Chiya-Pop Guff "October Edition"

Hello and Good Morning Everyone, Welcome to the October Edition of Chiya-Pop Guff. In Chiya-Pop Guff, I take a step back from the algorithm-fueled frenzy and just have a chill conversation about the movies I’ve watched, the games I’ve played, and the songs that have been on repeat — the kind of stuff you’d talk about with friends during a late-night call or a random cafe meet-up.

Whether it’s a random indie film that surprised me, a game I finally got around to finishing, or a track that got stuck in my head for days, you’ll find a little bit of everything here. No hot takes just for clicks — just honest vibes, some mild overthinking, and a love for storytelling in all its forms. This month I watched quite a few movies and got around listening a few album and these are the few that caught my liking to write something about it.

This series honestly wasn’t something I had on my watchlist at all, but the buzz and hype surrounding it were just too strong to ignore, and I’m actually glad I gave in. From the very first episode, it had that magnetic pull of chaos, drama, and satire that keeps you hooked without even realizing it.

Considering this is Aryan’s first-ever project, he did a remarkably good job — not just performance wise but also in how confidently he carried the whole tone of the series. You could tell there was effort and creativity behind every scene. The cameos were a treat too, subtle yet impactful, adding layers of humor and self-awareness that made it even more fun to watch.

But what really sold it for me was that final plot twist; completely unexpected, smartly executed, and just the right amount of wild. The show’s overall vibe, with its tongue-in-cheek take on the absurdities of Bollywood, hit the perfect balance between satire and genuine storytelling.

It’s one of those series that doesn’t take itself too seriously yet still manages to leave an impression. Definitely worth the hype — and if this is the kind of energy Aryan plans to bring to his future projects, then I’m all in for whatever comes next.

Having watched the previous seasons of Alice in Borderland, I went into this one with mixed feelings. Season 1 was an absolute banger — thrilling, mysterious, and filled with that perfect sense of chaos that made you question everything. Season 2, though, didn’t really click with me; it felt like the show lost some of its edge and intensity. And knowing that the manga actually ended at Season 2, I honestly thought Season 3 was just Netflix trying to ride the wave of hype a little longer.

But surprisingly, it turned out better than I expected. It’s not groundbreaking or anything close to the first season’s brilliance, but it does a decent job of keeping you entertained. The visuals were polished, the game sequences were creative enough to keep you engaged, and the overall tone managed to retain that signature “Borderland tension” we all loved in the beginning.

Sure, the writing felt a little stretched at times, and the emotional depth wasn’t quite as sharp, but as a standalone watch — especially if you’re looking for something suspenseful without too much brain strain this season isn’t bad at all. It might not reach the heights of its earlier days, but it’s still worth a casual binge if you’ve been a fan of the series from the start.

I watched this movie purely out of nostalgia for Priyadarshan’s brand of chaotic comedy — and oh, how I missed it. The confusion, the slapstick humor, the back-and-forth chaos that keeps escalating for no reason at all — it’s the kind of formula that defined a whole era of Bollywood comedy, and Garam Masala delivers exactly that.

Priyadarshan’s movies were a big part of my childhood, so maybe that has a lot to do with why I found this one so funny even today. It’s one of those films where logic takes a backseat, and the madness just takes over — and honestly, that’s what makes it fun. Akshay Kumar’s expressions and timing were on point, Paresh Rawal as always nailed the supporting role, and the overall setup just screams early 2000s nostalgia in the best way possible.

That said, if you’re watching it for the first time today without any attachment to that era, it might feel a bit repetitive — the jokes are recycled, the plot is predictable, and the chaos can get overwhelming. But if you’ve ever laughed your heart out watching those classic Hera Pheri style comedies, Garam Masala will hit you with that same warm, chaotic comfort. It’s not perfect, but it’s exactly the kind of mess you can’t help but enjoy.

I was so hyped for this movie when it came out — and honestly, missing it in theatres hurt a little. But alas, watching it at home still turned out to be a surprisingly enjoyable experience. Sure, I was a bit disappointed they didn’t use 90210 in the soundtrack (its the popularized meme for the movie), but that’s fine as well.

This movie genuinely felt like a return to the Marvel I grew up loving — lighthearted, character-driven, and visually vibrant. The retro theming worked beautifully, from the color palette to the costume design and even the cinematography choices. It had that distinct silver-age comic book feel, something Marvel hasn’t leaned into in a long time.

