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Sunny Deol finds himself both under the glare of the media and at the centre of a massive cinematic gamble. After the commercial success of Jaat, directed by Gopi Chand Malineni, the veteran actor is reportedly lined up for six major projects in 2026 — a slate that trade sources estimate represents roughly Rs 750–800 crore of production value riding on his presence. Leading the pack is Border 2, directed by Anurag Singh and said to boast an ensemble including Diljit Dosanjh, Varun Dhawan and Sonam Bajwa alongside Deol. Industry estimates peg its budget at around Rs 90 crore. The most eye-catching commitment is Ramayana: Part One, directed by Nitesh Tiwari — a highly ambitious epic that reports suggest could cost close to Rs 400 crore, making it one of the landmark productions on the horizon. Other noteworthy films on Deol’s plate include Lahore 1947, backed by Aamir Khan’s production house and expected to be a substantial project; M Padmakumar’s Soorya, a Hindi remake of the Malayalam thriller Joseph, which trades estimate at about Rs 60 crore; and Jaat 2, already announced and anticipated in the region of Rs 50 crore. Rounding out the list is Baap, directed by Vivek Singh Chauhan and reportedly featuring Jackie Shroff, Sanjay Dutt and Mithun Chakraborty in supporting roles — another mid-to-large-budget venture. Taken together, these six titles — Border 2, Ramayana: Part One, Lahore 1947, Soorya, Jaat 2 and Baap — place an unprecedented financial spotlight on Deol. While not all budgets and release plans are final, the sheer scale of this slate underscores his continued bankability and the high stakes studios are placing on his draw. With paparazzi headlines and production calendars both heating up, 2026 promises to be a defining year for Sunny Deol.
The opposition Maha Vikas Aghadi (MVA)has perhaps forgotten the adage – once bitten, twice shy. Despite its humiliating defeat in the Maharashtra assembly elections just a year ago, MVA partners have failed to team up to take on the saffron Mahayuti, led by the BJP. While voting for the local body elections is scheduled to take place on December 3, only three days are left for campaigning. However, the Congress has refused to include the Maharashtra Navnirman Sena led by Raj Thackeray into the MVA fold. The NCP-SP led by veteran Sharad Pawar is hardly visible except in certain pockets in Pune and Satara districts. Moreover, it has aligned with the NCP faction led by deputy chief minister Ajit Pawar, who split the parent party three years ago. Thereby, confusing signals about the Pawar clan in particular and about MVA in general are becoming viral, adding to the vexation of the voting public. Surprisingly, no prominent MVA leader has ventured out for campaigning against the Mahayuti. On the other hand, chief minister Devendra Fadnavis and both deputy CMs, Ajit Pawar and Eknath Shinde, are combing the countryside tirelessly. MVA leaders are visible only in front of TV cameras or through press notes, making impossible demands. Perhaps sensing the verdict, they have started shouting in chorus against EVMs and charging that the electoral rolls are suspicious. Re-enactment of Bihar is, thus, feared by the rank and file of MVA.
Manish Bansal, an old timer at the Welspun Group heading its operations as CFO in the UK, Europe and the USA begins this New Year with a bang. Bansal has been promoted as President & CFO of Welspun Living Ltd, a part of the $ 3.6 bn Welspun Group. This new title sees Bansal moving from the Land of Blighty to Aamchi Mumbai. Bansal moves from Manchester to the Welspun office at Kamala Mills in Lower Parel. Bansal has been recognised by his colleagues and peers as a key strategist for the global operations of the company. In his new role Bansal will steer Welspun Living’s financial strategy, capital structure, and governance initiatives, positioning the company for sustained growth, improved value creation, and robust financial discipline. With growth in America under the Trump regime not so conducive and the UK not too encouraging for the home furnishing business, Bansal, it is learnt, has drawn up plans to aggressively penetrate into the South East Asian markets and tap countries like Australia and New Zealand too. While in the UK Bansal was actively responsible for developing Christy’s brand to lure the retail market with Welspun products.
