
Kiran Raj's ‘Karna' serial launch stalls due to legal hurdle; Fans left disappointed
The much-awaited Kannada television serial Karna, starring
Kiran Raj
and Bhavya Gowda, was all set to hit the small screen on June 16 at 8 PM. With a powerful star cast, high production values, and emotionally charged promos, Karna had already captured the attention of viewers across Karnataka.
However, just hours before the grand premiere, the launch was unexpectedly postponed, leaving fans surprised and disappointed.
Taking to social media, lead actor Kiran Raj issued a heartfelt apology to his fans. 'I was supposed to enter your homes as Karna today, but due to some unforeseen circumstances, it didn't happen. I sincerely apologize to all our viewers. Your response has been overwhelming, and we are working hard to bring you a quality show.
It may be delayed, but we are definitely coming,' he said.
Kiran hinted at a legal issue being the reason for the sudden delay. While he refrained from disclosing details, sources close to the production suggest that certain compliance matters are being addressed before the show can officially go on air.
Produced by Shruti Naidu, Karna is said to be a high-investment project and months of meticulous planning. The promos had already crossed over a million views online within hours of release, indicating the massive anticipation around the serial.
Plot & Characters
Karna revolves around Dr. Karna, a kind-hearted and respected gynecologist who is adored at work and among friends, but struggles with loneliness and emotional neglect within his own family. Kiran Raj plays the titular role with emotional depth, marking his return to TV after a two-year break.
Joining him are Bhavya Gowda as Nidhi, a supportive and idealistic woman who shares a special bond with Karna, and Namratha Gowda, of Naagini fame, playing Nithya, Nidhi's headstrong and independent sister.
Both women's paths intertwine with Karna's in deeply emotional ways, setting the tone for a complex and heart-tugging narrative.
Veteran actors like T.S. Nagabharana and Asha Rani are also part of the ensemble, bringing gravitas to the show.
What Next?
While fans were geared up to tune in on June 16, the makers have now urged viewers to remain patient. 'We request a little more time. Everyone, our actors, technicians, and producers, has worked hard.
The show deserves a fair launch, and we're committed to making that happen,' Kiran Raj assured.
The respected channel is expected to announce a new premiere date once the legal matters are sorted. With the buzz still alive and the emotional weight of the story intact, Karna continues to remain one of the most anticipated serials on Kannada television.

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'It is also worth mentioning that in two works, the name of the translator is not even printed on the front cover, i.e., Manzoori and Parsay translations. In other words, the mentioned pattern prioritises the importance of each item: first the work, then the author, and last the translator. These covers also don't provide specific information in the book for introducing the translator or his/her other translated works to the interested readers', the paper says. In the Indian publishing industry the scene has changed. Urvashi Butalia, publisher, teacher and activist, says, 'There is greater acknowledgement and this is evident in all the things such as larger fonts, better placement, and also in including translators in media events. By contrast, I've not seen many reviews that mention names of translators, although again I could be wrong'. Ms. Mukherjee says credit is very important. She states that a simple act of giving credit to the translator on the cover of the book, and yes, equal weightage inside the book, has gone a long way, in her personal experience. Ms. Mukherjee also says we should expand that credit in a broader sense: include the translator in all marketing and publicity details, retail campaigns, and general discussion about the book. She emphasizes giving the translator the visibility they deserve across festivals and awards. According to Ms. Mukherjee, if we want to give visibility to translators, we must do so collaboratively, across all stakeholders. Promoting translated literature Translators are being acknowledged as co-creators in the literary process and not as secondary personas. There is a drive for better visibility of translators through book publicity campaigns, panel discussions, and other media. 'However, broader industry support and consistent credit across marketing, media, and events are still needed. I do think it's not enough for a few publishers and award ceremonies to promote translation literature. We need more publishing groups, more juries, and certainly, more of the mainstream media, supporting and recognising the significance of literature in translation', says Dharini Bhaskar, Associate Publisher, Literary at HarperCollins India. It helps to keep translation central to all conversations to do with books and literature. For instance, on World Book Day, Harper Collins had a full translation panel—which included Mini Krishnan, Sheela Tomy, Jayasree Kalathil, and Ministhy—and they spoke about the challenges faced by translators and the space translation literature occupies in the literary firmament. On how they bridge this gap, Ms. Bhaskar says, 'For one, we give literature in translation as much prominence as the poems and novels, and non-fiction originally published in English. Translation literature not only gets equal editorial care and attention but also has the full support of both the sales and marketing teams. We promote our works of translation—and not just when they're nominated for awards—and back translator and author equally. For they're a team. The book belongs to both of them'. Ms. Mukherjee says their publicity campaigns include the translator along with the author; this is without exception, and they will never have it any other way. She states that they make it clear at the outset to the author as well as the agent that the translator is going to be equally involved in the editing process, in planning publicity, and even on decisions pertaining to the cover of the book. Ms. Mukherjee says the translator has equal space (and equal say) on the journey of the book, both during and after its publication. Zubaan recently began a translation collaboration with Ashoka University called Women Translate Women. Every event for the books in this series has had translators present. Ms. Butalia says, 'This is also the case with many other publishers – in fact, several mainstream publishers now employ editors whose main task is to source translated manuscripts. This is a very positive development'. Are readers more willing to buy translated books? Publishers say winning the International Booker does drive sales of translated works. Though publishing houses have been increasingly taking steps to highlight the work of the translator alongside the author, the media lags in giving translators due credit. Readers, too, are increasingly open to buying translations, though Western approval still influences Indian buying habits. Ms. Bhasthi says there has been a lot of love that the translation of Heart Lamp has received, apart from the stories, and she is very grateful for that. She highlights the importance of the International Booker Prize giving equal emphasis to both the writer-translators and the writers from the original language. 'So, I think that attention is very important for translations and writer translators as well', she says. Talking about the media coverage Heart Lamp received, Ms. Bhaskar says there is immediate media coverage once a book is longlisted or shortlisted for a prestigious award, and such coverage doubles if the book wins. She adds that this kind of visibility has a direct impact on sales. 'This, in turn, has a direct impact on sales', she says. Ms. Bhaskar says they have seen sales numbers of books spiralling the moment they win prestigious awards. She notes that the ripples spread far, and that major wins typically benefit all literature coming out in a certain language. She emphasizes that such recognition also helps literature in translation overall, and sometimes even specific genres like poetry or short fiction. It also bodes well for literature in translation (as a whole), and sometimes, it bodes well for certain genres. Ms. Bhaskar points out that very often, in India, readers look for approval abroad before buying a book published locally. She stresses the need for Indian readers to start recognising the wealth of literature already available in the country—in English, in translation, and in regional languages—and to start supporting these books without necessarily waiting for validation from the West. Ms. Butalia says readers are more willing to buy translated works in general, perhaps this is because translated books are also more visible now, both in offline and in online bookshops. And they are better marketed, as books in their own right and not as poor cousins of an original. Ms. Bhasthi says that compared to other literary fiction, translated fiction is still not as widely read as it should be in a diverse country like India. She expresses hope that readers show more interest in translated fiction, and specifically mentions Kannada as one of the more under-translated languages in South India. Ms. Bhasthi says'I hope more translators bring forth some of the extraordinary works that we have in my language.'