Category: Entertainment

Amar Singh Chamkila Review: Diljit Dosanjh Is At His Very Best In Deftly Crafted Ode

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Parineeti Chopra with Diljit Dosanjh in Amar Singh Chamkila. (courtesy: diljitdosanjh)

Imtiaz Ali’s Amar Singh Chamkila, a lively, deftly crafted ode to the power of song and performance as tools of rebellion, opens with a violent death. The bullets end a music career and birth an undying legend.

The film embraces a range of contradictions. And why not? Amar Singh Chamkila is about a man whose art was dichotomous: entertaining and provocative, immensely popular and unapologetically profane.

The film is mournful and festive, animated and pensive, consciously crafted and seemingly spontaneous. It is an elegy to and a celebration of a songster who revelled in lyrics that frequently objectified women but was always delivered in the form of a male-female duet.

Amar Singh Chamkila mourns the loss of a young life but talks up the defiant spirit of a driven man whose music, no matter how lowbrow it was by orthodox and politically correct reckoning, broke the boundaries of mortality.

The film’s soundtrack is studded with Chamkila’s own songs (rendered by lead actors Diljit Dosanjh and Parineeti Chopra, among several others) and a complement of original compositions by A.R. Rahman ranging from the ballad-like and the romantic to the forcefully feminist.

Chamkila (played brilliantly by Dosanjh), his wife and co-singer Amarjot Kaur (Parineeti Chopra) and two troupe members were gunned down by unidentified assailants in Mehsampur, Jalandhar district, 36 years ago. That is where the Netflix film begins.

It then moves back and forth between the immediate aftermath of the singer’s daylight murder and the career signposts that see him and Amarjot blaze a trail in Punjab’s akhada (open-air folk music recital) landscape.

Scripted by the director with Sajid Ali, Amar Singh Chamkila captures a brief life and an eventful career that teetered on a razor’s edge and drew strength from the ruffling of feathers.

The high-spirited music he created and the strains of his tumbi contained his message of liberation from societal shackles, a statement of intent that seared itself permanently on people’s minds and kickstarted an exciting new phase of Punjabi pop.

The film tracks Chamkila’s life and explores his unprecedented stardom. Dhani Ram alias Amar Singh was born in the family of a poor alcoholic Dalit labourer. The two names that he bore turned out to be prophetic.

By the time he was 17, he earned both riches and immortality. In the next ten years, he toured the length and breadth of Punjab with his repertoire of songs. There wasn’t a day when the sought-after singer was not on the road.

The biopic spans from the point Chamkila acquires his nom de plume by accident and his initial struggles to find a suitable female singing partner to his quick and dramatic eclipsing of his mentor Jatinder Jinda (modelled on the real-life Surinder Shinda).

Chamkila’s runaway success riles his rivals and irks Punjab’s guardians of morality. His inter-caste marriage with Amarjot – she is a Jat, he a Ramdasia – puts him on a collision course with the village council.

Amid the peaking of militancy in the 1980s, his bawdy, no-holds-barred, double entendre-laden lyrics helped his fans escape the worries of a violence-ridden world. He sang of sexual desire, the female body, drugs, social taboos and illicit liaisons.

A journalist accuses him, and not unjustifiably, of being disrespectful to women. He defends himself. I am an ordinary man, he says, who does not have the option of weighing the pros and cons.

The film has a sequence that culminates in Chamkila mentioning his caste and asserting that no matter where he has emerged from, he is not going back there. I will not starve to death, he asserts. The film, however, shies away from making his social identity the principal narrative axis, opting to focus instead on his run-ins with the hypocrisies of polite society.

The Chamkila-Amarjot marriage crosses two lines – one denoted by the caste divide and the other by his marital status. The singer has a first wife, a fact that he hides from Tikki and Amarjot.

The tale is told principally by two of Chamkila’s surviving associates. His former dholak player and manager Kesar Singh Tikki (Anjum Batra) who, over cheap alcohol in a seedy bar after he receives news of Chamkila’s death, throws light on the singer’s early breakthroughs.

The latter half of the story is pieced together by group member and singer Kikar Dalewala (Robbie Johal). Kikar’s recollections are in response to questions from DSP Balbir Singh (Anuraag Arora). The latter scoffs at Kikar when asked if he has ever heard Chamkila’s songs. The police officer shoots back angrily: Am I a truck driver or a country bumpkin?

The film blends a vibrant palette, visual flourishes and playful tropes to transport the audience to the terrain where Chamkila appeared like a meteor in the sky and lit up the world around him with a sparkle so intense that it was never ever going to dim, let alone die.

The jaunty narrative rhythm serves as a counterpoint to the grim realities of 1980s Punjab. One admirer in an audience waiting to hear him sing shouts: Other artistes are great but you are our own man. He is a people’s singer as an introductory song, Baaja (lyrics by Irshad Kamil), early in the film underscores.

For a semblance of balance, the film stages a trippy number devoted entirely to female desire, Naram Kaalja, sung and performed with gusto by village women who are denied seats in front of the stage on which Chamkila performs. They stand on the terrace behind the arena and watch the performance.

The full-bodied and occasionally frolicsome style – it combines archival footage, family album images, freeze frames, animation, split screens, tinted frames and visual caesuras – seeks to approximate the wildness at the heart of Chamkila’s world even as it slows down occasionally to reflect upon the singer’s mild-mannered, non-confrontationist ways with people around him.

Diljit Dosanjh is at his very best as Chamkila. That, as his fans will vouch, should be enough to make the film a treat. But there is more to Amar Singh Chamkila, including Parineeti Chopra and Anuraag Arora’s modulated interpretations and Imtiaz Ali’s grasp on the material.

Amar Singh Chamkila is a transfixing viewing experience. Its music is the biggest draw but every little bit in the rest of the film is just as rewarding.

Cast:

Diljit Dosanjh, Parineeti Chopra, Apinderdeep Singh

Director:

Imtiaz Ali



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Why Paper Bags Are Gaining Popularity in Australia | FilmInk

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With this heavy reliance on plastic usage. It is no surprise that statistics show that an estimated 3.4 million tonnes of garbage annually with 30% being single-use plastics.

Seeing the adverse environmental impact and how it endangers the country, the Australian government decided to ban single-use plastics in 2016 and is now implemented in all states and territories.

Paper bags are now taking the place of plastic bags,for good reason. This blog post will discuss why paper bags are gaining popularity in Australia.

The Plastic Bag Problem in Australia

The Department of Agriculture, Water, and Environment conducted an Australian Plastics Recycling Survey in 2019. The survey yielded the following results:

  • 5 million tonnes of plastic were consumed between 2018-2019
  • Those two years showed a 23% increase in plastic recovery with 393,800 tonnes being recycled and 72,000 tonnes sent to energy recovery in comparison to the 2017-2018 recovery.

The survey results prompted several regions to take swift action with changes being implemented based on their locality’s documented plastic usage.

Government Regulation and Bans

To ensure effective and unified action against single-use plastics, Australian environment ministers agreed to phase out eight of the most problematic single-use plastics by 2025.

This program is known as Australia’s 2025 National Packaging Targets. The rules stated in this policy apply to all packaging that is sold, used and manufactured in Australia. In charge of achieving these goals by December 31, 2025, is the Australian Packaging Covenant Organisation (APCO).

These are the 2025 targets:

  • 100% reusable, recyclable or compostable packaging.
  • 70% of plastic packaging is recycled or composted.
  • 50% of the average recycled content is included in packaging (revised from 30% in 2020).
  • The phase-out of problematic and unnecessary single-use plastic packaging.

To make it possible for targets to be achieved by the set date, businesses and consumers are encouraged to do their part to reduce plastic waste. Business owners can join APCO, train their upper management and staff on reducing plastic consumption and implement ecologically conscious practices in their supply chain choices.

On the other hand, consumers can be more selective of the businesses they support and try to be more innovative with how they recycle or repurpose the product packaging from their purchases.

The Rise of Paper Bags as a Sustainable Choice

Paper bags became the best alternative for Australian businesses after the widespread ban on single-use plastics.

Switching to paper bags enforces sustainability because they can be recycled. Depending on the bag’s structure, you may have to remove the handles before putting them in curbside recycling bins.

