Nothing succeeds like success. Until this morning (Aug 17), GunMaaster G9 was just another Emraan Hashmi project moving quietly through its final stages. Respectable cast, nostalgic team reunion, but no urgency, no locked date, no frenzy. Then Awarapan 2 delivered a blockbuster opening weekend. Official nett figures: Friday Rs 23.40 crore, Saturday Rs 34.09 crore, Sunday Rs 26.82 crore; a three-day total of Rs 84.31 crore. It has emerged as the third-highest opening weekend for a Hindi film in 2026, behind only Dhurandhar 2 and Border 2. More importantly, it comprehensively defeated Sunny Deol’s Batwara 1947 in the Independence Day clash, proving that Emraan’s cult pull still converts into hard numbers, especially in Tier 2, Tier 3 and single-screen centres. By Monday, the same makers who were still discussing late-2026 versus early-2027 had locked 27 November for GunMaaster G9 and announced it with full theatrical confidence. The timing is not subtle. One solid hit, and the entire ecosystem recalibrates. Suddenly every half-finished, half-shelved Emraan project is stirring. Scripts are being reopened. Incomplete shoots are “being revisited.” Producers who were waiting for the right window have discovered that the window is now wide open and facing Emraan. Success has a short memory and a long shopping list. Emraan has already started the victory lap. The industry, ever practical, has taken note. Expect more long-pending announcements in the coming weeks. When a star delivers an Rs 84-crore opening weekend and beats a heavyweight like Sunny Deol, every dormant project wants a share of that heat.  Right now, success has a new favourite son and GunMaaster G9 is the first to cash the cheque.

In the grand circus of Bollywood predictions, the trade pundits once more proved they have a special talent for missing the plot. Awarapan 2 was written off before the first show. Promotion was dismissed as lacklustre, the songs labelled dull, and the clash with Batwara 1947 declared a “setback.” The Rajkumar Santoshi–Sunny Deol combination, complete with partition gravity and familiar mass formulas, was anointed the safer, louder bet. Awarapan 2, many declared, stood no chance. Then the Awarapan 2 trailer dropped. Suddenly the room changed. Immersive, nostalgic, emotionally connected, it carried a lived-in intensity that cut through the noise. The same trade that had been busy writing obituaries started hearing a different buzz. Audiences, it turned out, were still capable of responding to atmosphere, character and a certain reckless heart rather than merely to star wattage and theme weight. The numbers delivered the punchline with clinical precision. On Friday, Batwara 1947 opened to approximately Rs 5.5crore net. Awarapan 2 stormed in with around Rs 22 crore net; the highest opening of Emraan Hashmi’s career. On Independence Day Saturday the gap only widened: Awarapan 2 collected roughly Rs 34 crore net while Batwara 1947 managed about Rs 13.5 crore. In two days, the sequel had crossed Rs 55 crore net in India and was racing past Rs 72 crore worldwide, leaving its rival trailing far behind. Once again the audience refused to follow the script written in trade WhatsApp groups. Content, when it connects, still trumps calculation. The film that was supposed to be the underdog shot to the top, embarrassed the entire prediction industry, and reminded everyone of the oldest truth — there is n business like show business. Unpredictability remains the only reliable order of the day. Cinema, as always, had the last laugh.

Popular Tamil star Suriya faced a scary drop n his box office ratings like the Air India flight fighting turbulence. His Soorarai Pottru was perhaps his last outing that touched hearts, literally celebrating a brave non descript pilot entrepreneur, who made flying accessible to all. What followed as Suriya’s outings turned out to be noisy action that hammered not just the goons but audience interest too. Suriya had morphed into a stereotype…his Kanguva and Retro turned out be a precipitous dive. Talented R J Balaji and Karuppu did give him a floating buoy …what he needed was a sturdy and seaworthy lifeboat. The talented Telugu writer and director Venkat Atluri has resurrected the actor…gentle, classy and capable of great emotional depth in his performances. Coincidentally enough, Vishwanath & Sons deals with surrogacy; how this former pistol shooting champ is railroaded by mother Radhika Saratkumar to beget her a grandchild. How the hero deals with the issue (Mamitha Baiju is the sourrogate mother), with knots and plots that often turn into chaos. Atluri manages a spice mixed Bhel. The plot also deals with Suriya’s May December romance.  G V Prakash stands out for his outstanding background music. Especially the lilting song Butterly. Only this butterfly flits too frequently from situation to situation … insurance for the hero? Jyotika and Suriya with all their predilection for public posture would have scored if more light was shed on surrogacy in India.

The fall of a star is rarely sudden. For Govinda, once crowned Hero No 1, it has been a prolonged, public unravelling where professional choices collided with domestic fire. He earned his place through pure comic timing and dance that lit up ordinary lives; small-town crowds, school grounds, college campuses and even corporate gatherings. That mass connection was real. Yet the industry that once celebrated him also recorded his chronic lateness and broken commitments. Producers waited in vain, schedules collapsed, and the tag that once meant box-office gold slowly became a warning. The last decade turned the decline dramatic. Film after film failed. The once-unstoppable comic force drifted into obscure stage shows and low-level events that sat uncomfortably with the stature he once commanded. His children never received the carefully planned launches many star kids enjoy. The Sonakshi-Sinha-in-Dabangg moment he had often spoken of for his daughter never materialised. The family that once projected unity now appears fractured and exposed. The sharpest blow is the latest. Govinda has been repeatedly photographed at Mumbai airport with newcomer Komal Rani Swarnkar, the young actress he is launching in Roopa. Wife Sunita Ahuja has answered with open, sustained fury: calling him a “sugar daddy,” accusing him of roaming with a girl of his daughter’s age. Her public, repeatedly derogatory words have turned private bitterness into daily national headlines. Domestic disturbance does more than distract. When a wife paints her husband as unfaithful, classless and lost, the audience that once danced with him begins to look away. Govinda’s own decisions; professional unreliability earlier, and the current public associations, have accelerated the fall. The man who once made India laugh is now watched for the next airport picture and the next angry soundbite. The dance remains, but the stage keeps shrinking.

Famous film stars have a penchant for unique collectibles. Rare cars, precious watches, famous wardrobe memorabilia and many more. Imagine having boasting rights for Judy Garland’s Ruby Slippers from the Wizard of Oz, Marilyn Monroe’s white subway dream that swept up many a fantasy, Daniel Radcliffe and his Magic wand and glasses from the Harry Potter winner and a host of collectibles. Ah, we overlooked endangered animal species too. Recently a viral video of actor popular Tamil star Vikram cuddling and imitating a baby Lar Gibbon ape went viral; it woke up the Tamil Nadu Forest Department’s attention. Hey isn’t that a Lar Gibbon cuddly ape baby? How did it land in Vikram’s lap and other such questions flew in the media? Not that such earlier incidents were swept under the rain forest carpet…remember Salman Khan and the Black Buck controversy? Vikram was quickly issued a notice: Where did he procure this Lar Gibbon? These unique apes (they are not monkeys) have suffered and slipped into that coveted status …endangered due to lack of suitable forest habitat and illegal poaching to feed just such an illegal pet trade. The investigation led the law to an animal farm in Perundurai, Erode, alleged to be owned by Kesavanathan who had brought this Gibbon from Manipur without the required papers. The Forest Dept found that another baby Gibbon had died in the farm and it was not reported. Vikram has been issued notice ..that he should present himself at the investigating office no later than three days or else. Endangered animal collectibles…they draw the Rich and Famous like magnets.

In the age of instant outrage, a single technical slip can threaten to derail an entire tribute to our war heroes. Netflix’s Operation Safed Sagar has been rightly praised for bringing the 1999 Kargil air campaign and the sacrifice of Squadron Leader Ajay Ahuja to life. Yet an Indian Army veteran has flagged the incorrect draping of the Tricolour on Ahuja’s coffin; green visible instead of saffron towards the head, as mandated by the Flag Code. He has gone further, demanding the series be suspended until digitally corrected and an apology issued. Yes, the producers and military advisors missed it. That is an oversight, a technical glitch in an otherwise sincere production. It is not deliberate disrespect. Flags, protocols and symbols matter. But demanding the entire show be yanked offline turns a correctable error into a national crisis. Creative works are not military manuals. Digital fixes exist. An apology can be issued. Pulling a series that honours fallen air warriors does not. We have seen this script before. Just last month, Satluj vanished from Zee5 within 48 hours amid security concerns and political heat. One side saw threat; another saw overreach. The pattern is familiar: a portrayal of history, identity or national symbols triggers instant mobilisation, hashtags, and calls for bans. OTT has become a pressure cooker where every uniform, every dialogue, every historical detail is scrutinised for offence. Respect for the Tricolour and our armed forces is non-negotiable. Mistakes should be pointed out and fixed. But mistaking every error for malice, and every oversight for an insult requiring cancellation, only weakens the culture of storytelling we claim to protect. Operation Safed Sagar is a tribute, not a textbook. Let the correction happen. Let the series continue. And let us stop treating every glitch as grounds for a cultural emergency. Thicker skins make stronger nations; and better cinema.

