The hit Telugu film *Mirai* is all set for its OTT premiere on October 10.
Fans can catch the much-awaited release exclusively on JioHotstar.
Mark your calendars and get ready to enjoy *Mirai* from the comfort of your home!
https://www.newsbytesapp.com/news/entertainment/mirai-ott-version-to-include-deleted-scenes/story
The hit Telugu film *Mirai* is all set for its OTT premiere on October 10.
Fans of the movie can catch it exclusively on JioHotstar from this date.
Get ready to experience the gripping story of *Mirai* from the comfort of your home!
https://www.newsbytesapp.com/news/entertainment/mirai-ott-version-to-include-deleted-scenes/story
The late Assamese singer Zubeen Garg’s final film, *Roi Roi Binale*, is set to be released on October 31.
Filmmaker Rajesh Bhuyan made the announcement, marking a significant moment for fans and the Assamese film industry alike.
This release will serve as a tribute to Zubeen Garg’s enduring legacy and his contributions to music and cinema. Stay tuned for more updates on the film’s release and related events.
https://www.newsbytesapp.com/news/entertainment/zubeen-garg-s-roi-roi-binale-to-release-this-month/story
The hit Telugu film **Mirai** is all set for its OTT premiere on **October 10**.
Fans can catch the much-anticipated release exclusively on **JioHotstar**.
Mark your calendars and get ready to enjoy this film from the comfort of your home!
https://www.newsbytesapp.com/news/entertainment/mirai-ott-version-to-include-deleted-scenes/story
**‘Baahubali’ Films Disappear from Netflix Ahead of ‘Baahubali: The Epic’ Theatrical Release**
*By Isha Sharma | October 5, 2025, 2:14 PM*
The beloved *Baahubali* films, directed by SS Rajamouli, have suddenly disappeared from Netflix as fans eagerly await the grand theatrical release of *Baahubali: The Epic* scheduled for October 31. This special edition will combine the two-part saga into a single cinematic experience, aiming to captivate audiences like never before.
Starring Prabhas, Anushka Shetty, and Rana Daggubati, the *Baahubali* franchise has amassed a massive fan following since its initial releases. However, as of now, both films are no longer searchable on Netflix and often trigger the message: “Oh no! This title currently isn’t available to watch in your country.”
This unexpected disappearance has sparked widespread discussion on social media. Some speculate it may be a marketing strategy designed to build buzz ahead of the theatrical release, while others believe the streaming rights to the films have simply expired. An X user commented, “Netflix does this with every movie… They keep and delete as per their wish,” while another noted, “Nah, Baahubali contract is ended now.”
### About *Baahubali: The Epic*
*Baahubali: The Epic* is a remastered and recut version that combines *Baahubali: The Beginning* (2015) and *Baahubali: The Conclusion* (2017) into one seamless film. SS Rajamouli announced this special theatrical release on X (formerly Twitter) earlier this year to celebrate the 10th anniversary of the franchise.
Despite their removal from Netflix, the *Baahubali* films remain available for streaming on platforms like SonyLIV and JioHotstar. This availability on other services has only added to the speculation surrounding Netflix’s decision to remove the titles.
Fans eagerly await the upcoming release, which promises an unparalleled epic retelling of one of Indian cinema’s most iconic sagas. Stay tuned for more updates as October 31 approaches.
https://www.newsbytesapp.com/news/entertainment/baahubali-movies-removed-from-netflix-ahead-of-re-release/story
**‘Baahubali’ Films Disappear from Netflix Ahead of ‘Baahubali: The Epic’ Theatrical Release**
*By Isha Sharma | Oct 05, 2025, 02:14 PM*
The beloved Baahubali film series, directed by SS Rajamouli, has suddenly vanished from Netflix just weeks before the grand theatrical release of *Baahubali: The Epic* on October 31. This upcoming release will present a specially remastered and recut version of the two-part saga—*Baahubali: The Beginning* (2015) and *Baahubali: The Conclusion* (2017)—combined into one immersive cinematic experience.
Starring Prabhas, Anushka Shetty, and Rana Daggubati, the Baahubali franchise is among the most celebrated in Indian cinema, and its theatrical re-release has stirred significant excitement among fans.