They are also highly reusable. They can serve as unique gift wrappers, bases for art projects, and serve as containers for small, non-fragile items when moving houses.

Also, we know the value of conserving trees which is why certain technologies were developed to produce paper bags from the fibers of discarded ones and then reinforce them with non-toxic materials to make them more durable.

Benefits of Paper Bags

Biodegradability

Paper bags are made from biodegradable materials and decompose faster than plastic. It decay naturally without creating any toxic gas or leaving harmful residue. A paper’s decomposition also improves soil quality.

Sturdy

These recyclable bags are made from high GSM paper that makes it durable enough to hold groceries, textiles and small homeware. Handles, often made from twisted paper, make it comfortable to carry without falling apart or breaking.

Attractive

The saying “Simplicity is beauty” applies to paper bags. Many customers are drawn to the neatness of paper bags. In terms of design visibility, the brown and white bags are versatile enough to complement the printed logo of a brand.

Space-efficient

Kraft bags can be easily folded and stored. This saves a lot of space during shipping and storage. Consumers can also keep the bags in a small drawer or file them on top of each other on a shelf.

Practical

Paper bags can be ordered wholesale. This is a practical long-term choice because it saves you from shipping delays, inconsistent quality and sudden price increases in packaging materials.

The Future of Bags in Australia

Banning single-use plastics has pushed businesses to seriously switch to paper bags. A Mordor Intelligence study shows that retail bags made from paper and natural fabric can achieve a compound annual growth rate (CAGR) of 4.92%, equivalent to a total earning of USD 1.8 million.

This estimate was made considering the 2025 targets set by the Australian government. The increased need for paper packaging will contribute to higher manufacturing of these eco-friendly bags. All businesses from food to apparel will be using paper bags in different forms and this will cause paper bag manufacturers to increase their production of reusable, recyclable and compostable bags.

While there are concerns regarding the production methods for paper and cardboard-based packaging, Australian organisations such as APCO, provide companies with criteria and guidelines that they have to adhere to when manufacturing boxes and bags. The rules are explicit and prohibit any kind of process that involves harming forests, wasting resources and overconsumption of energy. It also outlines how violations will be penalised. With the help of these organisations, implementation of the ban on single-use plastics will be more effective.

In addition, companies will also consider using eco-friendly packing materials like cellulose tape, recycled protective wrap, compostable void fillers and other packing supplies that serve protective and aesthetic functions.

Conclusion

Australia’s war on plastic pollution has crowned paper bags the new sustainable king. Government bans and a growing eco-conscious public fueled the rise of these biodegradable, reusable, and space-saving bags.

As demand for sustainable packaging surges, paper bag production is poised to climb. This shift not only benefits the environment but also fosters innovation in eco-friendly packing materials. With reusability and recyclability at their core, paper bags are on track to become the future of sustainable shopping in Australia.



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Caste and cinema: The long shadow of Amar Singh Chamkila

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Amidst the ongoing debate on whether maestro A.R. Rahman and ace director Imtiaz Ali have justified the earthy flavour and emotional flux of Amar Singh Chamkila’s music in the upcoming biopic of the phenomenal Punjabi singer, the discussion about the role of Chamkila’s ethnic identity in shaping his art has resurfaced.

A section on social media has questioned Diljit Dosanjhfor removing the turban to play Chamkila, a Dalit Sikh. They remind the artist who normalised a turbaned hero in Hindi cinema for turning back on his statement where he promised not to lose his turban for a film role.

Those who believe in cinematic dharma, however, feel that the actor has done the right thing by keeping his look as close to the character as possible. The previous attempts to capture the artist’s journey, one of which featured Diljit in a turban (Jodi, 2023), were fictionalised accounts because the makers didn’t have the rights to film Chamkila’s biopic. 

Actors adopting and removing the religious and social symbols of their characters are quite common in Hindi cinema. In the past, we have seen Aamir Khan sporting a vermillion tika and the sacred thread in Ketan Mehta’s Mangal Pandey: The Rising and Paresh Rawal performed namaz as a devout Muslim mechanic Hashmatullah in Amit Rai’s Road To Sangam. Way back in 1936, Devika Rani, the biggest star of the time, played an untouchable in Franz Osten’s Achhut Kanya.  In Ali Abbas Zafar’s Jogi (2022), Diljit cuts his hair on-screen to depict the plight of Sikhs during the anti-Sikh riots in Delhi. Nobody objected. So, has it something to do with Diljit’s previous statement or is it about him playing a Ravidasia Sikh?

Like most absorbing narratives, Chamkila’s story allows for multiple endings. His assassination at the age of 27 along with his singer-wife Amarjot Kaur and his two associates evoked multiple conspiracy theories. Was he eliminated by the separatists who felt he was polluting the minds of the young generation with his obscene songs? Was he killed by his rivals, who felt threatened by his numero uno status in the Punjabi music industry? Or did he pay the price for marrying a Jatt Sikh girl who moved out of her first marriage to pursue her singing career?

Parineeti Chopra, Diljit Dosanjh in ‘Amar Singh Chamkila’

Parineeti Chopra, Diljit Dosanjh in ‘Amar Singh Chamkila’

In all three possibilities, the role of his caste identity, a Dalit’s control over resources, can’t be denied. Were his songs seen as the other’s reflection on the ways of a socially influential class, going through a process of purification in the 1980s? In all three possibilities, the role of his caste identity, a Dalit’s control over resources, can’t be denied. Were his songs seen as the other’s reflection on the ways of a socially influential class, going through a process of purification in the 1980s? Not even an FIR was registered in the case. Around the same time, two Leftist poets, Jaimal Singh Padda and Arvinder Singh Sandhu Pash, were also killed for speaking for the rights of workers at a time when religious extremism was on a high. A decade ago, Anurag Kashyap was actively considering making a film on Pash with Irrfan but it could not materialise.

Recently, a noted filmmaker from the region told this journalist that though Guru Gobind Singh asked his followers to submerge their caste identities into neutral surnames like Singh and Kaur, flaunting caste surnames is an everyday reality in Punjab. “We know there are still gurudwaras with two entrances and in many villages, there is a clear demarcation between upper caste and Dalit households,” he said.

The State has seen Dalit Sikhs in both top political as well as temporal positions but political observers have, over the years, brought out the socio-economic fallout of the Green Revolution where landless Dalit workers faced exploitation at the hands of Jatt Sikh land owners.

The Jatt-dominated Punjabi film industry has not been able to map this heterogeneity of Punjab’s society where almost 32% of the population come from Scheduled Caste groups. Like in Hindi cinema, Dalits have remained on the margins. In recent times, we have stray examples like Gurvinder Singh’s Anhey Ghorey Da Daan (Alms for a Blind Horse, 2011) that depicted the plight of the rural working class finding widespread critical acclaim. Another art house attempt was Kabir Singh Chowdhry’s mockumentary Mehsampur which also drew inspiration from Chamkila’s life. The short film Chamm (skin) tells the story of a Dalit worker in a slaughterhouse.

A promo for ‘Mehsampur’ (2018)

A promo for ‘Mehsampur’ (2018)

History tells us entertainment can take strange shapes in times of repression. Chamkila reflected on the poor farm workers but seldom talked of the matters of his caste in his songs. He commented on Jatt pride and Jatt Ki Dushmani (hostility of Jatt), perhaps to stay afloat in the mainstream. A multi-faceted artist who wrote, composed, and sang his songs, Chamkila offered a commentary through music on illicit relationships, alcohol, dowry, domestic violence, and drug abuse in a feudal society. These themes were present under the ribaldry of his popular lyrics. In his popular song ‘Lalkara’, the girl accepts the substance addiction of her lover, something that is not permitted by religion. In the suggestive ‘Mar Le Hor Try Jjia’, the sister-in-law of an aging man is pushing him to have a son with her when he says her sister is no longer fertile. Both songs capture the dark reality of the feudal society albeit in a harmless, playful manner.

