South siren Samantha Akkineni has attained a top position in Telugu film industry. The star beauty manages to draw attention time and time again with her fashion outings and her cute & equally hot social media posts. From morning stretches to late-night parties, things she does always becomes the talk of the town very shortly.
On Thursday, Samantha posted one such picture on her Instagram story which didn’t go well with her fans and followers. Taking to Insta, Sam shared a picture with her stylist Preetham Jukalker to celebrate their 4 years of togetherness.
However, what went wrong in the picture is the actress is seen relaxing on a couch and stretched her legs on Preetham while he was seen resting his hands on her legs and having a conversation with her. As soon as she posted the picture, her fans couldn’t take it and the Oh Baby actress quickly deleted it.
Later, Preetham shared the story and wrote, “I Love You.” Although she deleted the picture, it made it to social media, and the Akkineni fans expressed their disappointment.
On the work front, Samantha Akkineni will next be seen in mythology film, Shakuntalam directed by Gunasekar of Rudhramadevi fame. The film will go on floors later this year.
Recent Random Post:
Ram Gopal Varma Praises Aditya Dhar’s Dhurandhar as a Game-Changer in Indian Cinema
Filmmaker Ram Gopal Varma has hailed Aditya Dhar as a visionary, claiming that his latest release Dhurandhar has single-handedly changed the future of Indian cinema. Calling the movie a “QUANTUM LEAP in INDIAN CINEMA,” RGV shared on social media:
“I believe that @AdityaDharFilms has completely and single-handedly transformed Indian cinema, north or south. ‘Dhurandhar’ is not just a film—it is a quantum leap. What it achieves is not just scale, but a never-before-experienced vision, not just in sight but in the mind. Aditya Dhar doesn’t direct scenes here; he engineers the states of mind of both the characters and the audience.”
Praising the performances of Ranveer Singh and Akshaye Khanna, RGV added, “The film doesn’t ask for your attention—it commands it. From the very first shot, there’s a sense that something irreversible has been set in motion, and the audience becomes an accomplice rather than a spectator. The writing cuts with intent, the staging breathes menace, and the silences are as weaponized as the thunderous sound effects.”
He further emphasized Dhar’s unique storytelling approach: “The power of storytelling lies not in volume, but in pressure building. Characters carry history on their shoulders, and the film trusts the audience to read their scars rather than spoon-feed their backstories. This confidence, at a time when many filmmakers dumb down their films, is the highest respect a director can pay to an audience.”
RGV concluded by noting that Dhurandhar is not a film chasing trends or validation. “It is a solemn declaration that Indian cinema doesn’t need to dilute itself to become successful and doesn’t need to mindlessly copy Hollywood.”
