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Aspirations and hopes of the new generation have changed dramatically from the 90s to 2010. The youth of today are concerned more with bread-and-butter issues than rabble-rousing rhetoric. In these circumstances,the broad-based hope for a mature reaction to the Babri verdict is expedited.

Despite being the ruler of a huge kingdom,Ravana couldnt rule over his inner world. As opposed to him,in the beginning,Rama couldnt become the king of even a small province like Ayodhya; but he was able to rule over his inner self. Unravelling the different phases of dharma,voluntarily retreating into the forest in order to obey his fathers word,subduing the demons in order to protect the sages,killing Vali and Ravana all these constitute the triumph of dharma. This is what the Ramayana is about; it is a chronicle of the triumph of dharma. In an individual-centred age,scores of ideals come into being and disappear after some time without leaving any trace behind. But the Ramayana is characterised not by individualistic qualities but the ones of a community,of a whole culture.

The NetherCockroach Theatre CompanyReview by Mary LaFranceAvenue Q was right: The Internet is for porn. In Jennifer Haley's darkly futuristic play The Nether, virtual reality has become a playground where adults can explore their most socially unacceptable fantasies, complete with sensations, but (supposedly) without any consequences in the real world. Except for one consequence: In Haley's world, some become so enraptured with their online fantasy lives that they become shades, people who withdraw entirely from human society, hooked up to life support systems, living out the rest of their lives as avatars in their favorite virtual world. The temptation to become a shade is strong; the real world that Haley's characters inhabit has become a place of disappointment, where trees have largely disappeared and childhood education takes place exclusively online.Haley poses an interesting moral question: Do these amoral virtual playgrounds serve a socially valuable purpose by enabling people to indulge their fantasies without doing harm to actual people? Or do they encourage and validate these pursuits, ultimately damaging the participants as well as the people around them?The virtual world in question is the Hideaway, a Victorian-style home in which the genteel patriarch Papa encourages his guests to indulge their socially unacceptable desires with under-aged girls, including the charming Iris. The guests, of course, are avatars for the website subscribers; the girlish avatars are played by Papa's employees (the behinders). Papa enforces strict rules for both guests and employees in order to ensure that their identities remain secret; rule violations result in girls being sent off to boarding school.The continued existence of the Hideaway is threatened, however, when the quasi-law-enforcement agents of The Nether, a future incarnation of the worldwide web, decide to shut it down on moral grounds, and begin a quest for the physical location of the offending server. A minor breach of Papa's rules opens the door for investigators to identify the real person behind Papa. But will the enforcement effort do more damage than the Hideaway itself?Cockroach Theatre gives Haley's disturbing play a solid production. In a world where nothing is what it appears to be, Scott McAdam gives an outstanding performance as Papa, the surprisingly sympathetic child pornographer. As the virtual victim Iris, Aviana Glover is equally strong; she subtly combines a childish exterior with an adult sensibility that is crucial to the story.As staged by director Bryan Todd, the world of the Hideaway feels more real and inviting than the sterile world in which the determined interrogator Morris grinds away at her subjects. Jamie Carvelli has yet to find her footing in the difficult role of Morris; she conveys the investigator's zeal without suggesting the human frailties behind that zeal, making her later confessions less than convincing. As Morris's undercover investigator who visits the Hideaway as the avatar Thomas Woodnut, Brandon McClenahan conveys the appropriate degree of ambiguity, moral and otherwise. As Doyle, a brilliant but unfulfilled teacher and longtime Hideaway visitor, Bob Gratrix affectingly portrays the character's withdrawal from human interaction, but almost to a fault—Doyle's verbal clashes with Morris occasionally come across as bloodless speeches rather than cries from the heart. In the play's final moments, however, Gratrix is a revelation.The world of the Hideaway is rendered enticing by Shannon Bradley's vivid scenic design and Kim Glover's nostalgic costumes.The Cockroach Theatre Company succeeds once again in bringing challenging theatre to the Las Vegas community. Because the subject matter is disturbing, the play is suitable for mature audiences only. It is guaranteed to provoke lively post-theatre discussions.The Nether continues through March 13, 2016 (Thursdays and Saturdays at 8 pm, Sundays at 2 pm, and Fridays, March 11, at 8 pm) at the Art Square Theatre, 1025 S. First Street #110, Las Vegas, NV 89101. For tickets ($20 adults, $16 students, 55+, and military) or further information, visit www.cockroachtheatre.comCastSims/Papa: Scott McAdamMorris: Jamie CarvelliDoyle: Bob GratrixIris: Aviana GloverWoodnut: Brandon McClenahanAdditional CreativeOriginal Music Score by Aaron Guidry; Sound Design Mix by Benton Corder;Lighting Design by Elizabeth Kline; Video Design by Brian Henry.

Jake Gyllenhaal attracted a mediocre debut for his critically acclaimedcrime journalism thriller Nightcrawlerwhich opened close behind in second with $10.4M from 2,766 theaters fora mild $3,775 average. The R-rated pic won raves from reviewers, howeverwhat film critics love often differs from what regular moviegoers wantto pay to see. The Open Road release earned a lackluster B- grade fromCinemaScore so ticket buyers were not too impressed. But for Gyllenhaal,Nightcrawler's opening weekend wasin the same range as some of his other films where he is the only majorcommercial selling point. They generally only open in the $10-15M range.

Studio stablemate The Book of Lifefollowed close behind with $8.2M, off just 18%, for a new total of $40.4M.Also holding up well, especially for a Keanu Reeves action film, was JohnWick which dropped 45% to $8M. Lionsgate has taken in $27.5Mto date and looks headed for a $45M domestic finish.

The Nicole Kidman thriller Before I Go To Sleepflopped instantly with a weak opening weekend of only $1.8M from 1,935locations for a flimsy $953 average. Clarius Entertainment saw mixed reviewsplus could not compete in a crowded marketplace filled with better optionsfor the target audience of mature adults. Kidman has not anchored a boxoffice hit on her own in nearly a decade.

Lionsgate took a chance and re-released the horror hit Sawon Halloween day for its tenth anniversary, but failed to attract any businessstumbling to the worst opening of 2014 for any film going out in 2,000+theaters. The iconic torture porn flick attacked 2,063 locations but grosseda puny $650,051 for a horrendous $315 average. The brand is no longer veryrelevant and the film has been widely available on other platforms foryears so there was nothing new that the theatrical re-release brought tothe table. Sure the gorefest has already been made, but costs for marketingand new digital prints will not be recouped by this re-release. Most re-releasesin recent years, including 3D upgrades, have struggled to make much ofa dent at the box office. 041b061a72