Devon ke Dev Mahadev

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Devon ke Dev Mahadev

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Posted: 29 September 2013 at 1:58am | IP Logged
Mohit Raina of 'Devon Ke Dev Mahadev' in Mallika Sherawat's show?
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Popular TV actor Mohit Raina, who plays the lead role in mythological drama series 'Devon Ke Dev Mahadev', has been reportedly approached as a wild card entry for Mallika Sherawat's show 'The Bachelorette India'.

'Bachelorette India - Mere Khayalon Ki Mallika'is an upcoming new reality TV show featuring the Bollywood actress who will find 'The perfect bachelor' for herself. It will go on air on Life OK channel from October 7.

A total of 1,27,000 men had sent in their entries of which 30 contestants have been shortlisted. It remains to be seen who among them wins Mallika's heart.

There is a buzz that Raina could be a wild card entrant.

"Mohit Raina has been approached to enter the show as a wild card entrant. However, its not sure whether he would agree to be a part of the show," source close to the development said.


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Posted: 29 September 2013 at 7:41am | IP Logged
Mythological tales find revival on TV screens
IANS | Sep 27, 2013, 02.02 PM IST


Mythological tales find revival on TV screens
Devon Ke Dev Mahadev & Durga


The 1990s marked a significant year in the Indian TV space when mythological shows like "Ramayan" and " Mahabharat" were a rage. 

That era has once again been brought to life on the small screen with new shows based on legends - but with a makeover in terms of presentation and treatment. The makers say this has paid rich dividends.

Some of the significant shows are Life OK's "Devon Ke Dev Mahadev", which has been capturing eyeballs for over a year. The channel recently launched another one - Katha Mahadev Putra Bal Ganesh Ki" - to add variety.

Now, Siddharth Kumar Tewary's "Mahabharat" is being beamed on Star Plus. If that's not enough, B.K. Modi's "Buddha - The King of Kings", a show based on the life and teachings of Gautam Buddha, has also sprung up on Zee TV.

What is really impressive is that amidst the popularity of 'saas-bahu sagas' and crime stories, mythological shows have succeeded on the small screen and are appealing to youth.

Sahara One's Jai Jai Jai Bajrangbali" has already completed two years and still continues to attract viewers.

"These shows are a huge attraction amongst youngsters and even children. It is very pleasing. They are certainly not meant only for elderly people," Pratik Seal, Marketing head, Life OK, told IANS.

With the changing tastes of the viewers, the makers are avoiding long treatments and dragging plots. Keeping the narrative crisp is the success mantra.

The makers of "Mahabharat", which premiered Sep 16, are trying to keep audiences hooked on by ensuring it does not drag.

"We want to keep the quality of 'Mahabharat' consistent throughout the series, and keep the content extremely gripping, which is why the series will be a finite one of six to seven months," said Nikhil Madhok, senior vice president (Marketing) at Star Plus.

"We want youth to see the relevance of the epic in today's times as well, which is why even our communication has a sharp focus on some of these fascinating characters.

"For example, what happened with Draupadi back then has its relevance to what's happening to women in our country now," he added.

Getting high TRPs is not easy as these shows not only compete with one another but have to be at par with western series in terms of quality.

"The medium has become competitive. You have people viewing Hollywood films and western television shows; so expectation levels rise. The bar, to be able to appeal to youth, is high," said Nidhi Yasha, the costume designer for "Buddha" and "Mahabharat".

These shows come at a price.

"These shows often have a higher budget than a normal show. It is 25-30 percent more than the cost of an average show. This is fine as the show brings the whole family together. The 'maha'episodes are one-hour long and require a higher decibel marketing initiative. But it does give you a dividend accordingly," Seal said.

These shows not only attract eyeballs but advertisements also.

"We are overbooked in terms of ads. There has never been an issue in this regard. 'Mahadev' opened well and pretty much caught everyone's fancy within the second month of being on air," Seal added.

There is a constant endeavour to come up with better ideas to present such shows. Shooting the episodes like short films could be one way to increase the spectacle.

The quality of "Buddha" is like that of a film, Modi said.

"Now with the TV industry moving to a higher level where we have digital quality, you can show a cinema quality story on TV. With 'Buddha', we are looking at the 52 episodes like 52 short films," B.K. Modi said.

