Latest news with #Karna
Time of India
12 hours ago
- Entertainment
- Time of India
A cultural autopsy of the death of hobbies in India
Somewhere in the second half of the Kala Kendra's nritya-natakam on Karna's life, just after the scene where he donates his kavach and kundal to Indra, I caught myself zoning out. I was sitting in the Kamani Auditorium (Delhi), surrounded by rows of earnest culture aficionados, retirees, visibly bored schoolchildren, and those select few who were more absorbed in making reels than enjoying the performance. The stage glowed with molten amber, Karna's silhouette frozen in a moment of tragic generosity, the mridangam beating low, and the echoes of Manohar Singh's baritone voice-over still resonating. And yet, my mind drifted. A strange thought sneaked in: What on earth was I doing here? Not 'here' as in physically present (I can account for that), but 'here' as in still doing this. Still attending long, meandering theatre performances in a time of short-form everything. What am I trying to prove, or preserve? Is this hobby of mine, watching theatre, some quiet, performative nostalgia designed to feel slightly superior to the Netflix binge crowd (to which I too belong, incidentally)? Or just plain angst dressed up as a pretentious cultural flex? The doubt passed, as such thoughts do. The dancer moved again, and Karna's dilemma bled back into mine. Later, walking out into the golden haze of Mandi House, I realised that what I experienced was not just momentary self-doubt. It was a lingering suspicion that hobbies, of any kind, are quietly dying in India. And with them, something more intangible – our capacity for leisure without utility, and joy without transaction. Traditional Indian hobbies such as numismatics, philately, collecting old books and memorabilia, ham radio, amateur birdwatching, chalk art, painting, and classical music appreciation are increasingly the preserve of people stuck in a 'those were the days' time warp. The spaces they once occupied in middle-class life are now filled with the hypnotic glow of smartphones and the curated dopamine rush engendered by social media. This loss is deeper than mere rose-tinted nostalgia. Hobbies, at their best, anchor us to time. They reintroduce the value of patience and help cultivate deep attention. They also refine our aesthetic temperament, what the ancients used to call rasa-bodha. In essence, they are un-monetizable joys, for you cannot 'scale' a stamp collection or 'leverage' your knowledge of the difference between the Indian bulbul and Indian pitta. Perhaps this is one of the reasons for their fading away. For the post-liberalisation generations raised on the urgency of cracking competitive exams and continuously upgrading skill-sets, hobbies came to be seen as frivolous distractions unless they impressed the job interviewer or led to a CV boost. Parents, too, changed. Where once a child who practised the violin after school was indulged as 'creative', today he or she is nudged toward robotics classes or extra tuitions. This is the industrialisation of childhood. Time not monetised is wasted, and effort without an audience is vanity. Meanwhile, the idea of the hobby itself has been subtly co-opted by platforms. Reading is often reduced to performative lists on Goodreads. Even music, formerly a slow courtship between the listener and the raga, is now consumed through remixes of bhopali and malkauns. And to be honest, I have been guilty of this too. There was but a gentle rebellion in pursuing hobbies. They resisted the fallacy of outcomes. You did not indulge in amateur astronomy to become a better executive, nor did you read old editions of Reader's Digest to improve your CGPA. You did it because something in you stirred when you did that activity. But our modern, digital culture demands metrics: followers, shares, views, virality. Leisure, simply, has been devoured by hustle. The decline of hobbies is also intertwined with India's shrinking public commons. Parks are either decrepit or commercialised. Local libraries, once havens for readers, are in disrepair. Hobby clubs and societies – all staples of the genteel consensus which informed Indian middle-class society – are dwindling. In Delhi's Lodhi Garden or Bengaluru's Lalbagh, you will still find hobbyists gathering quietly, but their numbers pale in comparison to the influencers posing for curated photo shoots. The urban commons is now, simply, an arena for performance, a check-in location on Instagram. Hobbies allowed for the democratisation of expertise. You did not need elite credentials to cultivate knowledge in entomology, or to become a respected chronicler of the history of food. In fact, some of India's most respected niche historians and conservationists began not as professionals, but as hobbyists. For instance, the venerable Valmiki Thapar, who passed away recently, started tiger conservation as a hobby. All things considered, the picture is not entirely bleak. Reddit forums on Indian archaeology, niche podcasts on Indian theatre forms, and running clubs, are enabling young Indians to find communities beyond their physical geographies. But these are still fringe movements and not yet part of mainstream consciousness. What we need, perhaps, is a quiet cultural shift. One that re-legitimises leisure and restores dignity to doing something for its own sake. Schools must make time for unstructured exploration. Cities must nurture non-commercial public spaces. Parents must reimagine ambition. And we must not be rigid. Social media can be leveraged to spark a resurgence in hobbies by encouraging them to be archived and displayed. For instance, the act of performing a hobby can be shared and hashtagged to make it attractive to a larger populace. The hobbyist must become the content creator, but a conscientious one at that. Thus, we must work overtime to rescue the culture of hobbies from whatever it has devolved into. For if we lose it, we lose the invisible curriculum that taught us introspection and quietude. We lose spaces where class and ambition were momentarily suspended. Hobbies taught us to care. And in an India that is rapidly developing, noisy, and fast, such care is not an indulgence. It is a necessity. Author's plea: If you still practice a hobby, please do share more about it with a friend, family member, fellow hobbyist, or even a rank stranger. Not necessarily over social media, but perhaps over a cup of chai or filter coffee. This might seem unnecessary, but then does not the soul of a civilisation lie in its unnecessary acts? Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.
