‘Dacoit' team adds fuel to the hype with fiery theme
Adivi Sesh's much-anticipated pan-Indian action thriller Dacoit is turning heads nationwide, especially after the explosive release of its Fire Glimpse. The teaser, packed with intense action and slick visuals, has set a new benchmark in style and presentation, creating a nationwide sensation among movie lovers.
Adding fuel to the hype, the makers recently unveiled the Fire Theme, composed by Bheems Ceciroleo. The powerful score has struck a chord with audiences and is currently trending across major music charts, offering a musical feast that intensifies the film's buzz.
Directed by Shaniel Deo, Dacoit features Mrunal Thakur as the female lead. The film is being produced by Supriya Yarlagadda, presented by Annapurna Studios, with Suniel Narang serving as co-producer. The collaboration of seasoned production houses and a talented crew has further raised expectations.
Slated for a grand theatrical release on December 25, Dacoit is all set to dominate the holiday box office. Interestingly, this marks Adivi Sesh's first-ever holiday release, which adds another exciting layer to the project's profile.
With stylish visuals, a gripping score, and a promising cast, Dacoit is shaping up to be one of the biggest year-end releases. Fans and industry watchers are expecting the film to shake up the box office and reinforce Adivi Sesh's growing stature as a pan-India star.
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Hans India
35 minutes ago
- Hans India
Hindu scriptology and the civilisational impact of Brahmi
The Brahmi script, an ancient Hindu writing system, is the progenitor of numerous scripts across India, South Asia, Southeast Asia, and parts of East Asia, earning it the title "mother of Indian scripts." This article explores Hindu Scriptology—the study of Brahmi-derived scripts—focusing on their evolution through Uttara Brahmi (Northern Brahmi) and Dakshina Brahmi (Southern Brahmi), which gave rise to scripts such as Devanagari, Tamil, Thai, and Khmer. Brahmi's legacy reflects the vast reach of Hindu civilisation, which, until the 8th century CE, spanned from Afghanistan in the west to the Malay Archipelago in the east. Despite Islamic conquests and colonial influences and introduction of Arabic and Latin scripts in some regions, Brahmi-derived scripts endure, evidencing Hindu cultural unity. However, without a Hindu state, Hindu civilisation faces threats to its languages, scripts, and heritage. This article argues that Brahmi dates to the Rigvedic period or earlier, examines its descendants, their significance, and the urgent need to preserve this heritage. Origins of Brahmi: Foundation of Hindu Scriptology Brahmi's earliest evidence appears in Emperor Ashoka's edicts (circa 268–232 BCE), marking it among the world's earliest writing systems. Its origins likely trace to the Rigvedic period (1500–1200 BCE or earlier), rooted in Hindu civilisation's intellectual advancements. Brahmi's syllabic structure, with consonants carrying inherent vowels modifiable by diacritics, suited the phonological complexity of Indian languages. Western dating of Hindu civilisational events often avoids exceeding 4000 BCE, potentially due to alignment with Biblical timelines, resulting in dates that may diminish Hindu civilisation's antiquity. However, this article does not delve into these debates, as they are beyond its scope. The Rigveda's 1,028 hymns, with precise syllable counts (e.g., Gayatri with eight syllables per line, Trishtubh with 11), suggest a sophisticated linguistic system, likely supported by a script, despite oral transmission via techniques like pada-patha and ghana-patha. Non-sacred activities, such as trade or annotations, likely required writing, though perishable materials like palm leaves have left no trace. Panini's Ashtadhyayi (~5th century BCE or earlier), a grammatical treatise with ~4,000 sutras, implies a need for written codification due to its complexity. The name "Brahmi," linked to Brahma, the divine holder of the Vedas, reinforces traditional beliefs in its ancient origins, tying it to the Rigveda. The Indus Valley Script (3300–1900 BCE) indicates an early writing