People's Choice
Teaching Phonics to Children
Phonics is a necessary part of any good method of teaching children to read. Teaching Children phonics and helping them develop phonemic awareness is the key to mastering words, which is the first key step toward successful reading. Children need to develop a knowledge of the letters, the sounds represented by the letters, and the connection between sounds created by combining the letters where words are formed. This is an essential part of mastering reading, and enabling children to become independent readers. By learning phonics and phonemic awareness, children gain the ability to pronounce new words, develop clear articulation, improve spelling, and develop self confidence.
When it comes to teaching your children to read, it must include three basic principles:
1) Reading for the child, whether it’s a word, sentence, or story, must appeal to your child’s interests.
2) Never pressure or force your child into reading, turning it into a negative “event” in their life. It should be a fun, enjoyable, and rewarding experience. This will take ample amounts of patience on the part of the parents, and some creativity.
3) Teaching your child to read must begin with the mastery of the phonemes – the individual sounds which makeup the words.
The basic process of teaching phonics and phonemic awareness to children includes teaching them the letters and letter sounds; then you teach the child to combine (or blend) various letter sounds together to form words; which is then followed by reading sentences and simple stories. This is a logical progression for children to learn reading, where they develop accuracy in decoding words and pronouncing words. This method of teaching also helps the child to spell correctly. Gradually, the different elements of phonics are combined to produce new words, and leads to the discovery of new words by the child using this process which becomes an “automatic reflex”.
Teaching phonics to children should take 10 to 15 minutes each day, and these “lessons” should take place in several small sessions each day – such as 4 or 5 session lasting 3 to 5 minutes each. For older pre-school children, lessons can be slightly longer; however, several minutes each session is all that’s needed.
One way to start teaching phonics to children with with ear training – by helping them develop the understanding that words are made up of smaller units of sounds, or known as phonemes, and when you combine these sounds, a word is formed. You can start this with very short sessions, as already mentioned. A few minutes a day is all that you need. The key, however, is consistency and patience.
During these short sessions, sound out words slowly and distinctly. You can do this without even making the child aware that you are trying to teach them. Simply take words from your everyday speaking to your child and include oral blending sounds into your sentences. For example, if you wanted to ask your child to drink his milk, you could say: “Joe, d-r-i-n-k your m-ilk.” The words drink and milk are sounded out slowly and distinctly. The level of sound separation can be set by you to increase or lower the difficulty. Thus, if Joe has a tough time figuring out that d-r-i-n-k means drink, you can lower the difficulty by blending the word as dr-ink instead.
Alternatively, you could simply pick different words and play blending sounds games with your child. You simply say the sounds of the word slowly, and ask the child try to guess what you are saying.
This concept of individual sounds forming words may take some time for your child to grasp. Some children will pick it up quickly, while other children may take longer, but one thing that’s certain is that if you keep it up, your child will catch on. Below are some sample words which you can use to play blending sounds activities with your child.
J-u-m-p J-ump
R-u-n R-un
S-i-t S-it
S-t-a-n-d St-and
M-i-l-k M-ilk
S-t-o-p St-op
The first word is more segmented than the second word, and will be more difficult to sound out. Please note that hyphens are used to indicate the letter sounds instead of slashes.
ie: J-u-m-p /J/ /u/ /m/ /p/
This is done to make things easier to read; however, when you read it, you should not read the names of the letters, but instead say the sounds of the letters. This type of ear training for phonics and phonemic awareness should continue throughout the teaching process, even well after your child have grasped this concept. It can be applied to words with increasing difficulty. Again, please always keep in mind that not all children can readily blend the sounds to hear the word, so you must be patient, and drill this for days, weeks, or even months if needed. Consistency and frequency is the key to success here, and not sporadic binge sessions.
If you would like to learn about a simple step-by-step program designed to easily teach your children how to read, please click here.
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Editor's Choice
Mirzapur: The Movie Day 1 — Rs. 29.70 Crore Gross Beats Projections, But Weekend Hold Is the Real Verdict
Mirzapur: The Movie Day 1 — Rs. 29.70 Crore Gross Beats Projections, But Weekend Hold Is the Real Verdict
MassMasala — Studio CarryOnHarry Trade Desk
Here is the contradiction worth sitting with: a film with no conventional Bollywood superstar, no Rs. 200 crore vanity production, and a cast built entirely of character actors — Pankaj Tripathi, Ali Fazal, Ravi Kishan, Divyendu Sharma, Jitendra Kumar, Abhishek Banerjee — has just opened bigger than most marquee productions of 2026. Mirzapur: The Movie grossed Rs. 29.70 crore on Day 1, beating industry projections that were already pegged at Rs. 25-26 crore. You cannot manipulate a hall. And on Friday, the halls were telling a clear story.
