Entertainment

During the early 2000s in India, many of us remember the serials Ramayan and Siya Ke Ram – ancient stories were adapted for the television sets in the homes of everyday folk. These shows were cultural landmarks in their time. It was announced that Nitesh Tiwari would be revisiting the Ramayana, this time with a production scale that India has yet to witness.

His casting choices further claim this project is already turning heads, the first part set to feature some of the biggest names in Indian cinema. Ranbir Kapoor as Lord Rama, Sai Pallavi as Sita, and Yash as Ravana. Other prominent actors in supporting roles include Sunny Deol as Hanuman, Ravi Dubey as Lakshman, and Lara Dutta as Kaikeyi. 21st century audiences would be delighted at the casting of Arun Govil, who played Ram in the iconic 1980s television series. He will now play Dashrath, blending nostalgia with star power.

A.R. Rahman and Hans Zimmer are now onboard to score the film, which adds global appeal, and is a collaboration most didn't expect. Ramayana is being produced with next-gen VFX, IMAX cinematography and AI multi-language dubbing on a staggering combined budget of ₹4,000 crore (close to $500 million). This officially makes it the most expensive Indian film to date.

The story will unfold in two parts with the first scheduled for Diwali 2026 and the second for Diwali 2027. The festive timing for this release is intentional to capitalize on a period of heightened national sentiment and cultural bonding.

However, this ambition goes beyond India alone. As per reports, the film's producers are negotiating with a prominent Hollywood studio for international distribution, wanting to take this uniquely Indian tale to the world. With Ramayana, Indian cinema is attempting something unusual: turning a religious epic into a cultural export like The Lord of the Rings and Dune.

Needless to say, a production of this magnitude carries enormous expectations—and risk. The budget alone exceeds that of Baahubali, RRR, or Adipurush. Even the highest box office earners in India could not hope to make ₹4,000 crores just through domestic viewership. This means that the film will need to be viewed favorably outside of India, as well as in marketing and receive positive criticism.

The most recent teaser trailer put out by Sony Music India has gained more than 16 million views within two weeks. This shows that there is significant interest. But hype and interest on the internet does not always lead to actual purchases. It remains to be seen if the final cut can meet expectations or if it will fall victim to the controversy that surrounded previous adaptations.

This film goes beyond just being a cinematic venture; it is a cultural declaration as well. Ram is treated as not just a character, but a divine figure by many Indians. His tale showcases elements of faith and moral philosophy. Regardless of whether or not one accepts his divinity, Rama’s journey is seen as a pathway to self-discipline, love, loyalty, and duty.

The stakes are also raised by that emotional bond. Every artistic choice, including those related to script, costumes, and casting, will inevitably be closely examined. Nonetheless, recognition of the enormity of the endeavor is growing. Indian cinema appears prepared to give mythology the depth, richness, and grandeur it so richly deserves after decades of reserving it for devotional dramas.

It's simple to have doubts about a movie that costs ₹4,000 crore. However, Ramayana may be the only Indian tale that merits that degree of emotional, cultural, and cinematic investment.

Ultimately, there is just one question left: is it possible for this movie to deliver more quality than controversy?

By Jishnu Mukherjee

A government school in Kerala has made national news for transforming the classroom experience, quite literally. Breaking away from the conventional idea of "backbenchers," Ramavilasom Vocational Higher Secondary School (RVHSS) of Valakom, Kollam, has designed a creative seating system in which all students are placed at the front row, PTI says.

Chairs are then placed on all sides of the class, giving every child an equal view and access to the instructor. The idea was borrowed from a scene in the new Malayalam film Sthanarthi Sreekuttan, where a Class 7 student proposes the setup after being ridiculed for sitting at the back.

"It was out of his experience of being demeaned from a backbench that he formulated such a concept. I never expected it to reach such heights. It is not a concept evolved by us, but we did have such a seating arrangement in the past in classrooms under the District Primary Education Programme (DPEP), and we had lost it somewhere in between," opined Vinesh Viswanathan, director of the film.

