The Ghost

The ultimate Pan-Indian vibe shift. 🇮🇳 No skips, just bangers from Hindi, Kannada, Telugu, Tamil, Malayalam, and Punjabi charts. ​Handpicked the best so you don’t have to. Listen to 𝐓𝐡𝐞 𝐎𝐆 𝐏𝐥𝐚𝐲𝐥𝐢𝐬𝐭 here: open.spotify.com/playlist/0TusO… 🎧🔥 #Spotify #SpotifyWrapped

@arayaawww Humare hanuman ji Shivji jaise hi bhole the🥰

Certified prabhu paglu😂❤️

@filmfare Abe ye filmfare wala kya backchodi krrha hai?

The legacy carries on ❤️ From #ArunGovil to #Prabhas to now #RanbirKapoor, Lord Ram lives on through generations.❤️

The recent glimpses of the Ramayana have a glaring issue: they feel like they’re trying too hard to look like a Western fantasy epic. Why are we moving away from our own visual DNA? Thread🧵 #Ramayana #IndianArt #Surasa

Authenticity isn't about making things look like a Marvel movie; it’s about honoring the artistic lineage of the Ramayana found in our paintings and traditional retellings. Let’s keep it Indian. 🇮🇳

Some might call it "ridiculous" by modern standards, but it’s actually a faithful translation of Indian iconography into a visual medium. The upcoming Ramayana movie has a choice: chase a globalized, westernized CGI style or embrace a true Indian representation.

@TrackTwood Exactly. And indian audience is not that sophisticated in terms of VFX, they will judge on feeling, if the feeling is wrong it automatically becomes bad

#HrithikRoshan recently shared a perspective that audiences should understand VFX styles before criticizing films, but this feels like a misplaced argument. Cinema is ultimately about how it makes the audience feel, not about how much they understand the technical aspects behind it. If the visuals look good, the audience naturally gets excited. If the visuals look poor, the disconnect is immediate. It’s that simple. You cannot expect audiences to learn or analyze VFX before reacting, because they come to experience a film, not to study it like technicians. Delivering the best output is the filmmaker’s responsibility, not the audience’s. When filmmakers present strong visuals, the audience rewards them with success. When they fail to do so, the rejection is equally clear. We have already seen many VFX-heavy films achieve massive success, while others fail despite having similar or even bigger budgets. The audience remains the same in both cases. The difference lies purely in execution. So the issue is not with audience awareness, but with filmmakers who fail to translate their vision effectively, even after investing heavily. Instead of asking audiences to change how they watch films, filmmakers should focus on improving the quality of what they deliver, because when the product is right, the audience will always respond.

@aavishhkar Ghodi jaisi shakal hai aur isko best cast lgrhi😂

Since #Adipurush is again back in the meme world… two things that actually worked for me in the film - the casting of #KritiSanon and music by #AjayAtul (title track).

@SAMTHEBESTEST_ D2-101cr u motherfucker

Record Opening Days: #KhudaGawah 35 L #Kshatriya 45 L #Khalnayak 71 L #KaranArjun 80 L #Trimurti 1.06cr #Koyla 1.06cr #Border 1.12cr #BiwiNo1 1.23cr #HindustanKiKasam 1.45cr #Refugee 1.56cr #MissionKashmir 1.64cr #Ajnabee 1.65cr #Indian 1.80cr #KKKG 2.38cr #MainHoonNa 2.72cr #Dus 2.92cr #MangalPandey 3.24cr #Fanaa 3.96cr #Krrish 6.02cr #Race 6.32cr #SIK 7.24cr #Ghajini 9.5cr #3Idiots 12.98cr #Dabangg 14.55cr #Bodyguard 21.17cr #Agneepath 21.72cr #EkThaTiger 30.61cr #Dhoom3 32.48cr #HappyNewYear 36.31cr #PRDP 39.32 CR #ThugsOfHindostan 48.27cr #War 50.61cr #Pathaan 55.72cr #Jawan 63.87cr #Dhurandhar2 76cr Will #Ramayana or #King join the club in 2026?

@iamshreytyagi Yeah exactly what i thiught while watching the interview, I trust in Nitesh ji now, maybe visuals could be inconsistent but He will deliver where it matters the most

