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Bigg Boss 16 finalist Archana Gautam alleges death threats, casteist slurs from Priyanka Gandhi aide

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Bigg Boss 16 fame Archana Gautam has alleged that she received death threats from Congress leader leader Priyanka Gandhi Vadra’s personal assistant Sandeep Singh.

In a complaint filed at Partapur police station in Uttar Pradesh’s Meerut, the Bigg Boss-16 top-5 finalist’s father Gautam Budh claimed that his daughter Sandeep Singh—Personal Assistant (PA) to Priyanka Gandhi Vadra— sent death threats to his daughter and also spoke “casteist words” to her.

In his complaint, Gautam Budh alleged that on February 26, his daughter had gone to Raipur in Chhattisgarh to attend the Congress General Convention on the invitation of Priyanka Gandhi where she had sought time from Sandeep Singh to meet the Congress leader.

Budh said that Sandeep refused to introduce her to Gandhi, hurled castiest slurs, used abusive language and talked in a rude manner to Archana Gautam. He alleged that Gandhi’s aide also threatened to kill her.

An official said Meerut police has filed an FIR against the accused for criminal intimidation and under the SC/ST Act.

Archan Gautam also talked about the alleged incident in a video streamed on Facebook Live.

In the video, the former Bigg Boss contestant lamented that the Congress is keeping people like Sandeep Singh in the party who act as arbitrary gatekeepers and are the reason that grievances and messages from workers like herself don’t reach the upper echelon of the party.

She alleged that Sandeep Singh even threatened to throw her behind bars if she insisted on meeting Priyanka Gandhi. Archana also claimed that the entire Congress party is angry at Singh.

A senior official said a case has been registered under Sections 504, 506 of IPC and SC ST Act against Congress leader Priyanka Gandhi Vadra’s PA for allegedly threatening former Bigg Boss contestant and Congress leader Archana Gautam, adding that further investigation is underway.

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Rashmika Mandanna expresses hapiness over playing the role of Maharani Yesubai in Chhaavaa, says now ready to retire

With its impressive cast, stunning visuals, and compelling narrative of a powerful historical period, Chhaava promises a cinematic experience that will resonate with audiences.

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Rashmika Mandanna takes on the monumental role of Maratha queen Yesubai Bhonsale in the highly anticipated historical drama Chhaava, sharing the screen with Vicky Kaushal, who portrays Chhatrapati Shivaji Maharaj. The film’s grand trailer launch on January 22 at Mumbai’s iconic Plaza Theatre showcased the cinematic spectacle to come, leaving Mandanna herself visibly moved.

Overwhelmed by the opportunity, Mandanna expressed her profound gratitude and jokingly declared her readiness for retirement after this career-defining role. “It is an honour. From a girl coming from the South to play Maharani Yesubai is the most privileged and special thing I could ask for in this lifetime,” she shared, her voice thick with emotion.

The weight of portraying such a significant historical figure was palpable, as she confessed the trailer itself brought her to tears. “I tell Laxman sir that after this, I am happy to retire,” she added, highlighting the immense responsibility and impact of the role. Her admiration for Kaushal was also evident, describing him simply as “God” in his portrayal of Shivaji Maharaj.

The journey to embodying Yesubai Bhonsale was one of both excitement and apprehension. Mandanna recounted her initial shock at director Laxman Utekar’s offer, questioning how he could even consider her for such a pivotal part. “I remember being absolutely shocked how did Laxman sir even think of giving me a role like this to play? I just surrendered,” she explained.

The challenge was further amplified by the lack of direct references for portraying such a majestic and influential historical personality. She emphasized the importance of surrendering to the director’s vision and the rigorous preparation involved, particularly mastering the nuances of the language. Extensive rehearsals and unwavering dedication were key to bringing the character to life, she stressed.

Chhaava, a Maddock Films production with music composed by the legendary A.R. Rahman, boasts an ensemble cast including Ashutosh Rana, Divya Dutta, Neil Bhoopalam, Santosh Juvekar, and Pradeep Rawat. The film is slated to hit theatres on February 14th, 2025, a strategic release timed to precede Chhatrapati Shivaji Maharaj Jayanti on February 19th.

With its impressive cast, stunning visuals, and compelling narrative of a powerful historical period, Chhaava promises a cinematic experience that will resonate with audiences.

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Mamta Kulkarni quits acting to join Kinnar Akhara, takes sanyaas at Mahakumbh, gets new name

Kulkarni herself expressed immense joy at participating in the Mahakumbh, emphasizing the profound spiritual significance of the event. Tripathi, in his confirmation of the appointment, stated that the Kinnar Akhara doesn’t restrict its members’ artistic expression, allowing Kulkarni the freedom to pursue devotional roles if she chooses.

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Mamta Kulkarni, a prominent Bollywood actress of the 1990s, has embarked on a transformative journey, embracing a new life as a Sadhvi (Hindu ascetic) and assuming the esteemed position of Mahamandaleshwar within the Kinnar Akhara, a monastic order dedicated to the transgender community.

