First of All, it is Not Hindu Mythology and correct term that you must use is Sanatan Theology.
Ok, you are confused with the word — Koti ( Crore )
But another meaning of Koti is Type of Gods.
33 Koti Gods ≠ 33 crore Gods but
33 Koti Gods = Main Gods which are of 33 types ( 8 Vasus, 11 Rudras, 12 Adityas and 2 Ashwini Kumars along with 3339 others Gods) ( Rigveda )
So, there is no crores of Gods.
Om Namoh Bhagvate Rudrayah Namah 🙏🙏
Phase 1: The Incredible Hulk
This is easily one of Marvel’s most forgettable movies. Looking back on it, it’s amazing to look back at how large of a bluster this turned out to be. Edward Norton’s performance as Bruce Banner doesn’t come close to Mark Ruffalo’s and each side character is as two-dimensional as the last. It’s a good thing that Marvel has done their best to sweep this one under the rug.
Phase 2: Thor: The Dark World
This movie was essentially two hours of exposition helping the build-up to Avengers: Infinity War, which wouldn’t be out for another 5 years. There’s a few good moments with each character, and the performances are inspired, but as a whole, this movie is easily one of the most forgettable in the MCU.
Phase 3: Captain Marvel
Let me start by saying that Captain Marvel was a phenomenal movie. However, in a phase that included some of the best Marvel movies yet (Avengers: Infinity War, Captain America: Civil War, Doctor Strange, Black Panther) and some of the most fun (Thor Ragnarok, Ant-Man and the Wasp, Guardians of the Galaxy Vol. 2, Spider-Man: Homecoming), Captain Marvel takes the last slot by default.
Each performance was great, the story was stellar, and it shameful that I have to put it last. The story at times got convoluted and suffered from some of the same flaws as Thor: The Dark World, with a weak villain and exposition that’s hard to follow at times.
Overall, I thoroughly enjoyed every movie in Phase 3, and it’s unfortunate to put Captain Marvel here. It’s not a bad movie by any standard and I would certainly watch it again. However, its small flaws put it behind its tough competition.
Rukmiṇī Satyabhāmābhyāṃ Sahithaṃ Kṛṣṇamāśraye.
Thank you for the A2A‚ Alberto Borgato.
Bhagavathī Vaikuṇṭhēśvarī, the glorious Empress of Vaikuṇṭha, is united solely with Her eternal Consort, Bhagavān Vaikuṇṭhēśvara.
Bhagavathī Lakṣmī, the epitome of purity and chastity, remains eternally blemishless. Her devotion and unwavering fidelity are solely to Her divine Consort, Śrīman Nārāyaṇa, the Supreme Lord.
❝It is definite that She (Śrī) is the Mother of all Dēvas and the worlds. She has no other husband than Nārāyaṇa, Vāsudēva, the Supreme Brahman, the Lord of all, the excellent Puruṣaḥ.❞ [Skaṅda Mahāpurāṇa 2.9.14.33-37.]
All Glories to Śrī Śrī Lakṣmī Nārāyaṇa‚ the divine Couple of Vaikuṇṭha.
Thank you for reading.
Rukmiṇī Satyabhāmābhyāṃ Sahithaṃ Kṛṣṇamāśraye.
Dadasaheb Phalke had to cast a male cook as the leading lady in India's first film. For his next project, a single mother named Durgabai Kamat risked social ruin to step in front of the camera.
When Phalke—now remembered as the "Father of Indian Cinema"—was producing that first 1913 film, Raja Harishchandra, acting in moving pictures was considered unacceptable for respectable women. It was heavily stigmatized and often equated with prostitution. Phalke searched everywhere for a female lead, even visiting red-light districts, but no woman would agree to be filmed. This strict social barrier forced him to cast Anna Salunke, a young male cook, in the role of Queen Taramati.
The commercial success of Raja Harishchandra began to legitimize the new medium. When Phalke started production on his second film, Mohini Bhasmasur, later that same year, he finally secured his breakthrough with Kamat.
Durgabai was a Marathi stage actress who had already faced social ostracization for her involvement in traveling theater companies. Needing the income to raise her young daughter, she was willing to brave the stigma of the nascent film industry. Phalke cast her in the role of Goddess Parvati, officially making Durgabai Kamat the first female actor in Indian cinema.
The collaboration went further. Phalke also cast Durgabai's young daughter, Kamlabai, in the lead role of Mohini. At just 13 years old, Kamlabai became Indian cinema's first female child artist.
