Be it Kabir Singh or Ranvijay Singh, alpha males are nothing but grown men in diapers, observes Durba Dhyani.

From the pinnacle of <em>Veer Zara</em>'s teary romance, the transition to <em>Pathaan</em> and <em>Jawan</em> must have entailed a lot of resetting, rewiring, and recalibration in the mind.But SRK has done it. And done it well, notes Sandeep Goyal.

There's been so much interesting content on OTT. Subhash K Jha picks his Best Original Feature Films on digital platforms.

'As I watched Mammootty 'try out' Mathew Devassy, I could hear from my theatre seat the ready-made appreciation of the liberal press, their applause for the great actor having flirted with queerness on screen.''But it is a flirtation and nothing more, for I could not detect in Devassy any hint of love, not for his homosexual lover, not for his wife,,' observes Sreehari Nair.

As Yesudas turns 84 on January 10, Subhash K Jha salutes the legend.

This isn't a hatchet job, and my excuse for the exercise is my feeling that when you invert some of the clich&eacute;s mentioned here, you might just arrive at the portals of genuine movie-making energy, says Sreehari Nair.

While the country is gripped by Ram Mandir frenzy, Danish Husain -- without shouting from the rooftops -- silently staged his opinion with this play on one of India's best-known poets, observes Neeta Kolhatkar.

If you have never seen Sriram Raghavan fly, you would hardly realise that this time, he is happy in his cage, this time he isn't reaching for the skies, notes Sreehari Nair.

Siddharth Anand's artistry bespeaks an upbringing filled with GI Joes, plastic combat boots and plastic bayonets, fake punching noises and fake sounds of gunshots, rudely interrupted by an adult voice saying, 'Beta, all this is good, but try bringing in some feelings too', observes Sreehari Nair.

'I somehow felt that Muzaffar Ali was in Aligarh to feel the pulse of the Muslim youth, especially in the darker and harsher times that India is passing through,' notesMohammad Sajjad.

Since nothing irritates Lijo Jose Pellissery more than a throwaway critical judgment, Sreehari Nair carefully presents his opinions about Malaikottai Vaaliban, a good two weeks after he first saw the movie.

Girish AD doesn't make romantic comedies so much as he elevates the genre, observes Sreehari Nair.

What follows is essentially a long scene set in a single location, and you watch in amazement as the scene grows into one of Indian cinema's funniest and most spectacular pieces of sustained craftsmanship, accumulating emotional power and subtext, growing wings and claws, becoming its own beast, applauds Sreehari Nair.

Entertainers can be good politicians if they treat the citizens as the audience, and treat their job like a live show, and work hard to make sure the audience likes them, asserts Sandeep Goyal.

The reasons are too private to be discussed at a round table, listed out during a seminar, or uncovered in an academic course.A proud but insomniac connoisseur murmuring in his sleep may do a better job of explaining the phenomenon than an expert on a podium. Sreehari Nair airs his thoughts.

Watching Aavesham is like sprinting through the whole history of our mass-masala movies and seeing it in a new light, notes Sreehari Nair.And this, incidentally, is the story of Fahadh Faasil's career too.

People turn a corner and overhear secrets, men change stripes so as to acquire shades of villainy most convenient to advancing the plot, secondary characters confess to past sins just so that the leading women are absolved of all responsibility, notes Sreehari Nair.

'Everyone knows the money the stars are asking for is absurd.'

Angry Young Men misses some important elements of the Salim-Javed story including an understanding of the duo's creative process. In fact, the two men do not even appear together in the same space in the series.

How wonderful it would be for all of us to watch the Oscar ceremony on March 2, 2025 and watch AWIAL win an Oscar, notes Aseem Chhabra.

They try to hide behind the smokescreen that these are works of fiction inspired by real events.So, you can pick and choose from facts and fictionalise to push the right triggers with your audience or appease the powers that be, observes Shekhar Gupta.

From start to finish, <em>Dharmaveer 2</em> feels less like a biopic and more like propaganda crafted for Eknath Shinde's political gain, observes Prasanna D Zore.

When mainstream Hindi cinema is preoccupied with romance, comedy, horror and action, stories about sisters and brothers are very rare. Vasan Bala has made a first-of-its-kind film where the leads play sister and brother, notes Aseem Chhabra.

Bring me the mundane lives of the working class next. At least, it won't be as embarrassing as this, asserts Mayur Sanap.

Much can be said about this song’s sacred and secular connotations. At first glance, one might assume that the song speaks to its religious roots; however, given the environment in which the song was created, the song can be taken literally. Taken from The Colonial Williamsburg Foundation’s enhanced CD, From Ear to Ear, and adapted from field recordings by John and Alan Lomax, this song was known to have been sung by the 1871 Fisk University Jubilee Singers.

The Fifes and Drums of Colonial Williamsburg carry forward the tradition of military music heard on the battlefields of Yorktown.

Carols, motets, hymns, songs, and madrigals reflect the enthusiastic joy and high spirits of Yuletide celebrations in Williamsburg.

Recorded in an authentic tavern environment similar to what might have been experienced in 18th-century Williamsburg.

Exhilarating fife and drum music that marked the routine of military troops during the 18th century and sent the patriots marching into battle.

Colonial Williamsburg's Michael Monaco performs Peter Pelham's repertoire of 18th century music on the period keyboard instruments of the Governor's Palace.

On this recording of period music, the Cross Violin, Kirckman Harpsichord, Keene Spinet, Broadwood Pianoforte and three flutes are played just as they were in colonial times.

New lyrics set to familiar (or some not so familiar) English melodies, recorded using 18th-century instrumentation to recreate the ambience of a small tavern or public meeting place.

Another fine collection of military and marching music performed by the Fifes and Drums of Colonial Williamsburg.

Selected performances from nine of Colonial Williamsburg's recordings, including fife and drum marches, chamber music, slave chants, and tavern songs.

Collection of some of Thomas Jefferson's favorite musical pieces recorded on period musical instruments in the Governor's Palace in Colonial Williamsburg.

Since the first organized Christmas celebration drew visitors to Colonial Williamsburg in 1936, nothing quite matches the beauty, imagination, excitement, pageantry, sights, smells, sounds, and grandeur of the Christmas season in Colonial Williamsburg.

Lively dance tunes and spirited medleys are heard on the "The Fifes and Drums of Colonial Williamsburg 4th of July Concert." Performed live on Market Square July 4, 2005, the music also includes a salute to each of the 13 original colonies and concludes with "The Star Spangled Banner" and the sound of fireworks.

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

From the Summer 2002 Journal: "Making "Cents" of Colonial Money"

Hear the words that were catalyst to the Revolution, read by Bill Barker, Colonial Williamsburg's Thomas Jefferson.

In October 2010, the hosts of Backstory visited Colonial Williamsburg's Kimball Theatre to perform a live show.