Latest news with #Animal
Hindustan Times
16 hours ago
- Business
- Hindustan Times
Men in ads need more nuanced portrayal
Brands riding on Father's Day celebrations last Sunday launched their print and digital campaigns to capitalize on emotions linked to the occasion to influence customers. Companies, across categories, that released special communication marking Father's Day included SBI Life, Instamart, Niva Bupa Health Insurance, Myntra, De Beers and Zomato among others. The Zomato campaign stood out for its storytelling and collaboration with other leading digital brands, said communications strategy consultant Karthik Srinivasan. While Zomato, Blinkit and District are part of the same company, other apps which collaborated on the ad included Urban Company, Uber and Spotify. Its quintessential message was that 'Appa' (dad) works harder than all these apps put together as he repairs home appliances, sings lullabies and transports his child on his two-wheeler. 'The caring father evokes the sentiment that before you used apps to do things, there was only 'Appa,' Srinivasan said. Diamond company De Beers' print ad was a hand-written note of appreciation from a GenZ daughter to her dad thanking him for starting to understand her lingo, binge-watching K-dramas with her and accepting her fashion sense. 'Not just in Father's Day campaigns, but usually brands showcase only the ideal version of men in ads. Unlike in films, there is no place for a hero or a villain in advertising,' Srinivasan said. Toxic masculinity may be on display in films like 'Kabir Singh' or 'Animal' since movies reflect at least some reality while ads are aspirational, he added. Lately though, the depiction of men in advertising and films has become a subject of great debate. Based on research by Kantar, the Advertising Standards Council of India (ASCI) Academy released a report in March titled 'Manifest: Masculinities Beyond the Mask, in collaboration with the Unstereotype Alliance and Religious Brands. 'Today, masculinity -- and the patriarchal structures that organise society -- are facing a crisis… Simultaneously, women are rising as equals and competitors,' the report said. In certain categories like e-commerce, tech, and menswear, there's a more evolved depiction of men -- softer, more caring, and less driven by ego. 'However, this seems to be a re-working of the traditional gentleman role, rather than a substantial challenge to the predictable man script. Some of these narratives that, at first glance, seem progressive, may also create more pressure by asking men to live up to both the protector and the caregiver, instead of un-stereotyping masculinity,' it said. Srinivas noted that the nearly 30 Father's Day ads he saw, pitched dad as the caregiver and provider, with no new thought. Ekta Relan, chief strategy officer, Saatchi & Saatchi India, agreed that the archetypical father ads, except Zomato, were underwhelming. The ASCI Academy report focused on the 'crisis' in traditional masculinity, with men feeling increasingly alienated, insecure and confused owing to societal changes and rise in gender equality. It sought a nuanced approach to depicting men in ads given the pressures they are facing. At a webinar organised by the Market Research Society of India (MRSI) on the same theme, Ekta Relan said that the reasons for men's identity crisis are rooted in women's empowerment journey over decades. 'In redefining the role of a woman, a man's role at home, in the family and society also got redefined. And they aren't conditioned for it,' she said. One response to this identity crisis was the resurgence of the alpha male seen in films like 'Animal'. 'The other was masculinity taking pride in sharing the load,' Relan said. For decades, there was a hero who never died, a father who never changed diapers and a professional who never failed. 'But now we see a father tearing up at his daughter's graduation ceremony and a CEO posting about his anxiety on social media,' she said. When 'Animal' succeeds, it raises questions about their real identity. But Relan said the future of masculinity isn't singular. 'Variations will co-exist which is an opportunity for brands. They must choose and sharply project the core of masculinity they want to represent because a male consumer today is not choosing a product, but an identity,' she said.
Pink Villa
a day ago
- Entertainment
- Pink Villa
Rashmika Mandanna's heart is filled with joy after Nagarjuna praises her performance in Kuberaa: 'This is everything...'