The ground signals were there before release. Advance booking opened with a bang — the kind of unsolicited, early fan-driven booking that is the clearest organic indicator in the pre-release phase. That advance converted cleanly into opening day footfalls. Gross of Rs. 29.70 crore against a strong advance is not corporate booking doing rounds — that is fandom activated and physically present. Compare this to Awarapan 2, the last crime franchise to test this theatrical turf, which Mirzapur: The Movie has already outrun on Day 1 alone. That is a benchmark worth taking seriously.
The context here is genre migration — and it is significant. Mirzapur built its cult on OTT, across two seasons, in living rooms and on phone screens at midnight. The question the entire trade was asking: will that OTT fandom pay Rs. 250-350 for a theatre ticket? Day 1 says yes. This is not a small thing. It confirms that when a franchise has genuine emotional ownership with its audience, the migration from streaming to theatrical is achievable.
But here is where MassMasala will not give false comfort. Day 1 belongs to the converted fan. The theatrical audience is small and deliberate — roughly 4-5 crore people in India who still choose to go to cinemas. Saturday and Sunday will tell us whether word-of-mouth is spreading beyond the fandom into general audience. If Mirzapur: The Movie holds 80-90% on Day 2, the film has real legs and a Rs. 80+ crore nett run is on the table. If it drops sharply, Day 1 was a one-time event, not a sustained theatrical hit. Box office is brutal, and box office does not lie. Gurmmeet Singh ki film ne ISI mark ke liye avedan diya hai — approval agle 48 ghante mein milegi.Editor’s VerdictOpening day numbers for an ensemble crime film — no Khan, no Kumar, no Kapoor in the billing — crossing Rs. 29 crore tells you something the industry has been reluctant to say clearly: character actors with genuine audience investment are now a commercial proposition, not just a critical one. What Mirzapur has done here is prove that emotional ownership of a franchise travels further than a single star’s opening weekend pull. That said, Day 1 is written by believers. The harder test is always Day 2 onward, when the casual cinemagoer decides whether word-of-mouth earns their ticket money. OTT-to-theatrical migration at this scale is rare enough to deserve attention, but the sustainability question remains open. A franchise built in living rooms now needs to justify the multiplex premium repeatedly — not just once.
Beyond the headlines, the real disruption here isn’t the numbers; it’s the quiet proof that in 2026, a story can be the star.Studio Ki RayeOTT-to-theatrical migration ka yeh sabse clean case study hai jo Bollywood ne recently dekha hai — aur iska asli lesson star power ke baare mein nahi, IP ownership ke baare mein hai. Jab audience kisi franchise ke characters se genuinely connected hoti hai, toh woh ticket window tak jaati hai — chahe koi Khan ho ya na ho. Lekin jo cheez trade miss kar rahi hai woh yeh hai: Day 1 ka Rs. 29.70 crore essentially ek pre-sold fanbase tha. Asli experiment Saturday se shuru hota hai. Agar general audience — jo Mirzapur kabhi nahi dekha — word-of-mouth par hall mein aati hai, tab yeh model replicable hai. Agar nahi aati, toh yeh ek loyal cult ki ek-baar ki celebration thi, sustainable theatrical franchise nahi. Doono results important hain — ek alag-alag reasons se.
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Source: livenewsvault.com
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The OTT Gatekeepers Said No. Then ₹61 Crore Said Otherwise.
Studio CarryOnHarry Entertainment Desk | 5 September 2026
From Boardroom Rejection to Box Office Triumph
Not every blockbuster begins with a standing ovation. For Vishal Chaturvedi, the journey behind Hanuman Ansh — a spiritual drama inspired by the life and legacy of revered saint Neem Karoli Baba — started with a door firmly shut in his face.
The director has now opened up about a painful pitch meeting with an OTT platform, where executives reportedly used language he described as outright derogatory in dismissing his project. Despite the sting of those words, Chaturvedi pressed on — and the audience has since delivered its own resounding verdict.
₹61 Crore and Counting: The Numbers Tell the Story
Hanuman Ansh has quietly become one of the more remarkable box office stories of the year. After a slow opening, the film gradually found its footing and crossed the ₹61 crore mark within 27 days of release — a testament to strong word-of-mouth and the loyal devotion of audiences drawn to its spiritual subject matter.
Verified reports indicate the film has continued to build momentum, with some tracking sources suggesting the total could climb even further. For a modestly budgeted production rooted in faith and folklore, that trajectory is extraordinary.
The Film and Its Cast
Running at a substantial 2 hours 30 minutes, Hanuman Ansh features lead performances from Shobhinaw Satyaa and Vihaan Shedge, with Chandan Anand also noted among the principal cast in verified reports. The film leans into its devotional tone without compromise — a creative gamble that clearly paid off.