Maharashtra chief minister Devendra Fadnavis has consciously made clear distinction (course correction) for BJP’s further growth in the state. With elections for over 29 municipal corporations, a higher number of municipal councils and even more local self-bodies due imminently, Maharashtra’s Chanakya has put his party first, over alliance considerations. During the 2024 Lok Sabha polls political alliance-Dharma exuberance saw BJP suffering sharp losses in Maharashtra, down to a single digit victory figure of nine MPs despite contesting 28 seats as against the tally of 23 enjoyed in 2019 after pitting 25 candidates back then. The Sena similarly won 18 of the 23 seats it contested in alliance with BJP in 2019. The bifurcated Shiv Sena faction under former Chief Minister Uddhav Thackeray (UBT) contested 21 seats in 2024, sending only nine MPs to parliament. Just before the subsequent state assembly elections Fadnavis was anointed ‘Maharashtra’s Sarvashri’ by Union Home Minister Amit Shah. Fadnavis micromanaged the whole process, putting up BJP candidates to include Nilesh Rane, Shaina NC to contest even as alliance partner Shiv Sena candidates (deputy CM Eknath Shinde led party). The result was an overwhelming victory for the Mahayuti alliance, with BJP bagging 132 by itself, the NDA alliance securing 235 out of 288 assembly seats in all. And yet, post facto analysis of the Lok Sabha debacle clearly revealed to Fadnavis that alliance partner NCP’s vote share (led by deputy CM Ajit Pawar) did not transfer to BJP candidates. Now, Fadnavis has made it clear that no micromanagement, political exuberance will be shown in an each-party-for-itself political showdown though alliance understanding will decide seats to be contested in the civic polls. Poaching of Eknath Shinde’s men in Thane by the BJP and Ajit Pawar’s recent political embarrassments only point in this direction.
The Trinamool Congress’ internal dynamics have once again brought its simmering generational rifts into sharp focus. A routine review of the Special Intensive Revision (SIR) exercise has instead revived questions about the shifting balance of authority within the party. TMC’s National General Secretary Abhishek Banerjee’s pointed remarks have taken on significance beyond administrative evaluation, highlighting renewed tension with the so-called Didi faction — Kolkata’s influential old guard long viewed as chief minister Mamata Banerjee’s core circle. The party had earlier instructed booth-level agents (BLAs) to coordinate with the Election Commission–appointed booth-level officers (BLOs) and update daily enumeration progress on the ‘Didir Doot’ app. Abhishek’s sharp reprimand came during a massive virtual meeting with around 25,000 leaders, where he identified eight Assembly constituencies as the poorest performers in voter-list verification. Six of these are in Kolkata — traditionally the base of Mamata’s closest lieutenants. The numbers were strikingly low: BLA activity was only 22% in Kolkata Port (represented by Firhad Hakim), 24% in Kashipur–Belgachhia (Atin Ghosh), 34% in Ballygunge (Babul Supriyo), and similarly low in Beleghata, Entally, Madhyamgram and Chowringhee. His assertion that performance was “non-negotiable” — along with the mention that Mamata Banerjee reviews his reports every 15 days — signalled that his expanding organisational authority carries the Chief Minister’s sanction. His decision to explicitly name certain leaders, including ministers Malay Ghatak and Manoj Tiwary, separate conversations with Hakim and Biswas, and plans for a follow-up meeting with Kolkata MLAs and councillors have reinforced the perception that the National General Secretary is tightening oversight over a region historically dominated by Mamata’s earliest loyalists. As the party shifts toward a data-driven, app-based organisational culture under Abhishek, Kolkata...
