Bigg Boss: the show that can make you famous

 There are actually three different kinds of “Bigg Boss success”:

1. Unknown/lesser-known → famous
Sunny Leone, Shehnaaz Gill, Asim Riaz, Robin Radhakrishnan.

2. Already known → much bigger public identity
Pearle Maaney, Hina Khan, Tejasswi Prakash, Gautam Gulati.

3. Already successful → Bigg Boss becomes another platform
Established television actors such as Sidharth Shukla, Rashami Desai and Karan Kundrra.

And perhaps the most interesting example is Shehnaaz Gill. She didn't win Bigg Boss 13, yet the show became a major turning point in her career. That illustrates something important about reality television: the winner of the competition and the person who gains the most from the platform don't necessarily have to be the same person.

Creating New Growth Platforms (NGPs)

 Many large corporations struggle to sustain growth once they reach maturity. Traditional methods like new product development or acquisitions often fail to deliver long‑term results. Research shows that most Fortune 50 companies experience sharp declines in growth after initial success, with acquisitions destroying value in 65% of cases.

The authors argue that sustainable growth comes from New Growth Platforms (NGPs) — strategic frameworks that allow companies to build families of products, services, and businesses by leveraging existing capabilities and acquiring new ones. NGPs differ from traditional product innovation because they focus on unmet customer needs, forces of change (technology, regulation, social trends), and assembling capabilities into scalable business models.

Case studies include UPS, which created its Service Parts Logistics (SPL) unit by reframing itself beyond parcel delivery into supply chain management, and Medtronic, which expanded from pacemakers into broader healthcare platforms. Companies like Procter & Gamble institutionalized NGP units with dedicated leadership and resources.

The article also highlights common reasons for failure: resistance from business units, short‑term earnings pressure, lack of credible leadership, and weak organizational support. Successful NGPs require independent yet embedded units, strong CEO commitment, and empowered senior teams with authority to act.

Each circle represents a strategic dimension for identifying new business opportunities:

• 🟠 WHAT — Trends and enablers such as emerging technologies, regulatory shifts, and social changes that expand markets.

• 🟢 WHERE — Customer problems and unmet needs that define potential markets.

• 🔵 HOW — Capabilities, know‑how, and assets that enable execution and differentiation.

At the center, where all three overlap, sits the New Growth Platform — the hunting ground of opportunity space where innovation thrives by combining market trends, customer needs, and organizational capabilities.

Learning Points

• Growth gap: Mature companies often face a mismatch between investor expectations and internal growth capacity.
• NGPs vs. products: Platforms are broader, scalable frameworks that generate multiple products/services, unlike one‑off innovations.
• Forces of change: New technologies, regulations, and social pressures create opportunities for unmet customer needs.
• Capability assembly: Growth requires redeploying internal talent, leveraging external partnerships, and acquiring targeted assets.
• Leadership role: CEOs must frame growth challenges and dedicate time/resources; credible senior executives should lead NGP units.
• Team over idea: Success depends more on empowered, entrepreneurial teams than on isolated “big ideas.”
• Failure causes: Short‑term cost focus, unit resistance, lack of collaboration, and weak organizational design derail NGPs.
• Institutionalization: Embedding NGP processes ensures repeatable innovation and long‑term strategic growth.

Sustainable corporate growth requires moving beyond incremental products or acquisitions to strategic platforms that harness capabilities, meet unmet needs, and adapt to change. Success depends on leadership commitment, empowered teams, and organizational structures that balance independence with integration.

Oneness

 Dasaji began the class by showing us a video of a devotee from America who had joined the Dharma many years ago and was sharing the experiences he had gone through since then. It was beautiful to see the clarity of his state of consciousness.

He used to participate in all the programmes of the Dharma with discipline, determination, dedication and complete devotion. He was also continuously undergoing cleansing. What we saw in that video was the result of all these practices.

We are speaking twenty-four hours a day. The inner dialogue never seems to stop. Unless this inner dialogue comes to an end, we cannot dissolve our sense of division and separation. Only when the inner dialogue stops can the first level of Oneness be attained.

The second level of Oneness is creating a sense of unity and oneness with our family.

The third level is creating Oneness with birds, animals and all living beings.

The fourth level is Oneness with Nature.

And finally, the fifth level of Oneness is Oneness with God, the Supreme — becoming one with Paramjyothi.

Our journey towards this must continue.

As we move forward on this journey, the sense of “I” will gradually disappear. The sense of “we” will also disappear. That is the truth.

The outer world is a reflection of the inner world.

When we are able to attain Oneness within ourselves, we can become connected with everything in the outer world as well. A deeper level of Oneness begins to manifest.

Existence + Consciousness + Chit — that is the Atma.

It is towards this level that Bhagavan is taking us.

The language of the unconscious mind is mantras. That is why we are told that we should participate in the Omams at least four times a year.

The unconscious mind is said to be far more powerful than the conscious mind. When this becomes a lived understanding, we move beyond our limited sense of identity — beyond the body, beyond the mind, beyond the self, beyond thoughts and so on.

We become merely a witness — a witness to everything.

And that is when we reach Satchidananda Parabrahma.

That is why we participate in the Omams, why we contribute towards building the Kalki Devasthanam, and why we seek to reach the World Mukti Centre.

Through this journey, we move towards Satchidananda Parabrahma and ultimately experience Oneness and harmony with Paramjyothi.

For this to become possible, we need to cultivate twenty-four qualities within ourselves. Dasaji has explained these beautifully through this class as well.

Through this teaching, Bhagavan is once again guiding us towards Paramjyothi.

My heartfelt gratitude and pranams to you, Dasaji.

Namaskaram.

One Moon

Two worlds. One moon.

Different shadows, the same light.

Through tangled branches, the moonlight came,

above the city, it shone just the same.

Trees may hide it, towers may rise,

but the moon belongs to all our skies.

Different worlds beneath its light—

one wrapped in trees, one dressed in white.

Perhaps that is the quiet wonder of night:

however different our worlds may be,

we all look up at the same light.