It is important that the presentation should be such that these shows are welcomed.

As some of them thrive in terms of TRP ratings, others go unnoticed like "Savitri", which will end soon, Ekta Kapoor's "Kahaani Hamaaray Mahaabhaarat Ki" and Moti Sagar's "Sabke Jeevan Ka Aadhar - Ramayan".


Edited by A-A-S - 29 September 2013 at 8:06am

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Posted: 30 September 2013 at 1:00am | IP Logged

Mythological tales find revival on TV screens

The 1990s marked a significant year in the Indian TV space when mythological shows like 'Ramayan' and 'Mahabharat' were a rage. That era has once again been brought to life on the small screen with new shows based on legends - but



Friday, September 27, 2013 | 12:34:03 PM IST (+05:30 GMT)   |  Copyright: IANS  |  Comments 16 Comments  |  1743 Views

The 1990s marked a significant year in the Indian TV space when mythological shows like 'Ramayan' and 'Mahabharat' were a rage. That era has once again been brought to life on the small screen with new shows based on legends - but with a makeover in terms of presentation and treatment. The makers say this has paid rich dividends.

Some of the significant shows areLife OK's 'Devon Ke Dev. Mahadev', which has been capturing eyeballs for over a year. The channel recently launched another one - "Katha Mahadev Putra Bal Ganesh Ki" - to add variety.

Now, Siddharth Kumar Tewary's 'Mahabharat' is being beamed on Star Plus. If that's not enough, B.K. Modi's "Buddha - The King of Kings", a show based on the life and teachings of Gautam Buddha, has also sprung up on Zee TV.

What is really impressive is that amidst the popularity of 'saas-bahu sagas' and crime stories, mythological shows have succeeded on the small screen and are appealing to youth.

Sahara One's 'Jai Jai Jai Bajrangbali' has already completed two years and still continues to attract viewers.

"These shows are a huge attraction amongst youngsters and even children. It is very pleasing. They are certainly not meant only for elderly people," said Pratik Seal, Marketing head, Life OK.

With the changing tastes of the viewers, the makers are avoiding long treatments and dragging plots. Keeping the narrative crisp is the success mantra.

The makers of "Mahabharat", which premiered from September 16, are trying to keep audience hooked on by ensuring it does not drag.

"We want to keep the quality of 'Mahabharat' consistent throughout the series, and keep the content extremely gripping, which is why the series will be a finite one of six to seven months," said Nikhil Madhok, senior vice president (Marketing) at Star Plus.

"We want youth to see the relevance of the epic in today's times as well, which is why even our communication has a sharp focus on some of these fascinating characters.

"For example, what happened with Draupadi back then has its relevance to what's happening to women in our country now," he added.

Getting high TRPs is not easy as these shows not only compete with one another but have to be at par with western series in terms of quality.

"The medium has become competitive. You have people viewing Hollywood films and western television shows; so expectation levels rise. The bar, to be able to appeal to youth, is high," said Nidhi Yasha, the costume designer for 'Buddha' and 'Mahabharat'.

These shows come at a price.

"These shows often have a higher budget than a normal show. It is 25-30 percent more than the cost of an average show. This is fine as the show brings the whole family together. The 'maha' episodes are one-hour long and require a higher decibel marketing initiative. But it does give you a dividend accordingly," Seal said.

These shows not only attract eyeballs but advertisements also.

"We are overbooked in terms of ads. There has never been an issue in this regard. 'Mahadev' opened well and pretty much caught everyone's fancy within the second month of being on air," Seal added.

There is a constant endeavor to come up with better ideas to present such shows. Shooting the episodes like short films could be one way to increase the spectacle.

The quality of "Buddha" is like that of a film, Modi said.

"Now with the TV industry moving to a higher level where we have digital quality, you can show a cinema quality story on TV. With 'Buddha', we are looking at the 52 episodes like 52 short films," B.K. Modi said.

It is imporant that the presentation should be such that these shows are welcomed.

As some of them thrive in terms of TRP ratings, others go unnoticed like 'Savitri', which will end soon, Ekta Kapoor's 'Kahaani Hamaaray Mahaabhaarat Ki' and Moti Sagar's "Sabke Jeevan Ka Aadhar - Ramayan".