Time of India
4 days ago
- Entertainment
- Time of India
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.
India.com
06-06-2025
- Entertainment
- India.com
This actor who became Karna was offered role of Arjuna in Mahabharata, left role due to..., producer threw him out of office..., his name is...
The 1980s mythological epic series Mahabharat on Doordarshan included many prominent celebrities, including Mukesh Khanna as Bhishma and Nitish Bhardwaj as Lord Krishna, Roopa Ganguly as Draupadi and Puneet Issar as Duryodhana. But did you know that the actor who played role of legendary Karna was first offered the role of Arjuna but he refused it just because of his one stubborn condition. The Actor Who Refused To Play Arjun Due To His… Here we are talking about actor Pankaj Dheer who gained huge popularity after playing the role in renowned late producer BR Chopra's cult series, but initially it was not planned for him to take the role of Karna. In a chat with Lehren Retro few years back, Pankaj shared, 'When I auditioned, the dialogue writers Rahi Masoom Raza, Bhring Tupkari sahab, and Pandit Narendra Sharma ji were all there. They felt I was a great fit for the role of Arjuna. We shook hands, and I signed the contract. Then BR Chopra called me up and said that I would also need to portray Brihannala , Arjuna's real form, which meant I had to shave off my moustache. I was like, 'No way, I can't do that.' I explained that my face just wouldn't look right without it. He replied, 'Are you an actor or not? You're turning down such a significant role over a moustache? I just don't get it.' When Pankaj Dheer Revealed That He Was… Later, the actor shared an interesting anecdote from that incident. He mentioned that due to his circumstances, BR Chopra had initially kicked him out of the office. However, when he struggled to find the right actor for role of Surya and Kunti's son, he reached out to him again to play Karna in Mahabharat. 'Looking back, it was a foolish move on my part, but at that moment, I could only see things that way. Chopra sahab told me, 'Get out of this door and don't come back.' He literally threw me out of his office. My contract was ripped up, and for six months, I wandered around doing dubbing work. Then Chopra sir called me back, and I believe that was destiny at play. He asked if I could take on the role of Karna. I was curious and asked him, 'Sir, I don't have to shave off my moustache, right?' He assured me I wouldn't have to. It truly felt like fate that I ended up playing Karna'
Indian Express
03-06-2025
- Politics
- Indian Express
Karna's dilemma, Parshuram's rage & Urvashi's love: 5 Ramdhari Singh ‘Dinkar' poems every Indian should read
(Written by Anushka Rajvedi) When passion, motivation and nationalism merged, it gave rise to the 'RashtraKavi' (National Poet) of India, Ramdhari Singh 'Dinkar'. A revolutionary poet, Dinkar's poems resonated the powerful inner voice of the voiceless. Although he wrote during the British colonial era, his works are as relevant today as they were years ago. To read Dinkar is to delve through the rugged terrains of identity, ethics, morality, duty, desire, justice and freedom. By reimagining mythological heroes such as Karna, Yudhistra and Parshuram in the modern day, Dinkar took his readers on a journey of revolution that is rooted in tradition, which is not just an instance of literally brilliance but of themes that are relevant through all ages, rooted in emotions. For a reader who indulges in revolutionary nationalism, with philosophical perceptions that set a courageous tone, here are the 5 most celebrated and honoured mythological poems by Dinkar, that would stir up the soul of readers from every generation. 