The city reached for the moon to-night,

while every window carried its own little light.

The moon came looking for the night,

and found a thousand leaves to hold its light.

Somewhere between shadow and light,

the world pauses for a moment at night.

 

Now

When I'll be dead.....,
Your tears will flow,..
But I won 't know...
Cry for me now instead !

You will send flowers,..
But I won't see...
Send them now instead !

You'll say words of praise,..
But I won't hear..
Praise me now instead !

You'll forget my faults,..
But I won't know...
Forget them now, instead !

You'll miss me then,...
But I won't feel...
Miss me now, instead

You'll want to say Love You...
But I won't be able to hear ...
Say it now, instead

You'll wish...
You could have spent more time with me,...
Spend it now instead !!

''Spend time with every person around you, your families, friends, lover, acquainted....

Make them feel  Special ,
Because  you never know when time will take them away from you forever''..

Life is too short.
Love  all   and   Forgive all.

Building influence at work

 Success in the workplace is not simply a matter of technical skill or diligence; it is equally about cultivating influence, credibility, and authentic relationships. The framework for building power at work rests on three interconnected pillars: establishing a power base, laying the groundwork, and leveraging the echo chamber.

The first step is to build your power base. Influence begins with social proof — signaling to others who you are and what you are capable of. This can be achieved by leading initiatives such as local charities, publishing articles, or ensuring that your contributions are visible and recognized. Alongside visibility, goodwill with peers is essential. By paying genuine attention to colleagues, seeking their advice rather than favors, and adding value through small gestures, one builds trust and mutual respect. At the core of this foundation lies authenticity. True power emerges when individuals stop covering, embrace their genuine selves, and encourage others to do the same.

The second pillar is to lay the groundwork. This involves defining clear workplace goals and modeling the behaviors of those you admire. Identifying gaps in skills and working deliberately to close them ensures steady growth. A practical exercise, such as pre‑writing your resume, helps clarify what you are working toward. Equally important is mapping the organization’s decision makers. A “power map” allows you to visualize who holds influence, who listens to whom, and how relationships are interconnected. Building relationships then becomes a matter of staying familiar and relevant — being present in social circles, keeping in touch, and maintaining visibility.

Finally, influence is consolidated by leveraging the echo chamber. This requires understanding what your company values, observing what behaviors are rewarded, and aligning your strengths with those opportunities. If your values diverge significantly from the organization’s, it may be necessary to reassess long‑term fit. Developing social capital is equally critical. Networks that bridge across groups, as well as those that bond within them, expand reach and credibility. Becoming a connector — someone who organizes gatherings, includes colleagues, and attends to their preferences — enhances both goodwill and influence.

Together, these strategies highlight that workplace power is not about manipulation but about authenticity, visibility, and connection. By building a strong base, laying thoughtful groundwork, and leveraging organizational dynamics, professionals can create influence that is both sustainable and meaningful.

Finance Modelling

 The main lesson is that financial modelling can identify the changes needed to improve a company’s cash flow, but the model itself cannot create the improvement. People and execution do.

Simple Summary

At the end of 1985, Home Depot had serious operating cash-flow problems. Forecasting showed that if the company continued operating as it had been, its cash position would deteriorate further.

Instead of looking for one magic solution, the exercise considers making several operational improvements simultaneously:

• Inventory: reduce days of inventory from 108 to 66 days
• Receivables: collect customer dues faster, from 14 to 9 days
• Payables: take slightly longer to pay suppliers, from 48 to 50 days
• Gross margin: improve from 26% to 28%
• Overheads: reduce from 22% to 20% of sales

When all these reasonable changes are incorporated into the financial model, the forecasted operating cash flow changes dramatically. Home Depot would generate enough internal cash to support growth and become more attractive to lenders. The actual 1986 results also showed improvements in margins and operating expenses.

The most important lesson

The spreadsheet makes the transformation look easy—but every number in the spreadsheet represents a real-world action by someone.

For example:

Reducing inventory requires better inventory management.
Collecting receivables faster requires people to follow up.
Reducing costs requires operational discipline.
Improving margins requires purchasing and pricing decisions.

So:

Financial modelling → identifies possible solutions
Management → chooses the solutions
People → execute them
Execution → creates the actual financial results

One-line takeaway

A financial model can show you what needs to change; only people can make those changes happen.

This is also a useful finance lesson: forecasting is not the end of financial analysis—it is the starting point for operational action.

Building Confidence

 Think of self-confidence as an asset.

Just as you protect and invest in a valuable asset, you need to consciously protect and strengthen your confidence.

The course's approach can be reduced to:

Own → Accept → Act → Manage → Stay Positive → Plan

---

1. Own the situation

The first step is personal responsibility.

Instead of saying:

“My boss made me feel inadequate.”
“My colleague destroyed my confidence.”
“That client made me feel incompetent.”

Ask:

“What can I do about how I feel and how I respond?”

This does not mean blaming yourself.

The course makes an important distinction:

Taking responsibility ≠ taking all the blame.

Every outcome has multiple contributing factors. You are only one of them.

When confidence takes a hit:

1. Accept your part in the situation.
2. Remind yourself of your self-worth.
3. Look at your past achievements and strengths.
4. Decide what behaviour or action can make you stronger.

Key lesson

Don't give other people control over your confidence.

---

2. Embrace your imperfections

Nobody is perfect.

Mistakes, failures and difficult learning experiences are part of professional and personal growth.

Instead of seeing a mistake as:

“I am not good enough.”

Try seeing it as:

“What is this experience teaching me?”

The course describes mistakes as feedback.

The important distinction

Not every weakness deserves equal attention.

When you make a mistake, ask:

• How important is this skill?
• Will I need this skill in the coming years?
• Is this something I personally need to master?
• Is somebody else better suited to handle it?

If the skill matters → learn it.

If it doesn't matter much → learn the lesson and move on.

This is particularly valuable because confidence can suffer when we spend too much energy trying to fix every imperfection.