In Odisha, the chief minister Mohan Charan Majhi is hitting headlines every other day by announcing various schemes, measures and policies to pitch-fork the state into the big league. His latest vision is to make Odisha a $500 bn economy in the next 10 years from the current $120 bn. The five-fold growth seems over ambitious, feel experts. To achieve his vision, CM is pulling out all stops, ensuring seamless integration among various government departments. Party insiders say CM is busy with how his team will work cross-functionally holding one another accountable for delivering on commitments. To achieve this target, Odisha has to focus big time on infrastructure, industry and skill development. Meanwhile, the opposition – Biju Janata Dal and Congress – have been critical. They say Majhi government is selling lofty dreams through compelling narratives to cover up his government’s failures. These promises are designed just to appeal to the hopes and aspirations of the electorate. Sure, dreams sell but the true measure of Odisha BJP party’s success lies not in the promises it makes or the eloquence with which it presents its platform, but rather in the tangible impact it has on the lives of Odisha people.
While love and pride for Marathi is the basis of both Shiv Sena factions and the Maharashtra Navnirman Sena (MNS), the same factor can play a decisive role in determining the final seat sharing between cousins Uddhav and Raj Thackeray. Both have held repeated meetings to hammer out a solution, which still seems elusive as both are trying to claim certain civic constituencies in Mumbai having predominant Marathi-speaking population. This also covers nearly two dozen civic wards which were won by the Sena (UBT) in the last municipal election. Given the possibility of an electoral understanding, MNS leader Raj Thackeray, too, is learnt to be desirous of fielding his candidates from these areas, for the same reason. At present, the Sena (UBT) is a decimated force in the Brihanmumbai Municipal Corporation (BMC) since most of its elected corporators have joined the Sena faction led by deputy chief minister Eknath Shinde. Their wards, too, are on the bargaining block, demanded by both sides. In any case, MNS has a sizable presence in at least 30 wards. Assessing the overall scenario, Uddhav drove to Raj’s Shivaji Park residence on November 27 in a bid to take the talks further. As the Congress has refused to accept MNS in the Maha Vikas Aghadi fold, it will be a tough challenge for the cousins to decide their future course of action. Moreover, the Marathi factor has also potential to influence the outcome of the election for the most affluent civic corporation in India.
The Congress high command is expected to take a decisive call on the political situation in Karnataka before the Winter Session of Parliament begins on December 1. Congress president Mallikarjun Kharge is set to meet Rahul Gandhi, with the crucial discussion likely to take place in a day or two, according to those familiar with the developments. It is being said that party leadership is worried about the perception of a power struggle over the CM’s post .Clarity is expected before the Parliament session opens, with the high command keen to avoid any perception of instability in the party’s only major southern bastion. While the CM Siddaramaiah camp is pushing to maintain the status quo at least until March and wants a cabinet reshuffle, supporters of Dy CM Shivakumar are pushing for the Congress to clearly outline a transition plan— the sort that was informally agreed upon during government formation in 2023. Of course, the final word decision will be made by Rahul Gandhi. Party sources aired concern about the manner in which DKS was increasingly becoming rude and insolent — he had apparently refused to acknowledge CM Siddaramaiah’s presence at the same venue. A KPCC leader says, “We must go beyond the binaries of DKS and Siddaramaiah and opt for a Dalit CM. Rahulji should opt for G Parameshwara — he is an educated Dalit leader; he is someone like Dr BR Ambedkar; he has served the party well and occupied many capacities.” His elevation will have the same the impact for the Congress as what Sushil Kumar Shinde’s rise as CM in Maharashtra in January 2003, did for the Congress in May 2004 Lok Sabha polls across India. UPA I came to power. SP leader Akhilesh Yadav had also promised to push for a Dalit CM with Rahul Gandhi. It is being said Siddaramaiah will happily back a Dalit CM, particularly Parameshwara.
