Part I: The Beijing Arrival
July 22, 2020. Beijing Capital International Airport.
As Anant Sharma emerged from the VIP terminal, flanked by SS Rajamouli, Sudheer Babu, Parvathy, and the rest of the Baahubali team, he was greeted by a scene that stopped him in his tracks.
Over 5,000 people had gathered at the airport – a crowd so large that Chinese security had cordoned off entire sections to maintain order. Banners in Chinese characters and English welcomed the team:
"欢迎巴霍巴利!" (Welcome Baahubali!)
"Anant Sharma - India's Pride, China's Friend!"
"从电影到动漫 - 传奇继续!" (From Film to Anime - The Legend Continues!)
But what caught Anant's attention most was a familiar figure standing at the front of the VIP reception area, surrounded by Chinese media and security.
Jackie Chan.
The legend himself had come to the airport. At 63 years old, Jackie still carried himself with the martial artist's bearing that had made him global icon. His presence drew almost as much attention as the Baahubali team itself.
"Mr. Chan," Anant approached immediately, his voice carrying genuine emotion. "This is... I'm honored beyond words."
Jackie smiled warmly, extending his hand for a handshake. But Anant didn't take it.
Instead, to the absolute shock of everyone present – Chinese fans, media, his own team – Anant bent down and touched Jackie Chan's feet, performing the traditional Indian gesture of supreme respect reserved for elders, teachers, and those who've achieved greatness.
The airport terminal fell silent for a heartbeat.
Jackie's eyes widened in surprise, then filled with slight tears. He immediately reached down, gently pulling Anant back to standing position and embracing him tightly. This young man know how to respect Elders and now understand why he achieve so many things in his young life.
"No, no," Jackie said in Cantonese-accented English, his voice thick with emotion. "You honor me too much."
"Not enough," Anant replied. Still holding Jackie's shoulders, he switched to Mandarin – his pronunciation careful, his tones not quite native-level but clear and comprehensible: "您是我的英雄.您的奉献精神,纪律和对武术的尊重教会了我成为一名表演者意味着什么." (You are my hero. Your dedication, discipline, and respect for martial arts taught me what it means to be a performer.)
The crowd erupted. The fact that Anant spoke Mandarin – however imperfectly – combined with his profound gesture of respect toward Jackie Chan, created immediate emotional connection with the Chinese audience.
Jackie responded in Mandarin: "你理解.你真正理解这种艺术需要什么.这就是为什么你会成功." (You understand. You truly understand what this art requires. That's why you will succeed.)
The two men stood there, embracing, as cameras flashed frantically and the crowd cheered. Chinese social media exploded immediately:
"Anant touched Jackie Chan's feet! Do you understand how respectful that gesture is?!"
"He speaks Mandarin! An Indian actor learned our language to honor our culture!"
"Jackie is crying. When was the last time you saw Jackie cry in public?"
"This is the respect we want from international stars. Not just visiting for money, but genuinely honoring our culture."
Part II: The National Indoor Stadium Event
That evening, the National Indoor Stadium was packed with 18,000 fans. The demographic was diverse – young anime enthusiasts, middle-aged martial arts fans who'd grown up watching Jackie Chan, families with children, even elderly viewers curious about the phenomenon.
The stage was elaborate – massive LED screens, traditional Indian and Chinese decorative elements integrated harmoniously, state-of-the-art sound system. This wasn't just film promotion; it was cultural celebration.
When Anant took the stage alongside the Baahubali team, the roar was deafening.
"你好,北京!" (Hello, Beijing!) Anant began in Mandarin, his smile genuine and warm. The crowd roared approval at the language choice.
He continued in Mandarin for several sentences, then switched to English with Chinese subtitles displayed on the screens: "My Mandarin is not perfect. I've been learning for only six months specifically for this visit. I hope you'll forgive my mistakes and appreciate the intention behind the effort."
"Why did you learn Mandarin for us?" someone shouted from the audience in English.
"Because respect requires effort," Anant replied simply, switching back to careful Mandarin. "中国文化值得尊重.你们的历史,你们的艺术,你们的对卓越的奉献精神——这些激励着我.学习你们的语言是表达这种尊重的最小方式." (Chinese culture deserves respect. Your history, your arts, your dedication to excellence – these inspire me. Learning your language is the minimum way to show that respect.)