Key lesson

A mistake is an event, not an identity.

---

3. Articulate a path forward

When confidence falls, don't wait months to recover.

Take action quickly.

The course proposes three levels of goals:

🟢 Small wins

Start with something simple, specific and achievable.

For example:

• Complete an important task.
• Reconnect with someone.
• Speak up in a meeting.
• Finish something you've been postponing.

Small wins rebuild the feeling:

“I can do this.”

🟡 SMART goals

Once momentum returns, move to larger goals that are:

S — Specific
M — Measurable
A — Aligned
R — Reachable
T — Time-bound

🔵 Big dreams

Don't stop at small goals.

When confidence falls, people often become excessively cautious.

The course says:

Don't forget to dream.

Big ambitions reconnect you with purpose and possibility.

---

4. Manage your context

Your environment affects your confidence.

The course recommends dividing the people around you into:

Positive influences

People who:

• Encourage you
• Help you
• Make you feel capable
• Bring constructive energy

Negative influences

People who:

• Constantly create stress
• Undermine you
• Drain your energy
• Create unhealthy interactions

You may not be able to eliminate difficult people, particularly at work, but you can often manage the amount of time and energy you give them.

Manage your time too

A particularly useful recommendation is:

Do meaningful work first.

Don't begin the day by hiding in easy administrative tasks.

Instead:

Important work → routine work

Track your time for a week and see how much goes toward work that genuinely matters.

And presentation matters

The course also connects confidence with how you present yourself—clothing, grooming and appearance.

The point isn't that there is one “correct” appearance.

It is about asking:

“How do I want to present myself, and does that make me feel good about myself?”

---

5. Feed your positivity

Confidence needs reinforcement.

The course suggests several techniques.

Visualise success

Spend 30 seconds or a couple of minutes imagining yourself successfully completing an unfinished goal.

See:

• Yourself completing the task
• The successful presentation
• The positive response
• The feeling of accomplishment

When confidence is shaken

Use this mental sequence:

1. Recognise the feeling.
“My confidence has been shaken.”

2. Remind yourself it is temporary.

3. Remember that the incident doesn't define you.

4. Recall your recent successes.

5. Move forward.

Connect with someone positive

Think of the person who naturally lifts your spirits.

Call them.

You don't necessarily need advice or counselling. Sometimes a simple conversation with someone who believes in you can restore perspective.

Celebrate small progress

Don't wait for a huge achievement.

If you successfully move yourself from:

negative → neutral → positive

that itself deserves recognition.

---

6. Put together your plan

The final section turns everything into action.

The course recommends three things:

① Get one small win

Do something today that makes you feel capable again.

② Talk to a mentor

Tell someone you trust:

“I'm struggling with my confidence.”

Explain the situation and then listen.

Their perspective may help you see something you cannot see yourself.

③ Change one behaviour or routine

Introduce something symbolic that represents a new beginning.

It could be:

• Changing your work routine
• Trying a new approach
• Changing how you organise your day
• Meeting different people
• Learning something new

The purpose is to break out of an old pattern.

---

The whole course in 7 lines

1. Own your feelings and your response.
2. Don't confuse responsibility with self-blame.
3. Accept that imperfection is human.
4. Turn mistakes into learning.
5. Rebuild confidence through small wins.
6. Protect your environment and feed your positivity.
7. Keep acting—confidence grows through action and experience.

Current workplace guidance similarly emphasises that confidence isn't the absence of doubt; it involves trusting your ability to act, adapt and learn even when outcomes aren't certain.

---

One particularly powerful idea for you

I think the most important distinction in this course is:

“I made a mistake” is very different from “I am a failure.”

The first statement creates a possibility:

What can I learn?

The second creates an identity:

There is something wrong with me.

The course is essentially teaching us to stay with the first version.

And that connects beautifully with another idea running through the material:

Confidence doesn't necessarily come before action. Sometimes action comes first—and confidence follows.

That is why the course's emphasis on small wins is so practical. Contemporary workplace guidance also recommends building confidence through manageable challenges, practice and progressive experiences rather than simply trying to “feel confident.”

A simple personal confidence formula

Self-worth + Responsibility + Learning + Small Wins + Positive Relationships + Action = Stronger Confidence

Not perfection.
Not pretending.
Not never feeling doubt.

Just learning to trust yourself a little more, one experience at a time.

Machine Learning — Simple Summary

 

1. What is Machine Learning?

Machine Learning (ML) is a branch of Artificial Intelligence in which computers learn from data and experience rather than being given explicit instructions for every situation.

Traditional programming works like:

Input → Rules/Instructions → Output

Machine learning works more like:

Data → Algorithm → Patterns/Learning → Prediction/Decision

The machine examines data, identifies patterns, receives feedback, and adjusts its model so that it can improve over time.

A simple analogy from the course is learning to assemble IKEA furniture: you try something, see whether it works, learn from the feedback, and use that experience when assembling the next piece.

2. Why do we need Machine Learning?

Some problems cannot easily be solved by writing explicit rules.

For example, identifying spam emails is difficult with simple instructions because spammers can change words, use images, or disguise certain terms.

Instead, ML can examine thousands of emails, learn characteristics associated with spam, and then predict whether a new email is spam.

The basic process is:

Training data → Build model → Test model → Make predictions

An important concept is keeping training data separate from test data.

---

3. Machine Learning and Data

Machine learning is essentially about finding patterns in large amounts of data.

Examples mentioned in the course include:

• Search engines
• Weather applications
• Netflix recommendations
• YouTube recommendations
• Amazon product recommendations
• Automatic translation
• Speech-to-text
• Personalized social-media feeds

A particularly important point is that machines can sometimes discover patterns that humans may not notice.

Therefore, the quality and diversity of data are extremely important.

Poor data → Poor learning → Poor predictions

---

4. Four Ways Machines Learn

The course introduces four important approaches.