In the grand circus of Bollywood, where originality is a rare guest and recycling is the house specialty, Ram Gopal Varma has once again decided that the Mumbai underworld still has unpaid rent in his imagination. T-Series and RGV have joined hands for Police Company, with Harshavardhan Rane stepping into the shoes of legendary encounter specialist Daya Nayak. Because clearly, the world was starving for yet another film about the man who has already inspired Ab Tak Chhappan, Aan: Men at Work, Risk – a Kannada biopic. RGV has drunk from the underworld so many times that the water must taste like leftover Satya, Company, D, Sarkar, Rakta Charitra and whatever else he poured into the same glass over three decades. The man once made Shiva in Telugu, remade it in Hindi, and then, years later, decided the world needed Shiva again in 2006, purely out of artistic restlessness, or so the legend of his arrogance goes. That third attempt did not exactly set the box office on fire. Yet here we are, watching the same director circle back to the same blood-soaked alleys, this time with the same encounter-cop template he already helped popularise. Recent years have not exactly been kind to the once-feared RGV brand. A string of flops, legal headaches, public spats and the general air of a man still fighting yesterday’s battles have followed him. The same man who once bent the crime film to his will now seems determined to prove that repetition, when done with enough swagger, can pass for reinvention. Whether Police Company will feel like a fresh bullet or just another spent casing remains to be seen. The underworld keeps dying on screen, and somehow Ram Gopal Varma keeps bringing it back to life.

International choreographer, dancer and model Saswat Joshi is all set to make his mark at the forthcoming OSUK Convention 2026 in Manchester, North England, at the end of August. The 47th Annual OSUK Convention comes with an intriguing cultural twist this year — “Odisha Da Swagat, Punjab Di Raunak” — promising, for the first time in its history, a fusion of the warmth of Odisha with the vibrancy of Punjab in a grand celebration of culture, community and heritage. Joshi, 42, born in Titlagarh, will be the exclusive international Odia artiste at the convention. Known for his distinctive use of the Odissi dance style, Joshi began his journey under gurus Prasanta Patnaik and Shantanu Behera in his native village before receiving professional Odissi training from Guru Padmashri Kumkum Mohanty. An exponent of the Odissi style of Padma Vibhushan Guru Kelucharan Mohapatra, he also trained under Guru Ileana Citaristi. Having performed across Europe and Asia, Joshi has shared the stage with acclaimed artistes including Carla Fracci, Luciana Savignano, Giuseppe Picone, Beppe Menegatti, Rossella Brescia and Luciano Mattia Cannito in I Have a Dream in Palermo, Sicily. Joshi is also the founder of the Lasyakala Institute of Performing Arts.

Batwara 1947, which was earlier titled Lahore 1947, reunites the same director-star pair of Sunny Deol and Rajkumar Santoshi after nearly three decades and is scheduled for release on 14th August 2026 as the Independence Day or Partition Day weekend. Produced by Aamir Khan Productions with music by A R Rahman, it is a serious period drama set against the 1947 Partition. The trailer has been widely praised for its scale, emotional weight, and trademark Santoshi–Deol intensity, yet the pre-release buzz remains relatively muted. The heavy, solemn subject matter and Sunny’s casting in a more restrained, principle-driven role, rather than pure action-hero mode like Jaat and Gadar franchise, have so far limited the kind of mass excitement usually associated with an Independence Day release. Current box-office conversation is still dominated by Spider-Man, leaving Batwara needing a sharper final push. Let’s remember the release of Damini which was released on 30th April 1993. Directed by Rajkumar Santoshi and featuring Sunny Deol in a career-defining supporting turn as the fiery lawyer Govind, it became a blockbuster and is remembered as a cult classic for its strong social message, Meenakshi Seshadri’s performance, and iconic dialogues. Audiences responded to the justice-driven courtroom drama, Sunny’s intensity…turning it into a sustained success rather than a pure opening-day phenomenon. The Santoshi–Deol combination delivered the expected high-voltage signature—raw anger, moral force, and memorable lines that amplified the film once people started talking about it. The parallel with Damini is clear. Both films carry the Santoshi–Deol DNA of high-stakes moral drama and potent dialogues. Damini proved that a serious subject can open respectably and then explode on the strength of word of mouth once audiences experience the emotional payoff. Can Batwara 1947 follow the same path, deliver the expected intensity in theatres? One has to wait and watch.

Maharashtra chief minister Devendra Fadnavis has officially joined the film promotion business. At the inauguration of Namit Malhotra’s Prime Focus Studio on 6 August 2026, he declared he would be “very disappointed” if Nitesh Tiwari’s Ramayana, starring Ranbir Kapoor, Sai Pallavi and Yash, fails to win an Oscar. “It’s not a film of a decade,” he announced, “it’s a film of a millennium.” Earlier, at the Waves Summit, he had already been “amazed” by its scale. When a CM starts campaigning this openly, the marketing budget has just received a free government upgrade. This is no isolated outburst. It is the latest evidence of a larger shift: Politicians have become Bollywood’s most enthusiastic publicists. PM Narendra Modi has repeatedly endorsed films like The Kashmir Files, The Kerala Story and Article 370 as correctives to “fake narratives.” Amit Shah has praised select projects from special screenings. Yogi Adityanath has made multiple films tax-free and personally felicitated their teams. Across BJP ruled states, official blessings, tax waivers and photo-ops have become as routine as the interval. History offers precedents. MGR and NT Rama Rao built political careers on their screen images. Karunanidhi wrote scripts from the CM’s office. The difference today is the scale, the coordination, and the open fusion of mythology with nationalism as reliable box-office fuel. Ramayana sits perfectly at this intersection; big, mythological, technologically ambitious, and timed for maximum cultural resonance. By elevating it to a civilisational project, Fadnavis has given the film a halo no conventional campaign can buy. The politicians are no longer silent well-wishers. They are the new faces of the campaign, delivering the soundbites themselves. In today’s India, the red carpet increasingly leads straight to the corridors of power.

In Tamil Nadu, the media frenzy is all about Trisha — the actor who is perceived, talked about and lionised as the significant mover and shaker in chief minister Vijay’s life. The “enfant terrible” of the DMK, deputy CM Udhayanidhi Stalin whose speech at Thanjavur caused a furore for his barely concealed innuendos and salacious remarks about Trisha. Udhayanidhi was egged on by his party workers who found his lewd talk extremely entertaining…a quick “detention” and Udhayanidhi was let off. Whatever the real circumstances of their personal life, no public figure should be targeted like this. So, what is the perception? There are those who highlight the posters of Trisha Narpani Manrams in Madurai, a sure sign that she is entering politics. The talk about her 2016 film Kodi, a political drama in which Trisha says, “I want to be the CM of this state” still resounds. Is she harbouring political ambitions with Vijay as her launch pad? Is Vijay serious about the liaison, the aberration that has forced his wife Sangeeta to file for divorce? There is a totally new hook which bandies another view ….the publicity is good for both …Trisha who has walked out of two near marriages and at 45 is keen to retain her top star status. After such a landslide win, it’s hard to accept that Vijay would jeopardise his hard won victory. The latest news is Sangeeta Sornalingam has withdrawn her plea for divorce at the Chengalpet court. Why would a wife and mother of two kids wilfully allow another woman take the place and privileges of a CM’s wife?

Mamachya Govyala Jauya, directed by Viju Mane and starring Santosh Juvekar, Kushal Badrike, Abhijit Chavan and Ankush Chaudhari, has delivered a modest box-office performance in Maharashtra. Early estimates place its India lifetime collection around Rs 1 crore, with an opening weekend of roughly Rs 72 lakh. In a year when titles like Raja Shivaji and Deool Band 2 have shown Marathi cinema’s commercial potential, these numbers feel underwhelming. More striking than the collections were the promotional tactics. The campaign repeatedly highlighted how Marathi films struggle for multiplex screens and cannot compete with a global franchise like Spider-Man: Brand New Day. There were also claims that Hollywood profits largely leave India, ignoring the substantial benefits that Indian exhibitors and theatre chains gain from such big releases. Adding emotional weight, it was publicised that director Viju Mane had mortgaged his wife’s, sister’s and mother’s gold ornaments to finance the film. While personal sacrifice may evoke sympathy, using it as a primary marketing tool risks coming across as victimhood rather than confidence. Comparing a mid-budget Marathi comedy to a multi-decade international franchise is neither fair nor strategic. Audiences and exhibitors respond to content that delivers, not to complaints about unequal treatment. Emotional rants about lack of shows or family jewellery do not fill seats. Quality does. Marathi cinema has repeatedly proved this with films like Ghabadkund and the Deool Band franchise, which succeeded through strong storytelling and craft. The industry does not need more orthodoxy or self-pity. It needs filmmakers who prioritise making better films. When the product is strong enough, screens and audiences follow.

Social media algorithms have rewritten the rules of visibility in Indian public life. They do not reward traditional hierarchy, institutional experience or even consistent ideology. They reward engagement, outrage, novelty, humour, emotion and shareability. The result is a new class of algorithm-born stars who appear everywhere, regardless of a user’s political leanings. Prashant Kishor exemplifies the phenomenon. Once a behind-the-scenes strategist, he is now omnipresent after his Bankipur by-election victory. Short, sharp clips of his speeches, critiques of the status quo and youth-focused messaging travel relentlessly across feeds. Platforms amplify what keeps users scrolling; Kishor’s content delivers high retention, so the algorithm pushes it into timelines of both supporters and sceptics. Neha Bora and the Cockroach Janta Party (CJP) show how the same system can manufacture stars almost from nowhere. Founded by Abhijeet Dipke as satirical pushback against a judicial remark, CJP weaponized memes, AI-generated imagery and youth frustration over unemployment and exam scandals. Within days it amassed millions of followers. Neha Bora, an AISA activist linked to the movement’s hunger strikes and protests, became a recurring face after a viral dance video and protest footage. Algorithms detected the emotional charge and recirculated her content widely, making her unavoidable even for those who never sought her out. The same logic works in reverse. Established BJP-linked celebrities such as Ravi Kishan and Kangana Ranaut, once algorithm favourites, now face meme-driven decline when their content underperforms or invites ridicule. Platforms care little for loyalty; they care about what sustains attention. In the U.S., the 2016 Trump campaign thrived because X’s engagement-driven feed rewarded provocative posts, turning him into a constant presence. Similarly, TikTok’s For You page has elevated obscure creators into political voices, just as Instagram Reels did for CJP....

