Entertainment

The Thyaga Brahma Gana Sabha’s Sri Jayanthi festival featured Archana and Samanvi where the vocalists demonstrated how Krishna has inspired a wide body of compositions. Their choice of repertoire, spanning Muthuswamy Dikshitar’s kritis, Purandaradasa’s devarnamas, Oothukadu Venkata Kavi’s creations, Papanasam Sivan’s Tamil pieces, and the devotional Pasurams of Andal and Ashtapadis of Jayadeva, offered variety. They were supported by Haritha Narayanan (violin), Aduthurai Guruprasad (mridangam) and S. Harikishore (kanjira).

The concert opened with Oothukadu’s ‘Ranganatham anisham’, a kriti known for featuring of the names of alwars and other devotees of Vishnu in one of its charanams, set in Gambeera Nattai. True to the composer’s characteristic verve, the piece unfolded on a vibrant note, setting the tone for the evening.

From there, the duo moved to Purandaradasa’s ‘Gopiya bhagyavidu’ in Kapi Narayani, tuned by their guru Arvinda Hebbar. The composition dwells on the bhagyam of Yashoda to bathe Krishna, sing him lullabies and shield him from the evil eye.

Archana and Samanvi accompanied by  Haritha Narayanan (violin), Aduthurai Guruprasad (mridangam) and S. Harikishore (kanjira).
| Photo Credit:
VELANKANNI RAJ B

The next segment featured Dhanyasi, with Samanvi shaping a thoughtful alapana that was ably supported by Haritha. This was followed by Sivan’s ‘Balakrishnan padamalar’.

There were occasional moments of vocal misalignment, when the singers didn’t seem to be in sync. The percussionists lent a lively support. The niraval at ‘neela mugil pol azhagan’ was engaging and flowed into a round of kalpanaswaras.

The concert then moved to Dikshitar’s ‘Krishnananda mukunda murare’ in Gowli Pantu, distinguished by its use of shuddha madhyamam. Archana’s alapana in Karaharapriya carried weight, though she briefly paused midway before resuming. The violin’s responses were pleasing, setting the stage for Oothukadu’s ‘Rasa keli vilasa’, the main piece of the day. While the charanam saw both vocalists momentarily falter over the ‘sahrda hrdi’ passage and correct themselves, the kalpanaswaras in two kaalams were neatly executed. The segment concluded with a lively tani, where the mridangam and kanjira engaged in spirited dialogue.

To conclude, the vocalists chose two lighter yet substantial compositions — Andal’s ‘Karpooram naarumo’, from Nachiyar Tirumozhi, was sung in Khamas with charm, followed by Jayadeva’s ‘Nijagada sa’, in Sindhubhairavi. Both pieces made for a fine finale to a concert dedicated to Krishna.

Last November, Candlelight Concerts made its debut during Margazhi festival in Chennai, known for its inclusion in UNESCO’s Creative Cities Network for Music. 

Candlelight Concerts, helmed by Live Your City, has till date hosted over 20 shows in Chennai. And now, it is gearing up for another stellar performance. Titled ‘Candlelight Shruthilaya — Tribute to Carnatic Legends’, it will feature flautist J.A. Jayant and will be held at Bharatiya Vidya Bhavan on August 22 (5.30 p.m.).

Candlelight Concerts, as the name suggests, is known for its candlelit ambience. “We provide a quiet, focused and contemplative space lit by LED candles,” shares Pranjal Begwani, team lead (India), Candlelight.

Talking about the show, Jayanth says, “One’s music is often influenced by the ambience. Hence, it’s important to curate Carnatic concerts in beautiful spaces, which offer a visual appeal. It impacts the way the audience absorbs, understands and reacts to the music — from an upbeat Khamboji and a powerful Thodi to a lilting Behag. This concert will be an experience unlike any other.”

J.A. Jayanth
| Photo Credit:
Special Arrangement

According to Pranjal, “The city’s musical identity is respected worldwide, and in this space, our aim is not to compete with traditional forms, but to complement them with a new and distinctive format. Collaborating with Jayanth for Candlelight’s first-ever Carnatic-themed concert worldwide reflects our commitment to showcase local talent, whose music bridges the classical and the contemporary.”

The team has worked with Jayant twice — he began 2025 with a Candlelight Concert at the Museum Theatre, Egmore, alongside his fusion band, Hues and Harmony (Indian Bamboo Flute Project), and followed it up with another set of shows in May. 