Prof. Krantipal, who teaches Punjabi at the Department of Modern Indian Languages at the Aligarh Muslim University, says that Chamkila, through his songs, also hinted at how the landlord maintains social distance from the worker but likes to spend time with his wife. Shyam Benegal’s debut feature Ankur (1974) also explores the same theme in a different setting with a serious gaze. Later, this interplay of exploitation and surrender was exposed in Govind Nihalani’s Aakrosh (1980) and Gautam Ghose’s Paar (1984).

Shabana Azmi and Anant Nag in a still from Shyam Benegal’s ‘Ankur’

Shabana Azmi and Anant Nag in a still from Shyam Benegal’s ‘Ankur’

In Punjab, culture is often a by-product of agriculture. An akhada is used to describe a dedicated space for a wrestling bout as well as a musical performance in an open-air concert where Chamkila found his stardom. “Athleticism and aesthetics are conjoined in the region,” says Prof. Pal.

There must be something in the music of Chamkila, he says, that has kept his songs relevant even three decades after his death. “The sadagi (simplicity) and ravangi (coherent flow) in his earthy music and his audience connect are unmatched,” he says. With a tumbi in hand backed by a harmonium and dholak and accompanied by alghoza, chimta and flute, he would create magic with a basic sound system in his live shows, and his albums kept the truck driver going with the freshness of their lilt and lyrics.

Many songs of the folk artist present a strong picture of a woman in control of her desire. She taunts her lover as impotent if he is unable to cross the physical barriers to unite with her. Old-timers say Chamikla’s songs created the image of a goodly woman, someone like Mumtaz who was in great demand when Chamkila was sharpening his skills. His lyrics evoke a strong woman who not only performed household chores but also contributed to farming. His concerts had a butch vibe to them. Still, his double-meaning songs broke the patriarchal barriers. They reached the kitchens and living rooms through tape recorders and found a loyal fan base among women seeking to find a new idiom to the naughty folk songs they grew up singing at weddings and childbirth ceremonies.

A file picture of Amarjot Kaur and Amar Singh Chamkila

A file picture of Amarjot Kaur and Amar Singh Chamkila

Hoping that the buzz around the film spurs interest in the stories of Punjab and folk instruments, Prof. Pal says illicit relationships have been a common theme in Punjabi literature from medieval times and Chamkila only brought it out in the open. It reflects the social undercurrents of the border state where farmer, soldier, and driver have been principal occupations over centuries. When men are out for months, it provides opportunities and circumstances for both genders to indulge in making bonds that are considered forbidden.

“Many times it is the illicit relationship that is considered the real relationship because you share your deepest emotions with someone you truly bond with. In the epic Sohni Mahiwal story, Sohni is married to a man she despises and swims across the river to meet Mahiwal who has to disguise himself to meet her love. Illegitimate relations find space in Jnanpith awardee Gurdial Singh’s works; it is also there in Shiv Kumar Batalvi’s poetry.”

Chamkila’s imagery is not layered or polished. It is out there, which made him connect with the rural folk. They found in his songs their reflection. His symbolism is not shrouded in mystical allegory, but that doesn’t mean it is irrelevant. As Prof Pal says, Chamkila’s poetry may not be progressive in classical terms but it is not “lachchar” (base) either. Unfortunately, the current generation is trying to fit his glitter into one of the two boxes.

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Maidaan Review: Sacrifices Depth At Altar Of Disproportionate Grandstanding

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A still from Maidaan.

As he scours the country for naturally gifted footballers, talent spotter and coach par excellence Syed Abdul Rahim asks a young P.K. Banerjee what makes a good player a great one. Talent, answers the latter. Talent is of no use without focus, the older man asserts in an obvious jibe at the rising football star’s cheering female fans. That truism could well be valid for Maidaan too. The film has a field day playing to the gallery and letting its focus stray in quest of sweet spots. It finds a few but misses the mark more often than not. The period sports biopic sacrifices nuance, depth and accuracy at the altar of disproportionate grandstanding.

To be fair, however, it isn’t as gratuitously blustery as Bhaag Milkha Bhaag nor as drably predictable as M.S. Dhoni: The Untold Story although its runtime is roughly the same as those two films. And it certainly anywhere near replicating the range of relevant thematic concerns that defined Chak De! India.

Dribbling rather fast and loose with facts while unwaveringly adhering to recorded dates and scorelines, Maidaan, which celebrates the golden era of Indian football by bringing to the screen the story of a legendary man manager and football strategist working in a newly independent nation born amid the pain of the Partition, is a hit and run exercise that is undermined by ill-advised overkill.

Intermittently stirring, Maidaan, directed by Badhaai Ho helmer Amit Ravindernath Sharma, pits a doughty Rahim against two scheming men who spare no effort to scuttle the coach’s revolutionary plans to galvanise one of the world’s most populous – and under-performing – footballing countries.

The on-field action – there is a whole lot of it designed to showcase the skills and stamina of the players Rahim selects – jostles for space with a surfeit of off-field drama involving the protagonist’s delicate negotiations at home and on and around the field of play. Played with admirable restraint by Ajay Devgn, the character of Rahim towers over everything and everyone else in the film. That does more harm than good to Maidaan. The battles the hero fights to put together a team that cuts across regions, languages and cultures overshadow the excitement generated by the tough games his boys play against formidable Olympic and Asian Games opponents.

The sporting action, staged and captured with impressive deftness, would have been truly rousing had the two commentators – played by Vijay Maurya and Abhilash Thapliyal – not been the motormouths they are. Their constant chatter is only one example of how overwriting (which stems from the presumption that the audience needs to be spoon-fed the finer points of the game) ruins crucial parts of Maidaan.

An improbable Elvis Presley reference creeps in although Maidaan does not seek to project Rahim as a larger-than-life rockstar. Following a 10-1 drubbing by Yugoslavia at the 1952 Helsinki Olympics, a snarky journalist takes potshots at Rahim. The coach quotes the King of Rock and Roll in response: “Don’t criticise what you don’t understand… You never walked in that man’s shoes.”

Maidaan would have done well to grant greater play to Rahim’s wife Saira (an incandescent Priyamani), his footballer-son Hakim and the back stories of the talented bunch of youngsters that he turned into a strong football unit. There should have been more of P.K. Banerjee (Chaitanya Sharma), whose father is cancer-stricken, the charismatic Chuni Goswami (Amartya Ray), who led India’s football squad at the 1962 Asiad, Jarnail Singh (Davinder Gill), a sturdy defender from Punjab, Tulsidas Balaram (Sushant Waydande), an impoverished and explosively talented 19-year-old handpicked from Secunderabad and Peter Thangaraj (Tejas Ravishankar), a lanky goalkeeper who stood tall against the most fearsome of strikers.

What the story and the screenplay (credited to several writers, including Saiwan Quadras, Ritesh Shah, Aman Rai and the director himself) gives us instead is a pair of naysayers – Bengali gents with a pathological aversion to Rahim’s style of functioning. One of them is a snooty journalist (Gajraj Rao) who thinks Indian football should be beholden to him. The other is a federation official (Rudranil Ghosh) who pooh-poohs the national coach’s strategy to create a pan-Indian team rather than drawing on the immense talent pool in Bengal. They are the bad guys – parochial, myopic and self-serving.

Since the film is about a Nehruvian-era Muslim hero who masterminded Indian football’s most memorable phase ever, the journo and the official are film’s alternative punching bags. The two Calcutta men desperate to see Rahim fail in his endeavours sit in the stands and mutter grimly under their breath or sulk in plain sight when the Indian team puts up a good show. There is worse. The frequent football federation meetings in the film appear to be attended by people from a single state with the single agenda of stopping Rahim. With the exception of one benign official (Baharul Islam), who consistently speaks up for the embattled coach, they are all full of bile.

For perspective, the All-India Football Federation was founded in 1937. The Indian Football Association, the governing body of the sport in Bengal, was only a part of the larger organisation. The suggestion that officials from one state could have lorded over the conduct of the game all the way until the early 196os is the sort of dramatic licence that should ideally have had no place in a film based on a true story.

The film has a song – Team India hain hum – that is instantly anachronistic. Back in the 1950s the Indian football team was called just that – Indian football team. ‘Team India’ originated decades later as a branding exercise when, post-economic liberalisation, the nation’s sporting bodies began to partner with corporate entities to promote various disciplines.

