Chennai: Tamil cinema lost its one-man studio, K Bhagyaraj, on Saturday. The director, actor, screenwriter, composer, ad novelist, who was 73, was brought unconscious to Apollo Hospitals, where doctors declared him dead.

His death, which comes two weeks after the passing of his mentor K Bharathiraja, brought a fresh wave of grief to an industry still mourning — with actors, directors, and fans flooding social media with tributes to a man who had given Tamil cinema its soul.

The director, actor, screenwriter, composer and novelist, who was 73, was brought unconscious to Apollo Hospitals, where doctors declared him dead.

Born Krishnaswamy Bhagyaraj on January 7, 1953, near Gobichettipalayam, he arrived in the film industry carrying little more than ambition.

His first screen appearance, in Bharathiraja's 16 Vayathinile (1977), required him to lead a donkey across a field as a background extra. Two years later, he became a director.

He spent the next five decades doing what very few in Indian cinema have managed: writing the script, composing the music, directing the film, and then stepping in front of the camera to play the lead. He did this not once, but across a remarkable body of work.

His hits came in a dazzling run through the 1980s. Oru Kai Osai (1980) announced a distinctive new voice in Tamil cinema. Mundhanai Mudichu (1983) — which he wrote, directed, and starred in alongside Urvashi — won him the Filmfare Best Actor Award and remains a touchstone of Tamil popular cinema.

Chinna Veedu (1985) cemented his reputation as a filmmaker of warmth and wit. Several of his films were remade in Telugu and Hindi, crossing linguistic boundaries at a time when that was far from routine.

Off-screen, he edited the weekly Tamil magazine Bhagya and authored several novels. In his later years, he returned to acting in prominent supporting roles, most recently in Dhanush's Kuberaa (2025).

At his golden jubilee celebration in January 2026, with Rajinikanth and Kamal Haasan in the audience, he announced that he would direct again — a film, and possibly a web series. Tamil cinema had been waiting.

He is survived by his son, actor Shanthanu Bhagyaraj, daughter Saranya and wife Poornima.

It earned accolades, standing ovations, and executive produced by Hollywood’s creme de la creme, yet remained unseen in India for six months. Director Kaouther Ben Hania’s The Voice Of Hind Rajab finally opened in cinemas on Friday (June 19) across 80 screens in India. While the film hasn’t secured a wide release or packed halls from day one, distributor Manoj Nandwana says the initial response has been encouraging, with interest emerging from unexpected corners of the country.

Nandwana says curiosity around the movie is steadily building despite its limited release. He urges people to judge the film after watching it rather than relying on what is written about it.

“See what message the film is trying to give. Even foreign ministry officials who watched it before the Central Board of Film Certification [CBFC] screening, said that it was a completely different film from what they had expected,” he shares.

The distributor believes younger audiences are driving the interest, especially in smaller towns. In Deoria, Uttar Pradesh, a group of nearly “100 people approached a theatre because they wanted to watch the film”.

Calls from Nagpur also pleasantly surprised him, considering it is a foreign-language film. “In Chennai, a few shows are already houseful. A lot of people between 15 and 30 years of age are returning to cinemas. That’s a good sign for the industry,” adds Nandwana.

The 2025 docudrama traces the real-life tragedy of Hind Rajab, a five-year-old Palestinian girl trapped in a bullet-riddled car in Gaza City, surrounded by he dead relatives.

Artificial Intelligence (AI) may be flooding the internet with infinite songs and cloned voices, but musician AR Rahman is approaching it from the inside. In July 2025, the composer announced that he is joining forces with Sam Altman’s OpenAI to create Secret Mountain, a virtual global band driven by AI. Even as he explores the possibilities of the rapidly advancing technology, Rahman is clear about one aspect.

“Anything on social media could be AI — songs, voices, everything. But what it cannot give you is the human experience,” he told mid-day at a Yamaha event in Chennai on March 22.

Many artistes around the world are worried about the threats that AI poses and have taken measures to protect their creative identity. The musician, however, is confident that an artiste’s emotional depth will be their biggest advantage.

He elaborated, “When everything becomes mass-produced, you start losing that emotional depth. I think the value of human experience will only grow. People will seek authenticity again. Look how the demand for concerts and live performances is blowing up. That’s something you can’t fake. The key is to not lose that individuality.”