Kuberaa, starring Dhanush and Nagarjuna Akkineni, is set to release in theaters on June 20, 2025. Ahead of the release, the King actor was seen in an interview praising co-actor Rashmika Mandanna's performance, and the actress is on cloud nine after hearing his words. In an interview with Naga Chaitanya, Nagarjuna expressed how his favorite character from Kuberaa is Rashmika Mandanna's, Sameera. Highlighting how he only had 2-3 scenes with her while filming, seeing her performance during the dubbing session left him spellbound. Hearing the veteran star's kind words, the actress penned a short note on her social media handle. In a post on X (formerly Twitter), Rashmika said, 'This is everything I work for.. This just makes everything so worth it.' 'Fills my heart with so much joy when I see my director and Nag sir who I adore and look up to so much- proud of me.. Shekar sir and Nag sir -I hope to always have your blessings. Our film is releasing tomorrow, I wish the best for all of us,' the Animal actress added. Coming to the movie, Kuberaa is an upcoming social thriller, directed by Sekhar Kammula. The Dhanush and Nagarjuna Akkineni starrer features the tale of a beggar who is roped into a scheme by a calculative CBI officer in cahoots with a business tycoon to swindle money. With Rashmika playing a middle-class girl in the movie, Bollywood actors Jim Sarbh, Dilip Tahil, and more are also part of the ensemble cast. The much-awaited Telugu-Tamil bilingual film is musically crafted by Devi Sri Prasad. Moreover, Niketh Bommireddy and Karthika Srinivas are handling the cinematography and editing, respectively. On the work front, Rashmika Mandanna was last seen in a lead role in Salman Khan's Sikandar. The AR Murugadoss directorial features a widower and the crowned prince of Rajkot, being motivated by his late wife's death to help three strangers who received her vital organs. Furthermore, the actress is next set to feature in a film titled The Girlfriend. Additionally, she also has the horror comedy movie Thama, co-starring with Ayushmann Khurrana.
India Today
a day ago
- Entertainment
- India Today
India's cinema halls struggle with dwindling footfalls
(NOTE: This article was originally published in the India Today issue dated June 23, 2025)Amidst the glitz and spectacle of the World Audio Visual & Entertainment Summit (WAVES), one topic weighed on the minds of most film industry stakeholders—the current crisis in the theatre business. 'I have always believed that India has too few theatres, given the size of the country and [number of] people,' actor Aamir Khan said at a session. 'Our biggest theatre hits have had footfalls of 30-35 million. That's 2 per cent of our population in what is a cinema-loving country.' Seated next to him was Ajay Bijli, founder of PVR Cinemas and managing director of country's biggest multiplex chain, PVR INOX Ltd. Bijli replied in jest, 'Main office jaata hoon [I better head to office to get work done].'advertisementThe world's most populous country has just about 9,000 screens, a number that has been steadily declining, largely due to the closure of single-screen cinemas. The figure implies that there are roughly 7-8 screens per million people. More than half of these screens are concentrated in southern territories, predominantly in Andhra Pradesh, Tamil Nadu and Telangana, followed by Karnataka and Kerala. Even as new box office benchmarks have been set post-pandemic with releases like Pathaan, Jawan, Animal, Stree 2 and Pushpa–Chapter 2–The Rule, the hard reality is that footfalls have still not matched up to 2019 levels. As Aamir called for more screens in 'vast tracts where there are no cinemas', Bijli reminded us that existing screens were struggling to put bums on the existing 4 million seats. 'Consistency of content that engages is important, as the consumer is critical,' Bijli said. 'We need to start cinemas pockets where they are not available.'advertisement The latest EY report on India's media and entertainment sector states the need for low-priced theatres in Tier III and IV markets alongside growth in 'mass-themed films'. Five months into 2025, there has been only one that fits the bill—Chhaava, a period action drama on Maratha ruler Chhatrapati Sambhaji Maharaj, which collected Rs 530 crore, a significant chunk of it coming from Maharashtra. Bollywood's sluggish start to the year cannot be attributed to just fewer big releases in the first half. Mid-budget films have also struggled to make an impact, with just a few exceptions such as Kesari-Chapter 2, Raid 2 and Jatt. At Cinepolis India, which has 186 of its 430 screens in Tier II and III centres, the situation is improving, but with a caveat. 