Former Minister KA Sengottaiyan, who was expelled from the AIADMK, tendered his resignation as Gobichettipalayam MLA on November 26. The nine-term MLA handed over his resignation to Assembly Speaker M Appavu at the Secretariat in Chennai. Sengottaiyan is the second MLA of the AIADMK to tender resignation this month. Earlier on November 4, PH Manoj Pandian resigned as Alangulam MLA hours after joining the DMK. While Sengottaiyan refused to disclose to the media about his future course of action, there is speculation that he may soon join actor Vijay’s political party, Tamilaga Vettri Kazhagam (TVK). A Gounder like AIADMK chief Edappadi K Palaniswami (EPS), his exit from the AIADMK is something that would weaken the AIADMK alliance. Initially, it was felt Sengottaiyan was headed towards DMK as he already had a word with DMK supremo and Tamil Nadu chief minister MK Stalin. He had also met with Stalin’s closest minister Sekarbabu. Sengottaiyan’s political decision is being viewed as an initiative pushed by Stalin to engineer splits in AIADMK, to spite EPS and Amit Shah. The rebel AIADMK leader is also known to be advised by BJP leader K Annamalai on his career moves to achieve their common goal of preventing EPS coming back as CM in Tamil Nadu.
A parody site put up a seemingly convincing post from Gautam Gambhir saying he was resigning from his post as he could not tolerate what was happening to the second Test against South Africa in Guwahati. Another site declared April Fool early with a parody post from Kapil Dev that said what you are getting is what you will get if a political appointee is made the chief coach. All that may be in the kind of fun that the social media pokes at Indian cricket in the bad days in which it gets pummelled on pitches made up of Indian soil. The fact remains that the lens is on Gambhir who is staring at the wrong end of the barrel as pundits, social media humorists and cricket fans are taking aim at him. Team India is on the cusp of losing a second major series at home, this time to South Africa after having folded 3-0 against New Zealand last year. Gambhir’s way of chopping and changing the playing XIs, peculiar strategies thrust on a fledgling captain like Rishabh Pant who leads in place of the injured Shubman Gill and shuffling of the batting order are valid points being made against him. Pant’s handling of the attack on a vital and decisive morning’s play in the first Test when he opened the bowling with Axar Patel instead of Jasprit Bumrah or Mohammed Siraj was the fatal slip that has led to India losing the series to South Africa. But it is the blood of the coach that everyone is praying for. Are there any odds on GG surviving as the chief coach in the Test format?
Sunny Deol finds himself both under the glare of the media and at the centre of a massive cinematic gamble. After the commercial success of Jaat, directed by Gopi Chand Malineni, the veteran actor is reportedly lined up for six major projects in 2026 — a slate that trade sources estimate represents roughly Rs 750–800 crore of production value riding on his presence. Leading the pack is Border 2, directed by Anurag Singh and said to boast an ensemble including Diljit Dosanjh, Varun Dhawan and Sonam Bajwa alongside Deol. Industry estimates peg its budget at around Rs 90 crore. The most eye-catching commitment is Ramayana: Part One, directed by Nitesh Tiwari — a highly ambitious epic that reports suggest could cost close to Rs 400 crore, making it one of the landmark productions on the horizon. Other noteworthy films on Deol’s plate include Lahore 1947, backed by Aamir Khan’s production house and expected to be a substantial project; M Padmakumar’s Soorya, a Hindi remake of the Malayalam thriller Joseph, which trades estimate at about Rs 60 crore; and Jaat 2, already announced and anticipated in the region of Rs 50 crore. Rounding out the list is Baap, directed by Vivek Singh Chauhan and reportedly featuring Jackie Shroff, Sanjay Dutt and Mithun Chakraborty in supporting roles — another mid-to-large-budget venture. Taken together, these six titles — Border 2, Ramayana: Part One, Lahore 1947, Soorya, Jaat 2 and Baap — place an unprecedented financial spotlight on Deol. While not all budgets and release plans are final, the sheer scale of this slate underscores his continued bankability and the high stakes studios are placing on his draw. With paparazzi headlines and production calendars both heating up, 2026 promises to be a defining year for Sunny Deol.