At the event, Rahman was signed on as the ambassador for the brand, whose ‘Made In India’ initiative supports the talents at the maestro’s school, KM Music Conservatory.

Opening up about his school, he shared, “When my father passed away in 1976, we would rent out his instruments to make ends meet. There was a time when I couldn’t afford instruments. Today, I try to give opportunities to others in a similar position. My idea is to build a creative hub in India because art is the only thing that can heal you.”

As the comedy classic Malamaal Weekly completed 20 years since its release, actor Rajpal Yadav marked the milestone on March 10 by sharing a video compilation of his comic moments from the film on social media. Along with the clip, he wrote, “Yakeen nahi ho raha ki 20 saal ho gaye! Bajey ko aur film ko itna pyar dene ke liye aap sabka dil se shukriya.”

Looking back, the actor describes the film as one of the most memorable experiences of his career. He shares, “Malamaal Weekly hamare jeevan ki ek bahut yaadgaar film hai. We shot the film in Karaikudi, Tamil Nadu, and the whole experience there was wonderful. Wahaan jogging, shooting, shirting, sab hoti thi (laughs!). My character was offbeat and humorous, and the film carried elements of black comedy as well as a comedy of errors. Through this role, I could explore many dimensions of performance. Since I am also a common man and represent the common man, I feel a natural connection with such roles. I’m very happy that even after 20 years, MW continues to hold its place.”

He also recalls how his distinctive look in the film came about. He says, “During Malamaal Weekly, my hair had grown quite long, but Priyan ji didn’t want that look. Toh Chennai ke jo makeup dada the, maine unka get-up dekha aur ussi se inspire hoke ek look bana kar Priyan ji ke paas gaya. He approved it, so my hair was saved from being cut. The look eventually turned out quite different. Mentally bhi woh character kaafi alag tha, isliye woh experience mere liye bohot yaadgaar raha.”

One particular scene still stands out for the laughter it created on set. He shares, “There is a scene where Riteish Deshmukh and I get into an argument, after which I go to my sister and say I want to get married. She asks, ‘Kisse?’ and I say, ‘Ladki se.’ Then she asks, ‘Pyaar kab hua?’ and I reply, ‘Abhi aadha ghanta pehle.’ ‘Aadha ghanta pehle’ wali line par sabko hassi aa gayi thi, and the whole set had a very lively atmosphere.”

Working with director Priyadarshan has always been a learning experience for him. He says, “Priyan ji khud bhi ek actor hain, isliye woh har actor ki capability ko bahut achhi tarah samajhte hain aur timing ko bhi bahut clearly explain karte hain. Chahe role chhota ho ya bada, he makes sure it is properly shaped on screen, because har moment ek learning moment ban jaata hai. Hamari association kaafi purani hai. It started with Hungama and continues even today. Woh alag-alag situations create karke actors ko surprise bhi karte hain, aur humein bhi honesty ke saath dhamaal karne ka mauka milta hai.”

On the film’s timeless appeal, he says, “Some films like Malamaal Weekly, Jaane Bhi Do Yaaro, or Angoor are special. Inse achhi ya alag filmein ban sakti hain, lekin waisi filmein dobara nahi ban sakti. They are as enjoyable to watch as they are to be a part of.”

If there’s one thing Prabhas is known for beyond his roles, it’s his love for food, a passion that even left director Om Raut stunned during the shoot of Adipurush (2023).

During an interaction for the film Couple Friendly with actors Santosh Shobhan and Manasa Varanasi, Prabhas recalled, “When I was shooting in Mumbai for Adipurush, it was my cheat meal day. I was with Raut, and told him, not Mumbai, I would get him special food from somewhere else (Chennai). He kept waiting, and it was taking hours. I wasn’t letting him eat anything else.”

As the wait stretched on, Raut grew curious about the delay. That’s when Prabhas revealed the surprising truth. “He was shocked. I told him that someone was bringing a hot meal on a flight from Chennai for us. Raut was like, ‘I’ve never seen someone like you in my life’,” the 46-year-old actor added.

Explaining why he goes to such lengths, Prabhas said, “We get the food in Hyderabad, but that authenticity is missing. People joke whenever I have cheat days about which state my meal will be brought in from.”

