Sometimes, a single behind-the-scenes image can create more impact than an entire teaser—and Faria Abdullah’s latest BTS glimpse from Gurram Paapi Reddy proves exactly that.
Unveiled from a special song sequence, the image is instantly arresting. At first glance, it may remind some of Faria’s ethereal Kalki vibe, but a closer look reveals something far more intense and layered. There’s weight in the mood, a quiet drama that lingers.
Positioned firmly at the centre of the frame, Faria exudes calm authority. Draped in a radiant gold ensemble that dominates the visual palette, she is crowned with an ornate, goddess-like headpiece that elevates the look from glamorous to commanding. Surrounding her, dancers lean in close, forming an almost ritualistic composition. There are no smiles or exaggerated poses—only restrained energy and controlled tension.
The background amplifies the atmosphere. Warm lighting, drifting smoke, and deep shadows work together to create a sense of anticipation, like the stillness before a storm. This doesn’t resemble a conventional special song designed purely for spectacle. There’s intent here—perhaps even a darker undercurrent waiting to surface once the music begins.
This BTS tease aligns seamlessly with Gurram Paapi Reddy’s offbeat sensibility. Promising a blend of crime, humour, and chaos, the film boasts a quirky narrative and a strong ensemble cast featuring Naresh Agastya, Brahmanandam, and Yogi Babu. If this glimpse is any indication, Faria Abdullah’s role is set to add both mystery and fire to the film—making the wait all the more compelling.
Thaman Opens Up on Toxic Competition in Telugu Film Industry
S Thaman, currently one of the busiest music composers in Indian cinema, has spoken candidly about what he describes as increasing toxicity within the film industry, particularly in Telugu cinema. The composer, who has delivered eight releases this year alone—including Game Changer, Daaku Maharaaj, They Call Him OG, and the recently released Akhanda 2—shared his views during a promotional interview for Akhanda 2.
Reflecting on how success is perceived in the industry today, Thaman said genuine appreciation has largely disappeared. He observed that acknowledging others’ work has become rare and that backstabbing has become common practice. According to him, when he is approached for a project, another music director often intervenes by offering to do the same film for significantly lower remuneration, a trend he termed unhealthy and discouraging.
Thaman also pointed out that other film industries display a stronger sense of unity compared to Telugu cinema. Drawing a comparison, he noted that composers like Anirudh can easily work across industries, including Telugu films, whereas he finds it difficult to secure projects in Tamil cinema due to a preference for local talent. He added that Telugu cinema has consistently welcomed composers from other languages, a gesture he feels is not always reciprocated.
Clarifying that he is not complaining, Thaman said he enjoys working in a competitive environment. He named composers such as GV Prakash and Anirudh from Tamil Nadu, Ravi Basrur and Ajanesh Loknath from Karnataka, and Gopi Sundar and Jakes Bejoy from Kerala, all of whom are actively contributing to Telugu cinema. He said he is happy to be part of such a diverse creative space.
However, Thaman made a strong observation about remuneration practices, alleging that some composers who do not earn even lakhs in their home industries are being paid crores in Telugu cinema. He claimed that such individuals work purely for financial gain rather than out of passion for Telugu films, often using PR agencies to secure projects and sharing a portion of their fees with them.
Speaking about his own earnings, Thaman revealed that most of the budget allocated to him is spent on music production, including payments to singers and technical teams. He said he takes home very little from film projects and that his primary personal income comes from live performances. Thaman is currently working on The Raja Saab, Idhayam Murali, and NBK 111.