Bhumi Pednekar’s recent statements on the Cockroach Janta Party protests reveal a deliberate pattern of dual engagement rather than ideological flip-flops. In mid-July, she backed student protesters after the ‘Sansad Chalo’ march, condemning police force, highlighting education system failures like paper leaks, and calling for dialogue while noting she did not agree with everything said at the protests. Soon after, she posted a video criticising the abusive slogans against Prime Minister Narendra Modi, calling such language un-Indian and stressing respect for the highest office and cultural values. The video drew sharp backlash for perceived selective outrage. She followed up by defending a young female protester facing rape and death threats, linking it to broader women’s harassment and her own experiences of online bullying. Pednekar was never a hardcore “Modi Bhakt.” Early in her career she supported aligned government initiatives such as the plastic ban and Swachh Bharat messaging, and donated to PM-CARES. Simultaneously, she condemned police violence during the 2019 anti-CAA/Jamia protests and defended peaceful dissent. Her consistent public focus remains gender equality, climate action, and education. She has also indicated openness to politics, saying national service is “in her blood.” No imminent film release drives the timing. Her major upcoming project, the historical epic The Pride of Bharat: Chhatrapati Shivaji Maharaj, is targeted for 2027. The statements appear aimed at sustaining a broad, responsible-celebrity brand: progressive on social issues, respectful of institutions, and positioned for constructive change rather than confrontation. This keeps her relevant across audiences without locking into one political camp

The arrest of former Tamil Nadu deputy CM Udhayanidhi Stalin by the Tamilaga Vettri Kazhagam (TVK) government under chief minister C. Joseph Vijay marks the latest chapter in TN’s long tradition of political vendetta. Booked for alleged sexually suggestive remarks linking Vijay and actor Trisha during a Cauvery protest, Udhayanidhi was detained from his Chennai residence, taken to Thanjavur for questioning, and released on station bail after Madras High Court intervention. The episode reveals how even a fresh political force quickly absorbs the state’s established grammar of power. This pattern is not new. The bitter rivalry between M Karunanidhi and J Jayalalithaa institutionalised revenge as governance. The 1989 Assembly clash, in which Jayalalithaa’s saree was pulled, poisoned relations for decades. After the DMK returned to power in 1996, Karunanidhi’s government filed multiple corruption cases against Jayalalithaa, leading to her arrest and the creation of special courts. In 2001, after AIADMK’s victory, Jayalalithaa repaid the debt with theatrical force: a midnight arrest of the 77-year-old Karunanidhi in a flyover scam case, complete with physical resistance, media cameras, and the detention of Union ministers who tried to intervene. Subsequent regimes followed the same script: raids, selective prosecutions and public humiliation of rivals whenever power changed hands. Vijay’s TVK, which ended nearly six decades of DMK-AIADMK dominance in the 2026 elections, was expected by many to break this cycle. Instead, it has deployed the identical toolkit. In TN, control of the police and prosecution remains the quickest way to assert dominance and settle old scores. Vijay’s early resort to this method shows that star power and outsider status offer no immunity. The train of revenge politics continues, simply with a new driver at the helm.

As the Independence Day weekend of 14 August 2026 approaches, two films stand locked in a high-stakes clash: Emraan Hashmi’s Awarapan 2 and Sunny Deol’s Batwara 1947. One rides on 19-year-old cult nostalgia; the other on patriotic scale, Aamir Khan’s production muscle and AR Rahman’s score. Yet trade circles and social chatter note a striking imbalance. While Batwara 1947’s trailer, dropped on 28 July, generated immediate heat and “Gadar vibes,” Awarapan 2 has struggled to sustain comparable mass visibility despite a planned promotional runway. Hashmi’s lead track record largely explains the caution. Since Raaz 3 in 2012, his films have largely underperformed. Selfiee in 2023, Ground Zero and Haq in 2025 were disappointments. Supporting turns in Tiger 3 and the Telugu hit They Call Him OG earned praise and box-office association, but they did not restore the “opening power” once associated with the serial-kisser phase. Audiences have grown selective; nostalgia alone no longer guarantees footfalls when recent leads have disappointed.  Against this backdrop, Awarapan 2’s campaign has been steady but restrained. The teaser arrived on 29 June and drew warm fan response for its brooding tone and reworked Toh Phir Aao. Songs followed: Ve Junoon on 7 July and Yeh Awarapan by Arijit Singh on 21 July. A motion poster on 29 July teased the return of Tera Mera Rishta. Vishesh Films had signalled a month-long push centred on music and character. Yet the music has not delivered the expected chart dominance the original album still enjoys. Has Emraan lost hope? Awarapan 2 still holds the advantage of an emotional core and a loyal following that turned the 2007 original into a cult phenomenon long after its theatrical failure. Whether that converts into theatre numbers is a moot point. For now, the marketing gap is real and it mirrors the star-power gap Emraan has been trying to close for over a decade.

Ranbir Kapoor’s first full look as Lord Rama in the Ramayana trailer has left many feeling underwhelmed. Where the Animal trailer exploded with raw intensity, unforgettable screen presence and a character that lodged itself deep in the audience’s mind, this one feels strangely ordinary. The impact that was expected for a film of this magnitude simply isn’t there. Ranbir looks regular, slightly out of sync and artificial. He does not inhabit the element of Rama. The dialogue delivery stays flat and familiar, carrying no novelty or divine authority. For a project this massive, some experimentation with the character was essential. Instead, the costumes and overall presentation lean into excess artificiality, giving the frames a fake, ordinary sheen that has triggered mixed reactions. The problem is compounded by timing. Audiences are still under the spell of Ranbir’s Animal avatar. That performance was so brilliantly etched and embedded in public memory that anything following it was always going to be measured against that high. Earlier, the shift from romantic hero to intense action figure felt digestible. After Animal, however, this Rama comes across pale and weak. The gravity and quiet power the role demands are missing. Ramayana is ultimately the story of Rama. Technicians, scale, VFX and a formidable Ravana where Yash is clearly commanding attention, will support the film. Yet the central figure must carry the emotional and spiritual weight. Right now, Ranbir’s Rama does not rise to that mark. The trailer has grandeur, but the soul of the protagonist feels diluted, leaving viewers hoping the final film rediscovers the force that Animal delivered so effortlessly.

The past month was rife with talk about Tamil Nadu chief minister C Joseph Vijay planning to settle in Poes Garden – Chennai’s epicentre of heated politics, high drama and intrigue. The hum about Vijay eyeing late CM J Jayalalithaa’s palatial bungalow to be his CM abode is gaining credence every day…the denizens of this tony neighbourhood are again shaken and stirred. Memories of an earlier CM’s dominance and security cordons are still fresh …add to this the domineering presence of her close confidant Sasikala is even more fresh. She has built her own palatial residence just across Veda Nilayam. Just around the bend is super star Rajini’s sprawling home, a place he coveted and contracted as his own nearly 50 years back. It is said that JJ’s convoy once had stopped Rajini entering Poes Garden. The latest is his estranged son-in-law actor Dhanush has built a Rs 150 crore lavish mansion in the same vicinity. The most unexpected win of Vijay’s TVK has changed many an equation. Imagine the shock of these same denizens when Dhanush posed for a huge fan club from his balcony. He is now harbouring accelerated political ambitions…if Vijay can, why not me? He is said to have even hit upon his party flag and social service plans. The huge crowd that gathered in Poes Garden on his 43rd birthday on July 28, augured yet another star entry into this crowded arena. Is TN uniquely distinct in this jump from cinema to politics? Only MGR had that genuine charisma, neither filmy nor posturing …he loved his state and even today has a phenomenal following. Many a star like Sivaji Ganesan, Kamal Haasan, Vijaykanth and a smattering of junior artists have thrown their hats in the ring, only Vijaykanth could make some dent.

Could this be the final public performance of one of Goa’s most loved musical icons? Goan musical heartthrob and Bollywood singer Remo Fernandes, best known for the hit Pyaar To Hona Hi Tha, is all set to arrive in London for the Goan Festival 2026 on Sunday, 2 August 2026, at the Cranford Community College Grounds. The festival marks the Diamond Jubilee of the Goan Association UK, celebrating 60 years of service, culture, community engagement and charitable outreach. Adding an emotional touch to the event is growing belief that this could be Remo’s last public performance, making the festival a must-watch for fans eager to see the ageing superstar take the stage one more time. Sharing the spotlight with him will be some of Goa’s biggest musical names, including DJ Ryan Nogar, Godgodo, Raagas2Riches, Altitude and WestCoast, promising a spectacular day of music and nostalgia. The UK Goan Festival has grown into one of the world’s largest overseas Goan cultural celebrations, attracting more than 15,000 attendees every year. To make the celebration even more special, leading Goan bands are flown in from Goa to perform alongside Remo. Over the years, the festival has welcomed distinguished guests including Reita Faria, the first Goan Miss World; Longinus Fernandes, the choreographer behind Slumdog Millionaire; and Lorna Cordeiro, widely celebrated as the Nightingale of Goa. If reports are true that this will indeed be Remo Fernandes’s final public appearance, the 2026 UK Goan Festival could become one of the most memorable chapters in the singer’s illustrious career.

