u/Distinct_Topic_7477

Instagram has become unbearable with AstroTalk ads lately. Almost every few reels or stories, there’s another astrology prediction ad about career, future, relationships, or “life-changing guidance.” I usually ignore them because I’ve never really believed in astrology.

But after constantly seeing those ads, I finally installed AstroTalk once out of curiosity since the initial chat was free.

The app asked for my DOB, place of birth, and exact birth time. I even asked my mother for the correct birth time before entering the details. Then I started chatting with one of the astrologers there.

What surprised me was that some of the things they said actually felt accurate to me, especially regarding career-related matters and certain personality traits. I’m not saying they predicted something magical or extremely specific, but some points genuinely felt relatable enough to make me think.

Now I’m confused whether:

- astrology actually has some truth to it, or

- these astrologers are simply very good at giving generalized statements that psychologically connect with most people.

I still don’t fully believe in astrology, but I can understand why so many people get hooked after trying these apps once.

Has anyone else here tried AstroTalk or similar astrology apps after constantly seeing their ads?

Did you also feel the predictions were surprisingly accurate, or was it just vague/general analysis?

Aswanth Kok is one of the most popular movie reviewers from Kerala, and a lot of his reviews usually connect well with the general audience. Most of the time, his opinions feel relatable and straightforward, which is probably why he gained such a huge following in the first place.

He has openly spoken about receiving threats and pressure from producers and filmmakers because of his harsh reviews, and that is understandable considering the influence he has on audience perception. But recently, I’ve started feeling that some of his reviews come across differently — almost like certain movies are getting unusually positive treatment.

The first time I seriously felt this was during Super Sharanya. Later, I felt the same with Bromance, and most recently with Athiradi. In many other reviews, he heavily mocks movies by targeting the lead actor’s makeover, style, dialogue delivery, or presentation. But in some cases, it feels like the criticism becomes noticeably softer or selective.

I’m not saying he is definitely doing paid reviews, because there’s no proof for that. But as a regular viewer, the inconsistency is something I’ve started noticing lately. Sometimes it genuinely feels like certain films are being promoted more carefully than reviewed objectively.

Does anyone else feel the same?

BIG TV Malayalam is one of the newest entrants in Kerala’s highly competitive Malayalam news media space. The channel officially launched in early 2026 and immediately gained attention because of its aggressive recruitment strategy and the big names behind it.

One major reason people started discussing the channel was the involvement of Anil Ayroor. In Malayalam media circles, he is known as a strong media strategist who earlier worked with channels like Reporter TV and helped improve branding, packaging, and reach.

Another major talking point was the appointment of Sujaya Parvathy as Chief Editor. She was already a controversial and well-known face in Kerala television debates because of her strong opinions and political discussions. Reports and online discussions claimed that BIG TV offered very high salaries to attract journalists and anchors from rival channels. However, the exact figures — like “₹10 lakh per month” — are mostly social media claims and industry rumours, not officially confirmed.

There were also many rumours about financial backing from people close to A. Revanth Reddy or Congress-linked business groups from Telangana. This speculation came because BIG TV already had a Telugu media presence and some political observers in Kerala noticed similarities in editorial tone. But there is no clear public evidence proving direct ownership by Revanth Reddy’s family. Most of these discussions remain political speculation rather than verified fact.

About ideology, many viewers feel the channel currently appears:

•mildly pro-Congress,

•somewhat favourable towards K. C. Venugopal,

•critical of CPI(M) at times,

•but also not fully anti-BJP.

What I find interesting is the financial side. Kerala news media is already crowded with strong players like Asianet, 24, Manorama, Mathrubhumi etc. BIG TV came with huge spending, aggressive hiring, modern studio setup and strong social media push. But after 3–4 months, the channel still doesn’t seem to have gained major mainstream popularity or strong BARC performance.

So how are they sustaining such heavy expenses without major ratings yet? Long-term political/media investment? Strong external funding? Or are they mainly targeting digital influence instead of TV ratings?

What do you think about the actual political ideology and future of BIG TV Malayalam?

Basil Joseph, an Indian director and actor seems nowadays to act like he's super cool, and he is so friendly with everyone. Is he such a kind of guy, or are they making him project like someone next door and a friendly, funny person?

It seems like his recent interviews are not genuine.

His on-screen friendship with Tovino Thomas also seems like, as the audience had a positive initial response, they are continuing to project and appear more cool.

It feels like after Big M and other big-name actors left their spots in the AMMA Association, the whole vibe and worth of the group totally shifted. Now, it's pretty much just actors who are just field out or don't have much going on. All the president, secretaries are just actors appeared in few films in small roles who don't have much to do in movies but still act like they're super important to the industry.

I mean, there aren't any really famous actors holding any official positions in AMMA anymore. These days, the main stars only pop up for a few events. A lot of folks just dropped out and aren't involved. What's going to happen to it, and will it even matter in the next few years?

What are the expectations about the UDF Government under Chief Minister VD Satheeshan?

What changes do you expect compared to the Pinarayi Vijayan ministry — in governance, development, administration, political culture, jobs, investments, and public freedom?

Thomas Mathew is an Indian film actor associated with the Malayalam film Aanandam (2016), Narayaneente Moonnaanmakkal (2024), and the 2025 project Thudarum.

NB: he is also holding a kattan chaya

Some crazy names instead of Drishyam😂.

1. Rajakkad Police Station

2. Son of Geetha Prabhakar (name of antagonist)

3. 4 aam classukaran

4. Guest

5. Sadharanakkaran

6. Veendumoru yathra

7. Aa rathriyil

8. Classic Criminal

9. Varun Missing Case

10. Georgekuttyude kudumbam

Hipzster (Pranav Raj) is an Indian gaming streamer and actor from Kerala, known for his Hipster Gaming YouTube channel and his debut in the 2024 Malayalam blockbuster Aavesham.

Further, he seems out of the limelight after the release of Aavesham and now said to be in the cast of Kattalan.

Any teaa ☕about him?

After the election results, how Pinarayi Vijayan "without power" walk through the streets without the escorts.

Will he be able to stay calm and tolerant and adjust to the new situation, or does he disappear from Kerala Politics forever.

It is quite surprising that the film managed to collect around ₹120 crore worldwide. After watching it on OTT, the experience felt rather slow and, at times, dull. Apart from a few humorous moments involving Jayasurya and Dharmajan Bolgatty, there were hardly any engaging or memorable sequences.

Even Aadu 3 received only above-average reviews during its theatrical run, so its strong box office performance—crossing ₹120 crore worldwide—raises questions. One possible reason could be the timing of its release. With limited competition, except for Dhurander, and coinciding with the vacation period, it likely attracted family audiences and children who had fewer entertainment options in theatres.