culture, potentially influencing a proto-Brahmi. The absence of epigraphical evidence before the third century BCE reflects archaeological limitations, not a scriptless civilisation. Ashokan inscriptions, spanning Afghanistan to Sri Lanka, show Brahmi's role in unifying a diverse empire, spreading Hindu and Buddhist principles. Its standardised form suggests prior development, likely from the Rigvedic period or earlier, establishing Hindu scriptology's foundation. The absence of pre-3rd century BCE epigraphical evidence reflects archaeological limitations, not a scriptless civilisation that produced great works such as the Rigveda and Panini's Ashtadhyayi long before. Ashokan inscriptions, spanning Afghanistan to Sri Lanka, show Brahmi's role in unifying a diverse empire, spreading Hindu and Buddhist principles. Its standardised form suggests prior development, likely from the Rigvedic period, establishing Hindu scriptology's foundation. Bifurcation of Brahmi: Uttara and Dakshina Brahmi By the early centuries CE, Brahmi's regional variants, which began evolving earlier (e.g., Tamil-Brahmi in the 3rd century BCE), were classified as Uttara Brahmi (Northern Brahmi) and Dakshina Brahmi (Southern Brahmi), reflecting geographical and linguistic diversity. Uttara Brahmi: The northern branch: Uttara Brahmi, used north of the Vindhyas, wrote Sanskrit and Prakrit for Hindu, Buddhist and Jain traditions, characterised by angular forms. Its descendants include: Devanagari:Used for Sanskrit, Hindi, Marathi, and Nepali, Devanagari evolved from the Gupta script, with its shirorekha (horizontal line) symbolising northern script unity. Sharada:Used in Kashmir for Sanskrit and Kashmiri, it remains a symbol of Hindu heritage. Gujarati:A cursive Devanagari derivative, reflecting Gujarat's cultural dynamism. Gurmukhi:Developed for Punjabi by Guru Angad, tied to Sikhism's Hindu ethos. Bengali, Odiya, Assamese:Evolving from the Siddham script, these preserve Hindu literary traditions. Meetei Mayek:Revived in Manipur, symbolising Hindu heritage reclamation. Tibetan:Developed in the 7th century, it spread Buddhism, a Hindu-derived religion, to Tibet. These scripts, driven by Hindu, and Buddhist traditions, carried Hindu influence to Central Asia, embodying northern Hindu scriptology's unity. Dakshina Brahmi: The southern branch: Dakshina Brahmi, used in southern India, Sri Lanka, and Southeast Asia, adapted to Dravidian and non-Indo-Aryan languages with rounded forms. Its descendants include: Tamil:Originating from Tamil-Brahmi (3rd century BCE), an early southern Brahmi variant, it evolved through Vatteluttu and Pallava scripts (4th–7th centuries CE), with significant Grantha influence, and was standardised in the 20th century. Telugu, Kannada:From the Kadamba script (4th–6th centuries CE), emerging from a shared script by the 13th century. Malayalam:Derived from Tamil-Brahmi via Vatteluttu, shaped by Grantha, and simplified by the 20th century. Sinhala:Evolving in Sri Lanka by the 3rd century CE, it preserves Buddhist literature. Khmer, Thai, Lao:From Pallava script, spreading Hindu-Buddhist culture to Southeast Asia. Burmese:Derived from Mon script, reflecting Myanmar's Hindu-Buddhist past. Javanese, Balinese:Rooted in Pallava, these encapsulate Indonesia's Hindu-Buddhist heritage. Chakma:Adapted for a Tibeto-Burman language, supporting Buddhist texts. Malay Scripts (Kawi, Rencong, Batak, Lontara):Thriving during the Hindu-Buddhist period (4th–13th centuries CE), these were later replaced by Arabic (Jawi) and Latin (Rumi) scripts due to Islamisation and colonial influence. These southern Brahmi scripts, with their rounded forms and adaptability to diverse phonologies, highlight Hindu civilisation's linguistic diversity, spread through Pallava and Chola maritime networks across South and Southeast Asia. Cultural and Linguistic Significance Until the 8th century CE, Hindu civilisation, spanning from Afghanistan to the Malay Archipelago, was unified by shared religious practices, philosophies, and Brahmi-derived scripts. Temples, stupas, and inscriptions from Gandhara to Java reflect this interconnectedness, with Brahmi as the scriptological thread. Religious texts