He paused, then continued in English for the longer explanation: "India and China – we are two of the world's oldest continuous civilizations. We've both faced invasions, colonization, attempts to destroy our cultural heritage. And yet, we've preserved. We've adapted. We've flourished."
"Our civilizations have been connected for thousands of years. The Silk Road brought our merchants together. Buddhist monks traveled between our lands, sharing knowledge and philosophy. And that exchange continues today."
"I've read many Chinese wuxia novels," Anant continued, to delighted surprise from the audience. "The Condor Heroes trilogy, Demi-Gods and Semi-Devils, Coiling Dragon, Lord of the mysteries and Battle through Heaven. The concepts in these stories – cultivation through discipline, progression through realms, the relationship between martial arts and spiritual development – these resonate with Indian philosophical traditions."
"Xianxia and cultivation stories are, in many ways, expressing similar ideas to Hindu and Buddhist concepts of spiritual advancement through dedicated practice. Your stories of immortals and celestial beings parallel our stories of Devas and Rishis. We're telling similar human truths through different cultural lenses."
The audience was completely silent, hanging on every word.
"I also want to acknowledge something that many may not know," Anant continued. "The martial arts that China is famous for – the kung fu styles, the Shaolin traditions – these have roots partially in Indian martial arts."
He gestured to the screens, which displayed historical information about Bodhidharma's journey to China.
"Bodhidharma, or Damo as he's known in Chinese, traveled from India to China in the 5th century CE. He brought with him not just Buddhist teachings, but also Kalaripayattu techniques – the ancient Indian martial art that I practice. At Shaolin Temple, he taught monks these techniques, which they integrated with existing Chinese martial traditions to develop what became Shaolin kung fu."
"This isn't about one culture being superior to another," Anant emphasized. "This is about recognizing that our cultures have always learned from each other, enriched each other. The martial arts you see in my films – the Kalari techniques – are the ancestral forms that contributed to traditions you now teach the world. That's shared heritage we should celebrate."
Jackie Chan, who was seated in the VIP section, stood and applauded. The entire stadium followed his lead, the ovation lasting over a minute.
The Demonstration
"Would it be appropriate," Anant asked once the applause subsided, "if I demonstrated some Kalari techniques? And perhaps, if any Shaolin masters are present, we could share our traditions?"
The event organizers had anticipated this possibility especially when Rajamouli request them for the show. Two Shaolin monks – both internationally recognized masters – were brought onto the stage.
What followed was one of the most watched cultural exchanges in Chinese social media history.
Anant and the two Shaolin masters bowed deeply to each other first – mutual respect between martial artists.
Then they demonstrated their respective arts. The Shaolin masters showed traditional forms – the fluidity, the power, the centuries of refinement evident in every movement.
Anant responded with Kalari – the distinctive low stances, the flowing transitions, the integration of strikes with grappling, the emphasis on vital point targeting.
"You can see the similarities," Anant noted as he moved. "The emphasis on flexibility and strength. The integration of breathing techniques. The philosophical foundation of martial arts as path to self-mastery, not just combat skill."
"May we test each other?" one of the Shaolin masters asked respectfully in Mandarin.
"I would be honored," Anant replied in the same language.
What followed wasn't a fight – it was a conversation conducted through movement. The Shaolin master attacked with controlled techniques, Anant responded with appropriate defenses. They moved together, testing each other's timing, balance, and skill, but always with control and mutual respect.
After several exchanges, both men stepped back and bowed deeply.
"Your Kalari is authentic," the Shaolin master said in Mandarin, which Anant clearly understood. "Not just learned for films, but properly studied. You understand the principles, not just the techniques."
"And your Shaolin kung fu shows why this tradition has survived for fifteen centuries," Anant replied. "The refinement is extraordinary."
The two masters and Anant bowed together toward the audience, then to each other once more.
The stadium erupted in applause. This wasn't entertainment – this was cultural bridge-building, live and unscripted.
Chinese social media exploded:
"Did you see that exchange?! That was two ancient martial traditions honoring each other!"
"Anant can actually fight. That's not movie choreography – that's real skill."
"The Shaolin masters showed him genuine respect. That only happens when they recognize true martial artist."
"I'm crying. Watching Indian and Chinese martial arts masters honoring each other like this – this is what cultural exchange should be."
