SS Rajamouli loses his cool, pushes fan trying to take selfie outside Kota Srinivasa Rao's residence at his funeral in Hyderabad in viral video
A moment of mourning turned tense as filmmaker SS Rajamouli lost his cool at a fan outside the residence of late Telugu cinema legend
Kota Srinivasa Rao
. The veteran actor, who passed away on July 13 at the age of 83, was laid to rest in Hyderabad amid an outpouring of tributes from the film fraternity.
While several stars gathered to bid him a final farewell, a viral video of Rajamouli reacting sharply to a fan's selfie attempt during the solemn occasion has stirred conversation online.
In the viral video, Rajamouli is seen exiting Rao's residence alongside his wife, Rama Rajamouli, when a fan approaches him for a selfie. Despite the somber setting, the fan continues to follow the director all the way to his car. As the fan gets too close, Rajamouli loses his cool—he pushes the fan aside and gestures in visible frustration, seemingly asking, "What?" with a sharp wave of his hand.
The late veteran star's funeral saw an outpouring of grief from the Telugu film industry, with several prominent stars in attendance. Chiranjeevi,
Pawan Kalyan
, Prakash Raj,
Venkatesh Daggubati
, and Rana Daggubati were among those who visited to pay their final respects to the legendary actor.
SS Rajamouli took to his X (formerly Twitter) handle and penned an emotional note in memory of Kota Srinivasa Rao. He wrote, "Deeply saddened to hear about the passing of Kota Srinivasa Rao garu.
by Taboola
by Taboola
Sponsored Links
Sponsored Links
Promoted Links
Promoted Links
You May Like
How to Trade ETH/USD Without Holding Ether
IC Markets
Learn More
Undo
A master of his craft, a legend who breathed life into every character he portrayed. His presence on screen was truly irreplaceable. My heartfelt condolences to his family. Om Shanti."
Born on July 10, 1942, in Kankipadu, Andhra Pradesh, Kota Srinivasa Rao began his cinematic journey in 1978 with the Telugu film Pranam Khareedu, which also starred a young Chiranjeevi. Over the decades, he carved a legendary career, appearing in over 750 films across multiple languages.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
India Today
11 minutes ago
- India Today
Court restrains Bihar lawyer from posting content in Sonu Nigam's name on X
The Bombay High Court has granted interim relief to Sonu Nigam by restraining a Bihar-based social media user, who claims to be a criminal lawyer and a social activist, from posting content using the singer's name on platform X (formerly Twitter).This comes following allegations that the user was impersonating the singer and sharing divisive content under his name. The court passed an ex parte order stating that if immediate relief was not granted, the Padma Shri awardee singer would suffer "irreparable injury which cannot be compensated in terms of money".advertisementJustice RI Chagla, while hearing Nigam's plea, held that the singer had made a strong prima facie case and that his identity and public persona deserved legal protection. The court allowed the user, who goes by the name "Sonu Nigam Singh", to use his full name on social media platforms as long as it does not cause misrepresentation, confusion or deception among the matter will be heard next on August 4, and a notice has been issued to the Bihar Nigam had approached the court seeking protection of his personality rights - including his name, image, likeness and reputation - which he alleged were being misused by Singh, a self-described criminal lawyer and social singer claimed that Singh had created a profile on X using only the name "Sonu Nigam", deliberately omitting "Singh" to create who quit X in 2017, argued that the absence of his own presence on the platform allowed Singh to impersonate him more easily and attract followers who mistakenly believed the account belonged to the Nigam also alleged that the account has been used to post polarising and inflammatory content, causing misattribution and criticism. Despite being approached privately and requested to change the display name, Singh allegedly refused to singer said that the impersonation had caused significant reputational damage, especially as Singh continued to engage with users on X as if he were the singer.- EndsMust Watch
Time of India
13 minutes ago
- Time of India
What keeps Nagarjuna agelessly fit even at 65? His diet and fitness routine hasn't changed in 35 years