It was the first day, first show of Christopher Nolan’s eagerly expected The Odyssey at the original showcase of Chennai, Sathyam Cinemas. For an afternoon show, the crowd was overwhelming…80% were young people, film buffs who had descended not just for a rediscovered theatre experience…but many other touch points that attract youth. Are you surprised that a 2800 years old Greek epic, The Odyssey has churned up so much enthusiasm for Greek Gods and Goddesses? Have the young had enough of streaming, now wanting to participate in tradition showcased, celebrate cinematic oeuvres by masters? These young enthusiasts sat through the 3 hours, no cat calls, no disparaging whistles…just an audience immersed in the talent of Christopher Nolan unfurling the epic features of the Greek civilisation. Those of us who were taught Greek history could identify the similarities of Homer’s saga with our own grand epics —The Ramayan and Mahabharata. The Odyssey is a gripping legend of war, the rise and fall of Greek supremacy, and the conflict between faith and human failures. Matt Damon as Odysseus, the colossus who leads his army to Troy, encounters human and monstrous powers, and fights his way back to his beloved Queen Penelope (Anne Hathaway) and his kingdom, Ithaca, plays the lead with restraint. Tom Holland as Telemachus, the son and heir to the throne is a fitting choice, as he persistently refuses to accept that his father is dead or lost. This film adaptation of Homer’s epic was made at a cost of $230 million …a scale and grandeur reflected in every frame …the Trojan Horse, the Blue Aegean Sea, the depiction of the Siren Song …are masterful skill. But the intense involvement of Nolan in his film has made it somewhat lengthy.

When Vijay won CM’s status of Tamil Nadu, talk about his twin competitor, Ajith Kumar hogging the top film status in this void reached a high decibel. The two had entered the film world almost simultaneously and commanded enviable, and high remuneration per film. Even as Vijay nurtured his political ambition, Ajith had carved a parallel passion track as a Formula1 racer, speeding in a Porsche, 992 GT 3 in European and Middle East high stake races. The dashing dare devil race car driver and his alter ego persona, film hero, aligned perfectly. His last film, Good Bad and Ugly was promoted as a high voltage entertainer. Clint Eastwood and his iconic namesake film had made the spaghetti Western, a cult. Ajith’s film made at a cost of Rs 270 crore just about managed Rs 212 crore worldwide. News of Ajith Kumar’s next film, tentatively named AK 64, directed by Aadik Ramchandran sent his fans into a tizzy, starved as they were for their hero’s film and his notable absence. News circulated fast about which production house would be bank rolling AK 64. But there were no takers, including Sun Pictures…strange!  The real reason circulated fast and furious …the hero had stipulated Rs 150 crore as his salary. Thiruppur Subramaniam who heads the Tamil Films Distributors Association said, “not many can afford this”. Suddenly the news spread that his wife Shalini Ajith Kumar would turn producer, after decades of hibernation. The final list of cast, crew and other details would be announced by Shalini in August. Ajith Kumar is all set to stride the screen with guns blazing.

In a stunning case of reel life turning eerily prophetic, the Delhi High Court’s July 10, 2026 verdict upholding Rajpal Yadav’s conviction in a Rs 5 crore cheque-bounce scandal has thrown a harsh spotlight on how his 2012 directorial debut Ata Pata Laapata uncannily predicted his own downfall. Convicted in seven cases but with jail reduced to three months, the actor now faces massive compensation orders; a real-world echo of the film’s satirical chaos. In the film, Yadav’s protagonist sees his house mysteriously vanish and turns to the law for justice, only to become the prime suspect in a web of bureaucracy, corruption, and twisted justice. The bold satire mercilessly lampoons a system that punishes the victim. It was Yadav’s passionate directorial debut, conceived in 2005 amid industry recession and strikes, produced by his wife Radha under their family banner with a massive ensemble cast and heavy personal investment. Yadav secured bank loans for the Rs 20 crore project. In 2010, businessman Madhav Gopal invested Rs 5 crore with repayment agreements in place. However, after a heated argument following the 2011 music launch, Gopal allegedly obtained a pre-release stay order, publicly accused Yadav of fraud, and sabotaged the November 2, 2012 release. Despite over 1,000 screens booked, the film vanished from theatres within days; mirroring the protagonist’s missing house and flopped commercially. Post-dated cheques bounced amid the chaos, dragging Yadav into the very legal ordeal he had mocked on screen. While reducing the latest sentence, the court criticised his conduct, noting the law cannot be “rewritten at the will of an actor.” Yadav claims the investor’s rage destroyed not just his dream but endangered artistes and massive finances. As he eyes an appeal, this prophetic saga blurs fiction and harsh Bollywood reality in the most scandalous way.

The first poster of Dada: The Sourav Ganguly Story, unveiled on Ganguly’s 54th birthday, recreates his iconic 2002 shirt-waving moment at Lord’s with Rajkummar Rao topless and jersey in hand. Directed by Vikramaditya Motwane for a May 14, 2027 release, the image evokes nostalgia but appears static and restrained, lacking the high-energy drama needed for a mass-appeal cricket biopic. Rajkummar Rao’s recent filmography underscores the risk. While Stree 2 delivered an all-time blockbuster, several projects faltered: Bheed was a major disaster with netting just Rs 2 crore; Mr & Mrs Mahi managed modest numbers around Rs 7 crore; Srikanth crossed Rs 60 crore worldwide but remained a middling performer relative to budget and expectations. Other efforts like Vicky Vidya Ka Woh Wala Video were below average, highlighting inconsistent solo draws despite critical acclaim. Motwane’s own track record adds caution. Films like Bhavesh Joshi Superhero and Lootera earned praise but struggled commercially, while even acclaimed works such as Udaan and Trapped relied more on niche appeal than broad box-office success. Cricket biopics have a dismal history. Azhar flopped commercially, and 83 with Ranveer Singh as Kapil Dev, underperformed domestically due to costs and timing. Ganguly’s tale of aggressive leadership and controversies holds promise, yet biopics frequently face challenges with pacing, dramatization, and audience fatigue. Early signals for Dada suggest a dignified but visually subdued start that may not spark immediate excitement. With Luv Films producing, the team has time for strong marketing, but history indicates star power and nostalgia rarely suffice to overcome the sub-genres curse. Execution will be decisive.

Dhanush and his 55th film, OM Chapter 1 has already raised heartbeats with its powerful teaser. The title OM is astutely inventive yet familiar like a soft blanket, a brand positioning like none other for Hindutva. If your memory drags up another such title Hey Ram, your RAM has super ready access. OM has already garnered marketable gold nuggets in many forms. Following the runaway hit Amaran, its director Rajkumar Periasamy is signed to direct OM. Posting its initial line up of popular stars, Dhanush, Mammootty,  Sai Pallavi and Kayadu Lohar. After the buzz and curiosity of the teaser, a new announcement was dropped …one of India’s most iconic actors, Naseeruddin Shah (if you haven’t, catch the Titan story where he plays JRD Tata’s role) is to join the cast of OM …just 26 years later after Hey Ram. Shah is to partner Mammootty after 32 years after Ponthan Mada. This hugely awaited film is from Dhanush’s own Wunderbar Films, and unravels a plot about illegal Red Sanders felling, the hero taking up the cause of those who fell the precious wood. Ok, we know It harks back to Pushpa 1 and 2. In cinema, imitation is the best form of plottery . But wait …the plot may be reminiscent. It is the release date planned for Ayudha Pooja day — 16th October — that’s caused a huge buzz. Superstar Rajinikanth’s Jailor 2 and Dhanush’s OM are set to clash as gladiators on the same day. Will the Sasur win? Or will the “estranged “ Damaad create family history?

The resounding success of Ghabadkund has ignited a new era in Marathi cinema, marking the birth of its first-ever cinematic universe. Produced by Dr Rasik Kadam and directed by Pritam SK Patil, the film masterfully blends suspense, action and ancient folklore set against a mysterious cursed reservoir in Maharashtra’s untamed heartlands. It introduces an overarching lore of hidden treasures, forbidden rituals, and awakening malevolent forces, not as a standalone tale, but as the foundation for interconnected stories that celebrate the region’s rich mythology and cultural soul. With a reported Rs 6 crore budget, Ghabadkund has delivered a strong verdict, amassing approximately Rs 7.57 crore in total collections by around Day 16 (Maharashtra contributing the lion’s share). In the producer’s visionary words, “We are creating a universe that belongs to our soil, our stories, and our people. This is just the beginning.” Ghabadkund has paved the way, drawing audiences into a shared world where legends intertwine across time and terrain. The narrative now expands organically, with everyday elements like bustling dhabas along rural highways becoming pivotal nexuses. Here, ordinary lives collide with extraordinary secrets, weaving emotional conflicts, treasure hunts, and escalating mysteries that bind future chapters into a grand narrative. Encouraged by good response, Dr Kadam has announced a massive Rs 50 crore investment for the second chapter. This technologically advanced instalment is poised to be one of the biggest in Marathi cinema history, targeting global audiences while staying rooted in local ethos. Spanning six interconnected films overall, the franchise promises unprecedented scale in visuals, storytelling, and production values. As Ghabadkund continues its strong box-office journey, the Marathi cinematic universe stands as a testament to bold Marathi ambition.

For over a decade, Hera Pheri 3 has resembled its own chaotic plot which was full of twists, betrayals, and shifting alliances. What began as a dream reunion of the iconic trio (Akshay Kumar as Raju, Suniel Shetty as Shyam and Paresh Rawal as Baburao) under director Priyadarshan quickly descended into a messy legal and personal battlefield. Producer Firoz Nadiadwala (linked to the original franchise) fought prolonged rights battles, including clashes with Eros and later South Indian producer Vijay Kumar over copyright claims tied to the source material. Banners shifted when Akshay Kumar’s production house, Cape of Good Films LLP, stepped in and secured key rights from the original producers. This marked Akshay’s transition from star to controlling force. Drama peaked in 2025 when Paresh Rawal exited amid reported fee or creative disputes. Akshay’s company swiftly slapped a Rs 25 crore legal notice for alleged sabotage and unprofessional conduct. The matter was resolved after interventions; Paresh returned, paid dues with interest, and confirmed his participation, proving Bollywood friendships are transactional. Priyadarshan’s recent exit added fuel. He accused Firoz Nadiadwala of repeated insults over years and claimed Firoz allegedly told Akshay never to work with him. Then came the decisive July 4, 2026, public notice in Complete Cinema magazine by Cape of Good Films LLP. It boldly asserted sole, exclusive, irrevocable worldwide rights to produce, distribute, and commercially exploit Hera Pheri 3 across all platforms. This move effectively hands Akshay Kumar full creative and commercial freedom, seemingly sidelining previous partnerships. With the trio reportedly aligned and Akshay asserting dominance, the long-delayed comedy may finally escape development hell. Whether it delivers the laughs or more hera pheri remains to be seen.