### Streaming Removal Sparks Speculation
In recent days, viewers searching for Baahubali on Netflix have found the films missing from the platform’s library. In some cases, users encounter the message:
*“Oh no! This title currently isn’t available to watch in your country.”*
Screenshots of this notification have circulated widely on social media, fueling speculation about the cause. Many are debating whether this move is a clever marketing strategy designed to build anticipation for the theatrical release or simply the result of Netflix’s streaming rights expiring.
On X (formerly Twitter), some users commented:
– “Netflix does this with every movie… They keep and delete as per their wish.”
– “Nah, Baahubali contract is ended now.”
### Baahubali: The Epic – What to Expect
SS Rajamouli officially announced the upcoming release of *Baahubali: The Epic* in July, marking the 10th anniversary of the original film. The film will bring audiences a fresh, remastered look at both installments in a unified format, promising an unparalleled viewing experience on the big screen.
### Availability on Other Platforms
Despite their removal from Netflix, the Baahubali films remain available for streaming on other platforms such as SonyLIV and JioHotstar. This availability has added to the intrigue surrounding their disappearance from Netflix, with many wondering if exclusive distribution deals are underway in preparation for the theatrical launch.
—
With the October 31 release date fast approaching, fans are eagerly awaiting the opportunity to experience Baahubali in this new epic format, celebrating a decade of one of India’s most iconic film sagas. Stay tuned for more updates on *Baahubali: The Epic.*
https://www.newsbytesapp.com/news/entertainment/baahubali-movies-removed-from-netflix-ahead-of-re-release/story
**Baahubali Films Disappear from Netflix Ahead of ‘Baahubali: The Epic’ Theatrical Release**
*By Isha Sharma | October 5, 2025, 2:14 PM*
The beloved *Baahubali* films, directed by SS Rajamouli, have suddenly vanished from Netflix just weeks before the grand theatrical release of *Baahubali: The Epic*, set for October 31. This new release will combine the two-part saga into a single remastered and recut cinematic experience, promising to captivate audiences once again.
Starring Prabhas, Anushka Shetty, and Rana Daggubati, the iconic franchise has garnered a massive fan base worldwide. However, fans searching for the films on Netflix have been met with a message stating, “Oh no! This title currently isn’t available to watch in your country,” sparking widespread speculation.
Social media users have shared screenshots of this message, debating whether the removal is part of a strategic marketing move to build hype for the upcoming theatrical release, or simply due to the expiration of Netflix’s streaming rights. One user on X (formerly Twitter) commented, “Netflix does this with every movie… They keep and delete as per their wish,” while another added, “Nah, Baahubali contract is ended now.”
Despite the absence from Netflix, both *Baahubali: The Beginning* (2015) and *Baahubali: The Conclusion* (2017) remain available to stream on other platforms such as SonyLIV and JioHotstar. This continued availability adds fuel to the discussion around licensing and distribution strategies.
SS Rajamouli officially announced the upcoming special edition, *Baahubali: The Epic*, on X in July, marking the 10th anniversary of the franchise’s original release. This remastered combined version is expected to offer fans an enhanced and immersive cinematic journey celebrating the legendary saga.
Stay tuned for more updates as the release date approaches, and prepare to experience *Baahubali* like never before on the big screen this October.
https://www.newsbytesapp.com/news/entertainment/baahubali-movies-removed-from-netflix-ahead-of-re-release/story
The Marathi thriller *Dashavtaar* has already crossed the ₹25-crore mark and continues to rake in more. Remarkably, it is the only Marathi film to have a first show at 7:30 AM at more than two theatres in Mumbai, followed by a last show at 11:30 PM. The film is proving to be tough competition for Bollywood releases and has been applauded by critics for the strong social message it delivers.
This film marks the debut of tele-serial director-producer Subodh Khanolkar in the commercial film space as a writer-director. Was he nervous about this transition? “Little nervous, yes… but apprehensive, no,” says Subodh quite vehemently.
### Joining the ‘Elite Class’ of Success
Today, with the bumper success of *Dashavtaar*, Subodh joins an ‘elite class’ of filmmakers. Did he expect such success? “Not at all,” he admits. “Having said that, I have to accept that for any filmmaker, commercial success is important. One wants their film to be a hit. It is only when the film — especially one with a mega budget like this — is commercially successful that one can think of making another one.”