Jayant says the audience can expect a proper Carnatic concert with well-known and rare kritis. “There will also be an unexpected twist, which I hope the audience enjoys,” says Jayanth.

The concert comprises two sets: Carnatic, where Jayant will perform with Bharadwaj followed by “A tribute to A.R. Rahman’ (8 p.m.), featuring V.G. Vigneshwar on the keyboard and Praveen Narayan on the tabla.

Tickets on LiveYourCity.

The Central Board of Film Certification (CBFC) on Wednesday (August 20, 2025) told the Madras High Court that Sun TV Network Limited had refused to make the necessary cuts required for the issuance of a U/A certificate to Rajinikanth-starrer Coolie, and instead accepted an ‘A’ certificate, thereby making it impermissible for viewers below 18 years of age to watch the movie in cinema theatres.

Appearing before Justice T.V. Thamilselvi, Additional Solicitor General (ASG) AR.L. Sundaresan said: “At the time of hearing, it was proposed to them that if you want U/A certificate, some more cuts have to be made. They made an endorsement saying that we don’t want any cuts, but give us the ‘A’ certificate. They accepted the ‘A’ certificate and cannot turn a volte face now.”

The submissions were made during the hearing of a civil miscellaneous appeal filed by the production firm to quash the CBFC’s August 4, 2005, proceedings, through which an ‘A’ certificate was issued to the movie, and issue a consequent direction to the board to issue a U/A certificate. The ASG said, there was absolutely no urgency in hearing the appeal since the movie was released on August 14.

Opposing the request made on behalf of the production firm for an early hearing of their appeal filed before the High Court only on Tuesday (August 20, 2025), the ASG said, there was no dire urgency, such as a threat of eviction or demolition, in the present case, which would require the court to hear it on priority. He requested the court to grant time till August 25, 2025, for the CBFC to file a counter affidavit.

Listing out the sequence of events, he said, the production firm had applied for CBFC certification on July 28, 2025, and received the ‘A’ certificate on August 4, 2025. About 10 days later, the appellant chose to release the movie in theatres and a week after that, it had suddenly approached the High Court demanding U/A certification. It cannot insist upon an urgent hearing after such a long delay, the ASG said.

After hearing both sides, the judge said she would grant sufficient time for the CBFC to file its counter affidavit because nearly a week had gone past since the release of the movie.

In its appeal, the production firm said, it had produced Coolie to celebrate Mr. Rajinikanth’s completion of 50 years in the film industry, and the movie had become a “mega blockbuster” owing to its pan-India star-cast comprising Nagarjuna Akkineni, Aamir Khan, and others. However, the actor’s wide fan base, cutting across all age groups, were unable to watch the movie because of the ‘A’ certification, it complained.

The award-winning video game Sekiro: Shadows Die Twice is set for a new life on screen, with an anime adaptation titled Sekiro: No Defeat officially announced at Gamescom 2025. Produced by Kadokawa, Qzil.la, and ARCH, the series will stream globally on Crunchyroll in 2026.

First released in 2019 by FromSoftware, Sekiro: Shadows Die Twice quickly became one of the studio’s most celebrated titles, selling more than 10 million copies and earning Game of the Year honours. Set in a war-torn vision of Sengoku-era Japan, the story follows a skilled shinobi known as Sekiro as he strives to protect Kuro, the last heir of a sacred bloodline, while confronting enemies like the formidable Genichiro.

The anime promises to retain the game’s intensity and visual richness through hand-drawn animation. A debut trailer showcases an atmospheric duel between Sekiro and Genichiro, highlighting the same precision and tension that defined the game.

Director Kenichi Kutsuna called the project an ambitious undertaking. “We want this to be a truly unforgettable experience, both for long-time players and for those stepping into Sekiro’s world for the first time,” he said.

Voice talent from the original game is returning for the series. Daisuke Namikawa will reprise his role as Sekiro, with Kenjiro Tsuda voicing Genichiro and Miyuki Satou as Kuro.

Asa Suehira, chief content officer at Crunchyroll, praised the adaptation: “Sekiro: Shadows Die Twice is known for its precision and intensity, and those qualities carry through beautifully in this anime. We’re proud to bring Sekiro: No Defeat to audiences around the world.”

Prime Video has released the first trailer for season two of Fallout, confirming a December 17 premiere for the post-apocalyptic drama.

The new season picks up in the wake of last year’s finale, taking the story from the Mojave wasteland to the neon-lit ruins of New Vegas. The trailer, unveiled during Gamescom, teases an expanded scope with the introduction of Robert House, played by Justin Theroux, and the first appearance of a Deathclaw — one of the most feared creatures from the Fallout videogame series.