The YRF Spy Universe’s latest outing Alpha, starring Alia Bhatt and Sharvari, has failed to emerge as the massive crowd-puller many anticipated. Despite pre-release hype positioning the two actresses as dynamic, cool young leads ready to anchor a female-driven spy thriller, the film’s opening weekend collections hovered around a modest Rs 34 crore nett in India and approximately Rs 60 crore worldwide; underwhelming figures for a big-budget franchise entry. What began as a seemingly seamless partnership between two young female protagonists quickly soured after release. Word of mouth turned dull, with critics and audiences pointing out that Sharvari’s role felt like little more than a glamorous showpiece with limited depth. Marketing missteps, including a controversial appearance on India’s Got Latent 2, comparisons of the film’s first look to Hollywood’s Nikita, and the perceived forced, superficial cameo by Hrithik Roshan, further dented momentum. The absence of any memorable chart-topping songs, which is a YRF trademark, only compounded the issues. Now, fresh videos of Alia and Sharvari meeting theatre audiences have surfaced, revealing a noticeable shift in their dynamic. While Sharvari appears energetic and engaging, Alia looks visibly upset, subdued, and far from her usual positive, dynamic self. In several clips, she maintains an uncomfortable posture, her expressions hinting at possible jealousy or quiet resentment. The easy camaraderie and playful chemistry showcased during promotions have seemingly evaporated. What was once marketed as a powerful female buddy pairing appears strained in the face of Alpha’s mixed reception. With collections not living up to expectations and personal awkwardness on display, it remains to be seen if Alia and Sharvari can salvage both their professional rapport and the film’s long-term prospects. The early signs, however, suggest everything may not be as picture-perfect as it once seemed.

Even as KVN Productions announced their Big Bang extravagant film, Toxic lead role by KGF fame Yash, the expectations hit the sky. Directed by Geetu Mohandas, herself an actress and artist known for her Malayalam hits, Moothon and Liar’s Dice, she is now firmly in the saddle with her talent to direct. Toxic, a drug mafia gangster film set in Goa from the 1950’s to 1970’s is an action, gore and thriller for aficionados, building up sky high excitement to see Yash in this killer avatar. Toxic is set to hit cinemas on August 26. The team had guarded a big secret till its recent glimpse video…it was all about Yash, but not a word leaked out about the sirens sizzling, spying and socking the male lead. Even as this mystery built up, the producers released the glimpse video. And a treat …the film has four leading ladies…Nayanthara, the Queen of sophistication; Kiara Advani, the artist who electrifies the screen with her appearance; Huma Qureshi, the artist who performs with much dedication; and Rukmini Vasanth, she of Kantara fame, trained at the Royal Academy of Arts. These ladies were not just gangster molls and props, parading in outrageous outfits…each one has a solid role that moves the story and generates twists ….Yash fans are in for a thrilling treat.

Cocktail 2 entered its second week on a relatively stable note despite the arrival of a major competitor in the name of heavyweight, Welcome to the Jungle. After a strong first week of Rs. 70.50 crore net, the Shahid Kapoor-Kriti Sanon-Rashmika Mandanna starrer collected Rs 4 crore on Friday (Jun 26) which was the 8th day, followed by Rs 4.25 crore on Saturday (Jun 27) and Rs 4.40 crore on Sunday (Jun 28) i.e. 10th day. These numbers were respectable for a film facing fresh competition, showing it could still command decent screens and audience interest over the weekend. However, Monday, the 11th day, it was a completely different story. Cocktail 2 crashed to just Rs 1.75 crore net from 3,873 shows at a low 16.51% occupancy, taking its domestic collections to Rs 84.90 crore. The nearly 60% drop from Sunday’s Rs 4.40 crore was brutal and exposed the film’s inability to sustain momentum once the new release tightened its grip. In stark contrast, Welcome to the Jungle delivered a blockbuster opening. The Akshay Kumar-Suniel Shetty comedy raked in Rs 15.25 crore net on its first day, jumped to Rs 20 crore on Saturday, Rs 24.75 crore on Sunday, and still posted a solid Rs 8.50 crore on Monday which was its 4th day. In just four days, it amassed Rs 72.25 crore net in India; more than Cocktail 2 managed in its entire first week plus four days of the second. But the moment Monday arrived; the ultimate testing day for every film’s staying power, Cocktail 2 completely surrendered. A Rs 1.75 crore Monday against a competitor’s Rs 8.50 crore is not a hold; it is a rout. The numbers don’t lie; competition killed Cocktail 2’s second week and effectively ended its theatrical momentum far earlier than it deserved.

Kangana Ranaut once zoomed through Bollywood like a queen in a sports car; bold, unstoppable, collecting hits and National Awards. But her recent journey has turned into a comedy of errors on four wheels. With Bharat Bhagya Vidhata crashing as the fourth consecutive flop, the highway to silver-screen glory now has a big flashing “Road Closed” sign. It’s time for a playful pit-stop analysis of the last four bumpy rides. First gear: Dhaakad (2022) — Kangana played a slick, gun-toting spy in this high-octane action vehicle. It looked flashy on the trailer highway but the audience took a different route. The film stalled spectacularly; a certified disaster with barely any collections. Flat tyre number one. Second gear: Tejas (2023). She soared as a brave Indian Air Force pilot in a patriotic drama. The emotional highs were there, the aerial stunts impressive, yet the box-office altimeter showed a steep nosedive. Another disaster. The plane of expectations never really left the runway. Third turn: Emergency (2025). Kangana took the director’s seat and played Indira Gandhi in a politically charged drama. It sparked debates and controversies like rush-hour traffic, but multiplex counters saw more tumbleweeds than ticket buyers. Disaster number three: the road was getting narrower. Fourth and final blockade: Bharat Bhagya Vidhata (June 2026). In this intense tribute to the unsung hospital heroes of 26/11, Kangana delivers a sincere, grounded performance as nurse Geeta and even co-produced the film. Noble theme, strong supporting cast, gripping real-life inspiration… yet the audience stayed home. The film city highway looks permanently barricaded for Kangana. Maybe it’s time to take the political exit ramp, where her fiery speeches and larger-than-life persona can still draw crowds and headlines. Or perhaps she’ll do what she does best; go back to the beginning, struggle, fight, and rebuild from scratch.

When did Karan Johar discover he is Janus-faced? After producing bling, bauble, bubble, highly commercial cinema that clicked with high voltage entertainment, he now wants to move on from fantasy illusion to folklore psycho horror illusion. Johar leaps into the perfectly crafted, absorbing and thought-provoking world of Malayalam cinema. He may counter your question why this shift? Karan Johar being Karan Johar may respond ‘Yeh zindagi hai ek maya hai’ …illusion. Malayalam cinema aficionados are chomping at the reins, waiting for the now in progress mega project from Dharma Productions …already Mammootty’s Brahmayugam and Pranav Mohanlal’s Dies Irae have raised the excitement for this genre of films …Folklore based battle between Truth and Illusion, normal and preternatural. Odiyan is a film set in 19th century Kerala. A matriarchal family Is threatened, violated by horror filled encounters with an Amanushya shapeshifting, para normal being. Kerala’s tradition and lore are full of such mystical events and ways of worship. It is said that the 4th Veda, Atharva veda deals mainly with paranormal phenomena. This epic spectacle has Karan Johar, Adar Poonawala, Apurva Mehta and Supriya Menon pooling their talent and skills. But wait …who leads the Odiyan illusion? Prithviraj Sukumaran and Manju Warrier are battling it out for supremacy in this script, directed by ace director Samuel Rahul Sadasivam. For those of you wanting more of shape-shifting horror …Werewolves, Japanese Kitsune (mythical forests), Norse God Loki (European) the faceless men in Game of Thrones, Harry Potter wizards and witches, Odiyan: The Age of Illusion is all set for scaring and socking the viewer – spectacularly.

Imagine Director Jeethu Joseph and superstar Mohanlal sharing the rarest of rare wines on a convivial evening …the Drishyam franchise. Embarking on Drishyam 3, Jeethu Joseph ekes out the last drop from this sensational, heady wine. Mohanlal, as Georgekutty has already internalised what and how he has to power this third part…the very first Drishyam shows what extraordinary heights he climbs to save his family …a naive wife and two teenage daughters from the blood lust of well-heeled youth…even as he successfully commits a crime and buries the evidence, he still copes with the guilt and fear of being caught. Lalettan carries the entire burden of his family and film on his sinewy shoulders. Drishyam 3 explores the pain and purgatory of his crime even as Georgekutty moves up the social and business ladder, still glancing over his shoulders for that potential chilling expose that could devastate his family. But in Drishyam 3, it is not the strong story roles of the cast, it is Mohanlal who carries the entire film. But what is amazing is that in just five days the film has raked in Rs 150 crore and is marching to Rs 200 crore like a lumbering freight train…54 % of this is from the overseas market, a testimony to the Malayali diaspora who yearn to watch films that feature their favourite heroes. Mohanlal does not disappoint…he propels himself as the only actor to that rare status of his three films, Thudarum, Empuraan and now Drishyam reaching the Rs 150-crore mark, and on his way to overtake Fahad Faasil’s Aavesham and Prithiraj’s AaduJeevitham. The Mohanlal franchise has many more to come as the complete actor.