### A Story Close to the Heart
The story of the film is very close to Subodh’s heart. His ancestral home in Kelus is more than 100 years old. Nearly three years ago, on his way back from Kelus after celebrating the centenary of the house in a grand way, Subodh shared his emotions with his wife Anvita.
“I was so enamoured and overwhelmed by the whole experience that I wanted to recreate the ambiance of Konkan in my next venture,” he informs. “Anvita loved the idea. Back in Mumbai, I discussed this with my partners at Ocean Film Company. They too liked the idea. After some brainstorming, it was decided that I should write the story and screenplay… and I started working on it.”
Subodh worked diligently on the script, and once it was ready, he decided to direct the film as well.
### The Social Message: Intentional or Not?
Did he start writing the script with the social message in mind? “No,” he confesses. “When I set out to write the script, it was a story of a father-son duo with *Dashaavtar* as the underlying factor. A story of emotions, a story of the relationship between father and son with all its layers.”
Subodh acknowledges that as the story unfolded, many other layers emerged during research and development. “Nothing was intentional, not even the social message. I had not intended the final message to be ‘in your face’ as many feel. It is always an alert social mind that starts putting social context into the story. And that’s what happened with me.”
### Appealing to All Generations
A lot of youngsters have been attracted to the film. However, Subodh denies having kept them as a target audience while writing or directing. “It was a simple storytelling process when I began. I wanted to make an engaging film that would appeal to all age groups — a film that an entire family can watch together.”
### Casting Highlights
Dilip Prabhavalkar’s performance as Babuli is being widely praised. “For me, it had to be Dilip Kaka as the protagonist. I believed that he would be the only one to do justice to the character. His chameleon-like capacity to become the character that he plays was his unique selling point. I would have temporarily scrapped the project if he had not agreed to play Babuli,” Subodh asserts.
The surprise package in casting comes in the form of Vijay Kenkare and Mahesh Manjrekar. “I wanted someone who doesn’t have a negative image to play the antagonist and someone unpredictable to play the police inspector. That’s the reason I chose Kenkare to play the villain and Manjrekar to play the inspector.”
Both Kenkare and Manjrekar are brilliant and successful directors themselves. How was it directing them?
“Very easy. Neither of them interfered with the process. On the contrary, they were extremely helpful and cooperative. Manjrekar especially went out of his way to ensure that I got exactly what I had visualised.”
### Being Compared to *Kantara*
Subodh is aware of comparisons between *Dashavtaar* and the blockbuster *Kantara*. “I know. I guess the regional flavour, the folk art, and a few locations triggered that.”
The main location representing the forest deity, Katolba, was discovered by the team in the forests of Vaingani near Vengurla. The banyan tree with many branch roots and a sheltered center made for an ideal locale. Art Director Sanjiv Rane created the Katolba in resin as per sketches by Ocean Film Company’s graphic designers, explains Subodh.
### Lessons Learned and Takeaways
With all the comparisons and inevitable criticism that come with commercial success, Subodh’s takeaway from the film is insightful.
“This is my first film as a writer-director. I had the license to make mistakes, and I have learned a lot in the process. The positive side is that it has given me confidence about the medium. And the biggest lesson I learned is to pre-plan extensively to save time,” Subodh concludes.
—
*By Shruti Pandit*
https://www.freepressjournal.in/weekend/writer-director-subodh-khanolkar-enjoys-the-success-of-his-debut-marathi-film-dashavtaar
The long and winding 50th season of the PBA tips off this Sunday with the opening of the centerpiece Philippine Cup at the Smart Araneta Coliseum.
As the new season begins, there will be many burning questions seeking answers. Fans and analysts alike are eager to see how teams will perform and which players will rise to the occasion.
However, there may be one question that is already settled.
**READ:** [PBA: June Mar Fajardo grateful as record 9th MVP looms](#)
June Mar Fajardo is…
https://sports.inquirer.net/642979/pba-golden-season-opens-with-one-less-surprise
The first of October is marked as Music Day in many parts of the world; another day, June 21, is also observed, with a slightly different emphasis—a celebration of music’s many forms and its capacity to bring disparate traditions into conversational harmony. Yet, if music can unite, it does not, by itself, inoculate a society against violence. Celebrating sound and rhythm is no guarantee of moral restraint.
