Eliane Robert Moraes, considered the greatest pornographer in Brazil, has over four decades of contributions to studies on the subject. Her first book on the topic, in partnership with Sandra Lapeiz, was published by Brasiliense in 1984, presenting an erudite and objective approach that mixed encyclopedic knowledge with the discussion of complex themes.
Her professional career includes appearances in scientific magazines, newspapers, and literary fairs. She taught philosophy and journalism at PUC-SP and translated works such as Marquis de Sade and Georges Bataille. Her literary production expands with publications like the Anthology of Brazilian Erotic Poetry (Ateliê Editorial), the double volume The Unveiled Body, Anthology of Brazilian Erotic Short Stories (1852-2022), and the recent essay The Cursed Part of Brazil (Tinta-da-china), with three new titles planned.
In a conversation held at her home in Perdizes, the professor of Brazilian literature, aged 74 and about to retire from USP but maintaining great vitality, addresses the challenges and pleasures of studying literary eroticism, emphasizing the total freedom of imagination as her main asset.
Known as Nani among friends, Eliane is married to the poet and editor Fernando Paixão. She discusses the most sensual themes with great elegance and good humor.
When asked about Reinaldo Moraes, Eliane reported that they met in 2010 during the Mantiqueira Festival, after he published Pornopopeia. Initially, there was mutual apprehension—she feared being seen as outdated by him, a pornographer, and he feared saying nonsense—but they quickly became friends. They began living on the same street and meet regularly at the Wednesday fair. She praises Reinaldo for his generosity, charm, and ability to turn everything into literary creation.
Eliane shared an experience where she asked Reinaldo for a short text for a magazine called Alfa about the Flip, but he delivered an extensive material of 70 thousand characters instead of the requested 8 thousand. After asking for a reduction, he replied by email, extending the message over four pages, refusing to cut anything.
She also mentioned a request made to Reinaldo for an anthology of Brazilian erotic short stories, where he sent a sensational but very long story that ended up incorporating a passage from Pornopopeia.
When discussing the concept of excess, Eliane pondered whether it refers to Baroqueism or Brazilian eroticism. She argued that although Baroqueism involves formal exaggerations such as hyperbole, the excess in the erotic context resides in the content. Literary eroticism does not follow a single structure, potentially varying from a haiku to extensive works like 900-page erotic novels.
For Eliane, excess functions as a paradigm of transgression: it occurs when an established norm is broken or displaced. She cited Hilda Hilst as an example, whose pornographic works, despite being short novels, create an impression of great explosion. Citing Roland Barthes, she exemplified how excess manifests when a rule is broken, such as in the case of André Gide, where the unbearable odor in a house leads the commissioner to release the smoke, violating professional norms.
Regarding Amara Moira's view, which suggests that sex is viewed as psychological threat and that literature should be read with caution, Eliane disagreed with the idea of current repression. She observed that while repression was greater in the 70s/80s, today there is a very strong censoring gaze on eroticism, especially when linked to social denunciations.
Eliane highlighted that for those who work with eroticism, claiming it is merely fantasy can be interpreted as censorship. She commented on the book The Pink Notebook by Lori Lamby (1990), mentioning the shock it generated and how critics frequently accuse Hilda of defending pedophilia, a fact she finds shocking. She stressed that while a man would have been massacred for praising such a work, a woman like Hilda has a different authorization.
Concerning violence and eroticism, she compared the controversial rape scene in Sam Peckinpah's The King of Comedy to the story of Juliet in Sade, where a orgy of 400 people takes place. She reinforced that excess in literature does not need to be realistic; if it is too realistic, it ceases to be eroticism. She mentioned Tatiana Salem Levy and Clarice Lispector, and cited testimonies from Mara, who indicated that about 90% of transsexuals and homosexuals were initiated through abuse, a difficult topic to address artistically due to the risk of being accused of supporting rape.
Finally, Eliane concluded that, while eroticism belongs to the world of what does not happen, it is dangerous and fascinating, and the dividing line between fiction and reality is complex.
In the film industry, heroes come and go, but some villains remain in the memory of viewers for many years due to their image and style. Pradip Rawat was one such actor. His imposing screen presence, intimidating face, and deep voice made him one of the most memorable villains in Indian cinema.
Today, Pradip Rawat has passed away. He died after a five-year battle with leukemia. However, his journey is not just a story of a successful villain, but an example of resilience, patience, and the indomitable spirit of an artist.
For Pradip Rawat, born in Jabalpur, Madhya Pradesh, achieving success in the film industry was not easy. After moving to Mumbai, he constantly faced rejections. Due to his large build and energetic appearance, he was often offered similar roles, but the long-awaited major opportunity was delayed.
During this period, he caught the attention of the distinguished film director B. R. Chopra, which completely changed his life.
In 1988, Pradip Rawat received the role of Ashwatthama in B. R. Chopra's historical television show 'Mahabharat'. This was his first significant breakthrough. At that time, 'Mahabharat' was watched in almost every home in the country, and the role of Ashwatthama helped him gain fame, opening doors to the world of cinema.
He began his film career with the 1985 film 'Mary Jang'. After that, he acted in many big movies such as 'Koyla', 'Bagi', 'Mejar Sab', 'Sarfarosh', 'Agnipath', and 'Lagaan'. Nevertheless, in these films, he was often given small or supporting roles. Despite participating in projects of major studios, he did not receive the recognition he deserved, and sometimes had to agree to minor roles to sustain his career.
The most important turning point in Pradip Rawat's career was the Telugu film 'Sye' in 2004, directed by I. S. S. Rajamouli. In this film, he played the role of Bhikshu Yadav. His menacing smile, powerful dialogues, and majestic screen presence made such an impression on the audience that Bhikshu Yadav is still considered one of the most iconic figures in Telugu cinema.