To heighten conflict, Maidaan falls back on an array of familiar tics. A woman delivers a pep-talk when a piece of shocking news threatens to break Rahim’s spirit. The man takes a tough decision about his son when India’s participation in the 1962 Asiad – which constitutes the film’s climax – is under a cloud. Crowds in Jakarta turn against the Indians, leading to rioting and sloganeering on the streets and in the stadium. Everything that can go wrong goes wrong for the team.

Rahim, being the man he is, takes it all on the chin. The lead actor gets into the skin of the character without breaking a sweat. But the film is seldom that firm-footed. Maidaan tells an overlong, peppered-with-fiction narrative that struggles to balance the real and essential with its unabashed goal of working the audience up into a frenzy.

Cast:

Ajay Devgn, Priyamani, Gajraj Rao

Director:

Amit Ravindernath Sharma

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Maidaan Movie Review: MAIDAAN is one of the finest sports-based films of Bollywood

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Maidaan Review {4.0/5} & Review Rating

Star Cast: Ajay Devgn, Priyamani, Gajraj Rao

Maidaan

Director: Amit R Sharma

Maidaan Movie Synopsis:
MAIDAAN is the story of an exemplary coach. The year is 1952. During the Olympics held in Helsinki, Finland, India horribly loses a match against Yugoslavia by 10-1. Roy Choudhry (Gajraj Rao), a prominent sports journalist and the editor of The Indian Reginald, slams the Indian football team. The Football Federation of India, Kolkata, summons the team coach S A Rahim (Ajay Devgn), and asks for an explanation. Rahim reasons that the players didn’t even have proper shoes. He also insisted that he needs the freedom to choose players. The Federation head Anjan (Baharul Islam) agrees with Rahim but one of the core committee members, Shubhankar (Rudranil Ghosh), asks him to enlist more Bengali players. Rahim declines the request and insists that since it’s the Indian team, he’d get players from all over India based on merit. He then goes on a tour of the country to find the best footballers. He finally makes a fresh team, comprising Trilok Singh (Manandeep Singh), Arko Das (Prashanto Sinha), Jarnail Singh (Davinder Singh), Peter Thangraj (Tejas Ravishankar), Fortunato Franco (Madhur Mittal), Pradyut Burman (Tanmay Bhattacharjee), Arun Ghosh (Aaman Munshi), D Ethiraj (Raphael Jose), Tulsidas Balaram (Sushant Waydande), Chuni Goswami (Amartya Ray), Ram Bahadur (Amandeep Thakur), P K Banerjee (Chaitanya Sharma), Aryann Bhowmik (Neville Dsouza) and others. Rahim trains them well and in the 1956 Melbourne Olympics and the 1960 Rome Olympics, they put up an impressive game. But since they face a loss, the Federation yet again pulls up Rahim. On the other hand, Roy Choudhry, who has a personal grudge against Rahim, is spreading his agenda against him and the Indian team. If that’s not enough, Rahim faces a huge personal setback at this hour. What happens next forms the rest of the film.

Maidaan Movie Story Review:
Saiwyn Quadras, Akash Chawla and Arunava Joy Sengupta’s story is fascinating and what works is that not many people are aware of this chapter of history. Saiwyn Quadras’s screenplay (additional screenplay by Aman Rai, Atul Shahi, and Amit R Sharma) is highly effective and boasts of some gripping scenes, not just on the field but also off the field. The first half, however, could have been better. Ritesh Shah’s dialogues (additional dialogues by Siddhant Mago) are powerful.

Amit R Sharma’s direction is supreme. It’s not easy to pull off a sports film especially when films like LAGAAN [2011], CHAK DE INDIA [2017], ’83 [2021] etc have set a benchmark and are etched in people’s minds. But Amit succeeds and how. He peppers the football scenes with a lot of nail-biting and thrilling moments. What also works is the politics faced by Rahim and how he tides over it. One might argue that the villain track seems a bit far-fetched but it works beautifully, especially when Rahim hits back at them in multiple places. The personal tragedy of Rahim is another track that contributes a lot to the film, emotionally. Apart from these factors, the innovative depiction of the text and opening credits are also impressive.

On the flipside, the first half is a bit weak and the length at this hour could have been shorter. The initial football matches don’t leave the desired impact and the same goes for the football training sequence before the intermission. Also, a few scenes and tournaments are not shown fully. For example, viewers get to see the first South Korea vs India match only till half-time. Of course, in the long run, it makes sense but at that moment, one gets a feeling that the makers are trying to rush through the narrative.

MAIDAAN starts with a strong and moving scene, depicting how the Indian team faces a humiliating defeat due to a lack of shoes. The entry sequence of Tulsidas Balaram of Secunderabad is sweet. Two scenes that stand out in the first half are Rahim blasting Roy Choudhry during their first meeting and Rahim’s reply to the Australian coach over the re-match. The scene where the crowd in Rome starts chanting ‘Well Played India’ is lovely. The intermission point is significant. Post-interval, the scene where Saira (Priyamani) tells Rahim to get back to football is superb. Rahim being re-elected as the sports coach is both moving and clapworthy. The same goes for the scene when Rahim returns after meeting the finance minister Morarji Desai (Zaheer Mirza). However, the film goes on a high during the 1962 Jakarta Games sequence. The last 50-55 minutes is highly captivating and takes the film to another level. The real-life players are shown in the end and it’s truly a riveting moment.

Maidaan Trailer | Ajay Devgn | Amit Sharma | Boney K | A.R. Rahman | Fresh Lime Films

Maidaan Movie Performances:
Ajay Devgn is terrific, to say the least. He has given several outstanding performances but the one in MAIDAAN will go down as one of his greatest acts. His character goes through a lot and the way he has essayed it is seen to be believed. Priyamani lends able support. Gajraj Rao and Rudranil Ghosh are superb as the antagonists while Baharul Islam is adorable. Istayak Khan (assistant coach Hari) is passable. Zaheer Mirza is okay. Paul Spurrier (Australian coach) is memorable. From the players, the ones that leave a mark are Davinder Singh, Tejas Ravishankar, Madhur Mittal, Tanmay Bhattacharjee, Sushant Waydande, Amartya Ray, Chaitanya Sharma and Aryann Bhowmik. The others who deliver fine performances are Rishabh Joshi (Rahim’s son Hakim), Vijay Maurya (Indian commentator Ramesh), Abhilash Thapliyal (Indian commentator Dev), Pacitra Sarkar (Bengal team coach Tapan Bose) and Arvinder Singh Bhati (Sondhi; who slams Indonesia).

Maidaan music and other technical aspects:
A R Rahman’s music is soulful but is not of chartbuster variety. ‘Jaane Do’, however, turns out to be highly touching and smartly inserted in a very important moment. A R Rahman’s singing is praiseworthy. The other song that works is ‘Team India Hum’. ‘Mirza’, ‘Ranga Ranga’ and ‘Dil Nahi Todenge’ don’t register. A R Rahman’s background score adds to the tension and exhilaration.

Tushar Kanti Ray’s cinematography is very good while Fyodor Lyass’s cinematography for sports scenes is outstanding. The sports scenes are shot in such a manner that viewers will get sucked into the goings-on. Shalini Sharma Chakravarty’s make-up and hair design and Kirti Kolwankar and Maria Tharakan’s costumes are authentic. Khyatee Mohan Kanchan’s production design is detailed. Redefine’s VFX is splendid. It’ll be difficult to guess for a layman that the football match scenes are filmed not in Melbourne, Rome or Jakarta but in Madh Island! Dev Rao Jadhav’s editing could have been slicker in the first half. But it gives no reason for complaint in the second half. Shahnawaz Mosani’s editing for sports scenes is razor-sharp.

Maidaan Movie Conclusion:
On the whole, MAIDAAN is one of the finest sports-based films of Bollywood that rests on captivating drama, strong emotions, clapworthy moments, and a National Award-worthy performance by Ajay Devgn. At the box office, it might take a slow start but has the potential to show a strong jump over its extended weekend due to positive word of mouth, especially in urban centres, and thus emerge victorious at the box office. Recommended!