The Collaboration Promise
As the event continued, during the Q&A section, a fan asked: "Will you make a film in China? A collaboration between Indian and Chinese cinema?"
Anant's face lit up. "I would love to. In fact, I specifically want to pursue this."
He stood and addressed the audience directly: "Chinese cinema is experiencing renaissance right now. The technical capabilities, the storytelling ambition, the talent – it's all there. And there's so much Indian filmmakers can learn from Chinese cinema, just as I hope there's something we can offer in return."
"Imagine a film that genuinely integrates both traditions. Not superficial – not just filming in China or casting Chinese actors in small roles. But actual collaboration. Chinese and Indian directors co-directing. Stories that draw from both mythological traditions. Action choreography that integrates wuxia and Kalari. Music that combines both classical traditions."
"The Belt and Road Initiative is about economic connection. But cultural connection is equally important. Film can be that connector."
"So yes," he concluded firmly. "I am committing publicly, here in Beijing, that within the next five years, I will produce or star in a genuine India-China co-production. Not as token gesture, but as serious artistic collaboration. I invite Chinese filmmakers who are interested in this vision to reach out. Let's create something that honors both our traditions."
The audience's response was thunderous. This wasn't vague promise – this was specific, time-bound commitment made publicly. Chinese media noted it immediately, and within hours, several major Chinese production houses had issued statements expressing interest in collaboration discussions.
Part III: The Shanghai Reception
The Shanghai event the following day had different energy – more cosmopolitan, more internationally minded, but equally enthusiastic.
Shanghai's Mercedes-Benz Arena was filled with 16,000 fans, many of whom had traveled from other cities specifically for this event.
Anant noticed the demographic shift – Shanghai's audience included more international residents, more business professionals, more people who regularly consumed global entertainment.
He adjusted his approach accordingly, speaking more in English but peppering in Mandarin phrases to maintain the cultural connection.
"Shanghai," he began, "is city that represents China's future. International, innovative, ambitious. Standing here, I feel the energy of a place that's creating tomorrow."
"Baahubali is also about creating tomorrow. When we started this franchise four years ago, people said Indian cinema couldn't compete with Hollywood production values. They said our mythology was too complex for international audiences. They said anime adaptation would never work."
"We proved all of those assumptions wrong. Not because we're special, but because we committed to excellence and trusted that quality transcends cultural boundaries."
"Shanghai understands this. This city has transformed itself through that same commitment to excellence. That's why being here, with you, feels particularly meaningful."
During the Q&A, a business journalist asked a pointed question: "Your anime is being produced partially in Japan with Japanese studios. Why not use Chinese animation studios? We have significant capabilities."
Anant appreciated the directness. "That's fair question that deserves honest answer. The anime decision was made based on specific artistic requirements and existing relationships. Makoto Shinkai and Ufotable were approached because their particular aesthetic and technical approach aligned with our vision."
"However," he continued, "I want to be very clear: Chinese animation or donghua studios are doing extraordinary work. The technical capability is absolutely world-class. And for future projects – and there will be future projects – Chinese studios will absolutely be part of our consideration."
"In fact," he added, pulling out his phone and displaying a note, "I have list here of Chinese animation studios I've researched specifically because I'm interested in potential collaboration: Bilibili, Colored-Pencil Animation, Haoliners, and others. I've watched your animation. The quality is remarkable."
"The anime industry should not be monopolistic. Japanese studios created anime, yes, but the medium belongs to the world now. Chinese studios, Korean studios, Indian studios – we should all be developing capability and collaborating. That's healthy for the art form."
The journalist nodded, satisfied with the honest response.
Another fan asked: "What do you think about Chinese web novels? Cultivation stories, Xianxia?"
"I'm obsessed with them," Anant replied with genuine enthusiasm. "I've read probably high quality cultivation novels in the past two years. The progression systems, the realm structures, the integration of martial arts and spiritual development – these are narrative frameworks that work beautifully."
"And honestly," he added with a slight smile, "Baahubali: The Eternal War borrows heavily from cultivation novel structure. Protagonist dies, reincarnates in higher realm, must cultivate power to survive, faces opponents from multiple realms – that's cultivation story framework applied to Hindu mythology."
"That's not plagiarism – that's recognizing that Chinese web novels have innovated compelling narrative structures that work across cultures. I'm happy to acknowledge that influence."