and cultural transmission: Brahmi-derived scripts preserved Hindu civilisation's religious heritage. Devanagari transcribed Vedic hymns, Upanishads, and epics, while Tamil recorded Sangam literature and devotional works. Khmer and Thai scripts adapted Hindu and Buddhist texts, and Tibetan and Sinhala scripts preserved Mahayana and Theravada canons, respectively, spreading Hindu ethos across Asia. Linguistic adaptation: Brahmi's adaptability suited diverse linguistic systems. Northern scripts like Devanagari handled Indo-Aryan consonant clusters, while southern scripts suited Dravidian structures. Khmer and Thai scripts accommodated tonal languages, reflecting Hindu scribes' ingenuity in preserving a shared heritage. Trade and Cultural Exchange Trade and maritime routes, led by Pallava and Chola dynasties, spread Brahmi-derived scripts to Southeast Asia, seen in Angkor Wat and Borobudur. The Silk Road carried Uttara Brahmi to Central Asia and Tibet. These exchanges highlight Hindu civilisation's role as a cultural bridge, with Brahmi scripts enduring in regions like Thailand and Bali. Losses of Hindu civilisation: Islamic conquests from the eighth century replaced Brahmi-derived scripts with Perso-Arabic in Afghanistan and Pakistan, dismantling Hindu and Buddhist institutions. Colonial rule marginalised Brahmi scripts, favouring English and Roman scripts. In Southeast Asia, Latin orthographies diminished scripts like Javanese. Without a Hindu state, Hindu civilisation's culture, languages, and scripts face challenges in preservation. A call to reclaim Hindu civilisation: Brahmi-derived scripts reflect Hindu civilisation's historical grandeur, yet conquest, colonisation, and secularism threaten its survival. Nations like India and Nepal must promote these scripts, fund scriptological research, and integrate Hindu cultural education to preserve this heritage. These scripts, from Devanagari's shirorekha to Telugu's curves, embody a civilisation that once illuminated Asia, urging a renewed identity to ensure its global resonance. Conclusion Brahmi and its descendants represent a pinnacle of human ingenuity and Hindu civilisation's cornerstone. From its Rigvedic origins to its spread across Asia, Brahmi unified diverse regions through a shared scriptological heritage. Its bifurcation into Uttara and Dakshina Brahmi reflects Hindu civilisation's diversity and resilience. Despite losses from conquest, colonisation, and secularism, these scripts endure, testifying to Hindu civilisation's legacy. Without state patronage, this heritage risks extinction, demanding urgent action to preserve and revitalise it. By celebrating Hindu scriptology, we honour an ancient civilisation that shaped Asia and, possibly, beyond, inspiring a renaissance to secure its future. (The writer is a retired IPS officer, and a former Director of CBI. Views are personal)
Economic Times
41 minutes ago
- Economic Times
Labubu effect: When cuteness becomes a billion-dollar business
Agencies When cuteness becomes a billion-dollar business 'Today, if you have a product that can make people go 'awww', you have won,' says Vaishak, founder of The Seraphim Store in Bengaluru, which deals in sneakers, streetwear and all things hype. His current drop are a few boxes of the viral Pop Mart doll, Labubu, which is making everyone go 'aww' or 'eww', depending on which end of the ugly-cute fence you are on. Vaishak, who scores his merch mostly from Malaysia, says the blind boxes—so called because you will know the version of the doll you get only when you open the package—are spoken for even before they land. The price of the plush toy monsters starts at Rs 5,000, while special editions come for Rs 15,000. Vaishak is certain cute is serious business. It sure is. Since mid-2024, Labubus—created by Hong Kong-based artist Kasing Lung and manufactured by the Chinese toy company Pop Mart—have had the world in its chokehold. Everyone from Lisa of K-pop band Blackpink, who started the frenzy, to singer Rihanna to actor Ananya Pandey has been spotted with Labubus hitched to their luxury handbags. It is now the No. 1 collectibles release on the online resale platform StockX, selling for Rs 18,000. Labubu