On the technical side, the VFX was a major win — Galactus was finally portrayed in a way that captured his terrifying grandeur without overcomplicating his presence. The sound design during his sequences gave real cosmic weight to his character, and the CGI integration with practical elements felt seamless. The pacing was tighter than I expected too; there wasn’t much of that mid-movie drag that often plagues superhero films.

Performance-wise, the chemistry among the cast was genuinely refreshing — everyone seemed to understand their roles perfectly, giving both humor and heart when needed. Overall, Fantastic Four might not be groundbreaking, but it nails that nostalgic superhero energy while still feeling modern. It’s fun, visually sharp, and easily one of the more enjoyable Marvel entries in recent years.

This movie honestly made me realize how few Saif Ali Khan movies I’ve actually watched, and what a fun, effortless persona he brings to the screen every single time. It genuinely felt like he was just being himself throughout the film, that signature charm and laid-back energy blending perfectly with the story’s vibe. And honestly, I kinda loved that.

The story itself sits somewhere in the middle — not groundbreaking, but not dull either. It balances friendship, love, and emotional confusion in a very Bollywood-2010s way that feels oddly nostalgic now. The ending doesn’t go for anything too grand or overly emotional, which I actually appreciated. It just wraps up the chaos neatly and leaves you with that “okay, that was nice” feeling — and sometimes, that’s exactly what you want from a movie night. Cocktail isn’t trying to be deep or revolutionary; it’s just a chill, feel-good film that reminds you why this phase of Bollywood rom-coms was so enjoyable.

I’d been meaning to watch this movie for quite some time, but of course, Mr. Symbolism(me) here had to save it for the October edition of Chiya-Pop Guff. The movie turned out to be such a beautiful and quietly powerful experience, very different from what the early impressions made it seem like. It’s not your typical love story in fact, it’s barely a love story at all — but that’s exactly what makes it so special.

The pacing is slow, deliberate, and contemplative — it takes its time to breathe, to make you feel rather than react. Shoojit Sircar’s direction gives this film an almost meditative quality, where every frame feels soaked in emotion and silence. There’s no forced melodrama, no exaggerated romance, just raw human connection expressed through stillness.

Even though the ending isn’t conventionally “happy,” it leaves you with a sense of quiet reflection. October isn’t about closure; it’s about acceptance. It’s the kind of movie that lingers long after the credits roll — tender, slow, and deeply human.

Honestly, this movie just felt kinda mehh — and that’s saying something considering there are two Tom Hardys in it. The premise itself had me hooked from the start, a real-life story about the infamous Kray twins, London’s most notorious gangsters — sounds like the perfect setup for a gritty, atmospheric crime drama. But somewhere between the creative choices and the execution, it all fell flat.

Tom Hardy absolutely carried the movie. His dual performance as both Ronnie and Reggie Kray is genuinely impressive — he gives each twin such distinct personalities that you forget it’s the same actor playing both roles. But beyond Hardy’s powerhouse acting, the rest of the movie just doesn’t hold up. The tone constantly shifts between serious crime thriller and stylish gangster parody, and it never really decides what it wants to be.

Maybe it’s the overuse of “creative freedom,” but the movie doesn’t feel grounded in its true-crime roots at all. It ends up playing more like a gangster flick written by a 12-year-old who just discovered slow-motion bar fights and fancy suits. Legend had everything going for it — the story, the talent, the style — but somewhere along the way, it lost its soul.

JPEGMAFIA once again proves he’s in a league of his own with I Lay Down My Life for You — an album that’s chaotic, raw, and deeply intentional beneath the noise. The production feels like a fever dream of distorted samples, glitchy synths, and industrial percussion — yet somehow, everything clicks.

Tracks like “Either On or Off the Drugs” and ”i scream in the mirror before i interact with anyone” stand out the most — the former balancing introspection with Peggy’s signature warped sound design, and the latter feeling like a breakdown turned into performance art. Lyrically, it’s confrontational and vulnerable all at once — you get glimpses of ego, exhaustion, and existential honesty.

And that’s a wrap for this month’s edition of Chiya-Pop Guff.

Whether it’s a cozy Nepali film, an emotional video game journey, or a movie you watched just for the plot , there’s always something worth sharing over a good cup of chiya.

Thanks for reading — genuinely. If anything here made you curious, made you smile, or made you want to queue something up for the weekend, that’s all this newsletter is about.