"I have got a message that a school in Punjab has also adopted it after the principal saw the movie on the OTT platform. He even showed the movie to the students. I am happy that it gained national exposure," he added.

The model was first promoted by Kerala Minister K. B. Ganesh Kumar, whose family runs RMVHSS. A year before its release, the Minister had caught a glimpse of the movie and initiated discussions with the faculty of the school and introduced the new model in one of the lower primary classes. The result was so encouraging that the system has been introduced in all the school's lower primary sections.

Sunil P. Sekhar, the headmaster, told IANS that it aids them in giving equal attention to every child and remove the impression that backbenchers are neglected or diverted.

"I can take care of every one of the students in class and provide better care to every one of them. The students are also content as they get to see the faces of all the students in the class and keep a close watch on the teacher," said experienced teacher Meera, who has close to 30 years of experience.

The concept is now catching up at least eight more schools in Kerala and is also being monitored by teachers elsewhere in India. While social media critics continue to question its feasibility in classrooms that have too many students, Viswanathan holds that such a scenario goes against school rules and the authorities are taking note.

In a surprising turn of events, even Anand Mahindra welcomed the idea on Twitter, calling it a good move, although he did admit to having a fondness for the "backbencher" label.

While RVHSS is basking in the glory of former pupil G. P. Nandana's remarkable feat of securing rank 2 in Kerala and 47 at the national level in the Civil Services Exam, it is also earning brownie points for the innovative and bold move in education.

Fairness sounds good in theory. Like something critics should strive for. But in the world of film criticism, “fair” isn’t always the point,and maybe it doesn’t need to be.

A film critic isn’t there to give out stars like a teacher grading homework. They’re reacting, analyzing, connecting what they’ve seen to everything else they’ve ever watched or read. That means their take is shaped by context and what the film is trying to be, what it could have been, what it reminds them of, and how it lands in the current cultural moment.

To a filmmaker, that might feel unfair. Even to an audience. Maybe a silly comedy made you laugh your guts out, but the critic calls it “uninspired and lazy” Or maybe a slow indie gets five glowing paragraphs, but you walked out bored. Critics and audiences often live in different worlds,one built on references, history, and theory the other built on vibes and free time. That disconnect causes a lot of friction.

There’s also taste. Every critic has it, and none are above it. What one person sees as a bold experiment, another might call a pretentious mess. That’s normal. But it becomes a problem when personal dislike is disguised as objective failure. Or worse,when critics talk down to audiences for liking something fun or “lowbrow.” That’s not a thoughtful critique. That’s  definitely gatekeeping.

Still, being fair doesn’t mean blindly agreeing with the masses either. Critics shouldn’t be cheerleaders. If a film is lazy, harmful, or riding on nostalgia , someone should say it,even if it’s making money. The job is to look at the work honestly, not to protect anyone’s feelings.

Take Jawan, for example. It thrilled fans with action, emotion, and Shah Rukh Khan’s heavenly presence. Some critics praised it for being a mass entertainment story,others dismissed it as formulaic. Same movie, different takes.

Or look at La La Land. Loved by many, hated by some. Some called it magical but  others found overrated. Both views exist for a reason. Both are valid in their own way.

Are critics always fair? No. They’re human. They have biases and off days. Some chase controversy for clicks. But the best ones,the ones worth reading,aren’t trying to be “fair” like a referee. They’re trying to be honest. Clear about what worked, what didn’t, and why.

That honesty can feel generous, harsh, or just totally different from how you felt. And that’s the point. A good review doesn’t end the conversation,it starts one.

Movies are personal. What hits home for one person might miss completely for someone else. So maybe fairness isn’t the goal.

By Aditi Sawarkar 

Masala films have been around for decades. And despite all the new trends in Indian cinema like slow dramas, indie storytelling, international-style thrillers, these loud, dramatic, over-the-top movies still pull people in. Sometimes more than anything else.