This significant shift in her life culminated on Friday at the Mahakumbh Mela, a massive Hindu pilgrimage. There, she officially took sanyaas (renunciation), receiving blessings from Acharya Mahamandaleshwar Dr. Lakshmi Narayan Tripathi following a detailed hour-long discussion about her spiritual path and commitment.

Now known as Shri Yamai Mamta Nandgiri, she is readily identifiable in her adopted saffron robes and Rudraksha garland. Videos circulating on social media platforms vividly capture her in this new spiritual guise, reflecting her complete transformation. The transition wasn’t sudden; according to Tripathi, Kulkarni had been in close contact with the Kinnar Akhara for a year and a half, signifying a period of contemplation and preparation before this public declaration.

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The appointment, however, has been shrouded in a degree of secrecy by the Kinnar Akhara. Following the ceremony, Kulkarni and Tripathi met with Ravindra Puri, the President of the All India Akhara Parishad, to discuss her views on religion and her integration into Akhara’s structure. Kulkarni shared her insights, drawing a parallel between her spiritual awakening and a story from the Ramayana, showcasing her understanding of Hindu scriptures.

Kulkarni herself expressed immense joy at participating in the Mahakumbh, emphasizing the profound spiritual significance of the event. Tripathi, in his confirmation of the appointment, stated that the Kinnar Akhara doesn’t restrict its members’ artistic expression, allowing Kulkarni the freedom to pursue devotional roles if she chooses.

The Kinnar Akhara, established in 2015 by Tripathi, has been instrumental in promoting the inclusion and respect of the transgender community within mainstream Indian society. Kulkarni’s decision, viewed against this backdrop, underscores a profound spiritual shift and a commitment to social inclusion within a unique spiritual framework.

Her journey, from the bright lights of Bollywood to the serene path of a Sadhvi, is a compelling narrative of transformation and dedication to a higher purpose. Kulkarni’s past life as a successful actress, starring in films like Karan Arjun, Krantiveer, and China Gate, adds an intriguing dimension to this extraordinary life change.

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Ramayana The Legend of Prince Rama review: A triumphant adaptation of the epic

Despite its age, the animation holds up remarkably well. The digital remastering ensures that the visuals, already lauded three decades ago, shine even brighter on the big screen, a testament to Suko’s artistic vision. For those scarred by recent, less successful Ramayana adaptations, “The Legend of Prince Rama” offers a welcome balm.

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Yugo Suko’s “The Legend of Prince Rama,” a 1992 animated masterpiece, finally graces Indian theatres, fueled by nostalgia and a stunning 4K remaster. For generations, this adaptation of the Ramayana has been a cherished memory, viewed countless times on Doordarshan and YouTube, in both Hindi and English dubs. But the big-screen experience transcends mere nostalgia; it’s a revelation. Witnessing Suko’s era-defining animation in breathtaking 4K is a cinematic event in itself, justifying the theatrical release.

The film recounts a pivotal section of the epic, encompassing Rama’s exile, Sita’s abduction, and the subsequent war between Sugriva’s Vanara army and Ravana’s demons. While the story is familiar to most Indians, the film’s power lies in its seamless blend of timeless animation and the simplicity of the original narrative.

Despite its age, the animation holds up remarkably well. The digital remastering ensures that the visuals, already lauded three decades ago, shine even brighter on the big screen, a testament to Suko’s artistic vision. For those scarred by recent, less successful Ramayana adaptations, “The Legend of Prince Rama” offers a welcome balm.

The new dubbing, however, presents a mixed bag. Replacing the iconic voices of Amrish Puri, Arun Govil, and Shatrughan Sinha from the original, it initially feels jarring, particularly the disconnect between the familiar visuals and unfamiliar voices.

Yet, the new dub is not inherently bad; it’s simply a product of its time, adopting a more dramatic, cinematic style befitting a modern theatrical release. It contrasts with the simpler style of Ramanand Sagar’s influential television series, offering a more heightened, theatrical delivery. Importantly, the new dub complements the animation without overshadowing it, preserving the narrative’s inherent simplicity.

The soundtrack, featuring Sanskrit versions of classic tracks like “Janani Main Raamdoot Hanuman” and “Vaanar Sena,” might feel unfamiliar to those accustomed to the Hindi versions. But Vanraj Bhatia’s music remains enchanting, seamlessly integrated into the film’s tapestry. For newcomers to this adaptation, the change will be barely noticeable.

“The Legend of Prince Rama,” while arguably the best animated Ramayana adaptation, isn’t without flaws. Its simplified portrayal of Ravana, omitting his intellectual depth and presenting him solely as an evil asura, feels reductive. Similarly, the exclusion of Sita’s agni-pariksha streamlines the narrative but sacrifices some essential nuances.

The unnecessary inclusion of an intermission also detracts from the viewing experience. Despite these minor shortcomings, “The Legend of Prince Rama” remains a visually stunning and emotionally resonant cinematic experience, a must-see for both nostalgic viewers and newcomers alike.

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