Producer Boney Kapoor has acquired the remake rights of the Tamil political satire Thalaivar Thambi Thalaimaiyil (TTT) for Hindi and other North Indian languages.

A source close to the development tells Mirror, "Boney Kapoor saw the film in a theatre in Coimbatore while he was there for a Celebrity Cricket League. TTT was a Pongal release. He loved the film and approached the producers."

The talks are said to have progressed in Chennai last Friday, where the team of Thalaivar Thambi Thalaimaiyil hosted a success party following the film’s positive response. "Last Friday success party of the film happened in Chennai, boney ji was invited for that. This discussion happened there," the source adds.

The deal was subsequently closed with Mr Kannan Ravi. When contacted, Kapoor confirmed the acquisition but stayed guarded about his plans. “Yes, I have acquired the rights of the film, but I cannot comment more than that,” he told Mumbai Mirror.

Thalaivar Thambi Thalaimaiyil is a rooted Tamil political satire about a village panchayat leader who must navigate a chaotic clash between a wedding and a funeral happening on the same day, forcing him to mediate family feuds, ego clashes and community tensions while trying to keep peace. The original Tamil film Thalaivar Thambi Thalaimaiyil was directed by Nithish Sahadev, a filmmaker celebrated for his work on the Malayalam hit Falimy and making a notable mark with his Tamil debut in this satire. 

Sahadev also co-wrote the script, bringing a sharp yet humorous perspective to everyday village politics. The film stars Jiiva in the lead role, whose performance as the village panchayat leader has been widely praised for its charm and emotional depth. He is supported by veteran actors Thambi Ramaiah, Ilavarasu, and rising talent Prathana Nathan, among others, whose ensemble brings the quirky story to life with strong chemistry and memorable character work.

As Rang De Basanti completes 20 years today, the film’s music, composed by A R Rahman, continues to resonate across generations. From Luka Chuppi, voiced by the late Lata Mangeshkar, to Masti Ki Paathshala, the soundtrack remains as popular as ever.

Reflecting on the milestone, filmmaker Rakeysh Omprakash Mehra, who directed the film, says, “I believe the film has turned 20 years younger instead of 20 years older.”

Recounting memories from the making of the film, the 62-year-old says, “Just when we were to shoot the film I had a severe case of jaundice and was hospitalized but we started rehearsals since I had everyone’s dates locked. So I believe blessings come in disguise,” he says.

Mehra adds that much of the film’s music was conceptualized early on: “We had the film recorded like a radio program before we started shooting. I took that recording to A R Rahman in Chennai. He sat on his piano and started making the track based on the recording. The process with A R is, we talk a lot about the film, the characters and the reason I’m making a film. We enjoy meals together, go from drives and music just happens”

Sharing trivia about Luka Chuppi, Mehra reveals it was never part of the original plan: “The film was complete and we were doing the background music. When A R saw the scene he just stopped and composed that song.”

Playing down the recent controversy around Rahman’s remarks about his reduced workload, Mehra focused instead on the timelessness of the composer’s music, saying, “I love his music, good work is timeless. When you listen to songs by composer-duo Shankar-Jaikishan, singer Mohd Rafi and lyrisict Gulzar, you savour it. We are blessed that AR has given us such beautiful music.”

Singer Usha Uthup, who was in the city recently, reflects on a life and career deeply intertwined with Chennai, the city which, she says, shaped her. In an exclusive conversation with us, she also talks about her enduring love for the Margazhi season, being called India’s first true crossover pop icon, the evolving world of music driven by social media and more. Excerpts:

Madras is where I started, and the city has shaped my music, my discipline and my worldview. Madras audiences are extremely discerning and truly understand music, and I’m deeply grateful for that. Thank God for the Kanjivaram sari and the malli poo — I thank Madras for everything. People think Madras is conservative, but the city accepted me with open arms, and that is what makes its audience so special. The film music scene here is unparalleled, with extraordinary musicians and legends like Ilaiyaraaja sir, AR Rahman and so many fantastic musicians and singers.

The Margazhi season is just fantastic, and I would say it’s one of the biggest music festivals that happen anywhere in the world. Performing in Madras always makes me a little nervous, but that only pushes me to be better than I was in my last show. I work very hard at constantly improving myself as a musician. I always strive to perform my best for the knowledgeable Madras audience. I’m happy to be on stage in Chennai every time.