Tamil Nadu’s new party in power and chief minister’s Joseph Vijay’s black dress code is much talked about. Coincidentally, Suriya’s 45th film titled Karuppu is in the news not for this colour or dress code but for several roadblocks that have made director RJ Balaji literally shed tears and producers S R Prabhu and Dream Warrior Pictures express deep concern about the film being leaked even before it’s formal release on May 14. CM Vijay even announced that two extra shows at 9 am could be screened as there was much excitement for Suriya’s screen presence after two years. Online and pre-bookings did brisk business. Imagine the sore disappointment when fans were told that Karuppu has been stalled. The usual carping that producer Prabhu had reneged on contract dues with financiers, that the KDM (key delivery message ) of Quebe Cinema had made some major mistakes …matters that defied fixing the blame on anyone. But troubles come bundled in jumbo packs …even as the team went into frenzied midnight huddles, news of Karuppu being screened in UP, Maharashtra and other markets sent shock waves …how could the film be released without its formal screening in Chennai? Was it a sabotage leak or a system failure …human error or digital outage? Director Balaji who had dedicated 32 trouble filled months in getting Karuppu with a budget of Rs 140 crore ready, broke down. A lot is riding on this film….Suriya, after the failure of Kanguva and tepid reception for Retro was hoping that Karuppu would break the jinx. Often insurmountable roadblocks are overcome by Divine grace. Even as Balaji apologised to the audience for the delay, he was optimistic about Karuppanna Sami’s compassion in rewarding those who worshipped him.

April 20 raised the summer heat some notches higher when the teaser of Ayushmann Khurrana’s Pati Patni Aur Woh Doh was unveiled. The expectation and salivation promised to stay charged with a teaser focused on a zany comic and clandestine cat escapade. Whatever changes in the world, men straying in marital bonds and coveting parayadhan is not going to change. Khurana not only juggles one temptation, but teaches how to juggle a third one too…reminding us of the Hollywood 1967 Tony Curtis, Claudia Cardinale comedy Don’t Make Waves …“one in the air, one landing and a third, pending”. Prajapathi Pandey is the lucky hero who gets to romance three ladies …Sara Ali Khan, Wamika Gabbi and the delightful Rakul Preet Singh who fight like cats on a hot tin roof over him, yet want to tear him to pieces for this talent. Vijay Raaz, playing the police officer, is bound to bring the roof down with his tongue in cheek interrogation of Pandey ..“You got caught with one, the other rushed in to extricate you..the third bird, is she a friend too?” Tigmanshu Dhulia and Vishal Vashishtha play interesting characters as foils. A Mudassar Aziz directed comedy of errors, T Series and PR Studios have collaborated to bring this Zany Zappy complicated three-cornered love triangle.  You will have to wait till May 15 to get lessons on how to stray even as you remain married.

  The film Dacoit got mixed reviews trying its best to rise up like a stone at the bottom of a well and all but got its RIP reviews. Suddenly Dacoit has picked up speed and eyeballs…worldwide vasool is now Rs 50 crore, a jaw dropping happenstance for a film that has more swagger than substance. In fact, the title has nothing to do with the story set in a village. The antagonist and protagonist, Mrunal Thakur and Adivi Sesh filled with love revenge and blood lust, each trying to vanquish the other…none of the fearsome dacoit who terrorises. So what happened to that sinking film? Mrunal Thakur …this dimpled dazzling and quietly charming leading lady has single-handedly carried Dacoit and its sizzling gun on her shoulders, bringing viewers in by word of mouth. Mrunal , the darling of Telugu pot boilers, and the unforgettable Lakshmi of Sita Ramam (with Dulquer Salmaan ) has been trained intensely for gun handling. It is evident that she has worked hard enough to be compared with Alia Bhatt, Deepika Padukone and Kalyani Priyadarshan who have moved into the heavy lifting class of women centric films. Mrunal still has a long way to go …she is nowhere near Phoolan Devi, the Chambal ravines terror inducing dacoit …but she has put her heart, soul and delicate persona to test in this intense drama.

Once Bollywood’s most reliable Khiladi, Akshay Kumar now finds himself in a worrying slump. The new release of Bhooth Bangla, his much-hyped horror-comedy reunion with Priyadarshan after 16 years, has opened to underwhelming numbers. Paid previews fetched Rs 3.5 crore, while Friday’s Day 1 collection stood at Rs 12.25 crore, taking the India net to Rs 15.75 crore so far. Worldwide gross has reached Rs 23.9 crore but these figures fall well below expectations for a big-budget genre film. Mixed-to-negative reviews and weak word-of-mouth have already signalled trouble ahead, with analysts projecting a lifetime India net of just Rs 75 crore at best. This latest disappointment is not the first. Between 2022 and early 2024, Akshay delivered a string of flops: Bachchhan Paandey, Samrat Prithviraj, Raksha Bandhan, Ram Setu, Selfiee, Mission Raniganj, Bade Miyan Chote Miyan, Sarfira, and Khel Khel Mein. A brief 2025 revival with Sky Force and Housefull 5 offered hope, but Bhooth Bangla now threatens to reset the narrative of decline. Industry watchers point to deeper issues. Audiences are increasingly rejecting Akshay’s familiar mannerisms; the same over-the-top energy, predictable comic timing, and larger-than-life hero template that once worked. Overexposure remains a major complaint; the actor’s habit of releasing multiple films a year has led to fatigue. More critically, the storylines and narrations feel non-inventive and recycled, lacking the fresh writing that defined his golden run with Hera Pheri or Bhool Bhulaiyaa. Akshay has acknowledged past criticism and even spoken about audience calls for “kuch alag karo.” Unless he breaks the cycle with genuinely original scripts and reduced output, the once-bankable superstar risks watching his box-office dominance fade further. Bhooth Bangla may still surprise with a miracle hold, but the early signs suggest another chapter in a challenging new phase for the Khiladi.

Two films’ trailers…poles apart in setting, content and impact made history even before they hit the big screens. They are: Malayalam film, Patriot and the evergreen epic Ramayanaa in Hindi. The two legends of Malayalam films, Mammootty and Mohanlal will soon be seen in Patriot, a big budget extravaganza directed by Mahesh Narayanan. If you can conjure up Keralam events that are awaited with nail-biting anticipation every year –the Thrissur Pooram and the August Vallam Kali (boat race) – similar to the case with Patriot, expected to hit theatres on May 1. Mammootty viewed Patriot at Raagam cinema in Thrissur even as Mohanlal did at Kavitha theatre in Ernakulam. Not to miss the news that Patriot is the lead trailer of the LA Film Festival, a moment of pride to the Kerala diaspora. Other celebrities to be watched in Patriot are Nayanthara, Fahad Fasil and Kunjappan Boban who raise the star value of a certain to be hit …with Nationalism as the pivot. The other trailer that wowed the audience is Ramayana, the immortal classic that never tires those who watch it with spiritual ardour. This unveiling first look took place in LA where Ranbir Kapoor, who plays Shri Ram moved the audience with his touching introduction. A considerably slimmer and gentle Kapoor played his pivotal role to extreme perfection …the hall reverberated with Jai Shri Ram chant when he said, “Shri Ram is the conscience of a nation/”.  The India showing was on Hanuman Jayanthi. The audience were speechless watching the VFX of Ravana’s Palace, Ram Sethu and the Vanara army, filmed with much devotion by Nitesh Tiwari. Sai Pallavi as Sita and Yash as Ravan give gripping portrayals. It will be released this Diwali.

Tamil film’s popular hero Suriya is like a wounded lion, licking his film flop wounds in Mumbai …his mood, understandably Black. Between 2011 and now, except Jai Bhim and Surarai Pottru, he has given more flops than hits —Kaappan, Etharkkum Thunindhavan and of course Kanguva. But Suriya is not one to wilt on the ropes and whither. Why was Saturn’s ruin/reward big but no one said Saturn is malefic for Suriya? So, when the talented director R J Balaji read the script, originally intended for Vijay, Suriya jumped at this chance …Dream Warrior Pictures and producer S R Prabhu came in at the right time and Karuppu took off. The team worked the project as a fail-safe alchemy, pulling every trick in the bag to ensure Suriya fans troop into cinemas on May 14 to cheer their hero? Suriya is quietly confident about Karuppu (he plays a lawyer). The very first song, music by Sai Abhyankar, was well received. But it is said that Song # 2, a lively rocking foot tapper is sure to be a rage. It has Suriya’s trademark debonair moves but it is the singer S T Silambarasan (Simbu) in his new role as a singer, who is all set to electrify the audience. Director RJ Balaji, a radio jockey, is also acting in the film as the Devil’s Advocate. Trisha is the female lead, an actor with more than just good looks…a powerhouse of talent.

Vijay and Sangeetha’s divorce plea has broken the net along with their marriage vows.. What started off 17 years back as a wow marriage is now in the ruins of claims and counterclaims of vows, infidelity and all kinds of mud mutually thrown. Much talked about divorce was that of Vijay and Sangeetha. But not all divorce seekers are running after alimony. Take chubby and cherubic Hansika Motwani who held sway over the swarthy Tamilian heroes with her “white” complexion. In her very first movie, she took off in a flight with none other than the future deputy CM of TN …the cash registers of course jingled with the pairing. But Kollywood was not overly smitten by her fair and lovely looks. Acting wise, she could just about giggle and sway. Soon, her mother cast around for a suitable boy. In 2022 of December, she married industrialist Sohail Kathuriya. Soon, Hansika realised that they were in no way compatible. What a surprise! Her divorce petition specially mentioned she needs no alimony, even as a Bandra family court granted them the divorce. So much for twinning in red. Talk of twinning outfits…Ravi Mohan opted to walk out of 17 years of marriage to Aarti and their two sons, leaving her heart broken. Ravi Mohan walked into the Goan abode of Kenisha Francis, a singer. And guess what both were twinning in a peach outfit at an event, to serve further grist to the rumour mill. So far Kenisha has not said yes or no to Ravi Mohan, a typical stance when the intruder in a marriage has her own fears. What if? Ravi Mohan, a whiner about his personal life is now talking existential truth …in his Insta he says, “Guys say what you want, since the general perception is that it is always the woman who is wronged. Men too are victims“.