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Jonathan Majors Trial: Everything We Know About the Actor’s Assault Case

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Jonathan Majors 'No Time To Die' World Premiere, Royal Albert Hall, London, UK - 28 Sep 2021


Jonathan Majors Vanity Fair Oscar Party, Arrivals, Los Angeles, California, USA - 12 Mar 2023


Jonathan Majors 'The Harder They Fall' special screening, The Shrine, Los Angeles, California, USA - 13 Oct 2021

Image Credit: CAROLINE BREHMAN/EPA-EFE/Shutterstock

Jonathan Majors was arrested for the alleged assault of a woman named Grace Jabbari, whom he was in a previous relationship with. The choreographer accused the Marvel Cinematic Universe actor of striking her during an alleged argument in early 2023. In April 2024, he was sentenced to one year of counseling and no jail time.

After he was found guilty in December, Majors gave his first interview on Good Morning America in January. He revealed that he was shocked by the verdict in the sit-down TV interview.

Majors’ trial began in late November 2023. As the trial has been, Jabbari has testified about their relationship, and audio of him scolding her has been presented. The audio of a 911 call that Majors made the day he was arrested was also presented in court. In December 2023, Majors was found guilty of reckless assault in the third degree and guilty of harassment. However, he was found not guilty of intentional assault in the third degree and not guilty of aggravated harassment in the second degree.

STRINGER/EPA-EFE/Shutterstock

Following the guilty verdict on December 18, 2023, one of his lawyers released the following statement to PEOPLE on Majors’ behalf. “It is clear that the jury did not believe Grace Jabbari’s story of what happened in the SUV because they found that Mr. Majors did not intentionally cause any injuries to her,” the statement began. “We are grateful for that. We are disappointed, however, that despite not believing Ms. Jabbari, the jury nevertheless found that Mr. Majors was somehow reckless while she was attacking him,” the note continued.

Additionally, they noted that he intends to clear his name. “Mr. Majors is grateful to God, his family, his friends, and his fans for their love and support during these harrowing eight months,” the note added. “Mr. Majors still has faith in the process and looks forward to fully clearing his name.” Shortly after the verdict, PEOPLE also confirmed that Marvel Studios plans to “cease working” with Majors. Some of his most recent work with the studio includes 2023’s Ant-Man and the Wasp: Quantumania.

Keep reading to learn more about Majors’ assault case.

Who Is Grace Jabbari? 

Jabbari is a choreographer and dancer who dated Majors in the past. She has also appeared in box office-breaking films, including Mission Impossible: Dead Reckoning: Part One and Barbie. 

What Did Jonathan Majors Do? 

Majors and Jabbari have accused one another of battery during an alleged argument that occurred in March 2023. He was arrested for multiple counts of assault: three counts of assault in the third degree, one count of aggravated harassment in the second degree, three counts of attempted assault in the third degree and one count of harassment in the second degree. If he is convicted, Majors could face up to one year in prison, according to several outlets. 

The Harder They Fall star vehemently denied the accusations against him, saying in a statement with his lawyer, Priya Chaudhry, “Jonathan Majors is innocent and has not abused anyone. We have provided irrefutable evidence to the District Attorney that the charges are false. We are confident that he will be fully exonerated.”

In addition to his case against Grace, Variety reported that multiple women have come forward with assault allegations against Jonathan over the years. 

While Majors awaits his upcoming trial against Jabbari, she also turned herself in to authorities in October in connection to the March 2023 incident. TMZ reported that Jabbari allegedly scratched the actor’s face, causing a cut on his cheek, and tore off his coat buttons. 

Jabbari’s attorney said in a statement, “Grace is super strong. We are disappointed when survivors are treated like perpetrators.” For his part, Majors’ lawyer, Dustin Pusch, reacted to Jabbari turning herself in, according to a statement obtained by Entertainment Tonight. 

“With her arrest yesterday, the public learned that the NYPD determined probable cause exists to charge Grace Jabbari for the crimes she committed against Jonathan Majors,” the statement read. “This decision came after the NYPD’s thorough and lengthy investigation. Instead of acting on the findings from law enforcement, the District Attorney’s office unilaterally and without explanation has decided not to prosecute Ms. Jabbari for her misdeeds and the documented injuries she caused Mr. Majors.” 

However, the Manhattan District Attorney’s Office released a statement noting that it would not pursue charges against Jabbari for the alleged March 2023 incident with Majors. 

What Evidence Has Been Presented in the Trial?

After the trial began on November 29, Jabbari took the stand on December 5. During her testimony, she teared up as she spoke about Majors’ alleged “violent temper,” per Page Six. The actor’s ex claimed that she got “scared,” when he allegedly yelled at her for discussing a past relationship. “I knew to never mention my ex again or anyone I had dated before,” she said. She also recalled another incident where the Marvel actor allegedly began breaking objects around the house after she went out for a night with a friend. She also claimed that he would threaten to commit suicide. Photos of her alleged injuries were also shown.

Jabbari’s attorneys also presented an audio recording of Majors scolding her as evidence, per Daily Beast. The recording was taken about six months before the alleged assault. “I’m a great man. A great man. I am doing great things,” he said. “The woman that supports me, the one I support, needs to be a great woman…and make sacrifices.”

The Creed III actor’s 911 call from March 26 was also played in court. It was a day that he had found Jabbari “unconscious,” and he referred to her as his “ex-partner,” per Variety. Majors had claimed he found his ex on the floor of their walk-in closet. The officers on the scene didn’t find any evidence that she had suffered an accidental overdose or a suicide attempt. Majors was arrested later that day. Jabbari had previously claimed that the actor had forcefully taken his phone out of her hands, and she couldn’t sleep due to the pain. She said that she took two sleeping pills, but then woke up on the floor of the closet.

Is Jonathan Majors Going to Prison?

Majors was found guilty of reckless assault in the third degree and guilty of harassment, and not guilty of intentional assault in the third degree and not guilty of aggravated harassment in the second degree.

He was sentenced to one year of counseling on April 8. Majors received no jail time.

What Did Jonathan Majors Say in His ‘GMA’ Interview?

During his first TV interview after the guilty verdict, Majors revealed that he was in a state of shock by the decision. “I’m standing there and the verdict comes down. I say, ‘How is that possible based off the evidence, based off the prosecution’s evidence, let alone our evidence? How is that possible?’” he said.

Despite being found guilty, Majors did shout out those close to him, including his girlfriend, for showing support. “It’s just me now, you know, and my lovely, you know, partner, Meagan [Good], and my dogs,” he said. “I’m surrounded by people who love me, who care about me. But this has been very, very, very hard, and very difficult, and confusing in many ways.”

Is Jonathan Majors Still Acting in Movies and Shows? 

Majors rose to fame from his roles in films such as Devotion, Creed III, and Ant-Man and the Wasp: Quantumania. The California native also received accolades for his television role in Lovecraft Country. However, because of his assault trial, Majors’ career appears to be at risk. The Yale University graduate was dropped from his management company, Entertainment 360, and he was fired from the upcoming film The Man in My Basement. 

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The actors who multitask: Siddhu Jonnalagadda, Adivi Sesh, Naveen Polishetty and Vishwak Sen

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Naveen Polishetty, Vishwak Sen, Adivi Sesh and Siddhu Jonnalagadda

Siddhu Jonnalagadda, Adivi Sesh, Naveen Polishetty and Vishwak Sen. The common factor between these actors is their multi-dimensional involvement in cinema. As actors, they are the face of the films they star in, but they do much more. The four are also screenwriters. Some of them have also been credited as editors and creative producers. Vishwak Sen is also a director. Their tenacity to put in the extra work, which initially came from a necessity to get a foothold in the Telugu film industry rather than lament the lack of opportunities, holds them in good stead. 

Siddhu as Tillu and beyond

Siddhu Jonnalagadda in one of his next Telugu films titled ‘Telugu Kada’, directed by Neeraja Kona

Siddhu Jonnalagadda in one of his next Telugu films titled ‘Telugu Kada’, directed by Neeraja Kona
| Photo Credit:
Special Arrangement

At the time of writing this feature, Tillu Square, the Telugu crime comedy released in theatres on March 29, was inching towards the ₹100 crore mark at the box office. The runaway success affirms how big the Tillu phenomenon has grown since the 2022 madcap comedy DJ Tillu, co-written by Siddhu, drawing from hyperlocal Hyderabad and Secunderabad references. It helped that Siddhu, who had co-written the first film with its director Vimal Krishna, went back to the drawing board, this time with director Mallik Ram, and managed to retain the essence of what made Tillu click while developing the story further in a zone that is familiar to the audience.