has also propelled Wang Ning, founder of Pop Mart, into the billionaires' club of China, one of the youngest to get there. FUN IS IN Fashion and design are intrinsically linked to nostalgia, childhood memories and elements of fun, says Aneeth Arora, founder and designer of Pero, an Indian brand which, journalist Namrata Zakaria says, brings playfulness and childlike influences into mainstream fashion. Last year, Arora worked with the Japanese company Sanrio's Hello Kitty brand to create a collection that was Indian in its craft but kawaii (Japanese term, loosely translating to cute) in its execution. Arora believes in the lasting power of cute: 'Fun and play have been in our DNA. We have worked with themes like dolls, collaborated with Barbapapa [title character of a French children's book] and now Hello Kitty. Labubu might be a microtrend but the whole idea of nostalgia and fun via fashion is not. Unlike Labubu, Hello Kitty is not a microtrend. It has been around since 1974.'Even so, the current love for cute—as evinced by #charmcore, #plushiecore and #toycore—has baffled fashion watchers. By its very nature, 'cute' suggests immaturity or lack of depth, making it a four-letter word in fashion. But people are clicking on cute. Fashion writer Sujata Assomull says, 'In uncertain times, there's a deep emotional pull toward things that feel light, nostalgic and comforting. Cuteness is a gentle escape—it's not too serious, and in that way, it becomes emotionally relevant.' Since the pandemic, microtrends have become the norm. Besides Labubus, Jellycat is the fastest sell-ing toy brand at the high-end department store chain Selfridges in the UK. Other Pop Mart blind-box toys like Crybaby and Hirono are also gaining Shetty, designer & cofounder of Huemn, says 'cuteness' is here to stay till we see a safer and more balanced political and economic climate. She adds, 'Fashion has always been a response to cultural cues—and we live in very chaotic times. It has made us desensitised. This microtrend is the biggest example of a deeply emotional response.'A Vogue Business article says the reasons toys are having a moment in 2025 are manifold: people are seeking comfort, a connection to a simpler time, they are 'affordable luxury', and these 'kidult' collectibles help adults express their personality. Agrees Shetty: 'Digital culture is accelerating these microtrends. But I believe that if it's everywhere, it's already over. This is why Labubu doesn't appeal to me, even though I'm finding joy in this trend.' Shetty, who was in Tokyo last month, went for other toys like Smiski and professional Amrita Chhabria confesses to leaning onto cute trinkets—usually picked from Miniso—as quick comforters to deal with daily stress caused by family members being in and out of hospital. Sarifluencer Ashwini Narayan pairs charms and toys with her bags as reminders of old trips. Delhi-based visual designer Soumya Marhual, 28, makes her own charms. She says, 'Owning things like this gives you a false sense of control that you are curating your life, that you are actively making choices.'It could also be a way to engage playfully with fashion. Jatin Varma, founder of Comic Con India, says, 'After Lisa was spotted with Labubu, shelves filled up overnight, resellers priced it like limited-edition sneakers and people started dropping words like 'collector' and 'fan' as if they had grown up with it. It was fascinating to see the speed at which something can go from niche to status symbol—not because of story, not because of meaning, but because it entered the right frame, in the right photo, with the right person.' Varma says, 'We have reached a point where people don't want to join culture. They want to skip straight to owning the symbol of it.' DOLL'S PARTY But for brands there's no set playbook to go by. Assomull says if a brand doesn't already have a playful or quirky side, forcing cuteness can backfire. Vivita Relan, cofounder of the whimsical ceramics brand The Wishing Chair, has been riding the cute wave since 2012. She says the line between whimsical and childish is paper-thin. Brands can strike the right balance with intent and execution. She says, 'We use playful silhouettes, but ground them in well-made artistry. Also, cuteness isn't about making an exact design replica of something from your childhood, but about evoking that feeling.' Arora agrees. She says 'cute' without solid workmanship is says this trend is evolving into 'recession luxury' where tactile, playful aesthetics serve as a psychological balm and a business tool. Assomull calls it 'emotional luxury'. 