Why Rejection Is Part of the Filmmaker’s Journey
Chaturvedi was careful not to frame his experience as unique. He acknowledged that rejection is a routine part of any filmmaker’s life — but stressed that the manner of this particular rejection crossed a line. His candour has struck a chord with many in the industry.
- OTT platform rejected the Hanuman Ansh pitch using what director called ‘derogatory’ language
- Film went on to earn ₹61 crore in 27 days despite a slow theatrical start
- Stars Shobhinaw Satyaa, Vihaan Shedge, and Chandan Anand
- Runtime: 2 hours 30 minutes
- Subject: Life and teachings of Neem Karoli Baba
What This Means for Indie and Spiritual Cinema
Stories like Hanuman Ansh’s journey are increasingly shaping the conversation around what kinds of films deserve a chance. For the latest in Bollywood’s top stories, the rise of faith-driven narratives at the box office is a trend worth watching closely.
Across the broader landscape, outlets providing entertainment industry coverage have noted a growing appetite among Indian audiences for films rooted in spirituality and cultural heritage — a space that mainstream OTT gatekeepers may be underestimating.
Studio CarryOnHarry Perspective
Hanuman Ansh is proof that passion projects built on conviction can outlast boardroom scepticism. The OTT platform that dismissed Vishal Chaturvedi’s vision with dismissive language now watches from the sidelines as audiences vote with their wallets. This is a wake-up call for streaming decision-makers who overlook India’s deep spiritual storytelling tradition. At Studio CarryOnHarry, we believe the gatekeepers need to listen more carefully — because clearly, the audience already knows what it wants.
– Entertainment Desk, Studio Carry On Harry
Background & Timeline
Hanuman Ansh is a devotional drama centred on the life and teachings of Neem Karoli Baba, one of India’s most beloved spiritual figures. Directed by Vishal Chaturvedi and starring Shobhinaw Satyaa and Vihaan Shedge, the film entered cinemas without significant fanfare but steadily built an audience through grassroots word-of-mouth. By day 27 of its theatrical run, it had accumulated ₹61 crore at the box office — a remarkable turnaround from its modest opening. The director’s revelation about an OTT platform’s dismissive rejection has added a compelling behind-the-scenes chapter to its underdog story.
Studio CarryOnHarry Perspective
At Studio CarryOnHarry, the Hanuman Ansh story resonates deeply. When an OTT platform dismisses a filmmaker’s sincere vision with disrespect, and audiences then deliver a ₹61 crore rebuke at the multiplex, it says something profound about where India’s cultural heart truly lies. Vishal Chaturvedi’s perseverance is a lesson for every creative who has faced a closed door. The gatekeepers may control the platforms — but they do not control the people. And in Bollywood, the people always have the final word.
What’s Next?
Watch for Hanuman Ansh’s final box office total as it continues its theatrical run — verified tracking suggests it may climb well beyond ₹61 crore. Director Vishal Chaturvedi’s comments about OTT gatekeeping are also likely to spark wider industry debate, with more filmmakers potentially coming forward to share similar experiences in the weeks ahead.
Editor’s Verdict
There is something quietly powerful about a filmmaker who absorbs a humiliating rejection and channels it into conviction rather than bitterness. Vishal Chaturvedi’s account matters not because rejection itself is unusual — every filmmaker has a drawer full of those — but because the manner of it reportedly crossed into contempt. That contempt, directed at a story rooted in devotion and Indian spiritual heritage, reveals a cultural blind spot that some OTT gatekeepers still haven’t corrected. Sixty-one crore rupees in 27 days, built almost entirely on word-of-mouth, is the market’s unambiguous reply. Faith-based cinema in India isn’t niche sentiment — it’s an underserved mainstream. Beyond the headlines, the real danger for streaming platforms isn’t backing the wrong film; it’s consistently misreading the room on what millions of ordinary Indians actually hold sacred.
Studio Ki Raye
OTT platforms ka yeh wala blind spot ab baar baar expose ho raha hai — aur Hanuman Ansh sirf latest example hai. Asli baat yeh nahi ki ek film reject hui; asli baat yeh hai ki algorithm-driven acquisition teams devotional aur spiritual content ka audience size consistently underestimate karti hain. Baahubali se leke The Kashmir Files tak, yeh pattern repeat hota raha hai — gatekeepers miss karte hain, aur phir scramble karte hain rights ke liye. ₹61 crore ka slow-burn collection actually zyada meaningful hai ek opening-weekend spike se, kyunki yeh genuine word-of-mouth hai, manufactured hype nahi. Streaming platforms ko yeh samajhna hoga ki India ka faith economy sirf Tier-1 urban audience tak nahi rukti — aur jo boardroom mein “niche” dikhta hai, woh aksar multiplex mein mass hota hai.
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