Indian Sports and Entertainment Industry

[chetak]

This tweet is not innocent.

It is much deeper & follows an agenda.

The movie Dhurandhar is for the first time seeing Pakistani state & it's players from the prism of Indian state, not romantizing them.

In the perception war, this changes everything, so rathee has been activated.







These BIF wokes, commies, and the urban naxals are being kicked so very hard, movie by movie,, frame by frame, narrative by narrative, and their decades old carefully concocted facades are cracking before their very eyes, and their antinational, anti Hindu agendas are being exposed for all to see

They have no where to turn to, no southern european white trash mafioso are rushing to defend them

forsaken, abandoned, bitter, treacherous, and unscrupulous bollywood pimps are on the defensive and the desert cults are squarely in the cross hairs

no wonder these pigs want the "genz" to rise and invade the streets









If you thought torture scene in #Dhurandhar trailer was too much, just read about Captain Saurabh Kalia. The Pak army’s brutality was inhuman.

Heroes like him endured that torture for our India.

People like @dhruv_rathee are scared that the movie might tell the truth for what it is!








The casting of Dhurandhar is absolutely incredible!

The real-life and reel-life characters match perfectly.

[V_Raman]

Ive always thought that NaMo is the Octavian for India - Rome prospered for a 1000 years after he conquered Egypt. NaMo will not or should not stop till we reach that state.

[S_Madhukar]

RE:Dhurandar casting : if he wasn’t such a wooden actor Sidharth Malhotra would have looked the part of Maj Mohit Sharma perfectly… nevertheless looking forward to the movie!

[SBajwa]

Dharmendra Kewal Krishan Deol (8 December 1935 – 24 November 2025) is no more.

[sanjaykumar]

A legend. ‘Aap ke hasin rookh .,.” Incredible charisma in that song.

[S_Madhukar]

Dharam paaji showcased the Bollywood era at its peak and at its bottom. Someone who was in Hageeqat, Anupama, Sholay etc to someone chasing young heroines and even a wooden shark!
No wonder stray dogs have multiplied and feeling relieved after the only guy who could say “Kameene Kutte mein ttera khoon pee jaunga “ retired Even Sharks must be relieved !
Deols have been relatively well behaved family so paaji must have raised them well. Om Shanti and Naman!

[ricky_v]

another extremely poor performance by the men's cricket team, gambhir needs to go, to lose 2 series by clean sweeps in succession and at home, there's no excuse for it, even in australia the team was soundly beaten and could only somehow manage to cling in the england series, overall this would be the second time running that we will not be able to make to the finals of the wtc and thats inexcusable

gambhir's partner in crime, agarkar needs to go as well, how are they unable to find cricketers who can negotiate home conditions? gambhir's formula of 10 allrounders + 1 wicketkeeper is lunacy, these are players who for the most part are unable to get wickets, nor are they able to bat for long

easwaran, sarfaraz khan, gaikwad have all been grinding in the domestic circuit and on top of these specialist batsmen, they are going for half baked half and halfs?? they bring along nitish reddy then make him bat after all the allrounders and do not make him bowl? whats the point? if they want to blood him, then they should carefully grind him domestically and not waste his time as well with just being there

this is very reminiscent of the early 2010s tour of england where every batsmen struggled and only amit mishra was able to bat with ease, same here with yadav, and in that series, there were a lot of injuries to bowlers so they ended up bringing in out of shape players like rp singh who was vacationing in the windies, here no additional bowlers have been brought on, but the performance of those present has been abysmal

again, gambhir needs to go, he has only pumped the team full of nationalistic fervour and neglected the smaller matter of cricketing nous, maybe get in an old timer like chandrakant pandit, there are no superstars in the indian team anymore, so there should not be any frictions

[S_Madhukar]

Somehow taking cricket as an example, it seems we do not have a process for coaching and selection. Playing spin has been an issue for 20 years, where are the Sidhus and Sehwags who walked out and played spin? As we got better at playing pace bowling we play spin from the crease only allowing to be snared by a settled bowler. GG needs to focus on results now specially after T20 Asia Cup. Learn from Oz and have a ready bench

[SBajwa]

Hockey Jr. World cup at Chennai and Madurai from November 28 -December 10th. 24 teams are participating from all continents. Pakistan is too scared to come to Chennai so they have been replaced by Oman.

November 28th
Germany vs South Africa
India vs Chile
Argentina vs Japan
Spain vs Egypt
Netherlands vs England.