Watching Nitesh Tiwari speak about VFX in #Ramayana, I couldn’t help noticing a contrast. When directors like James Cameron, S. Shankar, or S. S. Rajamouli talk about VFX, there’s a visible spark, an excitement rooted in deep technical familiarity. With Nitesh, that spark doesn’t quite appear in the same way. His answers around VFX feel functional, even slightly distant. That observation aligns with the body of work he comes from. Films like Bawaal, Break Point, Chhichhore and Dangal are grounded, performance-driven narratives where VFX is used sparingly, mostly as a supporting tool. Even in Bhoothnath Returns, a film that could have leaned heavily into fantasy and spectacle, CGI remains moderate. The focus shifts toward social messaging, with visual effects limited to select sequences rather than forming the backbone of the world. His debut, Chillar Party, reinforces this pattern: minimal VFX, mostly for practical enhancements like crowd extension or subtle clean-ups. So when we look at Ramayana, which demands extensive CGI environments, arguably a film that could be 90% VFX-driven, it is natural to question whether this aligns with his experience. Interestingly, his own words seem to acknowledge this dynamic. He emphasizes storyboarding and previsualization, tools that map complex VFX-heavy sequences in advance, making it easy for you he director. He repeatedly refers to Namit Malhotra, suggesting strong reliance on technical collaborators. At one point, he describes how he would convey ideas and Namit would essentially “make it happen.” That framing reveals a division of creative labor. Nitesh Tiwari as the storyteller, and Namit Malhotra with his VFX ecosystem as the executors of spectacle. This also explains why Namit Malhotra’s role seems to go beyond a traditional producer. He’s deeply involved in the technical aspect of the film, to the point where calling it “his Ramayana” doesn’t really feel wrong. Even action sequences are being handled by a second unit director, Guy Norris. Add a VFX supervisor and a large technical team, and it becomes clear this is a collaborative structure where technical excellence is distributed across experts. At first glance, one might wonder whether directors with stronger VFX instincts, like Sanjay Leela Bhansali, Ashutosh Gowariker, S. Shankar, or even Anubhav Sinha of Ra-One, might have been more natural fits for this scale. But no matter how advanced the CGI, if storytelling fails, if emotions do not land, if characters feel hollow, the film will struggle to resonate, like Avatar 2 and 3. This is precisely where Nitesh Tiwari excels. Across his filmography his command over storytelling, character arcs, and emotional engagement stands out. He knows how to draw performances, build empathy, and hold an audience through feeling rather than scale. When he speaks about narrative moments, like Ram’s departure for exile, there is clarity and emotional conviction. He talks about carefully crafting those beats. He reflects on Ravana as a layered character with shades of grey. He references the Valmiki Ramayana, especially the idea that Ram may not initially be aware of his divine nature, and how that realization unfolds gradually for him and others. These are not surface-level observations. They show a director deeply engaged with the philosophical and emotional core of the story. So, Nitesh Tiwari is not here to lead through technological innovation. He’s here to anchor the story, screenplay, performances, and emotional arcs work. The spectacle is being handled by those with technical mastery. And that may be the real strategy. If Ramayana delivers a powerful narrative and audiences are emotionally invested, even imperfect VFX may be forgiven. But if storytelling falters, no visual grandeur will save it. So, it feels like a calculated collaboration. A film where storytelling is the spine, and technology is the muscle. Disclaimer: AI voice prompt used to generate this write-up

Movie like Kerala Files, Kashmir Files and #Dhurandhar2‌ released, they called them lies. Now, similar claims are being made about FCRA and UCC Waiting for meltdown video by Ravish and Arfa 😹🔥

@MovieUpdatets bhai dm me bhejo

#Fauzi more leaks 🥵🥵🥵🥵🥵🥵🥵💥💥💥💥💥💥💥💥💥💥 Dm me jisko bhi chahiye

@mahikaa101 Mat kar lali mat kr

I fixed basic physics which a 4000 Cr film couldn't. And somehow… the dust doesn’t stick, the wind has no direction, hair barely reacts, and lighting ignores the storm. I just made the hair flow with wind vectors, added particle interaction on skin, fixed light scattering in dust, and grounded the whole thing in actual physics. Did this in 2-3 mins, thanks AI. (Pic 1: Ramayana with no physic, pic 2: Fixed physics)

@AdityaVarma45_ @ssrajamouli Music that deserved Oscar

The best end card a film has ever produced, @ssrajamouli ❤️🐐

#RanveerSingh and #NamitMalhotra partying at NMACC yesterday.

@_mrchaturvedi How do you know all these things and did yesterday you were complaining and now suddenly you are giving hopes

I have a tea to spill directly from Team at #Ramayana and it’s mix of both; hope for a genuinely good product and a mess through which it’s going. The teaser VFX that went out was apparently pushed in a rushed state, with only around 50% of the work actually complete. It wasn’t really meant to represent the full vision… more like an early glimpse that went out before things were fully ready. At the moment, the core teams working on Part 1 are under serious pressure, with a hard deadline set for September 2026. The workload is intense, and there have been a few internal shifts and course corrections (some cost control measures too) along the way, which have naturally added to the complexity. Another thing I’m hearing is that the creative vision is still evolving in certain areas. Even at later stages, some visual directions are being revisited and refined, which means teams are having to rework portions that were close to completion. It’s not unusual on projects of this scale… but it does add to the pressure and slows things down. And yet, despite all this, there’s a very strong positive underneath. The work that’s actually completed is said to be genuinely impressive. The finished portions are looking really solid, and internally, there’s a lot of belief in what’s coming together. In fact, the sense is that what we’ve seen so far barely scratches the surface… not even close. The real scale and quality are still largely under wraps. Different teams are handling different segments in parallel, with Part 1 in full swing and early work already underway on Part 2. Some major portions, including key character and large-scale sequences, are being developed separately and haven’t been revealed yet. So yeah… it’s demanding, a bit unpredictable at times. But there’s also a clear feeling that something special is still taking shape behind the scenes.

@AdityaPati25605 @PointofVie67801 @Lonely_prabh Koi nhi chote bhai

@BurnwalAnant @PointofVie67801 @Lonely_prabh Sorry yaar bhai mujhe bs thoda bura laga kyuki tune unke efforts ko bola AI se bhi Hana sakte isiliye thoda gussa aagya anyways sorry

The background pic of Dawood Ibrahim used in #Dhurandhar2‌ is not a real one 😳 Actually that picture is of Danish Iqbal who played the role of Dawood(bade saab) in the movie. Another Aditya dhar masterclass🔥 Here is the bts video of that look 👇

@nightchanges Woww the right one looks even better 💥

bollywood needs to come out from their dull yellow color grading obsession