'While overall attendance figures have recovered to near pre-Covid levels—85 per cent of 2019 level in 2024—this is primarily due to the increase in screen count rather than per-screen productivity, which is down 25-30 per cent,' says Devang Sampat, the managing director of the multiplex group. 'This disparity highlights the underlying challenges the exhibition sector faces. Ultimately, it boils down to the content the industry is churning out.' The chain's expansion strategy has seen it open cinemas in Kozhikode, Bhopal, Jaipur, Rajkot and Kannur, with plans to set up shop in Jhansi, Pondicherry and Jodhpur in a few DIVIDE Talk to any exhibitor and the conversation ultimately boils down to the lack of a steady stream of compelling films that can lure the audiences back into cinema halls. 'Nobody makes movies for the masses anymore,' says Yusuf Shaikh, whose family operates five single screeners in Gujarat that are just about breaking even. 'We are not ready to understand who our audience is or [have] ignored who they are.' An 'ABCD film', one that connects in all geographic centres, is a rarity, he says. Instead, he praises filmmakers in the South for working out 'their target audience and sale and recovery model' as well as marketing, which has resulted in a few films becoming hits even in the Hindi belt. 'In the South, actors have their own fan clubs. Even the music and trailer launch are events for them,' he no overlooking the fact that the South is way above the rest of India when it comes to big screen viewing. As per of the 6,877 theatres in India, 54 per cent are in the five southern states. Add Maharashtra, and the figure rises to 70 per cent. Screen density in the South too is much higher than the national average. Ashish Pandey, currently head, programming and strategic initiatives, at MovieMax, has been in the film distribution business for over two decades and has some understanding on why the likes of Andhra, Telangana and Tamil Nadu dominate. 'In the South, there's a culture of going to the cinemas. It's not like you are going for the sake of entertainment alone. It's also not considered demeaning to go to the cinemas. So, there's no hesitation,' he says. 'A regular audience comes regardless of which film is released. There's penetration of cinemas even in smaller towns.'advertisement But all is not hunky-dory even in the hero-worshipping South. If there's a Tourist Family (Tamil) or Thudarum or Alappuzha Gymkhana (both Malayalam) which succeeds, there's also a Kamal Haasan-Mani Ratnam's Thug Life, which failed to live up to the hype. Sunil Narang of Asian Cinemas feels some course correction is needed, especially when it comes to aspects such as the theatre-to-streaming release window. In the South, it's just 28 days, compared to 56 days in the Hindi belt. Steep ticket prices as well as those for food and beverage, he feels, are also deterring audiences. 'How can we have more screens when existing screens are not running?' he laments. 'Where are the movies? Where are the numbers? How will the theatres run?' As many as 30-40 single-screen cinemas in the South have closed in the past six months, he says. THE BIG PICTUREadvertisementIf India wants to level up to the markets in China and the United States, what it needs are films that pique audience interest enough for them to make the trip. 'There isn't a regular supply of tentpole pictures or big films. They come once every three months; the rest of the time is when we face a downturn,' says Pandey, whose MovieMax is looking to expand from 80 to 100 screens by the end of the year. 'Once we have a stronger content pipeline, the expectation is that those footfalls will come back. Because people are coming to the cinemas even to watch re-releases and smaller, mid-budget fare like Munjya and 12th Fail.'But even these pleasant surprises are too few and far between. Bijli summarises the cinema theatre business post-pandemic as akin to 'feast and famine', wherein a film does exceedingly well only to be followed by a long dry spell where nothing clicks. Yet, he also realises that new cinemas need to come up in smaller centres as opposed to the big cities. Currently, 372 of PVR INOX's 1,743 screens are located in 66 Tier II and Tier III cities and come with a cumulative seating capacity of 80,947. In 2018, the multiplex giant launched the 'franchise owned, company operated' (FOCO) model to take its presence beyond the metros. Adopting an 'asset-light strategy', FOCO has franchise partners who own the property but with PVR INOX