The Udaipur Palace wedding of Vijay Deverakonda and Rashmika Mandanna was much talked about not just for their arresting looks, but the weight, worth and workmanship of the gold bounty they wore…carved by the craftsmen of Shree Jewellers of Hyderabad who toiled for 10 months to handcraft some of the most exquisite ornaments. The couple were admired for their choice of traditional Bharathiya jewellery, not opting for modern minimalist trends. Coffee table books have made much of iconic temple art and architecture but this couple chose to translate our ancient traditions into stunning wedding ornament, setting a new trend. It is usual for the bride to be decked up in striking jewellery …the familiar “necklaces, diamonds, Nath and nose pins, the anklets and bangles. Rashmika wore 11 unique pieces, based on the Nakshi carvings of ancient temple ornaments with their unmistakable pearl like Rava granulation ..her kaasu malai, chocker, arm vanki , the vadyanam and forehead mathapatti would remain the envy of any bride . The antique dull matte finish made sure that these heirlooms were “real” not tinny gaudy ersatz. But it was Vijay Deverakonda who stood out like a sovereign monarch in his gold finery …of haaram, gold cummerbund, arm bands and ankle khadaas…boldly setting a new bridegroom fashion trend. His boldness in carrying off a heavy load of envy worth wedding finery was much appreciated. Oh yes, the wags and viewers were aware that this load of gold cost a whopping Rs 5-7 crore. Anamika Khanna’s outfits in bridal orange and groom’s milk cream silk dhoti vied with the adornments. The couple had branded the event Virosha …wagers are on…Netflix or Prime?

Sangeeta Vijay just proved that hell hath no fury like a woman scorned. And scorned she is…especially when she alleges that her high profile actor husband Vijay not only shares screen space with a top heroine but strays into extra marital space too. What gives credence to Sangeeta’s allegation? The super successful Tamil hit Gilli is said to have sparked the closeness of the duo –Vijay and Trisha. In her divorce petition filed in the Chengalpet Family Court, she has exposed many squirm worthy titbits, a Disneyland of Voyeuristic activity…that Vijay and his paramour used to travel together, that she put many such together-photos on social media. But a smouldering Sangeeta claims she did not like to bring it in the open during a crucial time for Vijay. And he for his part could sense the volcano would erupt anytime…so he himself suggested to Sangeeta to agree for a mutual divorce. Something triggered the fuse …The ‘Patni’ saw ‘Who’ go up in the Panaiyur Mansion lift to her Pati’s room with her pet poodle. This must have been the tilting point. Sangeeta claims her children Joseph Sanjay and Divya Sasha suffered much shame and emotional trauma. The clairvoyants and compulsive voyeurs have another take — that the DMK has instigated the wife to openly disclose Vijay’s extramarital capers. A well-educated and wealthy wife like Sangeeta does not need any such outside help. She is quite capable especially when Vijay suggested Rs 15 crore as settlement against her demand for Rs 50 crore. The election fray and front are ready to throw every shortcoming at Vijay…Karur stampede, Jana Nayagan fiasco and now Sangeeta’s public allegations are sure to make a potent lethal strike at his popularity. Is it Vijay’s Rahu Kaal (bad period)?

Theatre and film actress Ritika Shrotri is set to perform at the inaugural Mumbai Fringe Festival, part of the global Fringe movement that includes the prestigious Prague Fringe. The Mumbai edition runs from March 12-15, bringing the world’s largest arts movement to India for the first time. Shrotri, known for her work in Marathi and Hindi cinema, has been invited to showcase her acclaimed solo production, The Light Catcher, a 50-minute one-woman play previously seen at the Edinburgh Fringe and Camden Fringe in the UK, where she embodied 10 distinct characters. The English-language performance follows a photographer’s emotional journey in search of her “favourite” photograph — only to find meaning in the most unexpected moment of life — bringing to life a cast of characters from India, the UK, Venezuela, North Korea and Ethiopia. Audiences and critics have lauded the show as a visually and culturally rich theatrical experience. Shrotri has been a prominent figure in the Marathi film industry for over 15 years, with notable roles in films including Bucket List (as Madhuri Dixit’s daughter), Boyz, Mukkam Post Bombilwadi , London Misal and lstest Wada Paav. She has also appeared in Netflix originals such as Raid 2 and Meenakshi Sundareshwar. Written by AI scientist Niranjan Pedanekar, The Light Catcher draws inspiration from Kevin Carter’s haunting photograph of a Sudanese child — an image that sparked global conversation on art and ethics. The play has earned accolades including Best Play at the Red Curtain International Festival and a Best Actress award for Shrotri, following more than 30 sold-out shows across India’s leading venues.

Super star Rajinikanth had much to appreciate in daughter Soundarya’s February release, With Love. The film’s 10-day run proved that his delight in seeing the movie was not just paternal love. Soundarya’s Zion Films and MRP Entertainments have struck gold with this Rs 5 crore budget film; it has earned 19 crore in India, and Rs 23 crore worldwide in just 10 days. What made With Love such a heart-warming family entertainer?  Remember King Cole’s unforgettable number Love is a Many Splendored Thing! This Valentine month’s offering did not have to try hard or pitch with glamour, action and steamy scenes. The debut hero, Abhishan Jeevinth is still recovering from the fame he cornered directing Tourist Family. He made a mark with love and his unknown co-star Anaswara Rajan, their quietly unfolding romance playing out to Sean Rolden’smusic…already the song Edukkuthan Intha kadhal (why this love), turning into a love anthem for the young. Debut director Madhan has literally unfolded his story like opening the fragile petals of a lotus…a blind date and how the duo discover that they vibe beautifully and turn their stranger’s status to love. Kollywood is on an innovation yet cost cutting run…make films that don’t make a pauper of the stakeholders, films that appeal to your entertainment need, yet leave a lasting impression, With Love. Has Kollywood finally found a film formula to get audiences again to cinemas? It seems so when huge budgets and dud films hurt. We hear you … .Superstar’s per film salary could make many such films …but then he is the  one of a kind Rajinikanth.

Vaikom in Kerala is famous for its esoteric culture and temples. Now Vaikom Vijayalakshmi, the born blind singer has given her hometown a new and motivational identity. Her parents named her Vijayalakshmi as she was born on Vijayadashami in 1981, little realising that this girl child would never see the world. Her father, Muraleedharan  made an unusual one string Veena for her and she started her melodious journey. Violin maestro the late Kunnakudi Vaidyanathan, impressed by her skill, gave the title of Gayatri Veena. There was no stopping her from then onwards …crooning her way through both film songs and devotional songs. Starting with Malayalam films, she is now popular in Tamil films too, her Tamil diction and renderings near perfect. She has won several state awards. Her film songs are many and popular, launched in the film Celluloid, but her Murugan devotionals (remixes too) are celebrated, especially “Paal manakkuthu pazham manakkuthu Palani malaiyile” .One of the most significant festivals , Thai Poosam  celebrated with amazing devotion and dedication in Sri Lanka , Malaysia and South India reverberates with Vijayalakshmi’ s devotionals, the crowds sway, mesmerised by her. Her aspiration is to render songs under the direction of Ilayaraja and A R Rahman. But her personal life is not fulfilling…her family is frustrated by two attempts to get her married. She filed for divorce from a misogynist husband Santosh who wanted her to stop singing and coming out in public. Her blindness put him off. Vijayalakshmi is not daunted by lack of sight …her rustic voice tinged with haunting melody (a trained masters in music) has made her own name. John Milton’s poem “On His Blindness” is appropriate…They also serve who only stand and wait.”

Vishal Bhardwaj and Shahid Kapoor’s collaboration has been a beacon of artistic excellence in Bollywood, yet it consistently grapples with commercial underperformance. Their partnership began with the 2009 caper thriller Kaminey, a film that blended dark humour, gritty realism, and memorable music like the chart-topping Dhan Te Nan. It achieved moderate box office success, grossing around Rs 71 crore worldwide against Rs 35 crore budget, but its niche appeal limited broader mass acceptance. Bhardwaj’s signature style; complex narratives inspired by Shakespeare or real-life grit, often prioritizes intellectual depth over crowd-pleasing masala elements. This pattern persisted in Haider (2014), a haunting adaptation of Hamlet set against Kashmir’s turmoil. Critically acclaimed and award-winning, it earned Rs 70 crore in India on a Rs 24 crore budget. Rangoon (2017), their third outing, was a visual spectacle of wartime romance, yet it bombed spectacularly, collecting just Rs 38 crore against Rs 60 crore budget. Bhardwaj’s films are classy and intellectual, not “mainstream” blockbusters; they demand viewer engagement rather than passive entertainment, resulting in polarized reception. Shahid Kapoor’s choices often lean toward challenging roles, but recent ventures like Deva (2025), underscored this– earning a mere Rs 51.73 crore worldwide on a Rs 50 crore budget, deemed a flop due to weak openings and mixed reviews. Enter O’Romeo (2026), their fourth venture, an action thriller rooted in Mumbai’s underworld, releasing on February 13. Despite a stellar cast including Triptii Dimri and songs like Ishq Ka Fever and Aashiqon Ki Colony, the buzz remains subdued. The film lacks the “high-voltage drama” or explosive marketing hype of mass entertainers. Ultimately, this duo’s inability to deliver consistent hits stems from Bollywood’s long debate of art versus commerce. O’Romeo could break the cycle if word-of-mouth ignites, but without amplified excitement, it risks joining...