Flashback sequences also hint at a closer look at the origins of the nuclear war that devastated the series’ retro-futuristic America.

Returning cast members include Ella Purnell (Yellowjackets), Walton Goggins (The White Lotus), Aaron Moten (Emancipation), and Kyle MacLachlan (Twin Peaks). The first season, which ranked among Prime Video’s three most-watched original titles, ended with MacLachlan’s Hank MacLean fleeing in the chaos of the Brotherhood of Steel’s clash with Moldaver’s New California Republic raiders. Meanwhile, Lucy (Purnell) and The Ghoul (Goggins) set out together toward New Vegas.

Based on Bethesda’s long-running video game franchise, Fallout has been praised for balancing faithful world-building with new storylines. Season two promises to delve deeper into the politics and power struggles of New Vegas while exploring the fractured alliances left behind in California.

The series is overseen by showrunners Geneva Robertson-Dworet and Graham Wagner, with Jonathan Nolan, Lisa Joy, Athena Wickham, Todd Howard, and James Altman serving as executive producers.

Fallout Season 2 arrives December 17 on Prime Video.

Say “A bridge to nowhere”, every old-timer in Chennai knows exactly what you mean. Overseeing the Adyar estuary, this wasn’t a half bridge when it was built in 1967, initially helped fisherfolk travel from Adyar to Srinivasapuram. It was meant to be their shortcut. However, nature had the final word in 1977. A part of it collapsed into the estuary due to a strong current, never to be repaired again. It is no riddle, of course, the Broken Bridge.

Since then, the structure has lived more in stories than in function. Many chilling stories surround the bridge because of its abandoned appearance and the crime rates ran high; it is often feared by the public and unwelcome too. Yet, its very emptiness and past familiarity turned it into a sought-after shooting spot for many filmmakers. Notably, the 1971 film Rickshawkaran featured a song Kadaloram Vaangiya Kaatru where MGR and Manjula dance on the standing full bridge. For a whole generation of millennials, this bridge is etched as the stage of the iconic showdown in Aayutha Ezhuthu(2004), where Michael(Suriya) and Inba ( Madhavan) square off against each other, a confrontation that escalates into a brawl, all on that narrow strip of a bridge.

The bridge is a metaphor and has lent itself to every narrative in movies from newfound relationships to bitter clashes. For Uma Vangal, a filmmaker, film professor and Associate Dean, School of Media at Sai University, the broken bridge is more like a symbol of broken ties, a bridge between the present and the past. “In terms of visual appeal, this is well constructed for confrontation, beginnings and endings. There are so many narrative purposes for this bridge, it can either be a rupture or meeting point for three different stories,” she says.

In many films, the broken bridge often makes a fleeting yet memorable appearance. Song sequences like ‘Oh Sona’ in Vaali (1999), Aaru (2005), Yaya (2013) and others, the bridge appears for its aesthetic appeal and its image now laced in a sense of nostalgia.

The bridge becomes more symbolic in Chennai 600028 (2007), where the age-old trope follows: enemies to friends. In one of its scenes, Raghu (Jai ) approaches Karthik (Shiva) and tells he needs to speak privately and they find themselves at the broken bridge. In the background, in the far distance, fisherfolk carry on with their work. Here, there is a sense of tension because the characters have always been hostile to each other, what could have escalated into a tussle ends in a hug, all at the bridge, when a secret shatters the hostility.

However, to reduce traffic congestion, GCC has initiated steps to construct a cable-stayed bridge across Adyar, connecting Srinivasapuram and Urur Kuppam to replace the broken bridge. A private consultant was roped in for designing the concept. And yet, broken bridge has become immortal in a way, through cinema.

Say “A bridge to nowhere”, every old-timer in Chennai knows exactly what you mean. Overseeing the Adyar estuary, this wasn’t a half bridge when it was built in 1967, initially helped fisherfolk travel from Adyar to Srinivasapuram. It was meant to be their shortcut. However, nature had the final word in 1977. A part of it collapsed into the estuary due to a strong current, never to be repaired again. It is no riddle, of course, the Broken Bridge.