South Indian superstar Nagarjuna Akkineni, known for his youthful looks at 65, has often been admired for his fit physique and glowing health. Contrary to popular belief that he skips meals, the veteran actor clarified during a 2024 conversation with music composer MM Keeravani that he does, in fact, eat dinner every day—just much earlier than most people. By 7 p.m., he wraps up his evening meal, which typically includes a combination of salads, rice, chicken, and fish. He described this practice not as a trend but as a 'way of life' that he has embraced for decades. Fitness First: A Non-Negotiable Routine Nagarjuna's approach to health isn't limited to food. He has followed a structured fitness regimen for almost 35 years, which he attributes as the foundation of his well-being. In an earlier conversation with Hindustan Times, the actor revealed that his day begins with exercise, and he prioritizes working out even over professional engagements. Whether it's strength training, cardio, swimming, or simply walking, he ensures he stays physically active almost every day of the week. He shared that he trains for about 45 minutes to an hour, five to six days a week. On days when the gym isn't an option, he opts for other forms of movement like swimming—a habit he has maintained since his teenage years. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Vess véget az ugatásnak! Nézd meg, hogyan! BarkStop Vásárolj most Undo Smart Workout Techniques for Sustainable Results One of Nagarjuna's fitness tips is to maintain an elevated heart rate during workouts. He advises keeping it above 70% of the maximum heart rate, avoiding long breaks, and staying off distractions like mobile phones. This practice, he says, not only improves metabolic activity but also enhances overall energy levels throughout the day. His focus on consistency and mindful movement has helped him maintain peak physical condition without chasing extreme regimens. Food Discipline: Intermittent Fasting and Probiotics When it comes to diet, Nagarjuna follows a structured and mindful eating plan. He adheres to the 12:12 intermittent fasting method, which involves eating within a 12-hour window and fasting for the remaining 12. His day starts with a pre-workout meal that includes natural probiotics such as kimchi, sauerkraut, or fermented cabbage, along with warm water and coffee. This combination, he believes, helps set the digestive system in motion and supports gut health. Health experts have noted that many of Nagarjuna's practices, such as early dinners, intermittent fasting, and consistent exercise, are supported by scientific evidence. These habits can improve sleep, regulate metabolism, and aid in long-term weight management. Ultimately, Nagarjuna's fitness philosophy is built not on extremes but on simplicity, regularity, and making health a daily priority. For those seeking sustainable well-being, his lifestyle serves as a realistic blueprint—one that values consistency over complexity.
Time of India
31 minutes ago
- Time of India
Rethinking Indian Literature: Dispersion, Diaspora & Expanding Boundaries Beyond Traditional Literary Canon
Excerpts from the interview: Q: How did the two of you come to collaborate on this book? Let's start with Anjali. Anjali: The project started when Ulka reached out to me with this proposal and I obviously jumped at it because this idea of modern Indian and literatures, each of those terms that we query in this handbook is at the heart of everything that I do and have been doing all this while. Right? So I was delighted when Ulka reached out to me, what was it, four and a half years ago or five years ago? She'll be able to remember the date. And it just went from there. It was like natural. She said, will you do it? And I said yes. And we just started from there. Ulka: The Oxford Handbook series is a very prestigious series and so I was delighted when the editor reached out and asked if I was interested in working on such a project. The main thing for us was how Anglo-centric the Indian literary studies continues to be despite the fact that there are so obviously literature and long traditions in so many languages. But it's true in the US, it's even true in India itself. Even the study of Indian literature in English is relatively new. For a long time in English departments, even in India, you were just studying British and American literature. So that is new. Even then there's been such a favouring of English language literature over all these other traditions. So when the editor at Oxford reached out and said we want something that focuses on India's multilingual heritage, of course I immediately thought of Anjali because I was such a fan of her book Bombay Modern and of course her work in multilingual Indian spheres. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like SRM Online MBA | India's top ranked institute SRM Online Learn More Undo So I think it was a good match and it was something I think we were both very passionate about. Q: Even just the title Modern Indian Literature packs in so much, you can dissect those three words for a very long time, isn't it, Ulka? Ulka: Yes, absolutely. And in fact we do spend quite a bit of time in our introduction and in all the presentations we've given dissecting those words because none of them are self-evident. It's not obvious what we mean by modern, what we mean by literatures, because when we think about the literary sphere, we often tend to think about the novel and poetry and short stories. But recent studies of different media have