That paradox is painfully evident in Pakistan. After the country was widely branded as a sponsor of, or at least a haven for, extremism, successive governments sought to cultivate a softer image. Soft power became a remedy in speech and policy: embassies were urged to host cultural events; diplomats extolled the nation’s literary and musical heritage; fashion shows and art exhibitions were staged abroad to suggest a modern, outward-looking society.
Under the administration of Shaukat Aziz in the early 2000s, such displays of liberal openness were pursued with enthusiasm—a conspicuous diplomacy that sought to counterbalance a darker international narrative. But optics and policy do not always track one another. The presence of concerts, galleries, and catwalks does not automatically negate the political choices that lead to violence. Culture can coexist with brutality; sometimes it even flourishes alongside it.
Israel, a society rich in music, theatre, and visual arts, has nevertheless employed indiscriminate force in ways that many have condemned. Equally, Japan in the 1930s and 1940s, steeped in aesthetic traditions and religious values often associated with pacifism, pursued an expansionist military policy that wrought enormous suffering across East Asia. Nor should we forget the colossal human toll recorded in China’s historical memory of the Japanese invasion.
These are awkward truths, but they are instructive. Art and culture do not automatically immunize a polity against violence. Art is not a prophylactic. It is an expression of a people; and like any human practice, it can coexist with contradictory impulses.
A society’s musical culture may be lush and diverse while its politics are hard-edged and uncompromising. Artists and musicians can and do protest violence, yet their songs seldom, on their own, alter the course of state action.
Part of the reason for this disconnect is that culture and policy inhabit different registers of power. Music, painting, and dance shape hearts and imaginations; statecraft organizes resources, defines enemies, and makes war possible. Soft power—the ability to attract and persuade through culture—has real value, but it is subsidiary to the hard instruments of policy: the legal framework, the security apparatus, the economy, and the structure of political incentives.
You can fill an embassy with sarangis and sitars, but if the policy calculus in the capital favors militarized responses, the public display of culture will look like tokenism. Wars and ballads, swords and sarangis, have always coexisted in human history. The task for cultural policymakers and civic leaders is not to pretend otherwise, but to shape the balance.
In Pakistan, the elevation of martial themes in popular culture is striking. Patriotic anthems and taranas that extol bravery, sacrifice, and territorial defense have long commanded greater official recognition than songs of love or pleas for peace. Epic literature and praise of warrior virtues have classical antecedents—from the Iliad and the Mahabharata to the Shahnameh. Modern states draw on these narratives, consciously or otherwise, to frame national identity.
In such a cultural economy, a vocalist who sings to celebrate the nation’s might may be lauded as a custodian of public morale, while a singer who pleads for reconciliation is dismissed as sentimental or naive. That does not mean that songs of peace do not exist or lack potency. Throughout history, poetry and music have articulated dissent and conscience—from the laments of the troubadours to the protest songs of the twentieth century.
But the institutional esteem afforded to different genres matters: where martial music is publicly rewarded, its messages multiply; where songs of reconciliation are marginalized, they struggle to be heard beyond sympathetic circles.
Also, there is a more ambivalent truth about human temperament. Courage and tenderness are not mutually exclusive; they often run in parallel. Communities cultivate both the capacity to defend and the capacity to heal. Expecting one to annihilate the other is wishful thinking.
Wars and ballads, swords and sarangis, have always coexisted in human history. The task for cultural policymakers and civic leaders is not to pretend otherwise, but to shape the balance.
So, what might a more honest engagement with culture and security look like?
First, cultural policy must be more than window-dressing. Investing in arts education, ensuring public funding for diverse cultural practices, and embedding critical artistic voices within civic life can slowly shift the norms.
Second, artists must be accorded not only space to perform but also platforms where their critique can meet policy debate—forums where poets, musicians, and filmmakers speak to lawmakers, educators, and security planners.
Third, civil society should resist binary thinking that casts culture as either naive or complicit; instead, it should recognize art’s capacity to unsettle, heal, and imagine alternatives, even while structural change proceeds through other channels.
Music will not end aggression, but it can change the vocabulary of public life; it can keep alternative imaginaries alive. For that reason alone, it is worth the sustained attention of policy as well as public affection.
Swords and sarangis will coexist for the foreseeable future. The hope should be that the sarangi’s song grows louder—not because it will stop every bullet, but because it will have more chance of shaping the world into which those bullets are fired.
https://www.thenews.com.pk/tns/detail/1348305-swords-and-sarangis