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Posted: 30 September 2013 at 1:01am | IP Logged
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Nitish is impressed by both Devon Ke Dev.. Mahadev (Life OK) and Buddha(Zee TV and Doordarshan). "They are both so well- made and have evolved. Here I wish to point out that after many years I have seen a good Shiva on the idiot box. Mohit Raina looks great in his Godly avatar. Over the time producers are making better use of technology (graphics and visual effects), and channels are proving good budgets as they are able to market the products better."

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Posted: 30 September 2013 at 5:32am | IP Logged

The Wordsmith - Utkarsh Naithani

 

"There is no greater agony than bearing an untold story inside you." - Maya Angelou

 

I know this conversation is going to be interesting...I am going to interview one of the most creative and versatile screenplay writers - Utkarsh Naithani. As a writer Utkarsh's work has gained both critical and commercial acclaim and he has not been afraid to experiment in a number of genres. The most fascinating aspect of Utkarsh's writing is that it focuses on the character'. So he has the knack of creating and sculpting strong characters, some of which have turned out to be the most memorable in the history of Indian television. Utkarsh's research into his writing is impressive which is probably why his characters don't just come across as Black or White. He has the ability for tapping into the sympathetic angles of generally unlikable characters and hence the best anti-heroes presented by Utkarsh seem so vividly real and heartfelt! Utkarsh admits that he has the tendency to get too attached to his characters but at the same time, he maintains a controlled detachment while working on his screenplay...the perfect balance that makes a brilliant storyteller! Screenplay writing is probably the most underrated skill in the television industry. Tinsel Gupshup chats with Utkarsh Naithani who manages to churn out beautiful consistent screenplays in the inconsistent world of Indian television.

 

 

TG: BSc Mathematics to advertising & marketing to Sanjay Leela Bhansali's production house. How did these transitions happen?

UN:You know, looking back at all these transitions in my life, it almost seems like everything was really well planned out. However, I can assure you that I never planned my life or career in advance. I do believe that my experiences have helped in all the different phases. So, if I plan to do something, I'll focus on it completely and also use my present and past experiences to help gain that edge. When I was studying at St. Xavier's College in Mumbai, I was involved in theatre activities and I come from a family where literature has been given a lot of importance. After graduation, I was teaching Mathematics for a few years and then I decided to go in for a post-graduation in Advertising and Communication. I started working as a copywriter and I used to write all these advertisements for Radio city and so, began my love affair with Radio. I worked for various radio stations for about 8 years and around 2007, I was searching for a new challenge. My guru (Sadguru Vasudev) was opening a school in Coimbatore at that time and he asked me to come and help. So I resigned from my post as Creative head, packed my bags and head off to Coimbatore! I was at the ashram for 2 years...teaching children and doing my own Saadhna. When I came back, I joined Radio again and that is when I met Sanjay Leela Bhansali. He was planning on starting something in television and I joined his production house as a creative director. So, writing for television was a very natural and gradual transition for me. During the time, I also wrote episodes for Diya aur Baati Hum and that was a brilliant learning experience for me. Then of course, I got involved with Mahadev...again a turning point in my writing career.


 

TG: Apart from Sanjay Leela Bhansali, you have worked with some talented and creative people. What have you taken away from each person?

UN:Yes! I have worked with some extremely talented people. When I was writing for Diya aur Baati Hum, I learned so much from Shashi Mittal. Sanjay Leela Bhansali's approach to a scene is larger than life so I learned all about screenplay from him. On the other hand, television is completely different from movies and Shashi ji taught me how to think and write in terms of television! Shashi ji is one of the most talented writers in the industry and I am fortunate to have worked with her. Mahadev was also a turning point in my career and once again, I got to learn a lot about writing from Anirudh Pathak. For example, I will discuss and idea with Anirudh Pathak and he will give me a new dimension on the same idea and that has taught me how to enhance what I already have. My mentor in advertising used to tell me that creative expression is based on observations. Fortunately, I have worked with people who give me the creative freedom and let me use all my experiences and observations in my writing.



TG: Coming to Mahadev, Jalandhar was quite a character...can you tell us about that whole phase of the show?