Though Mohini Bhasmasur was a short mythological silent film, the collaboration between Phalke and Kamat altered the trajectory of the Indian film industry. By bringing Durgabai and her daughter to the screen, Phalke proved that women could safely work in cinema. Durgabai Kamat's decision to accept the role laid the foundation for generations of Indian actresses, shifting the medium from an all-male enterprise into a viable profession for women.
The inside of a guitar.
An eyeball after a cornea transplant.
A firework shell cut in half.
Inside a grenade.
This is how pearls look on the inside.
Have you ever wondered how they install those huge power line towers?
Cross section of a tortoise’s skeleton.
This is how a cyclist’s legs look after the Tour de France.
This is what the bottom of a battleship looks like.
Inside a Redbox machine.
This is what the inside of a bowling ball looks like.
A space shuttle leaves our atmosphere.
This is what the underside of a lily pad looks like.
CT scanner without its cover.
This is how we all looked at our very beginning. It's human embryo on tip of a needle.
Footnotes:-
The inside of a guitar looks just like a luxury apartment
You'll Never Guess What's Inside a Bowling Ball
Credits:- Reddit, Dittidots, elmielmosong.
Krishna Paramatma stayed for 11 years in Gokul as per available information. Let us review the reason:
Whenever incarnation takes place, several pending wishes, boons, curses ( by Rishis and good people ) will also be settled by Vishnu.
Accordingly he stays in different places for different periods according to his plan.
It is said that after Brahma performed penance for 6,000 ( his divine ) years (some interpretations suggest 60,000 years), he caught a glimpse of the toenail of Goddess Radha. When he distressedly appealed to Vishnu, he was told, "Radha will manifest in Vrindavan during the Krishna avatar; you may behold her then and attain salvation."
Many of us are aware of the love between Radha and Krishna and know that Radha was Krishna's beloved. Goddess Radha manifested in Gokulam as the daughter of Vrishabhanu.
There is a beautiful story behind this.
Radha once harbored a desire. It is often said that the pangs of separation (viraham) are sweet; however, she had never experienced such separation because she and Krishna were essentially one. Philosophers believe she was born as a Gopika (cowherd maiden) specifically to understand the nature of this separation.
Mantras have presiding deities. When Vedic mantras were chanted in penance dedicated to Vishnu, He asked what was desired. When they asked, "We have been singing Your praises for ages; when will we merge into You, and when will You bestow Your grace upon us?" He told them to be born as Gopikas during His incarnation as Krishna. The Gopikas are also known as the Upanishad-kantas (the embodiment of the Upanishads).
Radha Devi also manifested as a Gopika, and through the divine Rasa Leela, Krishna granted liberation to all the Gopikas.
For some commitments, Krishna stayed in Gokulam for 8 years.
Subhamastu
Tripura is surrounded on three sides by Bangladesh, but its fate wasn't decided by geography. It was sealed in 1947 by a widowed queen facing a rumored invasion.
Unlike British-ruled provinces like Bengal or Punjab, which were sliced in half by the Radcliffe Line based on religious demographics, Tripura was a sovereign princely state. Ruled for centuries by the Hindu Manikya dynasty, its leaders were given the sole authority under the rules of Partition to join either India or Pakistan.
The decision was vastly complicated by geography. Before 1947, the Kingdom of Tripura consisted of two main parts: the sovereign, tribal-dominated hills known as Hill Tipperah, and Chakla Roshnabad, a massive, fertile plains estate in East Bengal. The Maharaja owned Chakla Roshnabad as a zamindar (landlord) under the British, and it served as the economic engine of his kingdom. When the borders were drawn, Chakla Roshnabad was allocated to East Pakistan, but the princely state of Hill Tipperah remained entirely in the hands of the royal family.
Joining Pakistan would have presented an irreconcilable ideological conflict for the Manikyas. The royals were devout Hindus who claimed descent from the Lunar Dynasty of the Mahabharata. They were deeply aligned with mainland Indian culture and were great patrons of Bengali Hindu arts, famously maintaining a close friendship with the poet Rabindranath Tagore.
That queen was Maharani Kanchan Prabha Devi, who took charge as regent after her husband, Maharaja Bir Bikram Kishore Manikya, died unexpectedly in May 1947. Left to manage a highly vulnerable state just months before independence, she faced rumors of a political conspiracy to overthrow the monarchy and forcibly annex Tripura into East Pakistan. In response, she sought assistance from Indian Home Minister Vallabhbhai Patel and signed the Instrument of Accession on August 13, 1947, securing military protection and legally integrating Tripura into India.
After Partition, Tripura's demographics shifted drastically. Hundreds of thousands of Bengali Hindus fled persecution in East Pakistan and poured into Tripura, permanently altering the state's ethnic makeup and cementing its integration into the Indian republic.