The audience loved the honesty. Chinese social media lit up:
"Anant just admitted Baahubali anime is basically cultivation story! He's not hiding the influence – he's celebrating it!"
"He's READ cultivation novels. Like, actually read them. Not just saying it for promotion."
"The respect is genuine. He learns our language, studies our stories, practices our martial arts – this is how international collaboration should work."
Part IV: Tokyo – The Homecoming of Anime
July 25, 2020. Tokyo Dome.
If Beijing and Shanghai had been warm welcomes, Tokyo was homecoming. This was anime's birthplace, and the 35,000 fans who'd secured tickets represented the heart of global anime culture.
The atmosphere was electric with anticipation. Cosplayers filled the venue – many dressed as characters from popular anime, but surprisingly, a significant number had created Baahubali costumes, recreating the ornate armor and weapons from the films.
When Anant walked onto the stage, the roar was overwhelming. But when he spoke his first words in Japanese – fluent, properly inflected Japanese – the roar became a sustained scream of excitement:
"こんばんは,東京!皆さん,今日ここに来てくれて本当にありがとうございます." (Good evening, Tokyo! Thank you all so much for coming here today.)
He continued in Japanese for several more sentences before switching to English with Japanese subtitles: "My Japanese is better than my Mandarin because I've been studying it longer. I've been learning Japanese for two years specifically because I knew this day would come – the day I'd stand before anime's homeland and present our anime project."
"I need to begin by acknowledging a debt," Anant continued, his tone becoming serious and emotional. "In 1992, Japanese director Yugo Sako partnered with Indian animation team to create anime adaptation of the Ramayana – one of India's most sacred epics."
The screens showed historical footage and images from the 1992 Ramayana anime project.
"That project was groundbreaking – Japanese animation techniques applied to Indian mythology, produced with genuine respect and artistic excellence. But due to political issues and distribution challenges, the anime never received the wide release it deserved. The project ultimately ended, and Yugo Sako never got to see his vision fully realized."
Anant's voice thickened with emotion. "Yugo Sako passed away in 2012. But India has never forgotten what he tried to do. He believed in our stories. He believed they deserved anime treatment. He believed that cultural exchange through animation was possible and valuable."
"Baahubali: The Eternal War exists because of his vision. We stand on his shoulders. Everything we're attempting to do, he tried to do twenty-five years ago. We owe him recognition and gratitude."
The Japanese audience, many of whom remembered the Ramayana project or had learned about it through anime history, applauded emotionally. Several elderly audience members were visibly crying.
"Japan has always understood Hindu mythology in ways many other cultures don't," Anant continued. "You've incorporated our concepts into your own storytelling for decades."
He pulled up examples on the screens:
"Chakra – the concept of internal energy – appears in Naruto and many other anime. That's Sanskrit word, referring to energy centers in yoga philosophy.
"Astra – divine weapons wielded by heroes – appear in Fate series, in Campione, in many others. Those are the astras from Hindu epics.
"Dharma – the concept of righteous duty – is embodied by characters like Monkey D. Luffy, Son Goku, Naruto Uzumaki. The idea of doing what's right regardless of personal cost, of following one's path with absolute dedication – that's dharma principle expressed through anime protagonists."
"Even the color orange or saffron that many anime heroes wear – that's the color of Hindu spiritual practice. Son Goku's gi, Naruto's jumpsuit – saffron represents transformation and spiritual growth in Hindu tradition."
The younger audience members were clearly learning things they hadn't known. The connections between anime they loved and Hindu philosophy were being revealed in real-time.
"Our gods appear in your stories," Anant continued, showing more examples. "Brahma, Vishnu, Shiva, Indra, Garuda – all appear as characters or references in various anime. Sometimes the names are changed, but the iconography is recognizable."
"What I'm saying is: Japanese anime and Hindu mythology have been in conversation for decades. Baahubali: The Eternal War is just making that conversation explicit and official. We're saying: yes, these traditions connect. Yes, anime is perfect medium for these stories. Yes, let's collaborate openly and respectfully."
Addressing the Concerns
"I know some in the Japanese anime community have concerns," Anant acknowledged. "You might worry that Indians making anime will somehow diminish anime's Japanese identity."