Sunny Deol, the iconic action hero known for his thunderous dialogues and patriotic fervour, has staged one of Bollywood’s most remarkable revivals in recent years. After a prolonged period of professional setbacks, where he endured a staggering 22-year drought without a solo hit from 2001 to 2022, delivering over 30 flops. Back injuries and experimental roles in non-action films further hampered his momentum, leaving the once-mighty “dhai kilo ka haath” wielder in the shadows. The turning point arrived unexpectedly with Gadar 2 in 2023, a sequel to the 2001 blockbuster. Reviving his role as Tara Singh, Deol shattered box-office records, amassing over Rs 691 crore worldwide and becoming his highest-grossing film ever. This wasn’t just a nostalgic hit; it redefined his career trajectory, proving that one film could indeed transform an actor’s fortunes. Suddenly, long-dormant sequels materialized: projects like Dev, Jatt 2 and Border 2, which had languished for years, gained traction. Border 2, released on January 23, 2026, has already emerged as a massive success, celebrating India’s Republic Day with patriotic zeal and featuring Deol alongside Varun Dhawan and Diljit Dosanjh. It has shattered records, confirming his resurgence, and even prompted announcements for Border 3 and Gadar 3. Adding to the excitement, veteran director Rajkumar Santoshi, Deol’s collaborator on classics like Ghayal and Damini, is keen to make Ghatak 2, a sequel to 1996 cult hit. Deol has been cautious about cashing in on nostalgia without strong scripts. With upcoming films like Lahore 1947, Ramayana: Part 1 (Diwali 2026), Gabru and Baap, Deol’s slate for 2026 alone could see up to seven releases. At 68, he’s not just back; he’s dominating, blending old-school machismo with modern appeal, reminding Bollywood that true stars endure. His journey from flops to blockbusters exemplifies that age is no barrier to box-office glory.

A hiatus teaches new tricks and treats to an artist. Silambarasan too needed this makeover, badly if he had to survive in Kollywood. After huge hits Manadu, Vinnai Thaandi Varuvaaya and Manmadhan, a noticeable slippage took place in his performance and choice of scripts. Simbu was quick to take action…worked on his body and appearance. More important…he signed up with director Vetri Maran for Arasan, a gangster film planned to be another Vada Chennai, Vetri Maran’s Hollywood style slick action movie. At one point the announcement that Vijay Sethupathi (a Vetri Maran’s stable staple) as heft for Arasan, raised the expectation quotient of fans. But suddenly Sethupathi opted out of this Rs 500 crore project. With Anirudh providing music, and a strong script, Sethupathi won’t be missed. Simbu’s next is God of Love, a counterpoint to gangster violence and vitriol. The movie, a romantic fantasy from the AGS stable, is temporarily titled STR 51. This soft avatar and its direction by Ashwath Marimuthu has raised the stock of God of Love considerably. Fans of Marimuthu may remember Dragon and Oh My Kadavule that left a lasting impression. Archana Kalpathi from the production house is optimistic that the film’s four dances of Simbu would definitely bring back his crackling electric presence with stylish dance moves. But what raised curiosity is the news of Bollywood star Mrunal Thakur as leading lady for Simbu. Tamil mags website even flashed photos of the pair, which went missing the next day. Are you trying to connect Simbu’s pairing with Mrunal and the sizzling news of a Dhanush Mrunal wedding? Dhanush and Simbu were teen friends till he married Aishwaraya, Rajinikanth’s daughter. What’s intriguing about real life links and film casting? The God Of Love title could just be a hit or miss.

Arijit Singh’s sudden decision to step away from playback singing swiftly followed by an even more unexpected development of entering active politics (joining BJP) has shocked his fans and well-wishers. With Assembly elections drawing closer, the induction of celebrities into political parties has become an increasingly common phenomenon in West Bengal. The speculation has not remained confined to social media and public discourse. Political circles, particularly within the BJP such as senior BJP leader Dilip Ghosh, Murshidabad BJP MLA Gaurishankar Ghosh and actor-politician Rudranil Ghosh acknowledged awareness of the rumours but confirmed that no communication regarding Singh’s possible induction had been received from the party’s central leadership. Observers analyse how Singh’s name was linked with politics. Gaurishankar Ghosh pointed to the singer’s longstanding humanitarian activities in Murshidabad. According to him, Singh has quietly supported several voluntary organisations and maintains a close understanding of his home district’s social and economic challenges. This sustained engagement with grassroots issues, he suggested, may have contributed to the political speculation surrounding the singer. The MLA further noted that Singh’s stature, influence, and compassionate public image could significantly benefit a backward district if he were ever to enter public life. Rudranil Ghosh, meanwhile, highlighted Singh’s past expressions on social media during moments of political and social unrest in Bengal. He referred to the singer’s involvement during the RG Kar movement, including the composition of a song, as well as political views occasionally reflected on his X account.  At present there is no confirmation from either side. But as they say there is no smoke without fire.

Shahrukh Khan’s King is waiting to break the box office and music systems of the young and restless…and along with King Khan’s magic, young music director, the 35-year old Anirudh Ravichander is all set for a sound blast. Having set music for Khan’s blockbuster Jawan for which Anirudh walked away with Rs 10 crore. His line-up of superstars, Shah Rukh, Rajinikanth, Allu Arjun, Nani, Vijay is the envy of many established music directors. Anirudh’s signature tunes started with ‘Why this Kolaveri’ sung by Dhanush in 2012. Anirudh is a rare challenge to maestro Ilaiyaraaja right on top of the pyramid and AR Rahman the Oscar holder for music with melodies that have endured. Once Anirudh asked ARR, “Sir which star is your inspiration…Superstar Rajini of course, he said. Anirudh from Rajinikanth’s family, grinned. With so much name and fame, this young man has not let complacence go to his head. He is popular with every production house and is an acknowledged team player. “My team is very alert…even at 50%, they want higher reaches. My instinct follows them,” AR Rahman once told him, “Ani, include more classical North Indian and South Indian ragas for longevity.” Whatever his choice of ragas or beats, he holds the unique record on Spotify for 13 billion streams by an Indian music artist. This hugely popular man is of course chased ..by female fans. His short dalliance with singer actor Andrea Jeremiah spread like wildfire. But it was not encouraged as he hails from a conservative Iyengar family. This young King of music is the perfect foil for a salt and pepper look for King Khan’s gangster film. Anirudh is ready to make the King, who has been there, seen it all, dance to his tunes.

Artists from India have always looked forward to visiting London, a city that consistently celebrates global culture and artistic excellence. This spring –February to April — the UK will witness a remarkable cultural season as some of the world’s most renowned Marathi artists arrive to showcase their extraordinary talent. London’s enduring appeal to the arts continues, and the Maharashtrian community in the UK has once again succeeded in hosting exceptional performers from India. Leading this season is eminent actor-director-writer and Sangeet Natak Akademi Award winner Dilip Prabhavalkar. Widely admired for his iconic work across Marathi and Hindi theatre, television and cinema, Prabhavalkar will captivate audiences with a unique and immersive audio-visual experience that promises to be both powerful and memorable. Adding to this rich cultural offering is celebrated Hindustani classical vocalist Vidushi Devaki Pandit, a distinguished disciple of Pandit Jitendra Abhisheki. Her UK tour will feature classical compositions, light vocal pieces, and a deep exploration of the subtle nuances of Hindustani classical music, engaging audiences with both depth and elegance. The season also welcomes two outstanding young instrumentalists from Pune, each carrying forward legendary musical legacies. Ninad Daithankar, continuing the tradition of Pandit Shivkumar Sharma, and Saurabh Vartak, a disciple of Pandit Hariprasad Chaurasia, will present classical performances alongside the much-loved Shiv-Hari compositions that have enriched Bollywood cinema. Together, these events promise a vibrant and enriching cultural journey from Maharashtra, touring multiple cities across the UK. The growing artistic affinity between Maharashtra and London stands as a testament to the enduring power of cultural exchange.

Varun Dhawan’s turn as Major Hoshiyar Singh in Border 2 is nothing short of a revelation. He brings together innocence and intensity, vulnerability and steel, playing a character who is emotional yet detached, fiercely loyal and deeply patriotic. His performance anchors the film: every nuance, small gestures, that trademark half-smile, and sudden flashes of resolve, adds layers to a role many had prematurely dismissed. When the first song, “Sandese Aate Hain,” dropped, social media was quick to mock Varun, spawning memes that focused on his style of acting and that one-sided smile. Those jokes snowballed into a narrative that he might be the weak link in a high-stakes war drama. But Border 2’s reception has decisively flipped the script. Opening around Rs 32 crore and rallying to over Rs 40 crore on its second day, the film was on track to cross the Rs 100 crore mark by the first weekend and possibly Rs 150 crore with the extended Republic Day holiday. Box-office success has a way of speaking louder than criticism, and in Varun’s case it has been vindication. More than just a personal win, this success has bolstered the film’s consolidated standing and reaffirmed Sunny Deol’s mass appeal, while giving Varun a new lease on his career. Critics and audiences alike are now praising his commitment, range, and the emotional truth he brings to the character. To the trolls who wrote him off early, the answer was simple: deliver a performance that connects—and let the numbers follow. In Border 2, Varun Dhawan has done exactly that, turning mockery into momentum and scepticism into applause.