Since then, the structure has lived more in stories than in function. Many chilling stories surround the bridge because of its abandoned appearance and the crime rates ran high; it is often feared by the public and unwelcome too. Yet, its very emptiness and past familiarity turned it into a sought-after shooting spot for many filmmakers. Notably, the 1971 film Rickshawkaran featured a song Kadaloram Vaangiya Kaatru where MGR and Manjula dance on the standing full bridge. For a whole generation of millennials, this bridge is etched as the stage of the iconic showdown in Aayutha Ezhuthu(2004), where Michael(Suriya) and Inba ( Madhavan) square off against each other, a confrontation that escalates into a brawl, all on that narrow strip of a bridge.

The bridge is a metaphor and has lent itself to every narrative in movies from newfound relationships to bitter clashes. For Uma Vangal, a filmmaker, film professor and Associate Dean, School of Media at Sai University, the broken bridge is more like a symbol of broken ties, a bridge between the present and the past. “In terms of visual appeal, this is well constructed for confrontation, beginnings and endings. There are so many narrative purposes for this bridge, it can either be a rupture or meeting point for three different stories,” she says.

In many films, the broken bridge often makes a fleeting yet memorable appearance. Song sequences like ‘Oh Sona’ in Vaali (1999), Aaru (2005), Yaya (2013) and others, the bridge appears for its aesthetic appeal and its image now laced in a sense of nostalgia.

The bridge becomes more symbolic in Chennai 600028 (2007), where the age-old trope follows: enemies to friends. In one of its scenes, Raghu (Jai ) approaches Karthik (Shiva) and tells he needs to speak privately and they find themselves at the broken bridge. In the background, in the far distance, fisherfolk carry on with their work. Here, there is a sense of tension because the characters have always been hostile to each other, what could have escalated into a tussle ends in a hug, all at the bridge, when a secret shatters the hostility.

However, to reduce traffic congestion, GCC has initiated steps to construct a cable-stayed bridge across Adyar, connecting Srinivasapuram and Urur Kuppam to replace the broken bridge. A private consultant was roped in for designing the concept. And yet, broken bridge has become immortal in a way, through cinema.

Sun TV Network Limited has approached the Madras High Court against the grant of ‘A’ certificate by the Central Board of Film Certification (CBFC) to Rajinikanth-starrer Coolie, thereby making it impermissible for those below 18 years of age to watch the movie in cinema theatres.

Justice T.V. Thamilselvi on Tuesday (August 19, 2025) held as maintainable a civil miscellaneous appeal filed by the production firm against the CBFC’s decision and directed the High Court Registry to number the case and list it for admission before her on Wednesday (August 20).

The High Court Registry had doubted the maintainability of the appeal and listed the unnumbered case before the judge on Tuesday for taking a call on the matter. Central government senior panel counsel A. Kumaraguru, too, contended that the appeal was not maintainable.

However, senior counsel J. Ravindran, assisted by M. Sneha, convinced the court that the denial of U/A certificate to the movie by the CBFC could be challenged before the High Court by way of a civil appeal since a tribunal, constituted under the Cinematograph Act, 1952, had been abolished.

The senior counsel pointed out that Section 5C of the Cinematograph Act states that any person who applies for certificate in respect of a film and aggrieved against the issuance of a particular certificate could file an appeal before the tribunal constituted under the Act within a period of 30 days.

He also brought it to the notice of the judge that as per the Tribunals Reforms Act, 2021, appeals could be filed directly before the High Court, if the tribunal concerned had been abolished. Concurring with his submissions, the judge agreed to hear the appeal on Wednesday after it was numbered.

In its grounds of appeal, the production firm said it had produced Coolie in order to celebrate Mr. Rajinikanth’s completion of 50 years in the film industry and the movie had become a “mega blockbuster” owing to its pan-India star-cast comprising Nagarjuna Akkineni, Aamir Khan and others.

Stating that it had applied for CBFC certification for the movie on July 28, the production firm said it was shocked to receive an e-mail from the board on July 31, stating that the screening committee had found the movie to be celebrating violence and therefore, agreed to issue only a ‘A’ certificate. When the appellant requested for a review by the revising committee, the latter, too, ended up issuing only an ‘A’ certificate on August 4. Since the movie had to be released on August 14 owing to the booking of theatres worldwide, the producers chose to release it and then challenge the certification.

Stating that Rajinikanth has fans cutting across age groups around the world and men, women and children were eagerly waiting for the release of Coolie in order to celebrate the 50 years of his cinematic journey, the appellant said all those below 18 years of age had now been deprived of a chance to take part in the celebration.

The production firm also told the court that the CBFC had issued U/A certificates for movies such as Yash-starrer KGF and Vijay-starrer Beast, but had surprisingly chosen to issue a ‘A’ certificate for Coolie, though it does not contain as much violence as the other two movies.