Type	How the machine learns	Simple example
Supervised Learning	Learns from labelled examples	Spam vs. non-spam
Unsupervised Learning	Finds patterns in unlabelled data	Customer groups
Semi-supervised Learning	Uses some labelled + lots of unlabelled data	Partial classification
Reinforcement Learning	Learns through actions and rewards	Playing a game

These distinctions are also consistent with current standard descriptions of ML learning paradigms.

Supervised Learning

Think of a teacher.

The machine receives examples where the correct answer is already known.

For example:

Email → Spam

Email → Not Spam

The machine learns the relationship and then classifies new emails.

Two common applications are:

• Classification — predicting categories
• Regression — predicting numerical values

Unsupervised Learning

There is no teacher providing the correct answer.

The machine looks at unlabelled data and tries to discover patterns or groups on its own.

For example, it might discover different groups of customers based on their behaviour.

Semi-supervised Learning

This combines the two.

You provide some labelled data, while the machine learns from a much larger quantity of unlabelled data.

Reinforcement Learning

This is essentially learning by doing.

The machine takes an action, receives a reward or penalty, and gradually learns which actions produce better results.

The course uses games such as Pong, Space Invaders and Go to explain this concept.

---

5. Q-Learning

Q-learning is introduced as an important reinforcement-learning technique.

The machine considers:

State → Action → Result/Reward

It gradually learns which actions produce better outcomes.

The course uses AlphaGo and AlphaGo Zero as examples of how reinforcement learning can allow machines to improve through enormous numbers of simulations.

---

6. Popular Machine Learning Algorithms

The course introduces several algorithms:

• Decision Trees
• K-Nearest Neighbour (KNN)
• K-Means Clustering
• Regression
• Bayesian algorithms / Naive Bayes

Very simple distinction

Decision Tree:
Makes decisions through a sequence of questions.

KNN:
Looks at nearby/similar examples to determine the likely classification.

K-Means:
Groups similar observations into clusters.

Regression:
Studies relationships between variables and can be used to predict numerical outcomes.

Naive Bayes:
Uses probability to estimate the likelihood of different outcomes, particularly for classification.

The source specifically notes that Naive Bayes assumes its predictors are independent of one another.

---

7. Bias and Variance

An important part of applying ML algorithms is understanding bias and variance.

They represent different types of prediction problems.

The goal isn't simply to eliminate one completely. Instead, the model needs to achieve an appropriate balance so that it performs well on new, unfamiliar data.

---

8. Three Major Challenges

The course identifies three practical challenges:

1. Asking the right questions

Having sophisticated ML technology isn't enough.

The business must first identify interesting and useful questions that machine learning can actually help answer.

The course gives a memorable analogy: having a Formula One race car but using it only to parallel park.

2. Separating training and testing data

You should not mix your training data with your test data.

Otherwise, the model may appear highly accurate because it has effectively already seen the answers.

The objective is generalizability — the model should perform well on unfamiliar data.

3. Don't become obsessed with selecting the “perfect” algorithm

Different algorithms have different strengths.

The course suggests that practitioners should focus on solving the business problem rather than spending excessive time searching for a theoretically perfect algorithm.

---

The entire course in one picture

Artificial Intelligence

↓

Machine Learning

↓

Machine learns from data instead of receiving every instruction explicitly

↓

Data → Algorithm → Pattern → Model → Prediction/Decision

And the four major learning approaches are:

Supervised → Learn from labelled examples
Unsupervised → Discover patterns
Semi-supervised → Some labelled + lots of unlabelled data
Reinforcement → Learn through actions and rewards

---

 The 5 things I would remember for an exam/interview

1. Machine Learning = learning patterns from data rather than relying entirely on explicit instructions.
2. Training data is used to build/refine the model; test data evaluates it on unfamiliar data.
3. Supervised = labelled data; Unsupervised = unlabelled data; Reinforcement = rewards/penalties.
4. Common algorithms include Decision Trees, KNN, K-Means, Regression and Naive Bayes.
5. Successful ML is not just about algorithms — good data, good questions and proper testing are equally important.

For someone coming from a finance/FP&A background, the most useful next step would be to translate these concepts into finance examples—forecasting, fraud detection, credit risk, customer segmentation, anomaly detection and financial reporting. That would make the course much easier to remember and apply.

Movie Review

 Watch → Review → Develop an idea → Publish → Build an audience → Monetise

1. Don't become just a “movie reviewer”

This is the biggest opportunity I see for you.

From the way you've been discussing Bethlehem Kudumba Unit, Hanuman Ansh, Daayra, Peddi, Krishnam, etc., your natural strength isn't simply:

“I liked this movie — 4/5.”

You tend to ask:

Why did this film work?

Why did audiences connect with it?

Is the story really original?

What makes something “cringe” to one person but charming to another?

Why does one film have longevity while another opens strongly and falls?

What does the film say about society?

What can we learn from its making?

Is success about the star, the director, or the team?

That is a much more interesting niche.

I would position you as something like:

“Looking beyond the film — audiences, storytelling, culture and the business of cinema.”

That gives you considerably more territory than conventional reviews.

2. Use IMDb as your “calling card”

IMDb allows user reviews of at least 300 characters, and reviews can be sorted by helpfulness-related signals, review date, total votes and “Prolific Reviewer.” IMDb also says that Featured Reviews are selected using several user inputs and that negative reviews can be featured too.

So don't write the same review everywhere.

For example, suppose you watch Daayra.

IMDb — 300–600 words

Title:

Daayra: When a powerful subject meets a difficult audience

Then write a compact review concentrating on the film itself.

Your longer article — 800–1,200 words

Something like:

“Why Did Daayra Struggle Despite Kareena Kapoor, Prithviraj and Meghna Gulzar?”

Now you're no longer merely reviewing the film.

You're analysing cinema + audience behaviour + expectations + box office.

That's where your voice becomes distinctive.

3. Build one home for your longer writing

I would seriously consider Medium for you.

India is currently eligible for the Medium Partner Program. The current requirements include being 18+, having an active Medium membership, publishing at least one story, having a complete profile and meeting the payout requirements. Writers earn based on engagement from Medium members.