He paused, choosing words carefully. "Let me be very direct: anime is Japanese art form. That's historical fact. Japan created anime, refined it, made it globally significant. That can never be taken away or diminished."
"But art forms grow. They evolve. They transcend their origins while honoring them. Jazz started in African-American communities in New Orleans. Now it's played worldwide by artists of every background. Does that diminish its origins? No – it validates jazz's universal power."
"We're not trying to 'take' anime from Japan. We're trying to learn from Japanese masters, to apply anime techniques to our stories, to expand anime's reach to new audiences who will then explore other anime content – including Japanese anime."
"And critically," he emphasized, "we're hiring Japanese directors and studios. Makoto Shinkai-san and Ufotable are leading this project. Their aesthetic, their expertise, their vision – these drive the production. We're collaborating with Japan, not replacing it."
"Indian anime will have different flavor than Japanese anime because our cultural contexts differ. But that diversity strengthens the medium rather than weakening it."
Makoto Shinkai, seated in the VIP section, stood and bowed toward Anant. The director's approval carried enormous weight with the Japanese audience.
"Anant-san and I have worked closely on developing the visual language for The Eternal War," Makoto said in Japanese, speaking through the venue's microphone. "Anant understands anime. He's studied the medium, watched hundreds of hours of anime, analyzed what makes it work. He respects our traditions while bringing fresh perspective."
"This collaboration has made me better director," Makoto continued. "Learning about Hindu mythology, understanding Indian aesthetic preferences, working with Indian musicians and artists – all of this has expanded my artistic vocabulary. That's what genuine collaboration does."
The Japanese audience's response was overwhelmingly positive. The combination of Anant's respectful approach, his knowledge of anime history and culture, his genuine appreciation of Japanese contributions, and Makoto's endorsement won over even skeptical audience members.
The Fan Love
During the Q&A, a young Japanese woman asked in English: "How does it feel to be considered one of the most handsome men in Asia? Japanese fans love you!"
Anant laughed, genuinely embarrassed. "That's very kind, but I think it's more about the characters I play than me personally. Baahubali is handsome. Dhoni was handsome. I'm just actor trying to do justice to these roles."
"No!" several fans shouted. "You're handsome!"
"Okay, okay," Anant conceded with smile. "I accept the compliment graciously. Thank you."
"But seriously," he continued, "if people find appeal in how I present myself, I hope it's not just physical appearance but also the values I try to represent: dedication to craft, respect for cultures, commitment to learning, discipline in training. Those are things anyone can develop regardless of how they look."
Another fan asked: "Will you learn more Japanese? Your Japanese is already very good!"
"はい,もちろんです!日本語をもっと上手に話せるようになりたいです.いつか日本のアニメに声優として参加できたら最高ですね." (Yes, of course! I want to become even better at speaking Japanese. It would be amazing if someday I could participate as a voice actor in a Japanese anime.)
The suggestion that he might voice act in Japanese anime created pandemonium. The idea of Anant lending his voice to anime characters – the crossover between live-action and animation, between Indian and Japanese entertainment – was almost too exciting for fans to process.
Part V: Seoul, Singapore, and the Asian Sweep
The pattern continued across Asia. Each city welcomed Anant and the Baahubali team with enthusiasm that reflected growing Pan-Asian cultural exchange.
Seoul, South Korea (July 27)
The Olympic Gymnastics Arena's 15,000 seats sold out in 23 minutes. Korean fans, known for their passionate fandoms, created organized fan projects:
Color-coordinated LED light displays that spelled out "BAAHUBALI" in Korean hangul Choreographed chants that incorporated the film's famous dialogue Fan art books presented to Anant featuring Korean artists' interpretations of the characters
Anant's opening in Korean – "안녕하세요, 서울! 여러분을 만나게 되어 정말 기쁩니다!" (Hello, Seoul! I'm so happy to meet you all!) – triggered immediate screaming.
"Korean pop culture has conquered the world," Anant said through translators. "K-pop, K-dramas – you've shown how Asian entertainment can compete globally when production quality is high and storytelling is compelling. Baahubali hopes to do for Indian cinema what Korean entertainment has done for Korea – show the world that we have stories worth telling at the highest level."
The comparison to K-pop's global success resonated powerfully. Korean media covered the event extensively, with multiple entertainment shows analyzing how Baahubali's strategy paralleled K-pop's international expansion.