Across five decades I have sung pop, jazz, film music, regional, international, and devotional — all kinds of songs. If you ask which phase of my career truly changed the way India listened to music, I don’t know if that’s something I can claim. But I do believe I changed many things because of the timing of my presence on the scene.

People began listening to music differently — at least to my kind of music. I started in 1969, when there were not many women dressed the way I was, when women artistes constantly faced strong stereotypes. But that never deterred me because I was never in that race. I think that broke several barriers and ceilings. I realized that what people might call my limitations or weaknesses often became my strengths. It’s not about how good or bad a singer you are, but how original you are. I’ve been 100 per cent original, never tried to copy anyone, and I’m very comfortable in my own skin.

For me, everything just happened naturally. I never really did anything consciously to bridge global music with Indian audiences. I had no influences in my life except the radio and my own family (her two elder sisters also sang). There was no planning, strategy or positioning — I just sang because I loved singing and wanted to make people happy. If my music ended up connecting people across cultures or languages, that was a wonderful bonus for me.

I never once thought of giving up singing or stepping away from the stage, because for me, being on stage is everything. Along with that, my family gave me incredible support. In fact, even during the most trying times, music has made life better for me. It has kept me afloat, kept me on stage, and kept me going, earning me so many accolades and giving me so much.

At the International Film Festival of India (IFFI) in Goa, actor Ranveer Singh courted controversy when he mimicked daivas on stage. Now, Kantara actor-director Rishab Shetty has commented on the incident at an event in Chennai.

Without naming Ranveer, Rishab spoke on stage about how there’s always a risk when making a film like Kantara that culture and tradition may be reduced to pop culture. He stated that as a filmmaker, he took the guidance of several elders to ensure that everything was portrayed with respect.

He said that once a film releases, people tend to mimic it. “That makes me uncomfortable. While much of the film is cinema and performance, the daiva element is sensitive and sacred. Wherever I go, I request people not to perform it on stage or mock it. It is emotionally deeply connected to us”, said Rishab.

Controversy arose when Ranveer mimicked daivas while meeting Rishab at IFFI, ignoring his request not to. Ranveer later apologised on Instagram, saying he respected all cultures and traditions.

I was disappointed, but not because I expected someone to rescue me. I think I proved that we’re all capable of speaking for ourselves. But having said that, we are a team. My encounter went on for 10-12 minutes. As human beings we have a certain threshold, a limit to how much we can take. In the eighth or ninth minute, the victim mindset did kick in: why is nobody speaking in my support? Am I saying something wrong? It makes you question things. If the director and actor had taken a firm stand, it wouldn’t have escalated the way it did. I did speak to them later and they regretted not speaking up. I’m not someone who carries a grudge. But I think it’s a lesson. Sometimes, it’s better not to expect anything from anybody.

We’ve grown up hearing such comments and it has become normalized in society. In our homes, in our workplaces... Just because we are in this industry does not give anybody the right to comment on anything and everything. This must change because it affects the recipient’s mental health, self-esteem, and self-identity. I wanted to create awareness that this can’t go on casually.

It’s not just in this industry. In school, I was shamed because I wore a ponytail. Teachers casually said things like, “Oh, you’re trying to seduce the boys.” It leaves you feeling terrible because you’re not doing anything wrong. At 13 or 14, you just want to dress up and look good, but they put these ideas in your head. If you’re always scared of being judged, where is the space to be yourself? Once I entered the industry, I was body-shamed by directors and producers. If a director says you need to look a certain way for a role, that’s fair, and as actors we work hard. But something like your face shape can’t be changed. I have a round face. Asking me to lose the roundness is impossible. It takes a lot of courage to be in this industry where you’re always judged for how you look or what you’re wearing. My reaction that day was a build-up of facing this for many years.

It is definitely tiring. Everywhere you go, you’re commented on, made fun of, judged. In my case, the question was asked on such a public forum with so many cameras, and still he felt entitled enough to put me down. That’s why I said, ‘This is not okay.’ But having to retaliate to each and everything would take up so much of my time – time that I should spend focusing on my work.

Yes, I think so. (Singer and voice artist) Chinmayi Sripada, who’s my friend, is an example. She has been blacklisted from the industry only because she spoke up about #MeToo. Another example: after the case in Kerala involving the AMMA Association, the actress was kicked out, but the perpetrator stayed, at least at that time. (Actor) Parvathy Thiruvothu is another example. She speaks openly about issues, and I’ve heard that some filmmakers have labelled her “problematic”.