The success bolsters Siddhu as one of the multi-talented actors to watch out for. It took Krishna and his Leela, which Siddhu had co-written with director Ravikanth Perepu, to make the audience and the industry take the actor seriously. The film had a direct digital release during the lockdown of 2020. Siddhu has been a part of Telugu cinema since 2009, when he locked horns with Naga Chaitanya in the latter’s debut film, Josh. Director Praveen Sattaru cast him as one of the leads in LBW (Life Before Wedding) and later collaborated with him to write Guntur Talkies (2016). 

The recognition that came with Krishna and his Leela paved the way for DJ Tillu. Packed with wacky one-liners, the character of Tillu, with all its vulnerability, street smartness and philosophical musings reflected the banter on the streets of Secunderabad. Siddhu had arrived but couldn’t take his success for granted, lest Tillu fade away as a one-time wonder. DJ Tillu and its sequel Tillu Square went through changes during the making, with several rewrites and edits leading to all that fun. 

For Siddhu, an engineer and an MBA diploma holder who chose cinema over a corporate job, realising his dream of being a star of ₹100 crore film has not been an easy journey. As Tillu Cube is on the cards, all eyes will also be on his other films coming up are films with director Nandini Reddy, Neeraja Kona and Bommarillu Bhaskar. 

The ‘Kshanam’ that changed Adivi Sesh

Actor and screenwriter Adivi Sesh

Actor and screenwriter Adivi Sesh
| Photo Credit:
Special Arrangement

The making of Adivi Sesh starrers Kshanam and Goodachari, which the actor co-wrote with the respective directors Ravikanth Perepu and Sashi Kiran Tikka, holds lessons in how to make every rupee go the extra mile. Within the Telugu film circles and among avid film buffs, it is well known that Kshanam, the tautly written and edited thriller looked richer and sleeker than what its modest budget of around a crore would allow. 

Similarly, Goodachari, made within a budget of about five crore, was a film that required much more. Sesh and his collaborators, in both films, understood the need to cut corners but not let it show on screen. The success of Kshanam made way for Goodachari with a better budget but rather than seeking a star status, Sesh would take on other tasks to ensure the smooth making of the film. A string of successes —Evaru, Major and HIT: The Second Case — followed, among which he co-wrote Major and chipped in with the post-production work of Evaru. 

Currently working on G2, the sequel of Goodachari that aims to capture a larger market, Adivi Sesh dons the writers’ hat again and promises a sleeker thriller than the first film. In the works is also Dacoit: A Love Story, a multilingual film co-starring Shruti Haasan.

The Agent to Mr Shetty

Naveen Polishetty

Naveen Polishetty
| Photo Credit:
Instagram

After quitting his IT job, it took nearly a decade for Naveen Polishetty to become an actor. In the initial years, he gave more than 1500 auditions. Before he co-wrote Agent Sai Srinivasa Athreya (ASSA) with its director RSJ Swaroop and starred as a secret agent from Nellore, Polishetty had become a familiar name thanks to the AIB: Honest Engineering Campus Placement videos and the TV series 24 that starred Anil Kapoor. He debuted in Hindi cinema with director Nitesh Tiwari’s Chhichhore. 

Post ASSA, one expected Naveen to be a signing spree but he stepped back from the media and public glare, only to resurface two years later with the runaway laugh riot Jathi Ratnalu and another two years later, the rom-com Miss Shetty Mr Polishetty. The success of Jathi Ratnalu was the result of a hyperlocal, relatable, madcap comedy written by director KV Anudeep, translated on screen by the impeccable timing and rapport shared by the trio of Naveen, Priyadarshi and Rahul Ramakrishna. The charm of Miss Shetty Mr Polishetty stemmed from the sensitivity of director P Mahesh Babu’s writing and Naveen’s inherent flair for both comedy and emotional beats.

The occasional writer and director

Vishwak Sen in ‘Mechanic Raju’, a forthcoming Telugu film

Vishwak Sen in ‘Mechanic Raju’, a forthcoming Telugu film
| Photo Credit:
Special Arrangement

In 2019, when Vishwak Sen adapted the Malayalam film Angalamaly Diaries in Telugu as Falaknuma Das, writing its Telugu screenplay, directing and starring in it, he was only two films old as a lead actor. He had debuted with Vellipomakey and was one of the leads in Tharun Bhascker’s buddy comedy Ee Nagaraniki Emaindi. Directing wasn’t a new arena because he had made short films earlier. Acting was a childhood dream and once Vishwak became a recognisable actor and had a steady stream of films that included standout ones such as HIT: The First Case, Ashoka Vanamlo Arjuna Kalyanam and Gaami, writing and direction have been occasional pursuits. The 2023 film Das ka Dhamki was written and directed by the actor.

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Yellowstone Season 6: Costner’s (Rumored) Return and Everything We Know!

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Shooting on Yellowstone Season 6 is set to begin in a few weeks, and no one seems sure if Kevin Costner’s going to return as John Dutton. His time on the show infamously ended due to a row with showrunner Taylor Sheridan and scheduling conflicts with his passion project, Horizon: An American Saga. But, in recent weeks, there have been rumours that Costner may indeed return to the show. While it’s unlikely he’ll have a huge role going forward, the buzz is he could theoretically make a cameo, but so far, all involved have been mum on the possibility of this happening. Given Sheridan’s creative control over the show, the ultimate decision whether or not to bring him back likely remains something he’d have to sign off on, but a full-fledged return seems unlikely (I would imagine there will be some kind of cameo, though, to wrap things up). So, if Costner really isn’t coming back as John Dutton, how will they do away with him?

His Cancer Could Return

If you’re a Yellowstone fan, you’ll remember that in the first season, Costner’s John Dutton was diagnosed with colon cancer. Rumor has it, Costner was originally planning for his run on the show to be a short one, but the cancer plot line was quickly done away with. In the Season 2 premiere, Dutton had a major attack that he assumed was his cancer returning, only for a vet to perform emergency surgery on what turned out to be a ruptured ulcer. And so Dutton lived to fight another day.

Assasination

Now that Dutton is governor of Montana, it’s possible that he could be assasinated, potentially at the hands of his estranged son Jamie (Wes Bentley), but that seems out of sorts for that character, who was last seen planning to take him down with an impeachment. Remember, him and his paramour, Dawn Olivieri’s Sarah Atwood, were trying to take him down that way.

Some Random Dumb Accident

Life on the Dutton family ranch is rough. If Sheridan really wants to stick it to Costner, who always had an entry in his contract that guaranteed “a moral death” for the character, it’s possible he’ll just kill him off randomly. While that might strike some as a middle finger to fans, with Costner refusing to do any shooting at all, Taylor Sheridan might not have much of a choice.

When does season 6 of Yellowstone start?

Originally, the plan was to split the fifth season of Yellowstone into two parts, with Part 2 due to air in fall of 2023. That didn’t happen due to the strikes, so now Paramount is dubbing Yellowstone‘s final season number 6. It’s now due this fall, with episodes of Yellowstone season 6 airing sometime in November 2024. It can’t air any sooner because the show’s filming schedules in Montana are notoriously weather dependent, and it can’t be shot until winter is over.

How many episodes there be be?

Two of the biggest problems facing the final season of Yellowstone stem directly from the strikes, as creator Taylor Sheridan had yet to complete the scripts when the WGA strike was called. If took months for the strikes to end, and in that time the plan shifted, as originally there was supposed to be a Season 5 part 2 with 6 episodes, but this plan was scrapped in favor of a legit sixth and final season. However, the number of episodes needs to be clarified. In recent red carpet interviews with Entertainment Tonight, Josh Lucas, who plays the younger John Dutton, said they would be shooting ten episodes, but co-star Ian Bohen says six, plus a series finale.

What Will Happen to Beth and Rip?