November 29th
France vs Korea
Australia vs Bangladesh

[SBajwa]

India 7 Chile.0

[chetak]

bollywood: an industry that transforms villains into heroes.

[chetak]

The malevolent movie mafia in bollywood, influenced largely by the pakis and their jihadi underworld, including the ISI are trying their damnedest to sabotage and scuttle the release and also tank the box office collections of the movie Dhurandhar


Yami Gautam speaks up against paid campaigns hyping or thrashing movies ahead of Dhurandhar release, says it won’t be pretty if truth of recent ‘successes’ are exposed


She also hinted what has been claimed by many in recent years, that the numbers of some ‘blockbuster’ numbers are fake and artificially inflated.


She said, “If truth is exposed about a million things under the garb of who & what ‘success’ is over the past 5 years esp, unfortunately it’s not going to be a pretty picture for many

Yami Gautam Dhar@yamigautam

There is something iv been wanting to express since really long, I feel today is that day & I must .

This so called trend of giving money, in the disguise of marketing a film, to ensure good ‘hype’ for a film is created or else ‘they’ will continuously write negative things (even before the film is released), until you pay ‘them’ money feels nothing but kind of extortion.

Just because this arrangement is accessible to anyone- whether to ‘hype’ a film or spread negativity against another actor/a film is a plague that is going to affect the future of our industry in a big way.


Unfortunately if anyone feels- it’s harmless & let’s do it because it’s the new ‘normal’, is mistaken.

This monster of a ‘trend’ is eventually going to bite everyone.


If truth is exposed about a million things under the garb of who & what ‘success’ is over the past 5 years esp , unfortunately it’s not going to be a pretty picture for many.


In South no one can dare do such things because the industry stands united on lot of fronts.


I urge our esteemed producers, directors & actors to come together in order to arrest this termite of a culture at this stage itself & discourage it .


I say this as a wife of an extremely honest man who has given everything to this film with his undying hard-work, vision & grit along with his team to create something that I know India shall be proud of.


I say this as a deeply concerned member of the fraternity who, like many other industry professionals, wishes to see Indian cinema blossom with its best potential & not the other way around.


Lets not kill the joy of film making & presenting it to the world & letting the audience decide what they feel.


We need to protect our industry environment.

[Amber G.]

Dhurandhar Review:

Without an iota of doubt, Ranveer Singh is back with a bang

[chetak]

Dhurandhar Review:

Without an iota of doubt, Ranveer Singh is back with a bang

Amber ji,

This isn’t the end of Hamza’s story.

The Part 2 is already slated for March 2026

[chetak]

Operation Dhurandhar Successful: ‘Aman Ki Asha’ Apologists Suffer Meltdown, Upset At “Anti-Pakistan Narrative” And “Hardcore Nationalism”










these are some of bollywood's "respected" reviewers and film critics, presstitutes, bought and paid for.


VI@WA

The Wire’s reviewer, in a piece that reads like a paid advertisement for Aman ki Asha, whines that the film “is as subtle as a troll” and takes grave exception to the portrayal of Pakistan’s “terror world.” Apparently, showing ISI officers as sleazy, chain-smoking, paan-spitting conspirators who fund slaughter in Mumbai is now considered Islamophobic fiction in certain enlightened circles. One almost expects the reviewer to demand a trigger warning for the 26/11 montage – you know, the one that uses actual news footage of the attack that Pakistan’s Deep State orchestrated and still refuses to acknowledge.

Film critic Anupama Chopra, never one to miss a chance to signal virtue, slammed the movie for its “inflammatory anti-Pakistan narrative” and complained that it is overloaded with “too much testosterone.” One wonders what exactly Madame Chopra expected from a film about RAW agents hunting terrorists: Katrina Kaif and Ranveer Singh sipping oat-milk lattes in Karachi while discussing gender fluidity with LeT commanders?

YouTuber Sucharita Tyagi took particular offence at the film’s “aggressive hyper-masculinity” and “hardcore nationalism.”

Visibly agitated in her review, she objected to the cinematic crime of depicting Pakistani politicians and ISI officers as “crass and indulgent” – as if the real ones are renowned for their monastic restraint and Gandhian simplicity.