If you come in with the attitude of, “Oh, she’s too problematic,” or “She’s a drama queen,” or “She’s too feminist”, then I feel like I’ve done myself a favour. These are people I wouldn’t want to work with anyway.

Whether in South or the rest of India, there isn’t a conventional standard set for men. Of course, there’s the six-pack and the very fit look. But even then, many successful and older actors look just the way they are, and no one questions them. Having said that, my colleague Pradeep Ranganathan, during promotions for his movie ‘Dude’, was told he doesn’t conventionally look like a hero. So, I wouldn’t say only women go through this, but women face it far more. This, however, is not about man-woman. People should stop judging others for their appearances. We are public personalities, but we are not public property.

Oh, they call it light-hearted. In my case, they even said maybe I didn’t understand the question because I’m from Kerala, but I was brought up in Chennai and I speak fluent Tamil. When you don’t have valid points, you say things like, ‘You didn’t understand because you’re not from here.’ This is gaslighting. At one point, the vlogger even said, “The question was not to you, why are you reacting? Just calm down.” It was so patronizing. In fact, I even asked him, ‘Would you ask the hero this question? You’re asking the hero about my weight and you’re angry that I am responding.’

You haven’t asked me anything about my work, my preparation, my character, the challenges, nothing. You only asked about my weight, and that too to someone else, while I am sitting right there.’ He then said something like, “We can’t ask you (questions) about Donald Trump and Narendra Modi and politics, right? We can only ask you these kinds of things.” And I was like, what do you mean? I might know more than you. They assume women don’t read current affairs, that we’re just arm candy meant to look pretty.

Recent reports had suggested that Vidya Balan will be sharing the screen with Rajinikanth (74) in Jailer 2. HT City has now confirmed the news; the 46-year-old will indeed be a part of the film, marking her full-fledged Tamil debut after a brief appearance in Nerkonda Paarvai (2019). The film has reportedly completed more than half of its shoot.

A reliable source from the production reveals, “Vidya plays the role of (actor) Mithun Chakraborty’s eldest daughter. Mithun is the leading antagonist in the film and will be seen alongside (actor) Rajinikanth sir.”

The source further adds, “The film is currently being shot in Chennai and will move into post-production by January.” After wrapping up the Chennai schedule, the team will reportedly move to Goa for the remaining two months of shooting starting late October.

The makers of the Nelson Dilipkumar directorial are aiming for an August 2026 release. Attempts to reach Vidya and her team went unanswered but a representative from the film shared, “It’s too early to say anything.”

If films come with their own destiny, Bad Girl was always destined to reach the Tamil and Hindi-speaking audience. Varsha Bharath’s maiden directorial venture was released in Tamil on September 5. Now, the Hindi version of the movie, which sees Anjali Sivaraman as a teenage girl navigating lust and love in Chennai, is set to hit theatres on September 26.

Bharath remembers that right after scripting, many suggested she make the coming-of-age film in Hindi. “Many people asked me, ‘Why don’t you make this in Hindi? They have female leads who can mount a project without any hero.’ I was told this would make a great Hindi film. Also, the audience is much bigger for a Hindi movie. In Tamil cinema, you’re likely to have a big audience if you make something that is connected with the rural audience,” she explains.

But the director and writer were certain that she wanted to tell the story in a language and world she understood the best. “I didn’t know the world [of the Hindi audience] nearly enough. Authenticity is a big part of the movie. I didn’t feel confident about setting this anywhere but in Chennai. But I realised the story is universal as feelings are universal,” she says, before quipping, “Now I joke that I’m a pan-India  filmmaker.”

With Bad Girl, Bharath also feels a sense of vindication. Earlier, on seeing the trailer, many had claimed that the movie promoted underage drinking and showed the Brahmin community in a negative light. That changed after the release.

“A conservative YouTuber wanted my film boycotted. After watching the film, he said that he was wrong and the movie is nothing like he had imagined. Everything that happened after the trailer came out, boiled down to nothing after the movie was released. I wanted to make a film that women can watch with their mothers because of late, there has been no film that I want to take my mother to.”