Ajay Devgn has long been a study in contrasts: a brooding intensity that anchors thrillers and dramas, and a surprisingly limited palette when it comes to frothier entertainments. As De De Pyaar De 2 hits theatres, it’s worth asking whether the actor’s recent script choices are eroding the cachet that once made him a dependable box-office draw. Devgn’s strengths are clear. He remains one of Hindi cinema’s most effective serious actors, capable of delivering taut, controlled performances in films that require grit rather than glamour. That steady gravitas has earned him big payoffs with the right material. But his flirtation with lighter comedy and flamboyant romcom territory has been uneven. Where he convinces as the silent, suffering hero, he often looks out of sync when a role demands snappy comic timing, dancing dexterity or an easy romantic swagger. Past attempts at broader comedy and mixed-genre projects have underlined this mismatch. Recent outings have done little to reassure audiences. Films such as Son of Sardar 2 and previously, Thank God had failed to fully connect with critics or viewers, De De Pyaar De’s first instalment drew mixed reactions, and a string of smaller turns and guest appearances went largely unnoticed. More recent projects like Auro Me Kaha Dum Tha’, Maidaan and Bholaa were widely seen as disappointments, reinforcing a narrative that not every script suits his strengths. For Devgn, the clear path forward is selective boldness — leaning into taut thrillers, moral dramas and textured character work, while being more discerning about lightweight fare that asks him to play against his core strengths. His next choices will determine whether he reaffirms his standing or drifts into forgettable territory.
The Federation of Cine Technicians and Workers of Eastern India has blocked the release of yet another Bengali film, fuelling speculation over whether it is merely a procedural dispute or one tangled with political undercurrents involving cast members Rudranil Ghosh and Sourav Das. The latest film caught in the crossfire is The Academy of Fine Arts directed by SRFTI debutant Jayabrata Das. Despite receiving the go ahead from the Central Board of Film Certification, the November 14 release was halted just 48 hours before opening. The move triggered a flood of social-media outrage, with many alleging arbitrary gatekeeping by the Federation. The guild claims the film breached industry rules due to the involvement of Pramod Films during post-production. That association, it argues, makes the project a commercial production, mandating guild-registered technicians and prior clearances. Federation president Swarup Biswas insists their objections target Pramod Films, not students, and has demanded the removal of the banner’s name from posters, trailers, and the censor certificate. He dismissed allegations of financial demands. Jayabrata, in a lengthy post, stated that the student team had worked independently for five years with scant resources and sought limited help from Pramod Films only when funds were depleted. The Federation has also questioned the film’s Mumbai registration, high-end shooting locations, extensive marketing, and a distribution plan involving INOX, PVR and UFO Cube, which typically costs Rs 18–20 lakh. The presence of actors like Rudranil Ghosh, now with the BJP, and Sourav Das, who appeared in The Bengal Files, has added to speculation on whether political optics are influencing the Federation’s stance. Meetings between the parties remain inconclusive, leaving the fate of the Rs 25-lakh partly crowdfunded film in limbo as calls for its release grow louder online.
After much speculation and expectation from ardent fans, Kamal Haasan and Rajinikanth announced a collaboration, after 40 years. The 173rd film of Rajini to be made under the Raj Kamal banner and Red Giant distribution. Was this the ultimate treat for adoring fans? It soon became the ultimate combo when Sundar C, Khushboo’s husband and hit director was announced as the third angle of this fusion. Things fell into place as smoothly as apple pie and cinnamon. Suddenly Sundar announced that he was quitting the project, with a dramatic communication that ran the gamut of polite language and sincere apologies, a communication clearly meant to convey his veiled, diplomatic unhappiness with the events that transpired. The film which was announced as a 2027 Pongal celebration, has now garnered much speculation and buzz as to what could have transpired. Did Sundar expect more remuneration? What was his grouse? Was the screenplay and story being tinkered with and tampered by the two veteran artists? Kollywood ears and eyes have pieced together a run of events high on surmise and low on veracity, yet compelling enough to accept…after all a Director does not storm out without strong reason. It seems Sundar was given a one liner to be fleshed out as the story by Kamal. The serial versions had Sundar’s trademark ghost theme which Kamal was not happy with. Next it was Rajini’s turn to reject the story outright, a serious ego clash. Sundar made all the right noises when taking on two titans. Now Kollywood is humming with the buzz of who would be the replacement. Good publicity even before the film is made.