'Perhaps we have reached a saturation point with product-driven luxury: one It-bag after another. People are now craving emotion, tactility and joy,' she Bhavisha Dave, cofounder of streetwear store Capsul, which was selling Labubus last year along with other collectibles like Kaws, Be@rbrick and Hirono, says the Labubu craze signals trends are now more Asia-focused. 'Earlier, people travelled more to Europe or US; now they visit Thailand, Hong Kong, Singapore or Japan, where collectible culture is a lifestyle.'Labubus are not a work of luck, she says. 'Pop Mart has been in the business of selling collectibles for a while. They understand the hype mindset— scarcity, blind box, collectible. They know how to sustain this frenzy.'Zakaria is enjoying the craze: 'I think it's a fun accessory that gives a little whimsy to an overpriced, snobby handbag.' The blind box means you can buy a Labubu but you take what you get. She says, 'It's like you can't choose a Labubu, it chooses you. Sounds like Hermes, no?'
Time of India
41 minutes ago
- Time of India
Labubu effect: When cuteness becomes a billion-dollar business
'Today, if you have a product that can make people go 'awww', you have won,' says Vaishak, founder of The Seraphim Store in Bengaluru, which deals in sneakers, streetwear and all things hype. His current drop are a few boxes of the viral Pop Mart doll, Labubu , which is making everyone go 'aww' or 'eww', depending on which end of the ugly-cute fence you are on. Vaishak, who scores his merch mostly from Malaysia, says the blind boxes—so called because you will know the version of the doll you get only when you open the package—are spoken for even before they land. The price of the plush toy monsters starts at Rs 5,000, while special editions come for Rs 15,000. Vaishak is certain cute is serious business. It sure is. Since mid-2024, Labubus—created by Hong Kong-based artist Kasing Lung and manufactured by the Chinese toy company Pop Mart—have had the world in its chokehold. Everyone from Lisa of K-pop band Blackpink, who started the frenzy, to singer Rihanna to actor Ananya Pandey has been spotted with Labubus hitched to their luxury handbags. It is now the No. 1 collectibles release on the online resale platform StockX, selling for Rs 18,000. Labubu has also propelled Wang Ning, founder of Pop Mart, into the billionaires' club of China, one of the youngest to get there. FUN IS IN Fashion and design are intrinsically linked to nostalgia, childhood memories and elements of fun, says Aneeth Arora, founder and designer of Pero, an Indian brand which, journalist Namrata Zakaria says, brings playfulness and childlike influences into mainstream fashion. Last year, Arora worked with the Japanese company Sanrio's Hello Kitty brand to create a collection that was Indian in its craft but kawaii (Japanese term, loosely translating to cute) in its execution. Arora believes in the lasting power of cute: 'Fun and play have been in our DNA. We have worked with themes like dolls, collaborated with Barbapapa [title character of a French children's book] and now Hello Kitty. Labubu might be a microtrend but the whole idea of nostalgia and fun via fashion is not. Unlike Labubu, Hello Kitty is not a microtrend. It has been around since 1974.' Even so, the current love for cute—as evinced by #charmcore, #plushiecore and #toycore—has baffled fashion watchers. By its very nature, 'cute' suggests immaturity or lack of depth, making it a four-letter word in fashion. But people are clicking on cute. Fashion writer Sujata Assomull says, 'In uncertain times, there's a deep emotional pull toward things that feel light, nostalgic and comforting. Cuteness is a gentle escape—it's not too serious, and in that way, it becomes emotionally relevant.' Live Events Since the