerful revelations.
In the newly released teaser, Chinmayi is seen lighting up the Star Singer stage with renditions of some of her all-time favourites, including the soulful Oru Daivam Thantha Poovu and her recent hit Muththa Mazhai. The performance visibly moves the audience and the panel of judges, with veteran singer and judge K.S.
Chithra warmly welcoming her by saying, 'We are all your fans.'
The camaraderie and admiration between the artists add an emotional touch to the episode, making it one of the most anticipated this season.
The episode is not just about music. In a powerful moment, Chinmayi opens up about deeply personal experiences and challenges, including her fears about the end of her music career and her outspoken stance against awarding the ONV Kurup Award to lyricist Vairamuthu, a controversy that sparked national conversation.
Earlier, Star Singer judge and playback singer Sithara Krishnakumar took to social media to share her admiration for Chinmayi after meeting her on set.
'Had the privilege of meeting Chinmayi Sripada, a voice we've all cherished, and a spirit I deeply admire. In a world that often celebrates diplomacy over truth, it was refreshing and inspiring to spend time with someone who stands unwaveringly by what she believes in… Here's to women who speak up, sing out, and live with conviction.
What a beautiful day it was!!!' Sithara wrote.
With a powerful blend of music, emotion, and raw honesty, Chinmayi Sripada's episode on Star Singer is poised to be one of the most memorable yet. Fans can look forward to a soul-stirring experience that celebrates not just music, but also strength, truth, and artistic integrity.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New Indian Express
41 minutes ago
- New Indian Express
Pranav Mohanlal's 'Dies Irae' poster ignites online buzz with cult and illuminati theories
On the occasion of Pranav Mohanlal's birthday, 13 July 2025, the makers of his upcoming Malayalam horror film Dies Irae unveiled a striking new poster, instantly setting social media abuzz. Featuring Pranav in a rugged, intense avatar, the red-tinted poster has prompted fans and netizens to put on their detective hats, offering wild and intriguing theories ranging from 'cult member' speculation to 'Illuminati' references. Dies Irae, helmed by acclaimed horror filmmaker Rahul Sadasivan known for Bhoothakaalam and Bramayugam stars Pranav in the lead. The new poster, which dropped at midnight, shows three mysterious pairs of legs in the background, leading several fans to suggest that Pranav's character may be involved in sinister rituals. 'Is he some sort of cult member sacrificing women he seduces??? You can see two other women on the floor. Damn interesting, Rahul Sadasivan so no doubts on the quality,' read one Reddit comment that has since gained traction.
Indian Express
an hour ago
- Indian Express
Malayalam cinema's most beloved ‘yakshi', who also shared screen with Mammootty and Prithviraj, took her own life at 22; was in Class 8 when she debuted
The Malayalam film industry loves to make horror movies. Well, to be precise, it loves to make movies featuring yakshis (ghosts of deceased women). Until recently, when it began exploring the horror genre more inventively with films like Bhoothakaalam (2022) and Bramayugam (2024), yakshis were the go-to trope Malayalam filmmakers relied on to induce fear in audiences. Despite such stories often hitting the screens, a few movies remain particularly beloved to Malayalees, one among which is director Vinayan's Aakasha Ganga (1999). Not because it was a path-breaking horror film, but because it used an already hackneyed trope well and delivered genuine chills, the movie remains a fan favourite. And the thanks here is due to actor Mayoori, who played Ganga — a dasi (servant) girl murdered by the patriarch of a royal household over her romantic relationship with his son and who returns as a yakshi to avenge her death by eliminating all the men in the family. Although actor Divya Unni played the woman who becomes possessed by Ganga's spirit, effectively becoming the face of the ghost for most part in the movie, the real Ganga appears on screen often, etching Mayoori's image in the hearts of audiences forever. Nonetheless, Aakasha Ganga was not the only film that brought Mayoori recognition. In fact, she impressed audiences in nearly every movie she appeared in, no matter how big or small her role. That's why Mayoori is still remembered even 20 years after she took her own life at the age of just 22. Born in Kolkata in 1983 to a Tamil couple, Mayoori (née Shalini) made her film debut while she was in Class 8. She landed the female lead role in her first film, director Keyaar's Kumbakonam Gopalu, opposite Pandiarajan. Despite being just a teenager, her mature performance as a nurse and her striking beauty impressed audiences and opened a flood of opportunities. The same year, she made her Malayalam debut as one of the five central female characters in Sibi Malayil's blockbuster romantic comedy Summer in Bethlehem (1998), starring Suresh Gopi, Manju Warrier and Jayaram, with Mohanlal in a striking cameo. Despite the film's many key characters, Mayoori effortlessly left a lasting impression, which led to more Malayalam offers. Over the next two years, she worked exclusively in Malayalam, appearing in several major films. Besides Aakasha Ganga and Bharya Veettil Paramasukham (1999), she acted opposite then-heartthrob Kunchacko Boban in Chandamama (1999) and Prem Poojari (1999). Though she wasn't the female lead in either, her performances as Annie and Chanchal, respectively, were widely noticed, thanks in large part to her expressive face and starry eyes. In legendary filmmaker AK Lohithadas' hard-hitting family drama Arayannangalude Veedu (2000), she played Ragini, with whom Mammootty's character Raveendranath was in love in his youth. Unlike her earlier characters, Ragini was far more emotionally demanding and layered. As with most Lohithadas creations, the role required the actor to tap into deep emotions, and Mayoori did so brilliantly, underscoring that she couldn't be confined to any single type. Though she later appeared in Summer Palace (2000) and Chethaaram (2001), those films did not earn her the same