UN: You know I have a certification in Psychoanalysis Counseling so when I started writing about Jalandhar; I made this huge document with his character sketch. This character analysis was not from the point of view of the show, rather I was writing about him as if I had met him...as a person who was suffering from psychosis. I had asked Anirudh Pathak if we were making Jalandhar a villain or an anti-hero because based on his answer, I would take the call on which direction I wanted to take him. Anirudh had made it very clear that Jalandhar was going to be an anti-hero. So, I have an entire psychoanalysis oh why Jalandhar is the way he is. The thing with television is that once a particular track is over, it is over. People move on but I can still sit down and explain each and every reason behind Jalandhar's actions...I can get into why this character did what he did! You know, I always tell my students that story writing is a gift but screenplay writing can be inculcated. So stop thinking about how to write a dramatic scene rather try and understand what the character is all about. Once you understand a character, you can place as many characters on a page...and they will write their own scene!!! 


 

TG: For the lay-person, there is story, dialogue and screenplay. Can you explain all three to us?

UN: This is such an appropriate question. Whenever I go to teach a class, this is the most basic and important thing that needs to be addressed first. Ok, let me try and explain this as I would explain it to my students. So, when I enter a classroom, I will tell my students that I was invited to this class today and I took the train to get here. On the train, I met a man who was wearing a Pink shirt. This man was upset about something so we started discussing why he was upset, we had a great conversation and now I am in this class telling you guys about this. Then I'll tell my students about the conversation between that man and me. So, what I explained in the first part was the story, what I explained in the second part was the screenplay and what entails the conversation between the man and me was the dialogue. The story provides the direction, screenplay is the visualization of what the story will look like on screen and then the dialogues are based on the screenplay.



TG: What language do you write in? For a mythological show like Mahadev, how well versed do you have to be with the language that is being used in the show?

UN: If you are a dialogue writer then you do need to be well versed with the language that the character is speaking in. However, when it comes to story and screenplay, I know a lot of people who are not fluent in Hindi and yet they are writing for Hindi shows. For example, I don't speak Marwari and I cannot speak the way Bhabho speaks but then I was writing the story for DABH, based on which Seema Mantri was writing the screenplay and Raghuvir Shekhawat was writing the dialogues. Now, Raghuvir bhai is the master of how Bhabho speaks and he wrote her dialogues beautifully. As a writer, I need to be aware of the way she speaks, her mannerisms and her traits, the nuances of her character...for example Bhabho always likes to be one up on everyone else!  Recently I wrote the screenplay for a Malay television series and it was tricky because I kept asking the makers to tell me about the people and the culture. So it is very important to understand the culture of the show and the character. Now, if we come to a show like Mahadev, again, Hindi is not a necessity while writing the story but I am fortunate that I am fluent in Hindi and Sanskrit as well. Sometimes while writing the scene, I'll have a dialogue in mind and I give my input to Mr. Subrit Sinha. For example, the famous last conversation between Mahadev and Jalandhar...I was wondering what the final conversation should be like or as we way uska sur kyaa hogaa?' That line - agar ansh hotaa aapka toh kabhi sheesh pe haath rakha hota', this thought came from Anirudh ji. Now that thought led to an entire conversation and I wrote that entire conversation in Sanskritised' Hindi. The screenplay has to be crystal clear because it sets the tone for the episode and then the dialogues come out from it. So I wrote that entire part of Mahadev in Hindi because thoughts were so important for that final conversation. So, there are times when I have written in Hindi or Sanskrit. As I said, I am fortunate that I am well versed with the language and if my heart tells me that this moment in the show requires my thoughts to be written in Hindi...then I follow my heart.


 

TG: I know you have an interest in psychology. How far do you go into studying the actors who will be portraying your characters when you write for them? For example do you write for Saraswatichandra played by Gautam or the other way around?

UN: Oh...that is such a beautiful question!!! There have been occasions in the past when a character has been created keeping a certain actor in mind. This happens more in films than in television. When I started writing Saraswatichandra, I had no idea that Gautam Rode would be playing that role. When I was writing Jalandhar, I knew that Mohit Raina will be portraying that character. As a writer, when I write the first draft and create a character, I don't like to get too concerned about who will be acting because that can restrict or block me from thinking openly. Once Mohit became Jalandhar I could see how beautifully he was portraying the character. That gave me a whole new dimension to play with because, my point of view was that if Mohit can depict this side so well then I can start adding layers to enhance that side even more and he will be able to carry it off with ease! I know a lot of people appreciate Mohit for his good looks but he is one of the most talented actors in our industry! Gautam Rode is a fantastic thinking actor and he used to have long discussions with me about his character. Before the show started, Gautam has spent hours and hours with me discussing little nuances about Saras. Actors prepare for a character in their own way but as a writer I really don't like to base my character on an actor. I love the faith that Gautam and Mohit have placed in me and it is a pleasure to watch them enact what I have written.