Singapore (July 29)
Singapore's 12,000-capacity Indoor Stadium represented Southeast Asian hub – diverse population including significant Indian diaspora, strong anime fan base, and regional entertainment industry professionals.
"Singapore is bridge," Anant observed. "Between cultures, between markets, between traditions. That's what Baahubali aims to be as well. The fact that we're here, in this multicultural city, presenting project that combines Indian storytelling, Japanese animation, and global ambition – it feels symbolically appropriate."
The Singapore audience's questions were sophisticated, reflecting the city-state's education level and international exposure:
"How do you balance commercial viability with artistic integrity?"
"What lessons from tech startup culture have you applied to entertainment?"
"How do you see streaming platforms changing theatrical exhibition?"
Anant's responses demonstrated his analytical thinking – the IIT education evident in how he systematically broke down complex industry questions.
Part VI: Dubai and the Middle Eastern Reception
July 31, 2020. Dubai Opera.
The Middle East event was more intimate – only 2,000 capacity – but strategically crucial. The UAE had become major market for Indian cinema, and the large expatriate population made it cultural connector between India and the Arab world.
"Dubai represents possibility," Anant told the audience, many of whom were dressed in traditional Emirati attire or formal business wear. "Fifty years ago, this was desert. Today, it's global city. That transformation required vision and commitment to excellence – qualities that resonate with what we're attempting in Indian cinema."
The Arab audience responded warmly to this acknowledgment. But what surprised media observers was Anant's deeper understanding of regional considerations:
"I know some have concerns about Hindu mythology in anime format – whether it's appropriate, whether it respects the sacred, whether entertainment can serve spiritual purposes," he addressed directly.
"These are important questions that Islamic scholarship has also grappled with regarding representation of sacred stories. The answer, I believe, is that storytelling can be reverent. Art can serve higher purposes. Entertainment and spirituality aren't necessarily contradictory."
"Baahubali doesn't claim to be religious instruction. But it engages seriously with philosophical questions: What is justice? What is duty? How do we maintain integrity in corrupt systems? These are questions relevant across all faiths."
The thoughtful approach earned respect even from conservative audience members who might have been skeptical of mythological content.
Part VII: London and the European Perspective
August 2, 2020. The O2 Arena, London.
The 20,000-capacity venue represented the largest stop on the tour. London's diverse population – large South Asian diaspora, established anime fan community, and globally-minded entertainment consumers – created unique audience dynamic.
"London has been cultural crossroads for centuries," Anant began. "Indian influences have been part of British culture for generations – in literature, in cuisine, in language, in arts. Tonight, we're adding cinema and animation to that exchange."
The British-Indian community was out in force. For many, Anant represented vindication:
"Growing up here, we were made to feel our culture was backward," one young British-Indian woman told media outside the venue. "Anant is showing the world that Indian stories are epic, sophisticated, worthy of the highest production values. That's healing generational shame for people like me."
But the non-Indian audience members were equally enthusiastic:
"I'm British, no Indian heritage, but I love the Baahubali films," one man explained. "The storytelling is universal even though the cultural specifics are Indian. That's what great cinema does – it transcends while remaining rooted."
During the event, a British film critic asked challenging question: "Some have accused Baahubali of being nationalist propaganda, promoting Hindu supremacist ideology. How do you respond?"
Anant addressed it directly: "If by nationalist you mean the films celebrate Indian culture, yes, they absolutely do. But that's not supremacist – that's self-affirmation. For too long, Indian stories were presented through colonial lens that positioned them as inferior to Western narratives. We're rejecting that framing."
"But celebration of one culture doesn't require denigration of others. Baahubali doesn't position Hindu mythology as superior to other traditions – it presents it as one of many rich mythological systems worthy of serious artistic treatment."
"If creating high-quality entertainment from our cultural heritage is nationalist, then every culture that makes films from its stories is nationalist. American superhero films celebrate American ideals. Japanese anime draws from Japanese traditions. Our films celebrate Indian heritage. That's not supremacy – that's equality."
The response seemed to satisfy the questioner and the broader audience.
Part VIII: The American Experience New York (August 4) – Madison Square Garden
The 20,000 seats of MSG represented major statement – this was venue for biggest concerts, most important sporting events, landmark cultural moments. An Indian film promotional event selling out MSG was historically significant. All of this arranged by Dolby Head because Anant is the core figure in their company who not only spread their company but also optimise in real time.