'जो ना झुका अब तक कभी, जो ना कभी डरा है; रण में, वह क्या झुकेगा, जो झुक गया क़लम से।' (He who never bowed, never feared in war—will he bow to the pen?) Honoured with the Jnanpith Award in 1972, Dinkar, through the lens of the 'tragic hero' Karna, recites the epic of the Mahabharata in a powerfully crafted conflict between the inner voice and society. While most view Karna in a negative light for supporting Duryodhana and the Kauravas, Dinkar portrays him as not just a character, but a symbol of dignity. Conflicted between the ideals of his life and his loyalty to Duryodhana, Dinkar depicts how individuals are often torn between being idealistic and practical. Rashmirathi is wrapped in themes such as caste, identity, morality, justice, loyalty and meritocracy. Known as his 'crowning literary achievement', Dinkar's Rashmirathi is filled with intensity and is rich in imagery. Through the internal conflict of Karna, Dinkar urges his readers to become that power that resonates with the voice of an underdog. 'शांति नहीं तब तक जब तक, सुख-भाग न नर का सम हो।' (There can be no peace until all humans share joy equally.) Churned between the choices of right and wrong, Dinkar reflects on the moral dilemma through a philosophical dialogue between Yudhistra and Krishna after the Mahabharata war. Looking at the bloodshed after the war, Yudhistira was disenchanted. Dinkar, through the dialogues of Krishna, explores the need and the outcome of a war. Kurukshetra highlights the ethical dilemma and the moral conflict that an individual gets stuck in as they live in a world torn apart by war and shrouded in injustice. Dinkar highlights the complexity of morality and values, prompting his readers to consider whether peace and justice can ever prevail in this world without violence. Parshuram ki Pratiksha 'नया दौर है, नया दौर है, नहीं माफ़ अब अपराध पुराना।' (It is a new age—old sins shall no longer be forgiven.) Set in a fierce revolutionary tone, Parshuram ki Pratiksha is a perfect example of mythology blended with morality. Mythological character Parshuram is said to be an avatar of the Hindu God Vishnu, who is a warrior-sage who is known for his courage and morality. A metaphor to motivate change in the modern world, Dinkar imagines the warrior-sage Parshuram awaiting the arrival of revolution. In a world where morality decomposes as time passes by, Dinkar ignites a revolutionary fire and urges the new generation to integrate and fight against injustice and corruption. Urvashi 'प्रेम केवल भाव नहीं, है शक्ति, जो नर को बनाती देव।' (Love is not just emotion—it is the power that makes man divine.) Honoured with the highest literary honour, the Jnanpith Award in 1972, Dinkar's Urvashi is a romantic eternal conflict between spiritual and physical love. When the elegance of myth delves into the depths of human emotions, it explores the true beauty of love that goes beyond the boundaries of physical and material love. The love story of a celestial nymph, Urvashi and the king Pururava is elegantly muffled in a lyrical and aesthetic mastery by Dinkar that reverberates the true essence of love in modern times. Renuka 'बेटे के हाथों मारी गयी माँ, फिर भी उठी दिव्य बना।' (The mother slain by her son rose again, more divine than ever.) 'Sacrifice', 'emotions' and 'duty' are terms that even today are often used to refer to one emotion- 'the love of a mother'. Dinkar, through this poem, talks about the maternal love of Renuka, who was killed by her son. Dinkar addresses the conflicts of obligations of duty and emotions, morality and authority and discipline and sacrifice, through the mythological story of Renuka and Parshuram. The warrior-sage Parshuram beheaded his mother Renuka on the command of his father. Dinkar binds his readers in the emotional journey that evokes the sacrifice of a mother who is often entangled in the predicament of 'Dharma', 'Discipline' and 'sacrifice.' (The writer is an intern with The Indian Express.)