recognition. She then worked in the Kannada film Neela (2001) in a small role before shifting focus to Tamil, where she had a key part in Whistle (2003). In Selvaraghavan's 7G Rainbow Colony (2004), she made a special appearance in the song 'Naam Vayathukku Vandhom'. Subsequently, she acted in Silambarasan TR's Manmadhan (2004) and Sarathkumar's Aai (2004), but neither film truly explored her potential. That same year, she played a significant role in the Kannada film Sarvabhouma (2004), appearing alongside superstar Shivarajkumar. Portraying the wife of one of his two characters, she delivered a solid performance in both the younger and elderly getups. In 2005, she appeared in a small role in KV Anand's Tamil film Kana Kandaen, sharing the screen with Prithviraj Sukumaran, which unfortunately became her final screen appearance. Soon after the film's release, she was found hanging in her Anna Nagar residence on June 16, 2005, ending her life at just 22. Though the exact reason behind her decision is still not known, there were reports that she struggled with depression, allegedly linked to a rumoured stomach cancer diagnosis. However, no family member ever confirmed this. 'No one has any role in my death. I am leaving because I have lost hope in life,' she reportedly wrote in a letter to her brother abroad, according to Manorama Online. A sensitive child who entered the world of cinema as a teenager, it was also rumoured that the dark realities of the film industry took a toll on her mental health. Many colleagues recalled seeing her after shoots, sitting in her room playing with dolls, underscoring that she was still a kid at heart. Reports also suggest that on numerous occasions, Mayoori faced the heartbreak of being promised a role only to find out later that someone else had been cast in her place. This, too, is believed to have caused her deep distress. But the true reason remains a mystery to this day. Actor Sangeetha Krish, who shared the screen with Mayoori in Summer in Bethlehem, once told Kerala Kaumudi Weekly, 'Mayoori was three years younger to me and was a foolish one. Only after asking me, she used to even tie her hair. Once the shooting is over, she will be with her toys in her room. She later died by suicide. Personal and film lives are entirely different. One needs to be flexible to carry the two together.' Though she worked in cinema for just seven years, Mayoori remains an unforgettable presence for audiences, especially Malayalees. Whenever we hear songs like 'Puthu mazhayayi vannu nee', 'Confusion Theerkaname', 'Devaragame Mele', or 'Manassin Manichimizhil', her breathtaking face comes flooding back to our minds. Thanks to her exceptional talent, that face will never fade.
India Today
an hour ago
- India Today
Kerala school adopts new seating model to eliminate backbenchers in class
At Ramavilasom Vocational Higher Secondary School (RVHSS) in Valakom, Kollam district, a unique educational innovation is reshaping classroom dynamics. Inspired by a scene from the Malayalam film Sthanarthi Sreekuttan, the school has implemented a new seating arrangement that completely removes the concept of "backbenchers", giving every student equal visibility and new layout positions individual student desks along all four walls of the classroom, forming a square-like arrangement where everyone is essentially in the 'front row.' Initially introduced in RVHSS's lower primary classes, the model has quickly gained traction and praise, with eight other schools in Kerala and even one in Punjab adopting SPARKS A CHANGE IN CLASSROOMSDirector Vinesh Viswanathan, who helmed Sthanarthi Sreekuttan, said the idea shown briefly in the film was not entirely fictional. 'It was inspired by real experiences and practices we had seen in the past, especially during the District Primary Education Programme (DPEP) years,' he said. The film depicted a Class 7 student proposing the new seating model after feeling left out as a backbencher, a moment that clearly resonated with educators and audiences alike. Vinesh shared that a school principal in Punjab watched the film on an OTT platform, introduced the layout, and even screened the movie for students, leading to further interest 'S VISION FUELS IMPLEMENTATIONThe transformation at RMVHSS was also catalysed by Kerala minister K B Ganesh Kumar, whose family manages the school. After previewing the film before its release, he discussed the idea with faculty and encouraged its pilot implementation in one classroom. Following overwhelmingly positive feedback, the model was extended to all lower primary classes.'We noticed improved student engagement and better teacher-student interaction,' said RMVHSS headmaster Sunil P Sekhar. 'The format not only eliminated backbench-related stigma but also helped teachers monitor all students more effectively.'TEACHERS PRAISE THE SHIFTMeera, a lower primary school teacher with nearly three decades of experience, shared her enthusiasm for the change. 'This setup allows me to connect with every child in the classroom. The students too seem more attentive and feel included,' she observed that students, especially in the formative years, benefited from direct teacher engagement and an inclusive classroom environment. They also highlighted that similar models are widely practised in countries like Finland and Norway, where student-centric classroom designs and lower student-teacher ratios are the REACTIONS AND WIDER CONVERSATIONSWhile the initiative has largely been met with appreciation, including a supportive tweet from business leader Anand Mahindra, it has also sparked debate. Some older students on social media questioned the feasibility of the model in overcrowded classrooms, citing issues of space. Responding to such concerns, Vinesh pointed out that classrooms with 80 students violate norms and should not exist under current educational minor criticism, the model's growing popularity signals a broader shift in how classrooms are being reimagined — prioritising inclusion, engagement, and student well-being over outdated more schools express interest in adopting this approach, Kerala could well lead a quiet revolution in reshaping not just where students sit, but how they learn.(With PTI inputs)- EndsTune InMust Watch
