With the ban on 25 OTT platforms, including Balaji Telefilms-owned ALTT, for streaming obscene content kicking in, Ekta Kapoor has come up with a clarification that she and her mother Shobha Kapoor had stepped away from ALTT’s board of directors in June 2021.

Kapoor, the founder of Balaji Telefilms, took to social media on Saturday to inform the media that she or her family was not to be blamed for the content on ALTT for which it had been censured by the government. Balaji Telefilms still has control of ALTT but Kapoor’s family has no direct say in it.

Referring to reports or innuendo floating in the media, she said any insinuation to the contrary is denied.

Kapoor said ALTT is operated by Balaji Telefilms Ltd, following its merger with ALT Digital Media Entertainment Ltd on June 20, 2025. She said Balaji Telefilms is a professionally run, law-abiding media organisation, listed on BSE and NSE, which adheres to the highest standards of corporate governance.

The Ministry of Information & Broadcasting banned the OTT platforms on July 23, 2025 for streaming obscene and pornographic content. The decision was reportedly made after consultation with various ministries, as well as industry bodies, and experts in women’s and children’s rights.

The ban has been invoked under Section 67 and 67A of the Information Technology Act, Section 294 under the Bharatiya Nyaya Sanhita and Section 4 of the Indecent Representation of Women (Prohibition) Act, 1986.

Reports quoting government officials said the 25 OTT platforms had faced a crackdown for airing sexually explicit scenes, nudity, and distasteful portrayals of family relationships without narrative context, despite repeated warnings by the National Commission on Protection of Child Rights and the Digital Publisher Content Grievances Council. The decision follows general public distaste and concern, and a petition in the Supreme Court demanding regulatory action against obscene content.

Actor and MP Ravi Kishan commended the decision to ban the OTTs for obscene content. He said the platforms were producing soft porn in the guise of entertainment, and called the move a step towards cultural responsibility. He likened the ban to the Laxman Rekha that will ensure content creators adhere to the norms of Indian culture.

After years in the making, Pawan Kalyan’s long-delayed period action film Hari Hara Veera Mallu: Part 1 – Sword vs Spirit has finally arrived in theatres. Directed jointly by Krish Jagarlamudi and Jyothi Krishna, the film attempts to blend history, rebellion, and spirituality with mass commercial appeal. While it delivers in parts — especially in its larger-than-life action — it struggles to maintain momentum throughout its runtime.

Storyline weaves intrigue but leaves too much for later

Set in the 17th century, the film traces the journey of Veera Mallu (Pawan Kalyan), a Robin Hood-like figure whose daring exploits catch the attention of the royal court. Assigned a mission to steal the legendary Koh-i-Noor diamond from the Mughal Empire, Veera’s path crosses with historical figures like Qutub Shah and Aurangzeb (played by Bobby Deol). As Veera journeys to Delhi with hidden motives, the film explores themes of loyalty, strategy, and personal loss.

Strengths lie in performance and action

Pawan Kalyan brings composure and depth to his role, striking a fine balance between spiritual gravitas and mass appeal. His screen presence is magnetic, especially in fight sequences and emotionally charged scenes. The action choreography is a standout, particularly scenes set at Machilipatnam port and Charminar, and a dramatic Kushti bout in Kollur.

Music director M. M. Keeravaani elevates the film’s emotional quotient with an evocative background score. The cinematography by Gnana Shekar V. S. and Manoj Paramahamsa gives a rich, historical texture to the visuals.

Flaws that hold back the grandeur

Despite a gripping first half, the narrative falters in the latter segment. Prolonged filler scenes and an absence of major confrontations weaken the pacing. Bobby Deol, while promising as the antagonist Aurangzeb, is given minimal screen time, with the real conflict saved for the sequel. Nidhhi Agerwal, who shines early on, is sidelined as the plot progresses.

Most notably, the film suffers from subpar CGI that breaks immersion during key visual moments, diminishing the impact of otherwise well-constructed sequences.

Final verdict

Hari Hara Veera Mallu succeeds in laying the foundation for a historical saga, powered by Pawan Kalyan’s performance and stylish action. However, it stumbles due to pacing issues and inconsistent visual quality. While not without its flaws, the film still offers a theatrical experience worth catching — especially for fans of large-scale period dramas and star-led action.

Malayalam filmmaker Jeetu Joseph has threatened legal action against the producers of Ajay Devgn’s Drishyam 3, seeking to prevent the shooting of the Hindi film before the original Malayalam version is shot starring Mohanlal.

This move follows rumours the Hindi adaptation was set to begin its production ahead of the Malayalam film. Joseph said that there were discussions to film both Malayalam and Hindi versions simultaneously. However, no concrete decision was made and plans to shoot the Hindi version first were abandoned after hints of a legal tussle.

Joseph has been under a lot of pressure to finish the screenplay, adding that he finished the ending of the script last night. He said he has managed to shape Drishyam 3 while handling other projects like Mirage and Valathu Vashathe Kallan, with Nunakkuzhi his most recent work.

Reports meanwhile said Ajay Devgn’s Drishyam 3 was to start shooting on October 2, 2025, a date quite significant to the franchise. The Hindi version was planning a three-month-long marathon schedule across Maharashtra. However, Joseph’s recent comments confirm that the Malayalam version is now expected to roll first in October 2025, with the Hindi adaptation following after.

The Drishyam franchise began with the Malayalam film in 2013, quickly gaining popularity and leading to remakes in Kannada, Tamil, Hindi, Sinhala, and Chinese. International remakes in Indonesian and Korean are also currently in development. The Kannada version stars V Ravichandran, while the Telugu version was led by Venkatesh, both in 2014. The 2015 Tamil version had Kamal Haasan as the lead.

Drishyam is a crime thriller franchise that follows the journey of George Kutty, a middle-class man who works as a cable TV operator. His peaceful life with his wife and two daughters is disrupted when he gets entangled in the disappearance of a young boy named Varun Prabhakar. In 2021, the film’s sequel was loved by fans as it showcased the Kutty’s fight for his loved ones.