Butchering my Mother Tongue as an Indian-American // a (telugu) day in the life

[SinNombre]

2 minutes ago, Ellen said:

aah mangala haarathi ente naaa pindakoodu...asal aarthi edi? khaali chemme ottiga tippi avtala paresindi

production cost ekkuvavuthundani.. budget cut tho alaa 

[Ellen]

Just now, SinNombre said:

production cost ekkuvavuthundani.. budget cut tho alaa 

[SinNombre]

3 minutes ago, Ellen said:

papa screen presence choodamante.. pooja agarbatti anutunnav.. 

simple ga itla cheste ayipaye 

[ShruteSastry]

https://www.quora.com/profile/Harshita-Yerramreddy

[Ellen]

17 minutes ago, SinNombre said:

papa screen presence choodamante.. pooja agarbatti anutunnav.. 

simple ga itla cheste ayipaye 

hehehehehe

[Sarvapindi]

monnevaro doddiki ravatle ani post esar ga...athaniki supinchandi va eedio...

[Scada]

53 minutes ago, ShruteSastry said:

https://www.quora.com/profile/Harshita-Yerramreddy

[quickgun_murugun]

12 hours ago, pencil said:

cc: @DBPilli

aa vooru lo untadi ee average looking pilla?

[Scada]

enthaina abcd,  abcd a

[zarathustra]

Despite how much better the Telugu Film Industry is getting (which is a lot), there are still some patterns that get on my nerves.

1. Female leads with no substance.

The damsel in distress is saved from the village don. The ‘heroine’ makes a cameo for a dance number.

Too many movies fail the Bechdel test, which checks whether two named female characters in a movie talk to each other — about something other than a man. Almost every commercial film falls into this category, where the male lead dominates nearly every scene, leaving little room for the heroine’s and other characters’ development.

2. Nepotism and cinema families.

The Allu-Chiranjeevi family, Akkineni-Daggubati family, or Nandamuri family.

Almost every mainstream male Tollywood actor falls into one of these buckets. Plus, each of these families owns its own production house that, collectively, dominate much of the industry.

Many of these actors feel entitled and get opportunities despite having nothing to show for, making little space for newcomers. Now, look at Siddharth, Nani, and Vijay Devarakonda — you can tell just by the caliber of these actors how the TFI would be if these families didn’t have so much control.

3. Ageism towards women.

A male actor continues to act like a 20-year-old bachelor until he is nearly 60. A female actor becomes ‘too-old’ once she hits 30.

In the course of her career, a female actor will either fizzle out by her early 30s, move on from acting with actors her age to their dads, or act as a mother character to a hero younger than her.

This makes it so much harder for actresses to maintain careers in Tollywood when they are past their perceived ‘prime’ — causing the industry to lose great talent.

4. The glorification of stalking.

Boy stalks girl. Girl falls for boy.

If a boy decides he likes a girl, he incessantly chases and stalks her, and they almost always get together. It’s not only disturbing that these acts are portrayed as charming and preferable to girls, but also can influence boys raised watching these movies to think that this stalker-like behavior is okay.

5. Fat jokes.

An elephant’s trumpet roaring as a comedian comes on screen.

Comedians like Vidyu Raman can deliver much more entertainment without being body-shamed in the process.

---

This may be a long list, but the Telugu film industry has been making tremendous strides away from these trends. There are now movies with female leads (Oh Baby!, Mahanati), actors not from cinema families gaining immense popularity, and experimental, non-traditional storylines (Awe) that succeed in the box office. Let’s see what the rest of 2019 has in store!

[zarathustra]

1 minute ago, zarathustra said:

Despite how much better the Telugu Film Industry is getting (which is a lot), there are still some patterns that get on my nerves.

1. Female leads with no substance.

The damsel in distress is saved from the village don. The ‘heroine’ makes a cameo for a dance number.

Too many movies fail the Bechdel test, which checks whether two named female characters in a movie talk to each other — about something other than a man. Almost every commercial film falls into this category, where the male lead dominates nearly every scene, leaving little room for the heroine’s and other characters’ development.

2. Nepotism and cinema families.

The Allu-Chiranjeevi family, Akkineni-Daggubati family, or Nandamuri family.

Almost every mainstream male Tollywood actor falls into one of these buckets. Plus, each of these families owns its own production house that, collectively, dominate much of the industry.

Many of these actors feel entitled and get opportunities despite having nothing to show for, making little space for newcomers. Now, look at Siddharth, Nani, and Vijay Devarakonda — you can tell just by the caliber of these actors how the TFI would be if these families didn’t have so much control.

3. Ageism towards women.

A male actor continues to act like a 20-year-old bachelor until he is nearly 60. A female actor becomes ‘too-old’ once she hits 30.

In the course of her career, a female actor will either fizzle out by her early 30s, move on from acting with actors her age to their dads, or act as a mother character to a hero younger than her.

This makes it so much harder for actresses to maintain careers in Tollywood when they are past their perceived ‘prime’ — causing the industry to lose great talent.

4. The glorification of stalking.

Boy stalks girl. Girl falls for boy.

If a boy decides he likes a girl, he incessantly chases and stalks her, and they almost always get together. It’s not only disturbing that these acts are portrayed as charming and preferable to girls, but also can influence boys raised watching these movies to think that this stalker-like behavior is okay.