You’d think the formula would get old: Hero, Villain, Family problem, Some comedy, a few big songs + action scenes that make no sense in real life. But for a lot of people, THAT is the fun of it! Masala films aren’t meant to be realistic; they’re supposed to feel big and emotional and satisfying. And when done right, they deliver all of that.

There’s something comforting about knowing what to expect. You sit down, and you know there’s going to be a dramatic story, a big fight, a moral victory at the end. It doesn’t matter if the storyline feels familiar. What matters is how it's told and how the emotions hit, how the hero enters, how the music swells at the right moment.

That’s what masala films do well. They know how to create moments.

They’re also built for the BIG screen. These aren’t quiet, subtle films. They work best when watched in a packed theatre where people clap, cheer, even whistle. That shared energy is the major part of the experience. Even someone who usually watches movies at home on Netflix might go out to catch a masala film just to be part of the crowd. 

There’s something special about sitting in a room full of strangers and feeling everyone react to the same scene. Whether it’s a cheer, a gasp, or laughter, it makes the whole moment more alive. It’s that collective buzz that makes the film feel bigger than just what’s on screen.

Sometimes you just want to laugh out loud, feel the tension when everything’s at stake, or sit back with goosebumps after a powerful one-liner from the hero. They’re not trying to mirror real life. They’re built to be larger than life, loud, emotional, and meant to leave you feeling something strong.

Surely, it’s a bit extra, bright visuals, big emotions, over-the-top scenes but that’s what gives it heart. And that’s called a masala movie loved by all. 

By Aditi Sawarkar

Gansta-style frankness on and off screen as well, Neena Gupta recently let her hair down in public about a lesser documented period of her life — the first romance with an IIT-Delhi student, Amlan Kumar Ghose. What was a college romance at its finest soon turned into an impulsive wedding — all for a travel privilege to Kashmir.

Conversing in an offhand manner with News18 Showsha, Neena embarked on a journey down the past when she fell for Amlan while falling in love with him at an inter-college fest. It was a laid-back romance — accidental meetings at college, road trips in the suburbs of IIT-Delhi, and furtive moments here and there during holidays. Having a boyfriend was completely out of limits during that time, and the secrecy only served to enhance the chemistry.

But one meeting turned it all around. Amlan had been organizing a holiday tour of Srinagar with friends when Neena had wanted to join him. Her mother consented — "if her daughter consented to marry," that is. And the two got married in a small Arya Samaj ceremony, without revealing their decision to Amlan's family.".

The two settled in a small flat in Rajender Nagar, Delhi, following the marriage and short honeymoon in Kashmir. Amlan searched for jobs while Neena geared up for her Master's in Sanskrit. But when things became real, differences crept in. Amlan wanted a home-maker. Neena had found theatre as her passion and her dream lay outside the home. The couple was separated within a year.

Neena had reminisced about the days earlier in a nostalgic and truthful manner. "It was young love — exciting and impulsive," she mentioned. Despite her romance with Amlan being futile, it was her period of initiation to discover herself.

Two decades later, following being a sole mother to Masaba Gupta and marrying chartered accountant Vivek Mehra, Neena Gupta has a life still full of bold choices and tear-jerking stories — that brief but unforgettable romance with an IITian that began in love and went all the way to Kashmir.

Want to feel nostalgic and enjoy a twisted Bollywood experience? Metro Inn Dino, the new musical drama with the soulful base of Pritam is here to take you to the emotional journey through the hearts of the city and the rhythm of life. Filled with infectious music, soulful scenes, and a story that speaks to the young generation, this film troubles the viewer to think not about it as something entertaining only but rather as something to experience. Regardless of whether you are into soulful or thrilling tales, Metro Inn Dino will make you sing its tunes even after the closing credits. So, what makes this film one to watch in 2025? Here’s the unbiased Metro inn dino review you have been waiting for.