Dolby Heads knows how terrifying Anant intelligence where many Silicon Giants underestimate him but they know he gonna shake the IT world just like how he is doing with Entertainment and that's they invest so much in Anant or Maya VFX.
The New York audience was sophisticated, skeptical, demanding. This was media capital of the world, and the Indian diaspora here was highly educated and assimilated into American culture.
Anant's approach reflected this: less language-switching, more direct engagement with complex themes.
"New York has taught the world that diversity is strength, not weakness," he began. "That multiple cultures can coexist, interact, and create something richer than any single culture alone. That's what we're attempting with Baahubali – using the tools of global cinema to tell specifically Indian stories in ways that welcome rather than exclude international audiences."
The Q&A here was sharp:
"How do you respond to concerns about cultural appropriation – taking anime from Japanese culture?"
"Isn't the anime just commercial decision rather than artistic necessity?"
"What makes Hindu mythology more suitable for anime than live-action continuation?"
Anant's responses were thoughtful, detailed, and intellectually substantive – the IIT education and his natural analytical ability allowing him to engage with complex questions without sounding defensive or superficial.
Los Angeles (August 6) – Microsoft Theater
The final stop. Hollywood's backyard. The 7,100-capacity venue was packed with entertainment industry professionals, members of the Academy, studio executives, and passionate fans.
"Los Angeles is where cinema reached its highest industrial and artistic development," Anant acknowledged. "Standing here, I feel both humbled and energized. Humbled because this is the city that created modern cinema. Energized because we're showing that cinema's future is global – that stories from anywhere, told with excellence, can compete with anything from anywhere."
A Hollywood producer asked: "Do you see Indian cinema as competition to Hollywood or complementary?"
"Complementary," Anant replied without hesitation. "There's room for everyone. Good storytelling isn't zero-sum. When Chinese cinema succeeds internationally, it doesn't diminish Hollywood – it expands the total audience for cinema. When Korean dramas become global phenomena, it doesn't hurt American television – it raises all standards."
"Indian cinema succeeding at international level means more people watching more films from more cultures. That's good for everyone – audiences get more variety, filmmakers get more opportunities, cinema as art form gets richer and more diverse."
"Hollywood will always have advantages – century of institutional knowledge, massive budgets, established global distribution. But we have advantages too – stories that haven't been told to death, cultural perspectives that offer fresh angles, willingness to take creative risks that studio committees might reject."
"The future," he concluded, "is collaborative rather than competitive. More co-productions, more international talent exchange, more genuine cultural fusion. That's exciting future for cinema."
Part IX: The Asian Parent Phenomenon
Throughout the Asian stops of the tour, an unexpected pattern had emerged in social media and news coverage: Asian parents were using Anant as example for their children.
Chinese social media was filled with posts:
"My mother compared me to Anant Sharma AGAIN. 'Look, he's AIR 8 in entrance exam which means even in Gaokao he easily can be a topper, IIT gold medalist, AND successful actor. What's your excuse?'"
"Dad: 'Anant doesn't drink, doesn't smoke, respects elders, speaks multiple languages. Why can't you be like him?' Me: 'Dad, he's literally one in a billion.'"
"Mom showed me Anant's resume and said, 'See? You can be top student AND pursue your passions. He didn't choose between academics and arts – he excelled at both.' I hate how she has a point."
Similar patterns emerged across Japan, Korea, Singapore:
"Japanese parents are now using Anant as the 'ideal young man' standard. My mother literally said, 'Find a husband like Anant Sharma.' Mom, there's only ONE of him!"
"Korean parents have found their new favorite comparison: 'Anant speaks 6 languages, has perfect physique, is famous AND respectful. What are you doing with your life?' Thanks, Baahubali, for making my parents even more impossible to satisfy."
The phenomenon became meme-worthy, but it reflected genuine cultural values. In Asian cultures that emphasized education, respect for elders, and personal discipline, Anant represented ideal:
Academic excellence (AIR 8, IIT gold medalist) Professional success (biggest film star) Physical discipline (extraordinary physique from training) Cultural respect (learning multiple languages, honoring traditions) Moral character (no drinking, smoking, or playboy behavior) Family orientation (close to parents and sister)
"He's every Asian parent's dream son," one cultural commentator noted. "And every Asian parent's weapon against their actual children."
