Ashika Ranganath Makes Cameo Appearance in Chiranjeevi’s “Vishwambhara”

Ashika Ranganath, who recently impressed audiences with her performance in the Telugu film
“Naa Saami Ranga,” is set to make a cameo appearance in the highly anticipated Megastar Chiranjeevi-starrer “Vishwambhara.”

The actress shared a picture with director Vassiṣṭa on social media, captioning it, “Visiting the sets of Vishwambhara and twinning with my director Vassiṣṭa garu.” Dressed in a stylish red top and blue pants, Ashika looked radiant as she posed alongside Vassiṣṭa, who was sporting a red T-shirt and black pants. The duo seemed engaged in a deep discussion, capturing a moment of camaraderie and creative collaboration.

Fans are eagerly awaiting Ashika’s cameo appearance in “Vishwambhara,” hoping to see her on screen once again. With her talent and charisma, Ashika is sure to add an extra layer of excitement to the film.

Vetrimaaran Critiques High Remuneration and OTT Influence on Film Industry

Acclaimed director Vetrimaaran has expressed his concerns about the inflated remuneration demands of star heroes and the significant impact of OTT platforms on the film industry. In a recent roundtable interview, he highlighted the challenges posed by the rising costs and the need to re-evaluate the industry’s approach.

Vetrimaaran attributed the surge in star hero salaries to the influx of OTT platforms during the pandemic. These platforms offered substantial sums for the digital rights of films, leading to increased budgets and higher remuneration demands. However, as the sustainability of such high costs became apparent, OTT platforms began to reduce their spending. This has created a challenging situation for producers, who have grown accustomed to making larger films with higher budgets, and actors, who have come to expect significant salaries.

The director emphasized the importance of focusing on the theatrical audience rather than solely relying on OTT platforms. He suggested that the industry needs to re-align its strategies to cater directly to the needs and preferences of theater-goers.

Vetrimaaran also criticized the self-censorship practices adopted by OTT platforms. He pointed out that these platforms often avoid content that could offend certain communities or religions, limiting the creative freedom of filmmakers. He expressed his frustration with the demands imposed by OTT platforms and suggested that it might be more beneficial to focus on theatrical releases.

Vetrimaaran’s comments offer a valuable perspective on the current state of the film industry and the challenges it faces. His critique of high remuneration and the influence of OTT platforms raises important questions about the future of filmmaking and the need for a more sustainable approach.