 

TG: From Jalandhar to Ravan...I get the feeling that your writing is character based?

UN: Definitely. My writing does focus on the character. After Jalandhar, my focus turned to Ravan and people who criticized me for Jalandhar...they will have a field day with my Ravan!! The thing is that I do not see the world as Black or White, there is a whole area of Grey in between. Many people questioned me about Jalandhar and in my defense...I have read that unlike people who have read interpretations and translations of the Shiv Puran...I have been fortunate to read it in the original form that it was written in. So I have literally gone to the root. In the Shiv Puran, Jalandhar's character fell in lust with Parvati and that was his downfall. However, it had been clarified to me that we will not be taking the show in that direction because we did not want to create another villain who would stand in front of Mahadev and laugh like an asur! We wanted to explore another side to Jalandhar but having said that I always remind people to look at the disclaimer at the beginning of the show - this show is for entertainment and we are not trying to recreate the Puran! I find the Ravan track extremely exciting because once again...is he an anti-hero or a villain? As a writer, I like to explore how a character got from point A to point B. I mean, he can't just wake up one fine morning and declare that he wants to destroy the world! Ravan was Mahadev's param bhakt so we wanted to explore what could have happened that led him to become the way he did?

 

 

TG: Saraswatichandra is an epic novel. As a writer, how close do you think you will stick to the novel? Does it get you worked up if you have to introduce twists and turns due to external pressures?

UN: When Sanjay ji told me that he wanted to make Saraswatichandra, the first thing I did was to make sure that I knew the story properly. The book is based in the late 19th century and the movie was made in 1967 so I asked Sanjay ji if we were going to make a period show or contemporary one and he was very clear that we were going to make a modern show. If you look at the show right now, we have maintained most of the original names, locations etc but for me the most beautiful thing about Saraswatichandra is the romance between Kumud and Saras through letters! Now, Sanjay ji is the man who got Paro and Chandramukhi to meet in his movie and yet the same Sanjay ji never tried to change the ending of the book by making SRK and Aishwarya meet at the end! So, Sanjay ji had a vision for Saraswatichandra and he said that we will maintain the essence of the original story but it will be made in 2013. So, in the book, Saras is a very straightforward guy who wants to do jagat-kalyan' and does not want to get married but in this day and age that does not sound very sensible. So, we maintained the first letter between Saras and Kumud but then we took the story off from there. So...does it put me off when we have to stray from the original story? Well, honestly speaking there have been so many occasions where I have had to stray from the original story or concept but that boils down to the demands and limitations of daily television. The problem is that when I write, I get too close to my characters so I can tell you straight up that Vrinda from Mahadev won't do this or my Kumud won't react like that! Unfortunately though...there are certain demands due to which dramatic situations have to be created and that boils down to how television works. I am constantly learning...each show, each character teaches me something new. So now, I have learned to deliver yet hold on to the basic essence...I believe that the truth can be spoken in many ways!

 

 

 

TG: An actor or actress who you would like to write a story for?

UN: See, for me the concept of a muse is very restricting. I get very attached to my characters so instead of giving my muse' a shape or size...I like to keep it fluid. I believe that if we get caught up with the idea of a muse then it can bias our opinion. I can write for people I am close to...because I have spoken to them, I have this image in my mind about them...but apart from that I would not like to restrict myself to one muse as such.

 

 

TG: You had mentioned that when you were writing for Diya aur Baati hum, penning down the romance between Suraj and Sandhya had been difficult. Why was that?