You could create a simple publication/theme:

Meera Watches

Three categories:

Cinema & Culture

Why films work, fail, surprise or become cult favourites.

The Business of Cinema

Box office, OTT, stars, producers, marketing, word of mouth.

People Behind the Film

Directors, writers, cinematographers, actors, musicians.

That last one would suit your curiosity particularly well.

4. Your Instagram becomes the discovery engine

Don't post the entire article on Instagram.

Give people one thought worth stopping for.

For example:

What is cringe to one may be charm to another.

That may explain popular cinema better than any box-office formula.

Bethlehem Kudumba Unit doesn't necessarily invent a new story. It takes familiar ingredients and mixes them differently.

Perhaps originality isn't always about creating something nobody has seen before.

Sometimes it is about making something familiar feel new again.

Then:

Full essay → link in bio

Now Instagram is bringing people to your longer writing.

5. Then introduce YouTube — but don't start with “movie reviews”

This is important.

You don't need to become another person sitting in front of a camera saying:

“Hi guys, today I'm going to review…”

Your strength is conversation and observation.

You could do:

5–8 minute videos

“Why did Bethlehem Kudumba Unit work?”

“How did Hanuman Ansh go from ₹10 lakh to a ₹300+ crore phenomenon?”

“Why did Daayra struggle?”

“What makes a film a cult film?”

“Is Shah Rukh Khan really an actor who became a businessman—or a businessman who happens to act?”

Those are ideas, not merely reviews.

6. And eventually there are several ways to earn

I would think of the income ladder like this:

Stage Platform Purpose

1 IMDb Credibility

2 Instagram Discovery

3 Medium/blog Long-form writing

4 YouTube Audience + video income

5 Newsletter Your own audience

6 Paid collaborations Revenue

7 Speaking/moderating Higher-value income

The crucial point is that ₹10,000–₹25,000 a month shouldn't be the immediate target.

First target:

1,000 people who genuinely want to read/watch your work.

Then 5,000.

Then 10,000.

Once you have an identifiable audience, monetisation becomes much easier.

7. I would give you a very specific 90-day experiment

Month 1 — Establish your voice

Every week:

2 IMDb reviews

2 Instagram posts

1 longer article

Don't worry about money.

Your goal is 8–10 good pieces.

Month 2 — Find your strongest subject

Look at what people responded to.

Was it:

cinema?

actors?

box office?

behind-the-scenes stories?

cultural observations?

comparisons between old and new cinema?

Then double down on the strongest category.

Month 3 — Add video

One YouTube video every week.

You don't even need sophisticated production.

Good script + good voice + relevant visuals + clean editing.

That's enough to begin.

And there is one thing I would NOT do

Don't become dependent on negative reviews to get attention.

“Terrible movie!”

“Disaster!”

“Waste of money!”

Those are easy to write.

Your advantage is something different:

“Let me understand why this happened.”

That is a much more mature reviewing voice.

And it fits the way you already naturally discuss films.

Your first 10 pieces could actually come from our conversations

You already have several excellent subjects:

Bethlehem Kudumba Unit: Its ingredients aren't unique. Its magic lies in the mixing.

What is cringe to one may be charm to another.

How Hanuman Ansh became a box-office phenomenon.

Why Daayra struggled despite a powerful team.

Shah Rukh Khan: From actor to entertainment entrepreneur.

Why some films have extraordinary legs at the box office.

Krishnam: The strange journey from real-life incident to film to Telugu remake.

Usha Uthup: The woman who refused to look or sound like a conventional playback singer.

Why teamwork matters more than a “hero” behind the camera.

Can a familiar story become fresh again?

Notice something?

This is already beginning to look like a column rather than a hobby.

And Medium's current programme makes India eligible for direct writer payouts, although earnings depend on reader engagement and are not guaranteed.

And I genuinely think this is worth trying—not as “becoming a reviewer,” but as building your own voice around cinema, books, culture, audiences and the stories behind success.

You already have something valuable: you don't just ask “Was the film good?” You naturally ask “Why did it work?” “Why did audiences respond?” “What made this film different?” That is a much more interesting space to occupy.

Start small. One review, one post, one idea at a time. No pressure to make it perfect.

Usha Uthup

 

Usha Uthup's musical journey did not begin with Usha at all. It began with her two elder sisters, and the family itself became a kind of informal music school.

The Sami Sisters

Usha was born into a Tamil Iyer family in Bombay. Her father, Vaidyanath Sami Iyer, was a senior police officer in the Bombay Police. He was also the person whose name gave rise to the family's musical identity: “Sami Sisters.”Her father was Vaidyanath Someshwar Sami Iyer, a senior Bombay Police officer who rose to the rank of Deputy Commissioner. Her mother is generally described in biographical accounts simply as a traditional Tamil homemaker/housewife. Vikas Kumar Jha's biography The Queen of Indian Pop notes that Usha's maternal home in Chennai was “always bubbling with music, literature and activity.” Her parents themselves were passionate listeners: the household absorbed Carnatic and Hindustani music as well as Western music.

Usha's two elder sisters, Uma and Indira, were the original Sami Sisters. They began singing in Mumbai clubs in the 1950s, at a time when live music in clubs was a very different world from the Bollywood playback industry.

And this is where the story becomes particularly interesting.

Usha herself did not receive formal musical training. She has said that she didn't need a conventional music tutor because Uma and Indira were her teachers. She grew up listening to them, absorbing music naturally at home. As she put it, the music simply “flowed” through the family.

Later, their younger sister Maya also joined the musical circle. A 2001 India Today profile described the four sisters — Indira, Uma, Usha and Maya — as the Sami Sisters, with music becoming a bond between them.

Then came Usha

Usha's own professional journey began in 1969, not in a recording studio but in a nightclub in Chennai. She subsequently moved to Kolkata and began performing at Trinca's on Park Street, which became one of the defining places in her career.

And she arrived looking quite unlike what people expected a nightclub singer to look like.

She wore a sari and jasmine flowers in her hair.