Here’s where it gets interesting. With the final season set to do away with John Dutton, the focus will likely fall to the romantic duo at the center of the show, Cole Hauser’s Rip and Kelly Reilly’s Beth. While they aren’t the only star-crossed lovers on the show, with Luke Grimes’s Kaycee and Kelsey Asbille’s Monica also seeing their shares of ups and downs, fans are obsessed with this couple. The show has often revolved around Beth’s deadly rivalry with her estranged (adopted) brother, Jamie (Wes Bentley), and it wouldn’t be a stretch to imagine that if John Dutton dies, the prodigal son is somehow behind it. If so, I expect Beth to go on the warpath and for the show to end with Jamie’s presumably violent death.

Will Rip Be In It?

While Rip is one half of Yellowstone’s biggest power couple, another behind-the-scenes Yellowstone battle has been brewing – this time between Hauser and creator Taylor Sheridan. Unlike with Costner, this has nothing to do with what’s happening on screen or with money. Rather, Sheridan is accusing Hauser’s new coffee brand, Free Range Coffee, of sporting a logo nearly identical to that of his coffee brand, Bosque Ranch Craft Coffee. Hopefully, this battle doesn’t lead to more behind-the-scenes strife, but these squabbles have a tendency to get out of hand.

What is Yellowstone 2024?

This seems to be the current title for the sequel series starring Matthew McConaughey and (potentially) other Yellowstone cast members. No word yet on what the series will involve, but you can be sure that John Dutton won’t be tipping his hat – both because of Costner and, come on, Dutton has to die in Yellowstone, right? If he does die, I imagine surviving cast members will make their way over to this show. If Beth and Rip survive the final season, I would expect them to be leads alongside McConaughey, which would make sense and give the show some legit crossover appeal. It’s been rumored that Michelle Pfeiffer is also set to play a big role, but apparently salary negotiations for Kelly Reilly, Cole Hauser and Luke Grimes have been complicated. In fact, a bombshell report suggests Reilly and Hauser want at least equal billing to any newer, big-named stars, and salaries that match. Notably, they are negotiating separately, meaning one may end up on the new show, and one may not.

What About the Prequels?

The well-received prequel 1923, starring Harrison Ford and Helen Mirren, is set to air one more season. It will likely premiere before Yellowstone Season 6, as Sheridan is thought to have completed the scripts. Paramount Network also announced another spin-off called 1944, which would presumably take the Dutton clan through WW2, and could (theoretically) include characters from 1923, including Brandon Sklenar’s Spencer. That said, the role could potentially be recast, as, if he’s supposed to be in his fifties, Sklenar would be a bit on the young side. Sheridan’s also got Lawmen: Bass Reeves on the air. Originally, this seemed to be set in the universe of Yellowstone spinoffs, but so far hasn’t been linked to shows like 1883, despite a similar style.

What is Horizon?

By this point, fans might be wondering just what exactly Horizon: An American Saga is, as it’s the project that seemingly kept Costner away from Yellowstone season 6. It’s a multi-part western saga that Costner both stars in and directs. The first two parts are due out this summer, with the first coming out on June 28th, and the sequel to follow on August 16th. Costner stars alongside Sienna Miller, Yellowstone vet Danny Huston, Jena Malone (his Hatfields and the McCoys co-star), Sam Worthington, and more. Warner Bros, the studio that is releasing the film, is set to release a full trailer and more details shortly. Here is the poster:

horizon an American saga poster

What do you expect to see in the final season of Yellowstone? Which character(s) do you think won’t make it out alive? Let us know!

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Jenelle Evans Claims Ex David Eason Killed ANOTHER Puppy – In Front Of His Daughter! – Perez Hilton

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[Warning: Potentially Triggering Content]

Years after the infamous incident in which David Eason fatally shot the family dog — in front of a child no less — he’s allegedly done it again. Jenelle Evans claims her estranged husband killed ANOTHER dog — and once again in the presence of a kid!

According to The US Sun on Wednesday, the 32-year-old reality star made the bombshell allegation in the petition for a domestic violence protective order she filed for herself and her three children — Ensley, Kaiser, and Jace. She alleged in the documents that the pair got into an argument outside their home on February 6. When David had enough of the fight, Jenelle says he got into her car without permission and pulled out to leave — carelessly and way too fast.

Related: Jenelle Evans’ Son Jace Is ‘Elated’ She’s Finally ‘Packing Up’ To Leave David Eason!

Jenelle says he “ran over a puppy and killed it” — right in front of his 16-year-old daughter Maryssa, who was at the house during the argument. OMG! The complaint stated:

“David has an argument with Jenelle outside of house in the driveway. David storms off, gets into Jenelle’s Toyota Sequoia to drive away without asking Jenelle’s permission, pulls out really fast, ran over a puppy, and killed it. Kids were at school but stepdaughter [David’s daughter Maryssa, 16] was home at the time and witnessed the dog dying. David also witnessed the dog dying.”

What the hell!?

This poor, poor dog! This man is a danger to all defenseless animals!

Jenelle mentioned the new incident on X (Twitter) Tuesday, saying the 35-year-old hurt “two of the puppies” in the past. She said:

“Why don’t you ask him what he did to 2 of the puppies? He wants to talk s**t about me well he’s the one that didn’t keep them safe. One of them was his daughters [sic].”

His daughter’s dog? We don’t know which one that is. But the other animal she must be referring to in the post is the family’s French bulldog Nugget, who was slaughtered by David in 2019 when it snapped at their youngest daughter. See the post (below):

Just when you thought this guy couldn’t get scarier, he managed to one-up himself again. JFC…

Jenelle continued to state in her complaint that David has a history of “emotionally abusive behavior to and in the presence of the minor children.” Not to mention he’s facing felony child abuse charges! The docs added that Jenelle is understandably “scared” about what he may do next:

“Defendant’s behavior causes a heightened level of anxiety for all three children in the home and he has a history of physically acting out to include punching or hitting holes and walls, throwing objects, stealing items from Jenelle. These former acts of physical intimidation have given plaintiff PTSD and she is scared this behavior might happen again soon. Some of those behaviors were in front of the children over the years.”

And there’s more. Jenelle further accused David of “frequently” making “public posts about [Jenelle] disparaging her as a mother and wife” — something that impacts Jace as he and other classmates can see these online attacks:

“[Jenelle’s] son [Jace] is 14 years old and old enough to read all this online, in addition, this causes anxiety for [Jace] outside of the home and at school from classmates reading these public posts as well.”

Oof. In addition to the public posts, Jenelle mentioned several incidents of abusive behavior over the years, including the time he attacked her and hurt her collarbone. She recalled in the docs:

“David and Janelle were hanging out with friends and David got into an argument and tackled Jenelle to the ground. David put Jenelle’s arm behind her back and David was on top of her pushing down on her chest so hard her ligaments tore at her collarbone. While David was on top of Jenelle she screamed and cried, ‘You’re hurting me. Oh my God, please get off!’”

Thankfully, the Teen Mom star’s collarbone was only “torn” and not “broken.” However, she said she feels a chest tightness from the attack to this day. So, so awful. And things get more twisted from here…

You may recall Jenelle was a victim of a break-in on February 24. Well, she believes David may have been responsible for the terrifying situation! The MTV personality stated in the filing:

“A Hispanic male tried breaking into the back sliding glass door and broke the lock. The door had to also be taken off the rollers because the male tried getting in really hard. [David] told [Jenelle] the next day, ‘Don’t expect them to ever find you find him,’ and that ‘You’re not going to find him so just forget about it.’”

Wait, is THAT what he said that changed everything?? His comments led her to believe he orchestrated the break-in?! The complaint continues:

“[Jenelle] believes and therefore alleges upon information and belief that David orchestrated this attempt to break in due to his comment and not being emotionally supportive to [Jenelle] or showing him theory empathy at all.”

If this is true, that’s more messed up than we thought! Someone who could do that could do far worse. On top of the emotional and physical abuse, David also allegedly steals her belongings. Jenelle accused him of taking, without permission, several items, including her kid’s $250 Oculus glasses. He even stole “credit and debit cards as well as IDs and a license,” leaving her unable “to withdraw cash for five days while taking care of three kids at home alone due to not having her ID.” WTF?!