handling the design, operations and customer experience. Under this, 42 screens are operating across 12 locations, with 35 more planned in nine new locations, including Shillong, Gangtok and Shaikh is hoping to revolutionise the film exhibition market with Janta Cinemas, a business idea that emerged from a simple premise: 'Grahak khada hai, dukaan hi nahin hai [(The customer is there. But there's no shop in sight)'. He has tied up with the state governments of Assam and Tripura to convert vacant town halls and panchayat houses into 300-seater cinema spaces. While the morning and afternoon hours are devoted to edutainment, the evenings are reserved for films. Tickets are priced at Rs 99 and Shaikh throws in a chai and samosa too.'What this country needs is cinema halls for the masses. I am planning 10,000 screens in the next two years,' he boasts, adding that he is already communicating with the governments of Uttar Pradesh, Madhya Pradesh, Gujarat, Maharashtra and Delhi to launch more Janta properties. 'I am converting the pirate audience to the ticketed audience.' The ultimate endeavour, he hopes, is that there's a steady maintenance of average collections through modest outlets, which, in turn, helps build a loyal audience. It may not have swanky recliner seats or fancy food and beverage offerings, but what it can ensure is that the show goes on. A houseful one at to India Today Magazine
Scroll.in
a day ago
- General
- Scroll.in
MPESB ADDET answer key 2025 released; submit suggestions by June 21
The Madhya Pradesh Employees Selection Board (MPESB) has released the provisional answer key for the Animal Husbandry and Dairy Technology Diploma Entrance Test 2025 (ADDET 2025). Eligible candidates can download the answer key from the official website Applicants can submit suggestions, if any, by June 21, 2025. The exam was conducted on June 17, 2025. The entrance exam is held for admissions in Diploma courses in Animal Husbandry and Dairy Technology offered in different colleges located in the state of Madhya Pradesh. Steps to download MPESB ADDET answer key 2025
Time of India
a day ago
- Entertainment
- Time of India
Arjun Rampal praises Ranbir Kapoor's 'Animal' performance, celebrates rise of dark, complex roles in Hindi cinema
Arjun Rampal embraces Bollywood's shift toward darker, complex characters. In 'Rana Naidu Season 2', he delivers a powerful performance as Rauf. He praises Ranbir Kapoor's Animal and highlights evolving villain portrayals. With ten upcoming projects, Rampal remains committed to exploring morally ambiguous roles and pushing storytelling boundaries. Arjun Rampal continues to choose roles that explore deep and complex emotions. In 'Rana Naidu Season 2', he delivers a powerful performance as Rauf, blending menace with humanity. Rampal also highlights Bollywood's growing trend toward darker, more intricate characters—an artistic direction he fully embraces. Evolution of Villains and Anti-Heroes in Bollywood Speaking to Arjun observes a clear evolution in Bollywood's portrayal of villains and anti-heroes. He notes that only a select few actors have taken on these darker roles, but those who have explored anti-heroes or dark characters have been extremely successful. He highlights 'Animal' as a standout example, saying, 'Take Animal, for example—how successful was that? Ranbir was fantastic in it. ' From One-Dimensional Villains to Complex Characters The actor points to a notable evolution in Hindi films, where villains are no longer just simple obstacles for the hero. Instead, they are portrayed as complex individuals with emotions, histories, and reasons behind their actions. This shift makes them more relatable and captivating, moving beyond the traditional 'evil' stereotype. Opportunities and Challenges in Portraying Dark Roles Rampal also observes that while some are doing it really well, others maybe need to do it a bit better. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas For Sale in Dubai Might Surprise You Dubai villas | search ads Get Deals Undo He remains optimistic that filmmakers will keep pushing boundaries and provide actors with opportunities to take on such challenging roles. According to him, this not only excites audiences but also allows actors to grow and test their limits. Rampal's Commitment to Morally Ambiguous Characters Whether playing a multifaceted gangster in 'Daddy' or his recent role in 'Rana Naidu', Rampal gravitates toward morally ambiguous roles. Reportedly, with ten upcoming projects—including intense dramas, suspense thrillers, and experimental films—he's committed to pushing the boundaries of storytelling.