At a time when nightclub singers were often associated with Western attire and Anglo-Indian performers, Usha's traditional appearance stood out. But then she began to sing — and the audience accepted her.

She famously sang everything from jazz and pop to Indian film music and regional songs. At Trinca's, she even sang Rabindranath Tagore's “Purano Sei Diner Katha” to a nightclub audience. She later recalled that people sang along, helping challenge the idea that certain Indian songs belonged only in conventional concert settings.

Trinca's was more than a nightclub

This is perhaps my favourite part of her story.

Usha has said that Trinca's helped change people's perception of what a nightclub could be. In her words, it became a place where people expected “clean, wonderful entertainment” and where a nightclub could become a place for families too.

And Trinca's also changed her personal life.

It was there that she met Jani Chacko Uthup, a tea-industry professional. Their relationship eventually led to marriage. They later moved to Kochi, where their children were born.

Usha eventually returned to Kolkata, and Trinca's remained deeply woven into her life. Decades later, she went back there to perform again, celebrating the place where her extraordinary journey had begun.

And her father?

There is another fascinating dimension. Her father wasn't a musician at all. He was a police officer, and contemporary accounts identify Vaidyanath Sami as a senior figure in the Bombay Police.

Yet he apparently gave his daughters the freedom to follow music. Usha has repeatedly credited her parents for allowing her and her sisters to pursue their interests.

So the story is not really about one extraordinary singer.

It is about a family in which music passed naturally from one sister to another — Uma and Indira first, then Maya and Usha — and eventually one of those sisters, Usha, walked into a nightclub in a sari and jasmine flowers and completely changed what a nightclub singer could look and sound like.

And perhaps the most beautiful part is that Usha still speaks of her sisters as her first musical teachers. She didn't go looking for a guru. Her music was already playing at home.

From Ramu to Jani: a love story that began at Trincas

Usha’s first marriage was to Ramu Iyer. They had been married for about five years when Usha met Jani Chacko at Trincas in Kolkata in 1969. At the time, Ramu was accompanying Usha to her performances. According to accounts based on Usha’s authorised biography, The Queen of Indian Pop, Jani eventually told Ramu that he had fallen in love with Usha.

Usha and Jani did not marry immediately. Their relationship developed over roughly two years, and they married in 1971. Usha has spoken affectionately about those early days, including the fact that they had jokingly decided that if they ever had a son, they would call him Sunny.

Jani was very different from Usha's world of music. He worked in the tea industry, associated with J. Thomas & Co., and had a long professional connection with tea auctions and plantations. Their lives therefore had an interesting contrast: Usha was becoming one of India's most recognisable voices, while Jani had his own career away from show business.

Motherhood and Kochi

After their marriage, Usha and Jani moved to Kochi, where their two children were born:

Sunny Uthup, their son

Anjali Uthup, their daughter

Usha has described herself as a rather possessive mother and, interestingly, said that her children were also her biggest critics. By 2012, Sunny was working in the tea industry in Kolkata, following his father's professional world to some extent, while Anjali had become a radio jockey and was settled in Kerala after marriage.

There is something lovely about this part of her story. The woman who spent much of her life performing before thousands of people was, at home, simply a mother who worried about her children and sometimes loved them a little too intensely.

And then there was Bollywood

Usha's entry into films happened surprisingly early.

She had begun performing professionally in nightclubs in Madras in 1969, then moved through Mumbai and eventually to Trincas in Kolkata. Her distinctive appearance—a Kanjeevaram saree, jasmine flowers and her extraordinarily deep voice—made her stand out in a nightclub culture where female singers were generally expected to look and dress very differently.

Her first significant connection with cinema came through Shashi Kapoor, who gave her an opportunity in Bombay Talkie (1970). Soon after, she was offered the iconic “Dum Maro Dum” era of Hindi cinema, and she appeared in Hare Rama Hare Krishna (1971). She later became closely associated with the sound of the disco and pop era.

Then came songs that practically became synonymous with Usha Uthup:

“Hari Om Hari” – Pyaara Dushman (1980)

“Ramba Ho Ho Ho” – Armaan (1981)

“Auva Auva Koi Yahan Nache” – Disco Dancer (1982)

These weren't conventional playback-singer performances. Her voice was unusually deep, powerful and unmistakable. It didn't fit neatly into the established idea of what a Hindi-film female singer should sound like—and that became precisely her advantage.

But she didn't stop at singing

This is another interesting part of her story. Usha gradually moved from being the voice behind films to actually appearing in them.

She acted in films in several Indian languages, including Malayalam, Hindi, Tamil, Telugu and Kannada. Her later acting credits include ** 7 Khoon Maaf (2011), where she appeared alongside Priyanka Chopra, and much more recently ** Lucky Baskhar (2024).

And there is an interesting full-circle quality to it: she had initially entered the film world because filmmakers noticed her voice and stage presence. Decades later, cinema began using her not merely as a singer but as a personality and performer in her own right.

And Jani?

Jani remained largely outside the limelight. That perhaps helped their marriage survive the enormous public life that came with Usha's career. They spent decades together and had two children. Jani died in July 2024 at the age of 78, following a cardiac arrest. Usha has since spoken publicly about love, loss and their long relationship.

What I find most beautiful about Usha Uthup's story is that she never really followed the conventional route. A girl whose music teacher once felt that her voice didn't belong in the school choir became a nightclub singer when that was hardly considered a respectable career for a woman; a sari-clad South Indian woman entered a Westernised nightclub culture; a singer became a film personality; and a woman whose professional life was extraordinarily public kept her family life relatively private.

Age did not bother her, she kept talking about music, love, loss and performance—not as someone looking back at a finished career, but as someone who seems to have simply kept moving.

And perhaps that is the real Usha Uthup story: she didn't become successful by fitting into an existing mould. She made her difference the mould.

Prashant Kishor: From the Man Behind the Campaign to the Man on the Ballot

Prashant Kishor NOT FINISHED | बांकीपुर में कैसे पलटा खेल? | 9 महीने का Comeback? Nitin Nabin | BJP

For more than a decade, Prashant Kishor was known as the man who helped politicians win elections.