The director found two champions in producer Vetrimaaran and presenter Anurag Kashyap. “Vetrimaaran gave me a free rein. It’s only after I edited the film that he gave me feedback. So, I had the space to make mistakes and learn,” she says, before praising Kashyap.

“They’d nudge me in a certain direction instead of telling me exactly how they’d do it. The most exciting part was having two people who told me, ‘You’ve made a good film, now let us take care of the rest’.”

Even before Manoj Bajpayee’s Jugnuma opened to rave reviews, it found support from filmmakers across the country. While Anurag Kashyap and Guneet Monga Kapoor presented Raam Reddy’s directorial venture, several South filmmakers, including Vetrimaaran, Lijo Jose Pellissery, and Nag Ashwin, unveiled the film’s trailer on social media. When we caught up with Bajpayee before the movie’s release, he expressed gratitude for his peers’ support.

“All of them are friends. Whenever I’m in Chennai, I meet Vetri. I admire his films. There is also [Thiagarajan] Kumararaja from Chennai, and so many makers from Karnataka and Kerala. We connect because our choices are the same,” he said, giving a special shoutout to Kashyap for bringing the filmmakers together to rally behind Jugnuma.

In the last few years, the lines between Hindi and regional cinema have blurred with many Bollywood actors teaming up with South filmmakers. Can we expect a collaboration between Bajpayee and these filmmakers, considering the actor’s cinematic sensibilities match with them?

“Their only complaint is that I don’t know the language. Otherwise, we are all mutual admirers. In fact, I would love to associate myself with Vetri,” said the actor.

Raveena Tandon is making a return to Tamil cinema after 24 years (her last Kollywood outing was Kamal Haasan’s Aalavandhan in 2001) with Lawyer, starring Vijay Antony. In a chat with us, the actress shares that she is excited to work in Tamil again after all these years and delving into how she picks her films, says, “Obviously, the role should be good. And you have to have faith in your director. So, it's a combination of everything.” Excerpts:

The actress reveals that she has always loved filming in the South and adds, “I was wondering why I get less work in the South. Whether it's Tamil, Telugu or Kannada cinema, just being down south is an enjoyable treat. I love the kind of work done here, and I want to work here more often. I'm also a fan of South Indian food. Even in the ’90s, I used to go back to Mumbai after filming here and tell people that it’s so refreshing in the South because everyone's so focused. The films made here are deeply rooted in the culture, traditions, and rituals of the place they are set in. Therefore, people can identify with films on a mass level.”

Now that she is back on a Tamil film set, Raveena informs us that she is “refreshing and polishing my Tamil again”. She elaborates, “Once I go back to Mumbai, I forget the language because no one talks in Tamil there. So now, I'm catching up with Tamil words again. Everyone here gets surprised when I speak the language and ask me, ‘Oh, you remember Tamil?’ I say, 'Yeah, it's all coming back to me.’ Tamil is a beautiful language. The actual ethos of India comes from all our indigenous languages.”

Raveena tells us that she currently doesn't have any aspirations and is rather going with the flow. “It's great to work with young blood because they've got fresh and innovative ideas. Working with them keeps you updated, and you also get to enjoy different working styles. I keep hearing of such superb new directors, music composers, and talent coming up from the South, and that is always very tempting. I want to work with many directors from the South. I also want to do a film with my Hyderabad gang again,” states the actress.

Raveena has a rather interesting take on essaying grey characters. “I enjoy playing grey characters. You might watch a character and think that they are grey, but in their mind, they are only doing what they think is right for them. For example, in KGF - Chapter 2 (2022), my character (Ramika Sen) was not grey. She was doing what was right for her country. It's our perception that makes us think who's a grey character and who's not,” she shares.

Elaborating on her experience working on Lawyer, Raveena reveals, “Although I have played a lawyer in Patna Shukla (2024), my character in Lawyer will be completely different. When I heard the film's plot from director Joshua (Sethuraman), I loved it. We are now shooting at such a pace that I feel two films can be made here in the time they shoot one in Mumbai or anywhere else in the world. And I'm thoroughly enjoying it because I hate wasting time. Wastage of time is wastage of the producer's money. I like it when the whole team is out there and working hard with josh.”