5. Fat jokes.

An elephant’s trumpet roaring as a comedian comes on screen.

Comedians like Vidyu Raman can deliver much more entertainment without being body-shamed in the process.

---

This may be a long list, but the Telugu film industry has been making tremendous strides away from these trends. There are now movies with female leads (Oh Baby!, Mahanati), actors not from cinema families gaining immense popularity, and experimental, non-traditional storylines (Awe) that succeed in the box office. Let’s see what the rest of 2019 has in store!

100% correct answer

[pencil]

18 minutes ago, zarathustra said:

Despite how much better the Telugu Film Industry is getting (which is a lot), there are still some patterns that get on my nerves.

1. Female leads with no substance.

The damsel in distress is saved from the village don. The ‘heroine’ makes a cameo for a dance number.

Too many movies fail the Bechdel test, which checks whether two named female characters in a movie talk to each other — about something other than a man. Almost every commercial film falls into this category, where the male lead dominates nearly every scene, leaving little room for the heroine’s and other characters’ development.

2. Nepotism and cinema families.

The Allu-Chiranjeevi family, Akkineni-Daggubati family, or Nandamuri family.

Almost every mainstream male Tollywood actor falls into one of these buckets. Plus, each of these families owns its own production house that, collectively, dominate much of the industry.

Many of these actors feel entitled and get opportunities despite having nothing to show for, making little space for newcomers. Now, look at Siddharth, Nani, and Vijay Devarakonda — you can tell just by the caliber of these actors how the TFI would be if these families didn’t have so much control.

3. Ageism towards women.

A male actor continues to act like a 20-year-old bachelor until he is nearly 60. A female actor becomes ‘too-old’ once she hits 30.

In the course of her career, a female actor will either fizzle out by her early 30s, move on from acting with actors her age to their dads, or act as a mother character to a hero younger than her.

This makes it so much harder for actresses to maintain careers in Tollywood when they are past their perceived ‘prime’ — causing the industry to lose great talent.

4. The glorification of stalking.

Boy stalks girl. Girl falls for boy.

If a boy decides he likes a girl, he incessantly chases and stalks her, and they almost always get together. It’s not only disturbing that these acts are portrayed as charming and preferable to girls, but also can influence boys raised watching these movies to think that this stalker-like behavior is okay.

5. Fat jokes.

An elephant’s trumpet roaring as a comedian comes on screen.

Comedians like Vidyu Raman can deliver much more entertainment without being body-shamed in the process.

---

This may be a long list, but the Telugu film industry has been making tremendous strides away from these trends. There are now movies with female leads (Oh Baby!, Mahanati), actors not from cinema families gaining immense popularity, and experimental, non-traditional storylines (Awe) that succeed in the box office. Let’s see what the rest of 2019 has in store!

baga rasindi..oka 6 months bezawada lo odilesi.. balayya cinemalu supinchi.. balayya meda oka article rayinchaali

[pencil]

26 minutes ago, quickgun_murugun said:

aa vooru lo untadi ee average looking pilla?

emo baa.. 

[SinNombre]

22 minutes ago, zarathustra said:

Despite how much better the Telugu Film Industry is getting (which is a lot), there are still some patterns that get on my nerves.

1. Female leads with no substance.

The damsel in distress is saved from the village don. The ‘heroine’ makes a cameo for a dance number.

Too many movies fail the Bechdel test, which checks whether two named female characters in a movie talk to each other — about something other than a man. Almost every commercial film falls into this category, where the male lead dominates nearly every scene, leaving little room for the heroine’s and other characters’ development.

2. Nepotism and cinema families.

The Allu-Chiranjeevi family, Akkineni-Daggubati family, or Nandamuri family.

Almost every mainstream male Tollywood actor falls into one of these buckets. Plus, each of these families owns its own production house that, collectively, dominate much of the industry.

Many of these actors feel entitled and get opportunities despite having nothing to show for, making little space for newcomers. Now, look at Siddharth, Nani, and Vijay Devarakonda — you can tell just by the caliber of these actors how the TFI would be if these families didn’t have so much control.

3. Ageism towards women.

A male actor continues to act like a 20-year-old bachelor until he is nearly 60. A female actor becomes ‘too-old’ once she hits 30.

In the course of her career, a female actor will either fizzle out by her early 30s, move on from acting with actors her age to their dads, or act as a mother character to a hero younger than her.

This makes it so much harder for actresses to maintain careers in Tollywood when they are past their perceived ‘prime’ — causing the industry to lose great talent.

4. The glorification of stalking.

Boy stalks girl. Girl falls for boy.

If a boy decides he likes a girl, he incessantly chases and stalks her, and they almost always get together. It’s not only disturbing that these acts are portrayed as charming and preferable to girls, but also can influence boys raised watching these movies to think that this stalker-like behavior is okay.

5. Fat jokes.

An elephant’s trumpet roaring as a comedian comes on screen.

Comedians like Vidyu Raman can deliver much more entertainment without being body-shamed in the process.

---

This may be a long list, but the Telugu film industry has been making tremendous strides away from these trends. There are now movies with female leads (Oh Baby!, Mahanati), actors not from cinema families gaining immense popularity, and experimental, non-traditional storylines (Awe) that succeed in the box office. Let’s see what the rest of 2019 has in store!

kottandra.. anni nijalu chepthundi.. 

[Heroin]

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