He did not begin as a politician. After working on public-health programmes associated with the United Nations, Kishor entered the world of political campaigning. His association with Narendra Modi's 2012 Gujarat campaign and the BJP's successful 2014 Lok Sabha campaign brought him national attention. He subsequently worked with a remarkably diverse range of political parties and leaders, including Nitish Kumar, Congress, Mamata Banerjee, the YSR Congress, DMK and others.

His reputation was built on understanding voters, constructing narratives, organising campaigns and turning political communication into something more systematic and professional.

But there is an interesting question that eventually confronted every strategist:

Can the person who teaches others how to win actually win an election himself?

Kishor decided to find out.

His answer was Jan Suraaj — initially a political movement and subsequently a political party built around the idea of changing the way Bihar is governed. The transition was not easy.

The 2025 Bihar Assembly election was a particularly painful chapter. After years of advising successful political campaigns, Kishor's own political project failed to win a single Assembly seat. For someone whose public image had been built around electoral success, the defeat was difficult to ignore.

But perhaps that failure was important.

A strategist can study elections from the outside. A politician has to stand before the electorate and ask people to trust him personally.

Kishor stayed with the experiment.

Then came Bankipur.

In August 2026, Prashant Kishor won the Bankipur Assembly bypoll, giving Jan Suraaj its first electoral victory and Kishor his first victory as a candidate. More significantly, he defeated the BJP in a constituency where the party had held sway for around 35 years. Pride comes before a fall. BJP had claimed it would win the seat even if it let a Dog or a Cat stand there as a candidate. The loss is heavy for BJP as this was the seat of the candidate who had become BJP's party president. Nitin Nabin, a five‑time MLA from Bihar, became the youngest BJP National President on 20 January 2026.

The symbolism was difficult to miss.

The man who had spent years helping other politicians fight electoral battles had finally entered the battlefield himself — and won.

But perhaps the most interesting part of Kishor's journey is not the victory. It is the sequence of success, failure, persistence and eventual success.

His career demonstrates that the skills required to analyse an election and the skills required to win one personally are not identical. A strategist can advise. A politician has to build trust, absorb criticism, face rejection and remain visible long after the campaign slogans have disappeared.

Kishor has himself argued that his earlier successes were not the result of being a “wonder kid,” but of working with commitment and without fear of failure.

That makes his journey more interesting than a simple story of an election strategist becoming a politician.

It is a story about reinvention.

Perhaps that is also why statements made about a political career are sometimes best judged with time. Today's failure becomes tomorrow's footnote; today's victory becomes part of a much longer story.

And perhaps Kishor's journey leaves us with a more universal thought:

People may analyse your failures, celebrate your victories and write their opinions about you while you are alive. But sometimes the full meaning of a journey can only be understood after it is over.

Until then, the only option is to keep walking — and, occasionally, to prove the critics wrong at the ballot box.

Manoj K. Jayan and Urvashi: A Love Story That Took Another Turn

Some relationships in cinema begin almost like a film script. Two successful actors meet, fall in love, marry and build a family — only to discover that the life behind the screen can be far more complicated than anything they portray on it.

That was the story of Urvashi and Manoj K. Jayan.

The two actors had been in a long relationship before they married. Urvashi has later said that she chose to marry Manoj despite strong opposition from her family. She believed that the problems would eventually settle and, in her own words, was determined to prove that her decision was right.

They married in 2000 and had a daughter, Tejalakshmi, affectionately known as Kunjatta. For some years they continued their professional lives while raising their child. But the marriage eventually became strained, and the couple separated in 2008, after eight years of marriage.

What happened inside the marriage is more complicated than a simple story of one person being responsible for its failure.

In later interviews, Urvashi described the difficulties of adapting to a very different family environment and said that, over time, she felt she was becoming a different person. She also spoke about struggles with alcohol and the effect they had on her health and emotional well-being. Her account was that she had tried for a long time to make the marriage work.

Manoj K. Jayan has given a somewhat different perspective. He has spoken of the compromises both partners make in a marriage and said that after several years of trying to adjust, he reached the conclusion that they could no longer continue together.

Then came the most difficult part — their daughter.

The divorce did not simply mean two adults going their separate ways. Kunjatta was caught between two parents and two households. In 2012, a court proceeding concerning her custody became highly public, with the then ten-year-old girl present in court.

It would be unfair, however, to assume from the public drama alone what the experience meant to her emotionally. What is more revealing is what happened later.

Manoj has spoken warmly about Urvashi and about maintaining relationships between Kunjatta and her mother's family. He has said that his daughter remained connected to Urvashi and that his present wife, Asha, also developed a close relationship with Kunjatta. He has even described situations in which Kunjatta would spend time with Urvashi's family.

Years later, when Kunjatta entered the film industry as Tejalakshmi, the story seemed to come full circle. Manoj became emotional while speaking about his daughter's debut and recalled bringing her from Chennai when she was seven, at a time when he had imagined a completely different future for her. He also publicly praised Urvashi's abilities as an actress.

Perhaps that is the most hopeful part of their story.

A marriage can end without every relationship having to end with it.

The love between two adults may change form. Families may become complicated. Children may experience the consequences of decisions they did not make. But, over time, people can choose whether those old wounds continue to define their relationships.

In the end, perhaps the real measure of a failed marriage is not whether the couple stayed together, but whether they were eventually able to build peaceful relationships around the life they once shared.

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As of 25 September 2026:

• Manoj K. Jayan was born 15 March 1966, so he is 60 years old.
• Urvashi was born 25 January 1969, so she is 57 years old.
• Therefore, Manoj K. Jayan is about 2 years and 10 months older than Urvashi.

There is a little inconsistency in some online biographies about Urvashi's birth year, but 25 January 1969 is the date supported by multiple sources.

Who has been more successful?

If by “successful” you mean overall acting recognition, awards and longevity, the documented record is quite striking for Urvashi.