Quiz her about KGF - Chapter 3 — the third film in the action franchise, starring Yash — and she says, “I think the makers wanted to give the franchise a break because they didn't want the third film to come out very soon. They wanted to give it a little time so that people's curiosity would increase. I'm keeping my fingers crossed and hoping that a third film happens.”

Amid backlash over his comments that Kannada was born out of Tamil during Thug Life promotions, Kamal Haasan responded on Wednesday, saying he meant no offence. “What I said was with a lot of love,” he said.

According to PTI, he added that historians have shaped his understanding of language, and any in-depth discussions should be left to experts. “This is not an answer [but] an explanation. Love will never apologize,” he concluded, hinting at the criticism from pro-Kannada groups and the Bharatiya Janata Party (BJP)

Meanwhile, the Congress and the BJP have jointly condemned his remarks immediately after they came to light on Tuesday. BJP leader R Ashoka called Kamal a “mental patient”, while Karnataka CM Siddaramaiah dismissed the actor’s claims as “misinformed” and added that he is “unaware” of Kannada’s deep-rooted history. htc

Controversy erupted when Kamal Haasan, at the audio launch of his upcoming film in Chennai earlier this week, said, “My life and my family are the Tamil language.” Turning to Kannada star Shiva Rajkumar, who was also present, he said, “This is my family in that place. That’s why he (Shiva Rajkumar) has come here. That’s why I began my speech saying life, relationships and Tamil. Your language (Kannada) was born out of Tamil, so you too are included (part of it).”

Pro-Kannada group Karnataka Rakshana Vedike filed a police complaint on Wednesday, as calls to boycott the film grow. The Karnataka Film Chamber of Commerce had also announced that they would discuss a possible ban.

Once in a while, actors come across scripts that they know will be a legacy film. To R Madhavan, that happened with director Karan Singh Tyagi’s Kesari Chapter 2. “It’s a film that will transcend time. Rang De Basanti [2006] was one of them, 3 Idiots [2009] too. You get the feeling in your bones. During 3 Idiots, I told Raju [Rajkumar Hirani] that he will have a tough time trying to beat this one. The same goes for Karan Singh Tyagi,” grins the actor.

In Kesari Chapter 2, the director offers a dramatized version of history with Akshay Kumar’s C Sankaran Nair fighting the British Raj’s attempt to underplay their role in the Jallianwala Bagh massacre. Madhavan plays Neville McKinley, the lawyer representing the Crown. His character may not be at the front and centre of the narrative, but fits perfectly with Madhavan’s pursuit of meaningful stories, regardless of his screen time.

He explains, “I want to be a pixel of a larger story. If the story works, all of us benefit. I don’t take my stardom seriously, which is why I do the kind of films I do. If I took it seriously, I’d want to know my screen [time], or who’s standing in front of me. You can ask any of my producers. I’ve never asked them, ‘What’s the size of my picture on the poster?’”

The senior actor walked into the period drama knowing that it was being made “for the right reasons”. His belief was further strengthened by Kumar’s involvement. He recalls, “Two weeks before the release, Akshay sir called me at 4 am. He said, ‘Our clash is going well, but in the end, my character wins fair and square. I don’t want you to be the guy who is forgotten.’ He wanted a closure scene. He flew down from Chennai, I did from Dubai. We shot it two weeks before the release. When people are going out of their way to do a job, you know it’s a special project.”

At this stage of his career, Madhavan’s attempt is to find movies with “soul”. “I’ve never seen the audience wait till the last credit rolls, [which happened here]. A film gets a destiny when the final edit is done. There could be a big film that doesn’t have a soul. At other times, it could be a small film done for the right reasons, and boom, it becomes a Tanu Weds Manu, or this.”

Often, Janhvi Kapoor has expressed her desire to take forward her late mother Sridevi’s legacy by working in the Tamil film industry. Her wish may be materializing soon as rumours, over the past few weeks, have indicated that she is set to make her Tamil debut with Pa Ranjith.

Now, mid-day has learnt that the project in question, backed by the filmmaker’s Neelam Productions, is a woman-centric web series. If things work out, it will also mark Kapoor’s web series debut.

A source close to the project reveals, “Janhvi has been in discussion with Pa Ranjith for over three months. The dates weren’t working out. The series is right up the filmmaker’s alley as it explores social issues and oppression.”