She further claimed he took her 300 Blackout rifle — a weapon with more powerful ammo than a 9mm. David being in possession of the gun has Jenelle frightened “due to his erratic behavior and physical outbursts.” We don’t blame her for being scared given his long, horrific history. She also said he has “her BMW keys and the keys to her Bayliner yacht boat.”

David continues to sound like a complete and utter nightmare! We are SO glad Jenelle is done defending this horrible man and leaving him for good. Reactions, Perezcious readers? Let us know in the comments.

If you have sincere cause to suspect child abuse, call the Childhelp National Child Abuse Hotline at 1-800-4-A-Child or 1-800-422-4453, or go to www.childhelp.org.

If you or someone you know is experiencing domestic violence, help is available. Consider calling the National Domestic Violence Hotline at 800-799-7233, or text START to 88788, or go to https://www.thehotline.org/. 

[Image via Jenelle Evans/Facebook, MTV’s Teen Mom/YouTube]



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Ripley: An Artist, A Con Artist | FilmInk

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Irish actor Andrew Scott was wary of taking on the role of murderous grifter Tom Ripley. After all, the anti-hero at the centre of Patricia Highsmith’s best-selling novels had been portrayed on screen no less than five times, most notably by Matt Damon in The Talented Mr Ripley. But Steve Zaillian’s script for an eight-part Netflix drama series convinced Scott that Ripley still had more to offer.

“There’s been a few iterations of the story over the years, but Steve had a very particular vision for the story. And I think the opportunity to write it and to tell the story in long form television was a really interesting dynamic for him,” says Scott.

“He had a very strong vision that he wanted it to be in black and white. And I think the idea that the black and white can be married in some way to the way he wanted to teach the audience how to watch this story in a very particular way, was very similar to the way we might read a novel.”

Still, Damon’s 1999 take on Ripley loomed large.

“It was a concern. When you hear about a project like this, you think, ‘is that going to be a remake in some way?’ Or, ‘what’s the point in aping someone else’s already successful work?’ But right from the beginning, I knew that was completely the opposite intention of Steve as our writer director,” says the actor who co-stars with Dakota Fanning and Johnny Flynn, who take on the roles portrayed by Gwyneth Paltrow and Jude Law in the 1999 film.

Thus, Scott would become the sixth actor to portray Ripley, following in the footsteps of Damon, Alain Delon [Purple Noon], Dennis Hopper [The American Friend], John Malkovich [Ripley’s Game], and Barry Pepper [Ripley Under Ground].

Filmed on gorgeous locations throughout Italy, including Cortona, Rome, Palermo, San Remo and the Amalfi coast, there was little time for Scott to indulge in the beauty, given how he features in almost every scene.

Also, he was occupying a dark head space in portraying a killer.

“I think with very famous literary characters, people have a real possession of them, so you can be overly concerned with that or what buzzword there might be for the character – be it psychopath or sociopath or serial killer.

“But I don’t think that Tom is a natural born killer. I think he’s somebody who’s very fallible and makes mistakes, and we see those mistakes happen in real time, and we also see his real talent taking place as well,” says Scott who earlier popularised another screen villain as Moriarty to Benedict Cumberbatch and Martin Freeman’s Holmes and Watson in Sherlock.

Born into wealth, Johnny Flynn’s Dickie Greenleaf doesn’t have a care in the world, surrounded by friends and culture and parties – and his girlfriend Marge.

Naturally, Ripley is envious of such a carefree life and entitlement.

For Flynn, he enjoyed playing the privileged bohemian Dickie. “I think the novel and our version of it is very much from Tom’s perspective. And that’s the beauty of her [Patricia Highsmith] writing, is that you slowly kind of get into Tom’s logic and why you start to feel for him and empathise with him. There’s not a lot that is there to kind of really explain what Dickie is about. But he’s somebody that Tom sees and a life that Tom sees. And you know, the way I tried to do it was really in finding the reasons to be intrigued by this person that comes into our lives,” says Flynn whose previous movies include Beast, Operation Mincemeat, Clouds of Sils Maria and this month’s cinema release, NT Live’s The Motive and the Cue.

Having existed in Tom Ripley’s world for such a long time now, Scott is almost defensive of him. “I think that the reason the character is so enduring is that we’re actually seeing what part of Tom Ripley is within us. And that’s why I think the character and the achievement of Patricia Highsmith’s novel and creating this character is that we actually root for this person who’s doing these bad things,” says the actor who featured as the “Hot Priest” in Fleabag, also starring in All of Us Strangers earlier this year.

“Because I think what she’s talking about is a man who’s ignored by society, who’s actually incredibly gifted. He’s a con artist, he’s nevertheless an artist, and he has to, in order to survive, make his living fraudulently and he’s ignored, and he doesn’t have access to any of the beautiful things that some of the other characters in the story do, namely arts and music and beauty. And when you ignore those people and they’re suddenly exposed to it, I think they become aware of a sort of rage that they have within them,” he says.

For writer/director Steve Zaillian, the sheer length of Ripley posed an extraordinary challenge. “I’ve been a fan of the book for a long time. Of course, I’d seen the other adaptations that have been done of the book, but I felt that, to do it the way I wanted to do it, I needed more time, and the eight episode format suited this book, I felt.

“And it allowed me to get into the details of the story and the details of the character and the changing relationships between the characters in a way that you can’t really do in two hours. So that was the allure for me,” says Zaillian who wrote scripts for Moneyball, The Girl with the Dragon Tattoo and Exodus: Gods and Kings.

Like Scott, Zaillian has become enchanted by this version of Tom Ripley. “I mean, what’s not to admire? He’s got a lot of the same traits we all have, in terms of having his desires and his pride and his wants and needs. He just wants and needs those things more than we do, hopefully, and that drives him to do some terrible things.

“But yes, he’s quite talented. As Marge says at one point, he’s a professional liar. That’s what he does. And it basically fuels everything that he does, says Zaillian.

For Dakota Fanning, the film’s stunning Italian locations afforded her the opportunity to further explore Italy, having also recently made Equalizer 3 there with Denzel Washington.

“I really liked that I was getting to play one of the characters that was going to perhaps go toe-to-toe with Tom Ripley’s character a little bit, and kind of have a few kind of battles with him,” says Fanning who plays Dickie Greenleaf’s girlfriend Marge.

“I was also fascinated by how it plays with perspective in the series, where you’re mostly in Tom’s perspective, and it allowed me to kind of create what Marge’s perspective and what Marge’s reality is, and to see where they intersected and where they diverged and really explore what’s underneath and what’s not being said, just as much as what is being said. So, it was just a thrill to be a small piece of it,” she says.

Zaillian enjoyed fleshing out the character for Fanning. “Marge is one of my very favourite characters, because she’s on to Tom right away. The first moment she meets him, she knows something’s not right, and then kind of goes back and forth with him,” he says.

“It’s sort of like she doesn’t trust him. Then he plays to her vanity, and she thinks he might be okay. And then she becomes suspicious again, and it goes back and forth. And she is really, I think, the only character who knows him this long; meaning that she meets him in episode one and she’s still dealing with him in episode eight, and she’s the only character that does that. So, they have a lot to do with each other and their relationship keeps changing, and it’s really fun to watch,” he says.

With time off while Marge wasn’t in scenes, Fanning soaked up the dolce vita. “I walked and walked every place that I could in Rome. I would walk forever in Venice, just exploring. And I couldn’t stop buying things. I shopped and shopped and shopped like it was my job,” laughs Fanning.

“I pretty much was the only American in the cast for a while. So, sometimes people would pop home to England or somewhere else, but I was sort of there, by myself, and there was still COVID stuff going on. And so, all my family and friends were too scared to come travel to see me, because they didn’t want to get me sick, and I couldn’t go anywhere. So, I spent a lot of time on my own exploring, and when we were in Capri, I would hike up to the ruins and do that every morning,” she recalls.

For Scott, he still can’t quite shake off Ripley. “I loved it and I just jumped at the chance to be able to play him because it’s an extraordinary opportunity for an actor,” he says.

Ripley is streaming from 4 April 2024



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