shown that what we count as literature might be much more vast than that. We have a chapter on the graphic novel, we even have a chapter on video games to really expand what we think of as literature and push those boundaries. And the term Indian itself is not self-evident, especially with the different role that different languages play within a kind of conception of India. So of course we can think about Hindi and Tamil and some of the main languages, but also languages that, you know, have a different relationship with the nation. So we really had to piece out these different terms. And the final book is not a conclusive answer to what these terms mean, but hopefully opening it up to more questioning and more debate. And we really hope that others will take up some of these provocations that we've tried to try to propose in the introduction. Anjali: To add to what Ulka said about the handbook. I think one of the concepts we kept in mind when putting together this handbook was the idea of dispersion, especially because the notion of handbook is such a canon making sort of concept, a gesture, right? And along coupled with the idea of Oxford, which is another canon making gesture. So one of the concepts that we dealt with was, or rather kept in our mind was the idea of dispersion. So dispersion of several things, of a limited and prescriptive canon of Indian writing, of texts that must feature in this list of the disciplinary boundaries. Ulka talked about that right. Of what is literary or not literary, but also of what are regions and languages, and also of scholarly voices that usually reflect, are reflected in Anglophone tables of contents from where they speak, generally the predominance of scholars only from the Western world dominating the conversation. So all of these ideas were at the back of our minds when we thought of this idea of dispersing this to kind of removing that centre that has been in this Anglophone Western world when talking of Indian literatures, and we hope, or we Assume, we hope that we went a little way towards that. Q: The texts you choose to explore are unusual. When it comes to going into the minor languages, and with reference to video games etc, how did you decide to explore these boundaries? Ulka: So one thing I'll say is with any project like this we have an ideal TLC of what we'd like, who we like and what kind of topics we'd like covered. But of course when you ask people can we do it, can you write this 6,000 word piece? There's many people who can't or they want to write on something else than what we would have liked them to write about. So having said that, the final project is, you know, is hopefully moves towards what we were envisioning. It's not exactly what we were envisioning. I said we would have even wanted more attention to more minor literatures and minor in the sense of, you know, not always represented in these kind of anthologies than we had. But we really were trying to do many things at once. We were trying to kind of present what some of the most exciting work in Indian, in contemporary literary criticism on Indian literatures in a variety of languages and also push some of the boundary. So you know, with video games as a good example, it's not, I don't think I would argue that it is definitively a literary form. But we wanted to have some places at the, in the volume where we were pushing those boundaries. We also have a chapter on auto fiction, again, you know, always, not quite always understood as literary, but. And so we wanted to push some of these boundaries and that includes talking about literatures from, from languages where, you know, people have an ambivalent relationship with the idea of India and we wanted to use those as Places to push the boundaries. So we were trying to do many things at once. Both kind of present things that people understand as Indian and then also push the boundaries. And we think those two things are done at once. Then you can never take a term like Indian literature for granted. Anjali: I remember one of the conversations we had when we went to India and talked to students about this book in September. And one of the questions that that students had was how can you subsume, for example, this was just an example. How can you subsume Tamil modernism under Indian? Right. And so the kind of way we tried to explain was that we proceed as if we already know the term, right. What Indian is. But then in the actual chapters and in the actual work that follows, it gets queried, dismantled, reformulated. So, for example, Tamil Modernism, or the Question of Tamil is featured here. But then we also talk about Tamil in Sri Lanka and Tamil in Singapore. A chapter goes across India and Tamil in Singapore. So the borders, the contact zone of the borders is again, one of the other concepts that we always kept in mind, this idea of relationality and contact zones which. From which we started looking at the idea of what it is that is Indian or what it is that is modern.