But the real trigger, it seems, was Aditya Dhar’s audacity to weave in real audio recordings of the 26/11 handlers and actual news footage from both the 2001 Parliament attack and the Mumbai massacre. Tyagi frets that this “blurs the line between fiction and fact” and might lead the audience to believe “everything in the film is factual truth.” Pray tell, which part isn’t? That Pakistani terrorists carried out 26/11? That their handlers were calmly giving kill orders over phone from Karachi? That the ISI has never been held accountable? The only thing blurred here is the line between criticism and denialism.

The film ends, unapologetically, with the now-iconic line: “Ye Naya Hindustan Hai. Ye ghar mein ghus ke marega bhi.”

Sucharita Tyagi unable to cope with the aggressive attitude of India towards its enemies who keep sending terrorists across the border to murder sleeping children, train commuters, and pilgrims, says “Beneath the adrenaline, I continuously felt an unmistakable unease. Something sinister hums under the surface. I can’t quite articulate it yet. Perhaps my thought may become clearer when part 2 of this film comes out in April. But you best believe that something nefarious is afoot when the film chooses to end with “Ye Naya Hindustan Hai, Ye Ghar Mein Ghusega Bhi Aur Marega Bhi”

If Pakistan and its loyal Indian proxies are rattled, Operation Dhurandhar is already successful.

[Tanaji]

What hypocrites! If someone objects to a left wing viewpoint in a movie we get told “its just a movie bro…why are you triggered bro… just dont watch bro…”

[Amber G.]

Pathaan was spreading love. The Wire linked it to the Bharat Jodo Yatra.

But Dhurandhar is a troll. Why? Because the film uses real 26/11 attacks transcripts, the recorded calls between terrorists


This is the 'genius' who reviewed the movie.

[chetak]

What hypocrites! If someone objects to a left wing viewpoint in a movie we get told “its just a movie bro…why are you triggered bro… just dont watch bro…”

Tanaji saar,


vidhu vinod chopra made ‘Shikara’ a movie that shamelessly white-washed KP exodus from cashmere.

today his wife anupama chopra is finding Dhurandhar too violent.

even reality seems violent when white-washing islamists is your thing

[chetak]

VI@WA


Another review of Dhurandhar.


No wonder the wokes, commies, urban naxals, liberandus, congis and the HINOs have all got their knickers in a twist

Dhar, The Dhurandhar

Aditya Dhar holds no punches and rips apart Congress laying bare its sins. If you’ve brushed up on UPA-era scandals or 26/11 intel lapses, every frame lands heavier.

The film reveals how the Congress-led UPA sourced Indian currency security material from the British firm De La Rue—the very same company supplying Pakistan—jeopardizing India’s national security, implicating a senior Congress leader and his son in the process.

There’s a scene involving Ajit Doval look-alike Madhavan briefing the Minister while the R&AW head who resembles AS Dulat, is seen going soft on Pakistan.

The film also discusses how counterfeit notes, terror funding make their way into India through illegal slaughter houses in Uttar Pradesh and the ‘secular’ politics that shield them. It feels like Dhar asking the viewers “Do you understand the reason behind demonetization now?” but without preaching or cinematic dialogues.

Perhaps the most devastating is Dhar’s portrayal of 26/11 Mumbai terror attacks and the events leading upto it.

In the second half comes the most haunting moment of the film. It’s not even a scene—just a blood-red screen, stark black text, and chilling voices echoing in the background. No characters, no action, nothing “cinematic” in the traditional sense. Yet Aditya Dhar folds a real-life incident into his fictional universe with such precision that the hall froze in pin-drop silence. The audience wasn’t watching a scene—they were experiencing a cold, uncomfortable truth.

He drives home the point that never ever should Congress come to power.

Aditya Dhar practically lined up Congress, Pakistanis and the ISI like guilty suspects, pulled out a lathi of cold facts, and landed blow after blow—right on their backs. The line “Ghayal hun isiliye Ghatak hun” (I am wounded, therefore I am lethal), delivered near the film’s climax, isn’t just a dialogue—it’s the declaration of Dhar and the New India itself.

Anupama Chopra has called the film laden with “shrill nationalism” and “inflammatory anti-Pakistan narrative”. Dhruv Rathee compared Dhar to ISIS because he cannot digest India finally portraying Pakistan exactly as it is — a terrorist manufacturing factory calling itself a country.

Their outrage proves Dhar’s accuracy. Period.

Dhurandhar isn’t cinema.
It’s a debriefing.
It’s a counter-attack.
It’s a cultural surgical strike.