UN: Yes, basically the culture of DABH such that there are a lot of don'ts'. Suraj and Sandhya are a married couple and they have been married for a long time yet it was during the Singapore track that he said I love you' to her for the first time. It was tricky to show romance and love between Suraj and Sandhya because they are not the kind of couple who will look into each other's eyes and profess their love. So we had to look for alternatives and solutions to show those tender moments. For example, during that Masterchef track in Singapore, a Singaporean Chinese contestant taught Suraj how to say I love you in that language. I still remember the way Suraj said it in his typical manner...'Sandhya ji...Wo ai ni' and Sandhya gets all confused and replies Suraj ji kaun nahi aayee?' It was funny but the viewers loved it and we received a lot of positive feedback about that track. So basically we had to rely on a lot of alternative routes to bring them together and that is just because of the culture of the show. I remember, I would think of an idea and I believed that my idea was fantastic. Shashi ji would listen to my idea, smile and say - Utkarsh ji, you have been influenced too much by Bhansali ji!' So when I tell you that I learned so much about television writing from Shashi ji and DABH...I really mean it!!


 


TG: I have noticed that you are active on twitter and take personal interaction with the viewers quite seriously. You took a lot of heat from fans during Jalandhar...how do you take the criticism?

UN: Personally, I think it is very important for a writer to interact with his fans...especially when it involves television shows. You have to take the positive and negative feedback with a pinch of salt. Sometimes I do get carried away because 20 people will interact with me, say such wonderful things about my work and I feel...wow...life is beautiful. The next day, 20 people will find fault with your work and makes you wonder what you are doing with your life!! I am on twitter and I have a facebook page and people take the time to send me in-depth analysis of each and every episode and I feel so grateful to receive that kind of feedback. These interactions allow me to understand how the viewers are responding to my work. So, now going on a philosophical note...I write better when I am in a good state of mind. There have been times when I have shied away and shut down because people are getting too critical about my work. I am sensible enough to understand where to draw the line and if something upsets me and affects my work then I will not offer my other cheek! I completely understand that people get passionate about a show or a character but I will read their criticism, understand it and then step away or take a stand because my work is my priority. The psychoanalyst in me will want to have a healthy discussion but the writer in me will read the comments and then shut down. Having said that, I have always interacted with my viewers and a lot of people were upset about the way Adhi-Shakti was being portrayed or had doubts about Jalandhar etc but I have discussed my point of view with these people and there have never been any hard feelings. Everyone is entitled to an opinion and people do need to understand that we put in a lot of effort into each and every episode. I take my work very seriously and a very long thought process goes into what is being shown.


 


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Posted: 30 September 2013 at 5:40am | IP Logged

Weekly dose of your favorite shows, with more drama and fun!


While Monday heralds the boring routine life for you, perk up! It also heralds the start of your favorite shows, with more drama and fun! While you can slog with work during the day, your evenings are sure to give you a full on entertainment. Let's see what the entertainment world has planned for you, in your favorite shows!

Devon Ke Dev-Mahadev-: Post Mahadev's transformation into Aghori' avatar, the show has taken an edgy bend! With the intention to pacify Parvati', who has taken Mahakaali' roop for Mani and Malla twins, Mahadev is this time determined to save his wife and bring her back from the clutches of the evil twins. With yesterday's dramatic mahaepisode', showcasing the battle between Mahadev and the twins, today's episode is bound to be a hell of a ride!'

Qubool hai:-Things are once again getting nail biting with the latest turn of events. Zoya finally getting into the footsteps of a wife, but to Ayan's is no mean feat and the audience has full sympathy with her. Watch the next episode when Ayan will leave a teary eyed Humeira and stand next to Zoya, as a dutiful husband!

Sapne Suhane Ladakpan Ke:-With legal policing happening in the household, everybody seems a little distressed, especially Pakiya, Kamla and Vitthal. Watch the next episode when Kamla will try to ease her tension by singing to her, while Vitthal will be taking care of Kalpana.

Bade Achhe lagte hain:- In the aftermath of Priya's bad health, Ram is hell bent on getting Pihu married. However, she won't marry unless Ram marries Juhi! Will he or won't she, is the next big thing on the show! Watch the next episode where Juhi and Ram will follow Pihu, thinking she is unaware, but Pihu sees them and knows it all.

Madhubala- Ek Ishq Ek Junoon:- Now the show is moving in the original laid out direction! In short, we might be soon witnessing the making of a star in Madhu', who is incessantly being pursued by her actor-star husband, to be his heroine. While, she says no, but she can't deny what's written in store for her on the show! Stay tuned to watch the next episode, where Amar will speak about Mahurat', with the bank manager presence and mostly a change of actress! Let's see who that will be!