The Dream Son-in-Law
Female audiences and their parents had their own reaction. Anant had become "ideal son-in-law" across Asia:
"My dad watched Baahubali and said, 'This is the kind of man you should marry. Educated, successful, respectful, physically fit, and doesn't drink.' I told him Anant probably doesn't even know I exist. He said, 'Still, use him as standard.'"
"Chinese mothers have new matchmaking requirement: 'Must be like Anant Sharma.' Basically, they want their daughters to marry unicorns."
"Indian diaspora parents are even worse. They're like, 'See? Indian boy who kept his culture, didn't become corrupted by Western values, still successful. Why can't you find someone like him?' Because there's LITERALLY only one Anant Sharma?!"
The phenomenon was humorous but revealed deeper truth: Anant had become cultural symbol of possibility. He demonstrated that one could honor tradition while achieving modernity, maintain cultural identity while succeeding globally, be Indian/Asian while competing at the highest international level.
Part X: The Return Home
August 10, 2020. Mumbai Airport.
As Anant and the Baahubali team's plane touched down in Mumbai, completing the grueling 19-day world tour, the exhaustion was evident on everyone's faces.
"I've never been so tired," Sudheer admitted, barely able to keep his eyes open. "I'm sleeping for three days straight."
"I can't remember which country we're in," Parvathy added with exhausted laugh. "Someone tell me – this is Mumbai, right? We're home?"
"We're home," Rajamouli confirmed. "And we're done. No more events, no more travel, no more performing for audiences. Just rest."
Anant nodded gratefully. The tour had been incredible – the love from fans, the cultural exchange, the successful promotion of the anime. But it had been physically and emotionally draining beyond anything he'd anticipated.
"I need to go to the villa, sleep for 24 hours, spend time with my family," he said. "And then..."
"And then rest more," Sudheer interrupted. "No work. Just recovery."
"Actually," Anant said with slight grimace, "I have to attend NSD. I enrolled as student, remember? Classes start next week."
Everyone stared at him.
"You're insane," Parvathy finally declared. "You just completed the most intense promotional tour in Indian cinema history. Your film is still in theaters, crossing 2,500 crores worldwide. You're planning an anime production that will take years. And you're going to attend drama school as regular student?"
"I committed to it," Anant replied simply. "The discipline of training, the humility of being student again, the growth that comes from challenging yourself – these matter to me. Success doesn't mean I stop learning. It means I have resources to learn more."
"You're exhausted," Rajamouli observed. "Take a month off. Rest. Then attend NSD if you're still determined."
"Can't," Anant replied. "If I'm not there when classes start, I'm not regular student – I'm special case getting accommodation. That defeats the purpose. I'll rest for few days, then I'm attending. It'll be fine."
The team just shook their heads. Anant's discipline was admirable and slightly insane in equal measure.
As they exited the airport through VIP terminal to avoid crowds, Anant's phone buzzed with message from his father:
"Welcome home, beta. We're proud of you. The world tour was extraordinary – you represented India beautifully. Now come home, rest, let your mother feed you properly. You've earned peace."
Anant smiled. Home. Family. Rest.
For a few days, at least, he could just be Anant Sharma from Chandni Chowk, not Baahubali the legend.
But in the back of his mind, the awareness remained: In a week, he'd be NSD student. In a few months, they'd begin pre-production on the anime. In a year or two, Dhoni's biopic would release. The work never truly stopped.
But for now, just for a few precious days, he could rest.
The world tour was complete.
The legend had been shared globally.
And the journey continued.
[END OF CHAPTER 26]
A Quick Note/Spoiler for AS9 as a thank you for being the biggest supporter: You brought up Lord of the Mysteries, and I wanted to give you a massive tease for the future! Yes, Anant will eventually make an appearance in the LOTM universe anime movie! However, there is a major twist,he won't be walking the typical path of a righteous protagonist. Anant will be stepping into the role of an Anti-Hero, and his path will involve some very dark, high-level entities (perhaps even a certain Goddess...). It is a really interesting concept that I am incredibly excited to explore down the line. Let me know what you guys think of an Anti-Hero Anant in the comments!