Time of India
21-05-2025
- Entertainment
- Time of India
Anime & Indian mythology: Why they're more similar than you think
Credit-Reddit Anime and Hindu mythology might seem worlds apart, but fans know they share deep common threads. Both traditions tell grand stories filled with gods, heroes, and lessons about life. Whether it's a Japanese shonen epic or an old Sanskrit epic, we find familiar symbols: karma, destiny, the tug-of-war between good and evil, and the warmth of family. From the cosmic dance of Shiva to the starry skies of Fullmetal Alchemist , ancient Indian thought and modern anime often tap the same well of imagination. This article explores how cosmic symbolism, moral choices, spiritual ideas and family bonds in anime echo the lessons of Indian myth and scriptures. Cosmic symbolism and moral duality Both anime and Hindu myths use the cosmos to tell their tales. Just as an image of a starry night sky hints at the universe's mysteries, stories invoke the Milky Way, serpents, and dance-like battles to suggest a grand design. In Hindu myth, Shiva and Parvati's cosmic dance creates and dissolves worlds; anime heroes often face destruction-and-rebirth cycles in their own journeys. Modern fantasies even blend Eastern magic with themes of reincarnation and cosmic law. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trade Bitcoin & Ethereum – No Wallet Needed! IC Markets Start Now Undo In fact, some fantasy comics explicitly craft stories 'with destiny and duty reminiscent of the Mahabharata'. In this cosmic web, moral duality is key. Anime frequently uses the yin–yang idea: think of Bleach 's Soul Reapers balancing the Hollow souls of the dead, or Death Note 's Light Yagami wrestling with justice versus evil. This yin–yang of values — light versus dark, creation versus destruction — feels right at home with Indian ideas of dharma and adharma (right and wrong). As Bleach fans note, the Soul Society is like Yama's realm balancing souls, much as Hindu lore balances Devas and Asuras. In both worlds, villains and heroes are two sides of a cosmic coin, and every victory comes from understanding that balance. Fate, karma and inner conflict In both anime and myth, characters often find themselves tangled in fate and karma. Hindu epics teach that past actions echo through lifetimes, and anime plots often mirror this. For example, Fullmetal Alchemist revolves around Equivalent Exchange — no gain without loss — a clear nod to karmic law. Heroes frequently bear a curse or debt from the past. In Vinland Saga , Thorfinn's quest for vengeance only begets more violence, hinting that violent karma binds us to a cycle. Similarly, in Mahabharata, Karna's loyalty to a wrong king and his hidden destiny haunt him. Like Karna, many anime anti-heroes carry tragic pasts that shape their choices. They struggle with inner conflict — duty vs desire, honor vs revenge — echoing Arjuna's crisis on the battlefield. And sometimes, stories even reset time or reincarnate heroes, much as Hindu thought speaks of rebirth. One webtoon reviewer notes how a heroine sacrifices herself and 'resets' the world, 'echoing the idea of karma and reincarnation found in Indian thought'. In essence, both traditions remind us: your choices now shape the destiny you (or your next self) must confront. This loop of fate and free will runs through the Bhagavad Gita's teaching of duty just as it does through anime tales of next-generation heroes inheriting their elders' burdens. Upanishadic echoes in Anime Anime often carries a spiritual undercurrent that can feel strikingly Upanishadic. The Upanishads teach that a single underlying reality (Brahman) animates everything, and true knowledge is realizing our unity with it. We see this in anime when characters tap into a hidden power or oneness. For example, Fullmetal Alchemist has the concept of 'The Truth' behind reality, reminiscent of the Upanishadic search for ultimate knowledge. Anime heroes also grapple with the nature of the self and the universe. When Naruto (notably not our main examples) befriends powerful beings and speaks of inner peace, it echoes the Upanishad message of the soul's unity. More straightforwardly, many anime preach morality in ways that remind us of the Gita's lessons. Characters learn that true strength often means restraint or compassion — in line with 'dharma' (righteous duty). For instance, an anime warrior might hesitate to fight a villain who is also once a friend, recalling Arjuna's struggle until Krishna urges him to uphold dharma. Likewise, the South Asian webtoon Ramayan explicitly 'explores themes of dharma (duty), righteousness, and the triumph of good over evil', and we see similar threads in shows like Bleach and Vinland Saga , where duty to protect often clashes with personal desires. In short, many anime heroes are philosophers in disguise: they question life's purpose and learn that humility, karma, and right action guide them — lessons straight from Upanishads and Puranas. Family bonds and ancestral legacy Finally, both anime and Indian myths put family at the heart of the journey. In Hindu tales, loyalty and love within a family drive the drama: Shiva's bond with Parvati, or Prahlad's devoted faith overcoming the cruelty of his father. In anime too, bonds of blood and promise are sacred. Fullmetal Alchemist is fundamentally about two brothers saving each other; Bleach 's Ichigo fights to protect his friends and family; Vinland Saga shows fathers and sons (or substitutes) grappling over legacy. Even villains in anime often have tragic family stories, much like mythic characters. These emotional threads mirror how Indian epics honor ancestry and sacrifice. For example, the Pandavas fight for a kingdom their forefathers ruled, while an anime warrior might defend his village because of a vow passed down. Ultimately, heroism in both realms often means preserving something precious from the past. As the legend of Prahlad shows — 'the story of faith, devotion, good versus evil, [and] divine intervention' — love and sacrifice for family or ideals triumph over darkness. That universal message of hope and legacy resonates whether the hero wields a sword in a manga panel or bows to an idol in a temple. In the end, the line between anime fantasies and Hindu mythology is thinner than it seems. Both tell stories of light and shadow, duty and choice, that reach into our hearts. By weaving cosmic symbols with personal stakes, anime series and Indian epics both answer timeless questions: Who are we? Why do we fight? What is our destiny? These themes — gods and demons, fate and justice, family and honor — pulse at the core of each tale. For fans of either, recognizing the overlap can deepen the magic: it's comforting to see that even in modern Tokyo or ancient Ayodhya, heroes and legends share the same sky and soul. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