Ah yes, imagine there was a big iphone release and he came out with this:
And then said -
At our low, low, low price of $4000.
That magnificent machine you are looking at is the first cell phone that went on sale in 1984. Technically it didn’t cost $4000 though.
It was $3,995. Much cheaper. And it also weighed 2.5 lbs.
The phone also makes a cameo in American Psycho :)
If you owned one of those bricks in 1984, you were hot shit.
1. History's Scariest Images: The Mummified Girls Of Anatoly Moskvin. In 2011, authorities found 29 corpses aged 3 to 25 in his home. Chillingly, he had transformed them into dolls. He covered their skin with fabric, makeup, and clothes, and even put music boxes inside their chests.
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2. Here's a totally non-unhinged invention: a GUN was designed to take a picture each time its trigger was pulled:
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3. 4. Photograph of a super-solid snow crystal, variously
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4. This was how big the cake for Queen Elizabeth II and Prince Phillip's wedding was:
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5. During World War II, some soldiers would utilize their gas masks while cutting onions:
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6. Here’s What An Albino Raccoon Looks Like
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7. I know you've seen a bicycle built for two... but how about a bicycle built for FOUR:
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8. The Golden Rays Of The Sunset Entered The Cave At Just The Right Angle To Light Up This Section Of Ice, Making It Look Like Amber
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9. That little fellah there is Charlie, one of the smallest horses to ever live:
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10. In 1962, three men escaped Alcatraz Island prison after fooling guards with papier-mâché decoy heads that looked like this:
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11. Speaking of which, this is what the menu for Alcatraz prison looked like on March 13th, 1956:
Sources: reddit.com, wikipedia.com
Mars doesn’t have ‘moons’ - it has 2 captured asteroids, one of which, Phobos, is likely to break up and form a ring, or rings, Soon™ (about 50 million years).
Mars’ ‘moons’ are tiny - Deimos is 12 km wide and Phobos is 22 km wide. Because these are the only natural structures in orbit around Mars, it is unlikely that they formed around Mars, which is why they are generally accepted to be asteroid captures.
Earth is more a binary system of one large and one small planet-sized bodies - current accepted theory is that Earth was sideswiped by a Mars-sized planet (Theia) very soon after it formed, and the result was Earth as we know it and the 5th largest moon in the whole Solar System, (after Ganymede, Titan, Callisto, and Io - it is larger than Europa and all other solar system moons).
The ratio of Earth-Moon sizes is only exceeded by Pluto-Charon, even though our Moon is actually larger than Pluto (about 1.6 times larger).
The Earth-Moon system has large enough Hill Spheres to sweep most detritus from their orbit, the only uncleared materiel being small rocks in the trojan points of the Moon’s orbit. Due to their relative sizes, any noticeable rock or asteroid would encounter issues of a 3-body-problem nature, and either hit Earth, the Moon, or be ejected.
To balance up to 20 speaking characters under a single roof, Indian filmmakers deploy ruthless cinematic architecture—like using a five-minute song to replace 30 pages of tedious dialogue.
The most common structural technique is the "hub and spoke" event. Rather than cutting between five different households, writers force the entire ensemble into a single location for a prolonged period. A multi-day wedding, a major festival, a family funeral, or a high-stakes anniversary serves as the narrative hub. This instantly grounds the chaotic web of relationships into one shared physical space, allowing micro-conflicts to play out seamlessly in the background while the main plot advances.
To manage this density visually, directors rely on the "maha-frame" (mega-frame) and deep staging. Filmmakers like Sooraj Barjatya and Karan Johar frequently construct sets with massive dining tables, sweeping staircases, or central courtyards. By using deep-focus cinematography and complex group blocking, they can fit 10 characters into a single wide shot. While the primary dialogue happens in the foreground, secondary characters remain visible in the background, offering real-time reactions that sustain their presence without requiring dedicated screen time.
Characterization relies heavily on archetypal shorthand. When dealing with an ensemble this large, there is no runtime for slow nuance. Extended family members are instantly coded with distinct visual motifs and behavioral extremes. A character might be strictly defined by a specific catchphrase, a habit of constant snacking, loud colorful clothing, or a booming laugh. This rapid shorthand ensures the audience immediately categorizes the gossiping aunt, the rigid patriarch, or the modern rebellious cousin within seconds of their introduction.
Music functions as this ultimate narrative shortcut. During a traditional sangeet or antakshari (musical game) number, the camera pans methodically through the crowd. Through strategic eye contact, background choreography, and subtle gestures embedded in the song, the filmmaker maps out the family hierarchy, establishes secret romances, and exposes simmering rivalries simultaneously. This layers multiple character arcs in just a few minutes of screen time.