Srivathsan Nadadhur

A young woman, Sirisha, is attacked at a bus stand, but the police have no leads. Vikram, a suspended officer, is brought back to help. He starts his own investigation to find the first suspect, but the man is soon found dead. Vikram sets a trap for the killer, which catches the wrong person. Finally, an attack at the hospital reveals the real killer and their motive. Nikhil Maliyakkal, the former Bigg Boss Telugu winner who takes up a major chunk of the screen-space, looks comfortable in front of the camera but could make more effort to loosen up and feel easy with his body language. Gayatri Chaganti, as the victim Sirisha, has very little to offer in the initial episodes. Sameer is alright in the shoes of Vikram’s superior. The supporting cast does its job reasonably well.

Kartik, a man from Ujjain, falls obsessively in love with the mysterious Charu. When she suddenly vanishes, his life turns into a relentless search. He soon finds himself entangled in the dangerous world of a ruthless politician, Huntry Chauhan. As Kartik travels from India to Georgia to find the truth, he must navigate a web of deception, violence, and changing loyalties where love comes with a price. For the masala genre to click, besides writing and direction, you want the actors to submit to the world fully without chasing logic. The viewer can catch glimpses of it in Tejasswi Prakash and Anud Singh Dhaka’s performances. One hoped the writers invested the same thought in giving substantial characters for Srishti Shrivastava and Tejasswi as much as they did for Anud and Kishan’s parts.

Twenty years after her parents’ love story began, Amrita faces a sudden family collapse. Following the tragic deaths of her mother, Vasudha, and her father, Neeraj, she must step up as the eldest sibling. Amidst overwhelming debt, legal crises and family grief, Amrita stops relying on her partner Aditya and takes over her father’s business to fight her battles alone.

Seventeen-year-old Roslin is haunted by recurring nightmares of a mysterious shadow. Reality blurs when Jerry, a charming but enigmatic paying guest, moves in, winning over her family despite Roslin’s growing dread. As Shobha uncovers unsettling truths, Jerry is forced to leave, briefly restoring peace. However, the terror is far from over, with Jerry returning for one final, dark confrontation.

Celebrated surgeon Geetika Sen sees her life collapse after anonymous allegations of sexual misconduct surface at her hospital. As an official inquiry begins and social media outrage intensifies, the mounting suspicion creates a severe crisis of trust between Geetika and her partner, Meera. While fighting to save her career, Geetika must navigate a web of secrets and past professional rivalries to prove her innocence.

We live in times when filmmakers are increasingly insecure about keeping restless viewers invested in a story. This has resulted in storytellers shaping narratives that frenetically jump from one sequence to another, without context or substance, so that distraction may not be an option. The characters do not talk; they shout. And the bombastic background score screams for attention. Every scene turns into a loud statement. ZEE5’s Telugu web series D/O Prasad Rao Kanabadutaledu (Prasad Rao’s daughter is missing), helmed by Krishna Poluru, takes this desperation to new heights. While leaving little to a viewer’s imagination right from its title, the show shifts between three timelines that influence the events in the life of a missing girl. The crime scene is visualised as a narrative hook to unpack discussions on conservative parenting, the dreams and aspirations of a girl child, intergenerational trauma and vigilante justice.

Preet Bajwa is found dead on her family’s poultry farm. Cops Dhanwant Kaur and Amritpal Garundi soon discover the family has been hiding a dark secret for twenty years: they were keeping people as slaves. As the police get closer to the truth, the family takes desperate, violent steps to hide their crimes. The story shows how old secrets eventually catch up to people and destroy their lives.

Until the early 90s, Chennai (then Madras) served as a common backdrop for Telugu films. However, the subsequent industry shift to Hyderabad gradually altered the geographical canvas of its stories. Despite Chennai remaining a preferred destination for the Telugu community in nearby regions of Andhra Pradesh for livelihood for years, modern-day filmmakers have seldom explored their enduring connection with the city through a contemporary lens.