Balika Vadhu:-The show is now getting raunchier with Jagiya's newbie act of getting married to Ganga! However, while things are getting ugly for Jagdish and Ganga in terms of familial relations, it is also the same for Anandi. Watch the next episode, when Anandi will be harrowed by a volley of questions, all putting a mark of question in her trust, faith and relationships!

Saraswatichandra:- A lot is being done to reform Pramad in his ways! However, he still ends up getting in his drunken stupor. While Budhidhan is worried about his son's future, Kumud suggests him to give Pramad his property back. Though he is skeptical in doing this, he asks Saras what to do. Watch the next episode, where Saras will tell Budhidhan to give time to the decision before giving Pramad his property!

Diya aur baati hum:-With property issues cropping up, Suraj and Sandhya are facing a hard time pacifying Bhabo to accept them. While Suraj learns about Sandhya's way of making amends with bhabo, he too tries to get into a street fight for her. Watch the next episode, where his efforts will go waste with bhabo's words, who make it clear that he should not interfere in their lives!


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Posted: 01 October 2013 at 7:09am | IP Logged

I will kiss on screen but not now: Sonarika Bhadoria


I will kiss on screen but not now: Sonarika Bhadoria
Sonarika Bhadoria

Sonarika Bhadoria, the original Parvati from 'Devon Ke Dev Mahadev', is unhappy that she is not getting the kind of B-Town offers she would want to debut with. She says, "I was getting offers while I was playing Parvati too. But even after I quit the show and moved on to focus on films, I got offers to play bold roles which required kissing, doing intimate scenes and wearing bikini on the screen."

Sonarika, who hails from a conservative Rajput family, says while she is not complaining, she would not like to do such roles now. The actress says, "I am open to doing bold roles and kissing on screen, but not now. I would like to debut with a good role and establish myself as an actor. I will probably take up roles that require intimate scenes or skin show later in life."

The actress prefers to remain quiet about her ouster from the popular show and says that if she were at fault, no one in the team would have continued to be in touch with her. "Let's forget about the whole controversy" is all she would say about it.
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Posted: 03 October 2013 at 5:38am | IP Logged

Has the story of Ramayan gone astray from Devon Ke Dev. Mahadev?

As the makers of Devon Ke Dev. Mahadev have shifted their main focus from the story of Ramayan, it makes us wonder that has it ended on a abrupt note?


Thursday, October 03, 2013 | 4:45:00 PM IST (+05:30 GMT)   |  Copyright: www.india-forums.com/TellyBuzz  |  Comments 2 Comments  |  295 Views

Life OK's much admired show Devon Ke Dev. Mahadev, which has taken the nation by a storm, garnering oodles of popularity as one of the finest mythological show on the contemporary Indian television seems to have condensed the much talked about Ramayan track in the show.

As a matter of fact, Devon Ke Dev. Mahadev is a legendary tale which portrays the lives of Shiva (Mohit Raina) and Parvati (Pooja Bose) and the most famous events associated to Lord Shiva. However, in order to add more essence to the show and make the audience aware about our epic mythology, the makers incorporated a Ramayan sequence amidst the show, whereby Shiva played a pivotal role in the lives of Lord Ram (Piyush Sachdev) and Sita (Rubina Dilaik).

Says our source, "Even after an unblemished cast of Ramayan's track in the show, it failed to shape up and all their efforts to shoot the TRP scores with this new experiment were futile. Consequently, in order to prevent loss of viewership, the makers have neatly reallocated their focus on the other devas and its storyline."

When contacted actress Rubina Dilaik, who plays Sita in Devon Ke Dev. Mahadev, she too maintained the similar line and further added, "The entire concept of introducing the undiscussed tale of Ramayan in the show did not turn out to be as promising as it was planned. Therefore, the story of Mahadev has moved ahead, despite the fact that the Ramayan sequence has not yet featured its desirable conclusion."

On being quizzed whether the audience will get to see the story of Ramayan in the near future, Rubina maintains, "Well, we are not shooting for it at the moment. Yet, I think the audience will probably get to see us back near the festival of Dussehra and that is when the track will come to a favorable conclusion."

We wonder if the makers have already given an abrupt end to the Ramayan track in the show.

Monica Varma


 

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