u/TeluguFilmFile

TIL Anil Kapoor debuted as a lead actor in a Telugu movie!

https://en.wikipedia.org/wiki/Anil_Kapoor#1979%E2%80%931980s:_Rise

Don't know how Toxic is going to turn out, but Geetu Mohandas and the cinematographer of the film have clearly put in at least some effort in the visual symbolisms of various shots

If you are not a blind follower of K, you should be able to criticize him. What are some instances when he contradicted himself? And what are some instances in his personal life where he failed to live his own teachings? In what other ways was he flawed in significant ways? Did he even know "Truth"?

Maa Inti Baangaram is NOT the first Telugu film that Raj Nidimoru worked on as a writer/creator. He worked as a writer for the 2010 film Inkosaari that relatively unknown (probably because its format was probably a bit alien to the Telugu audiences in 2010). Not sure when Raj & DK work in TFI again!

A new subreddit has been launched for discussions on academic Buddhism: https://www.reddit.com/r/AcademicBuddhism/

It is a forum for academic discussions on Buddhism, including questions about emergence and development of Buddhism, analysis of Buddhist texts, their historical contexts, manuscripts, etc.

It is like other academic subs such as r/AcademicQuran and r/AcademicBiblical but for Buddhism.

Welcome to r/AcademicBuddhism subreddit! And feel free to contribute!

Is it possible that Nag Ashwin had a lot of involvement in the script and direction of Sing Geetham, given that Singeetham is very old?

As a fan of Aditya 369 & other films of Singeetham, I really wanted to like the film, but it does not fully feel like a Singeetham film because it's 'incomplete.' I don't wish to give away any spoilers, so I will keep it general: If we look at Aditya 369 and other films of Singeetham, they are complete because all the loose ends and story arcs are usually tied up near the end, but that's not the case with Sing Geetham. The pace of the film or the fact that it's a musical isn't what prevented me from enjoying the film but the artificiality and incompleteness of it. I don't mind the world in which the film operates, but even within that world the film could have been made less artificial and more complete, as Singeetham successfully did in Aditya 369 and other films.

So I suspect that people like Nag Ashwin may have had some involvement in the script and direction etc. (given that Singeetham is very old and may not have been able to direct fully), resulting in a film that doesn't fully feel like a Singeetham film.

Given my love for Aditya 369 & other movies of Singeetham, I really wanted to like Sing Geetham, but its artificiality and incompleteness prevented me from enjoying it fully, although the concept is quite novel. But kids may enjoy it. The film isn't bad though; it's better than other films of 2026. Adults might also enjoy it if expectations are kept in check.

The pace of the film or the fact that it's a musical isn't what prevented me from enjoying the film but the artificiality and incompleteness of it. I don't mind the world in which the film operates, but even within that world the film could have been made less artificial and more complete, as Singeetham successfully did in Aditya 369 and other films.

I suspect that people like Nag Ashwin may have had some involvement in the script etc. (given that Singeetham is very old and may not have been able to direct fully), resulting in a film that doesn't fully feel like a Singeetham film.

The following rant is not about any specific film because it applies to so many recent films.

TFI directors, screenwriters, actors, producers and others really need to understand what "consent" means. If any film shows a protagonist engaging in s**ual assault and does not show him facing consequences for it (and if it instead continues to glorify that protagonist), it is very wrong morally.

If that film shows him being unapologetic about that s**ual assault, it's even worse.

It's 2026, and it's disappointing to see films that portray violations of consent as being okay (or, worse, as being expressions of love).

Spoilers ahead, so don't read the below rant if you are planning to watch Peddi but haven't watched it yet (although I don't recommend the film):

It’s outrageous that in the 2020s the actors approved some very problematic scenes in the script. >!The film explicitly glorifies the protagonist who is a sexual offender (who predictably and hypocritically turns into a savior without facing consequences for the sexual assault he commits). The song Chikri plays right after Ram Charan’s character commits sexual assault on Jhanvi’s character (by kissing her in the dark after Ram Charan’s character explicitly mentions his wish to touch her without her consent and to assault her). I used to enjoy the Chikri song before but the scene before the song has ruined it. Moreover, Jhanvi’s character has been portrayed in an extremely vulgar way by the director. The director reduced her role in the film to someone who acts in a vulgar way and someone who also gets sexually assaulted not once but twice. More shockingly, when Jhanvi’s character confronts Peddi about the sexual assault, Peddi says that the only way he knows how to express love is through assault. And Jhanvi’s character is shown as not only accepting that response but embracing the protagonist for that.!<

TFI directors, screenwriters, actors, producers and others really need to understand what "consent" means. If any film shows a protagonist engaging in s**ual assault and does not show him facing consequences for it (and if it instead continues to glorify that protagonist), it is very wrong morally.

If that film shows him being unapologetic about that s**ual assault, it's even worse.

It's 2026, and it's disappointing to see films that portray violations of consent as being okay (or, worse, as being expressions of love).