Kapoor is currently shooting for Param Sundari opposite Sidharth Malhotra. The Tushar Jalota-directed romantic comedy is expected to be wrapped up by early June. A production executive, on condition of anonymity, shares, “After completing Param Sundari, Janhvi will immediately fly to Chennai to begin prep for the Tamil series.”

We’ve heard that shooting could commence as early as July.

“Music, for me, is about freedom and expression. It’s a way to cut through challenges, to meditate, to emote. I’ve been fortunate to listen to diverse musical styles from across India and the world,” says singer and music director Shekhar Ravjiani, who is part of the popular Bollywood composer duo Vishal-Shekar and is known for hit songs like Chammak Challo, Ishq Wala Love, Meherbaan, among others.

The composer, who was in Chennai recently, shares his fond memories of the city, his perspective on the divide between the north and south music, his favourite South Indian musicians, and more...

I don’t believe Bollywood music’s golden era is over. Our films and music are still celebrated globally. Look at Chhaava — it has broken all box office records. If a film is honest and well-made, it will always be successful, and the same applies to music. If music is truthful and heartfelt, the audience will always connect with it.

I don’t see music as north vs south or east vs west. Music transcends all boundaries. If you go to dance classes in Mumbai, Tamil songs are hugely popular. People don’t think of them as ‘South songs’ — they just enjoy the music. Similarly, audiences in the south have showered love on my songs like Chammak Challo and Om Shanti Om.

AI can make things more convenient and speed up certain processes, but it can never replace human emotions. AI doesn’t have a heartbeat, it doesn’t feel pain, and it doesn’t fall in love — so how can it write a song? I might use AI for research or administrative tasks, but never for creativity. That’s where human beings excel.

For film music, I start with the director’s vision — understanding the character, their emotions, and the scene where the song fits. Once I have that clarity, I build the melody, rhythm, and ragas accordingly. For independent music, the process is entirely different. Here, I am my own director. I decide the theme, the emotions, and the lyrics. It’s a personal expression — there is no screenplay, no restrictions, just pure creativity. I love learning, experimenting, and collaborating with different musicians.

I have been coming to Chennai since Om Shanti Om (2007) for string recordings and arrangements. Many songs for Chennai Express (2013) and Home Delivery (2005) were produced here, too. One of the highlights of my career was recording at S P Balasubrahmanyam sir’s studio. That moment felt like a milestone in my life — like I had achieved something in life. Chennai’s musicians, people, and food are truly special. On every visit, I look forward to stopping by this popular hotel chain just to have podi idli!

Music Maestro A R Rahman, who was admitted to the Apollo Hospital on Sunday after suffering from dehydration symptoms, was discharged after a routine check-up, the hospital said in a statement. The Oscar-winning music maestro was hospitalized after a bout of dehydration and neck pain following travel, his team said today.

"A R Rahman visited Apollo Hospitals, Greams Road this morning with dehydration symptoms and got discharged after routine check-up," the medical bulletin of the hospital read.

Amid his hospitalization, his wife Saira Rahman send her good wishes to him. In an audio message provided by Rahman’s wife Saira Banu, she told mid-day, "Asalam Alaikum, this is Saira Rahman here, I wish him a speedy recovery. I just got the news that he got chest pain and an angio was performed on him. With the blessings of the Almighty, he is doing fine now, and there’s nothing to be worried about."

While Saira and Rahman had announced their separation last year, the former also cleared that they are still husband and wife, legally. "I also wanted to tell everyone that we are not officially divorced, we are still husband and wife. It’s just that we are separated because of my health issues. Since the last two years, I havent been doing well and I didn’t want to stress him out. But please, I would request the media to not call me ‘ex-wife’ as we are only separated but all my good wishes are still with me. I also want to tell everyone, especially his family that do not give him any kind of stress and to take care of him," she said. 

The music maestro's team also refuted "fake" reports, which claimed he had been admitted to hospital following "chest pain". "It's fake news (on heart issues) spreading now. Rahman went to hospital because he got dehydrated and has neck pain due to travel," A R Rahman team said.

Rahman, 58, is currently busy with his music projects and several gigs. The singer had joined Ed Sheran during his Mathematics Tour concert performance in Chennai last month. He is also set to compose music for the Dhanush and Kriti Sanon starrer 'Tere Ishk Mein', which is a spiritual sequel to the blockbuster film Raanjhanna. It is directed by Anand L Rai.