Metro in Dino Story: Fragments of City Living 

At its core, Metro... in Dino is a musical drama, a blend of intertwined narratives featuring distinct characters from varied backgrounds who are all tied together by the invisible thread of human frailty. Much like ‘Life in a Metro' this film is set in a frenzied metropolitan environment that is honest in portraying emotional defeat, digital intimacy and human connectivity that we all so desperately need. 

The stories begin introducing us to several people who are struggling with their own moral dilemmas and emotional crossroad moments. A couple that are out of love rediscovering love, strangers in shared trauma and a youth in rebellion who is immersed in love and identity, and all of these narratives, grounded, relevant and subtly effective.

Metro in Dino Cast: Impressive Cast, Impressive Performances

The cast of Metro in Dino is a delightful mix of experienced actors and promising new actors. In Aditya Roy Kapur, Sara Ali Khan, Ali Fazal, Fatima Sana Shaikh, Pankaj Tripathi, Konkona Sen Sharma, Neena Gupta, and Anupam Kher, there is a wealth of talent doing justice to several diverse characters, all capturing a spirit of warmth. The actors display a remarkable veneer of emotional restraint without losing the message that is intrinsic to Anurag Basu's preference for showcasing a character's feelings and emotions as understated as possible.

Konkona Sen Sharma and Pankaj Tripathi are potential standouts clearly exhibiting how their scenes stay well beyond the credits. Their chemical bond is shown through their understated chemistry and their dialogue is filled with emotionally choiceful moments like the more layered experiences of Life in a Metro.

Metro in Dino Song and Soundtrack

No Basu film would be complete without an exhilarating soundtrack, and Metro in Dino is no exception. The soundtrack was a highlight as it was done by composer Pritam. The Metro in Dino song is sung by Arijit Singh and captures all the essential nostalgia but with a current flair that speaks to modern day relationships. Newer playlists for this song and the rest of the soundtrack are all deserving successors to those featured in Life in a Metro.

Metro in Dino Release Date and Where to Watch:

The Metro in Dino release date was July 5, 2025. After a number of delays due to scheduling and production issues, the movie was released and was worth the wait as per the comments of people across the internet. Currently, the movie is screening in theaters across India, and should come to streaming in several weeks. If you're wondering where to watch Metro in Dino, you can go to your nearby theater or watch it on Netflix or Amazon Prime Video once it's made available.

Metro in Dino IMDb and Public Reaction:

On Metro in Dino IMDb, the film currently has 7.4/10 rating. The reviews from audiences highlight the film's mature storytelling, stirring music and strong performances. Reviewers have pointed out Basu's ability to weave complex narratives together without the unwanted amount of melodrama that real life does not have, and an even balance of heartbreak and hope.

Most reactions from the audience have been positive, especially from urban audiences who find the characters relatable and the circumstances completely similar to their own experiences.

Metro in Dino: Critics Weigh-in

Most of the Metro in Dino reviews celebrate the film's realistic and emotional qualities. Although some have said the film has a slow and dragging pace in places, most reviewers agree that its anthology format enables it to develop a variety of perspectives using the time and space of a feature-length film. The movie has been praised for not being didactic, not overexplaining its themes, and allowing the audience to meditate and interpret.

Metro in Dino: Hit or Flop? 

It is too early to determine the film's box office fate. Box office analysts are cautiously optimistic. Rapid reviews from viewers on social media platforms will likely propel the film. With an ensemble cast, strong word-of-mouth marketing will likely ensure a meaningful financial return will occur. Overall, Metro in Dino will likely recover its production cost. Whether Metro In Dino is a hit or flop can’t be decided yet due to the mixed reaction surfacing online. These reviews are extreme: some are loving it while others are calling it bad. 

Metro… In Dino is an introspective look at the modern city experience, representing love in our current experiences as silence, a mess, and magic. With a quality cast, entrancing music, and one of Anurag Basu's captivating movies, it is a worthy successor to Life in a Metro. You can catch it in theaters or wait to watch Metro in Dino online because either way, this Bollywood musical is truly worth your time! 

 BY- ANANYA AWASTHI