After the success of the film, Pradip Rawat became one of the most sought-after villains in the South Indian industry. He then played unforgettable roles in hits such as 'Bhadra', 'Andrivadu', 'Chatrapati', and 'Lakshmi'. His role as Rasa Bihari in 'Chatrapati' is still loved by fans.
In 2005, Pradip Rawat played the main villain role in the Tamil film 'Ghazni', directed by A. R. Murugadoss. The film was so successful that an Indian remake was later made, starring Aamir Khan, and Pradip Rawat reprised the role of Ghazni. Interestingly, the film was named after his character—Ghazni.
The Indian version of 'Ghazni', released in 2008, became the first Bollywood film to gross 100 million rupees. Audiences highly appreciated both Aamir Khan's transformation and the sinister villain played by Pradip Rawat. Even today, mentioning 'Ghazni' brings his image to mind.
Most people remember him only as a dangerous villain, but Pradip Rawat demonstrated his talent for comedy in many films. In movies like 'Oye', 'Pularangadu', 'Nenu Sheelja', and 'Sarranodu', he proved that he could not only scare but also make the audience laugh.
The U.S. judicial system has set the start date for the proceedings regarding the merger of Paramount and Warner for March 2, 2027. This court hearing will determine whether the acquisition of Warner Bros. Discovery by Paramount, valued at $111 billion (570.9 billion Brazilian reais), violates the country's antitrust laws. The decision could further delay the completion of one of the largest mergers in the history of the entertainment industry.
Judge Araceli Martínez-Olguín of the U.S. District Court for the Northern District of California ruled that the hearing will last 12 days, with scheduled breaks throughout March.
The new schedule is a victory for a coalition of 12 U.S. states that filed suit to block the deal. Last week, state attorneys general demanded that the hearings begin in April 2027. In turn, Paramount argued that the case should be heard as early as November of this year, characterizing the states' demand as a deliberate attempt to drag out the process.
The company stated in an official filing that it respects the Court's decision. Meanwhile, the office of Rob Bonta, California's Attorney General and one of the leaders of the lawsuit, expressed satisfaction with the 'attention the case is receiving from the court.'
The delay also increases financial costs for Paramount. Under the agreement terms, the company is obligated to pay Warner Bros. Discovery shareholders $650 million (3.3 billion Brazilian reais) for each quarter of delay in closing the merger, starting in October. Furthermore, Paramount agreed not to complete the acquisition until a court ruling is obtained and set June 2027 as the deadline for finalizing the transaction.
In a letter to investors, David Ellison, Paramount's controller, reported that the company continues to implement its plans while awaiting the completion of the purchase. He stated that the company expects to generate $3.9 billion (20 billion Brazilian reais) in net profit this year, aided by a large-scale cost-cutting program.
If the deal is approved, it will unite two of Hollywood's largest studios, along with streaming services HBO Max and Paramount+, and channels such as CBS and CNN. Paramount argues that the merger is necessary to strengthen its position against competition from streaming giants like Netflix and Amazon. In an article published in The New York Times, David Ellison noted that lawsuits against the deal 'imagine a Hollywood that no longer exists.'
The state attorneys general who initiated the lawsuit insist that the merger will give Paramount a dominant position in various market segments, including the production of major blockbusters and cable television channels. In addition to the state lawsuit, the Writers Guild of America, a union representing screenwriters in the United States, has also joined the court, stating that the deal could harm industry workers.
In Spain, the Guardia Civil seized over 115 thousand counterfeit jewelry items from a warehouse in San Castell, Palma de Mallorca. This confiscation is the largest of its kind conducted in the Balearic Islands.
An investigation was also launched against four individuals suspected of committing crimes against industrial property. The operation took place on July 14, according to a statement from the Port-Cristo Coast Guard and Customs Service (PAFIF).
According to PAFIF data, the warehouse was used for wholesale and retail distribution of a large quantity of costume jewelry that imitated the designs of famous international brands of luxury jewelry. The investigation, which lasted several months, was based on numerous checks conducted by the Guardia Civil in the island's commercial establishments.
Documentation seized during the inspections allowed investigators to discover the main logistics center that supplied various commercial enterprises in the Balearic Islands.
During this operation, 115,535 counterfeit jewelry items were seized, including: 38,493 bracelets; 35,994 pairs of earrings; 22,064 necklaces; 10,811 bangles; and 8,173 rings.
Brand experts who arrived from Madrid assessed the seized items. According to their evaluation, if these items were sold as originals, they would be worth hundreds of millions of euros, although at the time of sale they were offered at lower prices.
The operation remains open, and the Guardia Civil does not rule out further action within the scope of the investigation.
Over time, he gradually withdrew from public life. Once, Pradip Rawat was considered a near-guaranteed choice for major action films in Telugu cinema, but over time, he began to distance himself from Hindi and South Indian films. New actors emerged, the industry changed, and Pradip Rawat gradually disappeared from sight.
Nevertheless, fans always felt that he did not receive the respect and major roles commensurate with his talent.
Pradip Rawat never claimed the title of a superstar, but he proved that a strong artist can leave a mark on history even without being a hero. Characters like Ashwatthama, Bhikshu Yadav, Ghazni, and Rasa Bihari are not just cinematic roles, but an integral part of the legacy of Indian cinema.
His death left grief in his family. He left behind a widowed wife and two sons in sorrow. Although he is no longer among us, his name will always be mentioned with respect when discussing the most powerful villains in Indian cinema.
Farewell, Pradip Rawat... You proved that true glory comes not from becoming a hero, but from making your character immortal.