	Urvashi	Manoj K. Jayan
Career began	1980s	Late 1980s
Major industries	Malayalam, Tamil, Telugu, Kannada	Malayalam, Tamil, Telugu
Kerala State Film Awards	6 Best Actress awards	3 State awards for acting
National Film Awards	2 Best Supporting Actress awards	—
Major recognition	Best Actress + Supporting Actress across decades	Strongly acclaimed character performances
Notable roles	Thalayanamanthram, Kaliyoonjal, Achuvinte Amma, Soorarai Pottru, Ullozhukku	Perumthachan, Sargam, Parinayam, Anandabhadram, Pazhassi Raja, Kaliyachan

Urvashi holds the record for the most Kerala State Film Awards for Best Actress — six. She has also won two National Film Awards for Best Supporting Actress, for Achuvinte Amma and Ullozhukku.

Manoj K. Jayan, meanwhile, has won the Kerala State Film Award three times for acting, including for Sargam, Pazhassi Raja and Kaliyachan.

So rather than simply saying one is “better,” the factual distinction is:

Urvashi has the stronger award record and a much larger body of work as a leading actress across South Indian cinema. Manoj K. Jayan has had a highly respected career as a character actor, with several memorable and critically acclaimed performances.

And there is an interesting point here: Urvashi's career is unusually long for a leading actress — she began very young, became a major heroine in the 1980s–90s, took a break, and then returned to increasingly varied character roles. Her two National Awards, including the recent Ullozhukku win, show that her recognition has extended well beyond her peak heroine years. 

Bethlehem Kudumba Unit: Nothing New, Yet Somehow Fresh

 

Everyone seems to be talking about Bethlehem Kudumba Unit as a uniquely new kind of Malayalam film.

But is it really that new?

Perhaps the more interesting thing about the film is that almost everything in it has been seen before.

Take the title itself.

From Summer in Bethlehem in 1998 to Bethlehem Kudumba Unit in 2026, Malayalam cinema has returned to Bethlehem. The connection goes beyond the name. Summer in Bethlehem gave us Manju Warrier as Abhirami, a young woman arriving into an extended-family holiday at a beautiful estate, surrounded by cousins, friendships, romance, secrets, songs and mischief. The film became one of the popular successes of 1998 and remains remembered especially for its ensemble, locations and music.

Almost three decades later, Bethlehem Kudumba Unit gives us Mamitha Baiju in another Bethlehem, again surrounded by a world of family, friends, eccentric characters, romance and music. Ashley; the parallel. It is not that they are playing the same kind of character, but that both films place a prominent young female character within a Bethlehem-centred ensemble/family world.

That is quite a coincidence.

Or perhaps it is a reminder that audiences don't necessarily need new ingredients. They need familiar ingredients served differently.

The family-and-cousins setting is hardly new. Neither is the holiday atmosphere, the ensemble of friends, the romantic thread running through a larger group of characters, the eccentric supporting cast, the beautiful Kerala landscape or the use of music to carry the mood.

Even the film's playful relationship with cinema is not accidental. Co-writer Kiran Josey has acknowledged that Bethlehem Kudumba Unit contains references to films, memes and popular culture. The references are woven into situations rather than simply inserted as jokes.

And then there is magic.

This may actually be one of the cleverest recurring ideas in the film.

The song “Manthrikam” literally begins the journey into magic. Lyricist Vinayak Sasikumar has said that it was written around the idea that falling in love — especially the bewilderment and excitement of first love — feels like magic. Interestingly, he first wrote the title as Mayikam before it became Manthrikam.

The idea did not stop there.

• Manthrikam.
• Varnajaalam.
• Indrajaalam.

Three different expressions associated with magic become a thread running through the soundtrack. Composer Vishnu Vijay suggested continuing the idea of magic as a connecting concept, and Sasikumar developed it further. Even “Muttayi Vandi” plays with the same idea, but from a different point of view.

So the film is almost magical in two senses — literally and musically.

And yet, none of this is entirely new.

That may actually be the point.

Cinema has always borrowed, remembered, echoed and reinvented. Summer in Bethlehem itself had a large extended family arriving at a holiday estate, with friendships, romance, misunderstandings, secrets and songs forming the entertainment. Bethlehem Kudumba Unit uses some of those emotional ingredients again, but gives them a contemporary rhythm, a different age-gap romance, a different set of characters and Girish A.D.'s particular brand of humour.

Even the film's greatest strength — its supporting characters — is not revolutionary in concept. What is different is the chemistry between them. Reviews have particularly highlighted the supporting cast and the way their comic timing becomes an important part of the film's charm.

So perhaps calling Bethlehem Kudumba Unit “unique” is slightly misleading.

Its ingredients are not unique. Its magic lies in the mixing.A well cooked recipe for success. 

• A little Summer in Bethlehem.
• A little family entertainer.
• A little romantic comedy.
• A little nostalgia.
• A lot of pop-culture references.
• A generous helping of music.

And characters who seem to have wandered in from real life.

What Girish A.D. has done is not invent a completely new recipe.

He has taken a recipe Malayalam audiences already know and made us hungry for it again.

And perhaps that is a more difficult achievement than it sounds.

Because making something new is one thing.

Making something familiar feel new again — that is a different kind of magic. Ingredients are not unique; the magic lies in the mixing

What is being called “new” about Bethlehem Kudumba Unit is actually a very old Malayalam-film recipe — family, cousins, friendship, romance, humour, music, a beautiful location and a little magic. What feels fresh is the way Girish A.D. rearranges these familiar ingredients.

That is also more defensible. Girish's screenplay deliberately uses references to films, memes and popular culture.the three “magic” songs: Manthrikam, Varnajaalam and Indrajaalam. Lyricist Vinayak Sasikumar has explained that the idea of magic was deliberately carried across these songs; Muttayi Vandi also explores the same idea from a different perspective.

What is cringe to one may be charm to another. And perhaps that is the secret of popular cinema: it doesn't have to work for everyone; it only has to work for enough people.