pandemic, microtrends have become the norm. Besides Labubus, Jellycat is the fastest sell-ing toy brand at the high-end department store chain Selfridges in the UK. Other Pop Mart blind-box toys like Crybaby and Hirono are also gaining popularity. Shyma Shetty, designer & cofounder of Huemn, says 'cuteness' is here to stay till we see a safer and more balanced political and economic climate. She adds, 'Fashion has always been a response to cultural cues—and we live in very chaotic times. It has made us desensitised. This microtrend is the biggest example of a deeply emotional response.' A Vogue Business article says the reasons toys are having a moment in 2025 are manifold: people are seeking comfort, a connection to a simpler time, they are 'affordable luxury', and these 'kidult' collectibles help adults express their personality. Agrees Shetty: 'Digital culture is accelerating these microtrends. But I believe that if it's everywhere, it's already over. This is why Labubu doesn't appeal to me, even though I'm finding joy in this trend.' Shetty, who was in Tokyo last month, went for other toys like Smiski and Fugglers. Marketing professional Amrita Chhabria confesses to leaning onto cute trinkets—usually picked from Miniso—as quick comforters to deal with daily stress caused by family members being in and out of hospital. Sarifluencer Ashwini Narayan pairs charms and toys with her bags as reminders of old trips. Delhi-based visual designer Soumya Marhual, 28, makes her own charms. She says, 'Owning things like this gives you a false sense of control that you are curating your life, that you are actively making choices.' It could also be a way to engage playfully with fashion. Jatin Varma, founder of Comic Con India, says, 'After Lisa was spotted with Labubu, shelves filled up overnight, resellers priced it like limited-edition sneakers and people started dropping words like 'collector' and 'fan' as if they had grown up with it. It was fascinating to see the speed at which something can go from niche to status symbol—not because of story, not because of meaning, but because it entered the right frame, in the right photo, with the right person.' Varma says, 'We have reached a point where people don't want to join culture. They want to skip straight to owning the symbol of it.' DOLL'S PARTY But for brands there's no set playbook to go by. Assomull says if a brand doesn't already have a playful or quirky side, forcing cuteness can backfire. Vivita Relan, cofounder of the whimsical ceramics brand The Wishing Chair, has been riding the cute wave since 2012. She says the line between whimsical and childish is paper-thin. Brands can strike the right balance with intent and execution. She says, 'We use playful silhouettes, but ground them in well-made artistry. Also, cuteness isn't about making an exact design replica of something from your childhood, but about evoking that feeling.' Arora agrees. She says 'cute' without solid workmanship is hollow. Shetty says this trend is evolving into 'recession luxury' where tactile, playful aesthetics serve as a psychological balm and a business tool. Assomull calls it 'emotional luxury'. 'Perhaps we have reached a saturation point with product-driven luxury: one It-bag after another. People are now craving emotion, tactility and joy,' she says. Bengaluru-based Bhavisha Dave, cofounder of streetwear store Capsul, which was selling Labubus last year along with other collectibles like Kaws, Be@rbrick and Hirono, says the Labubu craze signals trends are now more Asia-focused. 'Earlier, people travelled more to Europe or US; now they visit Thailand, Hong Kong, Singapore or Japan, where collectible culture is a lifestyle.' Labubus are not a work of luck, she says. 'Pop Mart has been in the business of selling collectibles for a while. They understand the hype mindset— scarcity, blind box, collectible. They know how to sustain this frenzy.' Zakaria is enjoying the craze: 'I think it's a fun accessory that gives a little whimsy to an overpriced, snobby handbag.' The blind box means you can buy a Labubu but you take what you get. She says, 'It's like you can't choose a Labubu, it chooses you. Sounds like Hermes, no?'