The crescendo of applause for Season 4 of Sony Liv ‘Maharani’ series is still reverberating. How did a complex political drama, set in the BIMARU list headed by Bihar cast a magnetic spell on viewers? Most would say it is Huma Qureshi’s smash hit performance. Rightfully so …rarely does India’s political ethos provide the backdrop for a woman to seize power, hold on to it and keep her family brood together …though her husband was murdered and she is framed as the killer. Suddenly you find the Bihar political setting powerfully manipulated and riveting ..just when you think you have decoded Maharani as Rabri Devi, Lalu Yadav’s proxy CM and expect the venality of Bihar politics, it’s continuous state of corruption, caste wars and criminalised politics , the plot takes several twists and turns. Indian cinema has definitely produced a brilliant series that mirrors our politics and politicians, the greed for power and almost vampire-like blood thirst. Is our realpolitik this shockingly complex and convoluted? The answer is a resounding yes…in fact the makers have truly succeeded in throwing the audience off the scent of real-life persons. The political and power hunger jousting and fencing is a treat to those immersed in the drama of politics. True to the title, Huma Qureshi straddles the series like a Maharani, tall, statuesque, compelling, dignified, yet so relatable to a Bihari housewife. Any wonder that women outnumbered men in the just concluded election? Maharani is their role model … she challenges every effort to box her into a stereotype “gharelu” woman. Subhash Kapoor! The open-ended Season 4 definitely raises hopes for yet another season. Following her total devastation after losing her son Jai and the bid for PM post, will Maharani rise like a Phoenix and avenge her tormentors?
Star’s entourage is not a new thing in the film industry. In the past, actresses were accompanied by their mothers, makeup/hair dresser and the spot boy. Then the numbers were officially less; but at times the star’s family members too travelled and exploited the producers and financially it was a burden for them. Prominent filmmaker Suneel Darshan in a podcast says nowadays star’s entourage is over 26 people and they have all to be taken care of by the producers. Actors like Govinda, Sunny Deol and a few actresses had at least 10 members travelling with them on outdoor shoots. Today, most stars have an entourage of a dozen people comprising manager’s assistant, makeup artiste, hair stylist, fitness trainer, and chef. The food department is an additional burden on the producers. Before the entry of food trucks, the stars & their families would make producers order food from 5-star hotels and often take it home. This saw producers come together and tell the big stars to cut down on their entourage numbers or pay from their own pockets. Many stars like Shah Rukh Khan, Aamir Khan and Salman Khan even agreed but it is learnt nobody is living up to their words. With Bollywood films taking a big beating at the box office, the industry is going through a correction phase and at such times it makes eminent sense for stars to more than cooperate by at least cutting down on their entourage numbers.
For serious cinema aficionados, new Tamil releases provide much grist for their passion mill…off beat themes and brilliant execution, new directors and experimental cast, those who climb to stardom fast. The just released film ‘Others’ is one such medico socio psychological thriller which would have garnered praise by itself but heroine Gauri Kishen and her strident response to RS Karthik, well known YouTuber, self-anointed “hero of questions” took it viral, very fast. A double whammy for the film. Karthik was gracing the promo event of Others, themed on Male, Female and Others. Did the boldness and audacity of Others trigger his body shaming query? He asked the Director Abin Hariharan and hero Adithya Madhavan, “What is the weight of Gauri Kishen, who is lifted by the hero in the film?”. Both tried to ignore this rude query, but when the journalist persisted, Gauri took him on “what are you going to do with my weight information? How are you concerned? When Karthik persisted with his justification that heroines like Khushboo and Sarita had responded to such personal questions, Gauri put him in his place, boldly, unashamed. The viral tide of support for her has made him apologise for his insensitivity. Strangely enough, Gauri who plays a crucial doctor’s role in Others, deep down empathised with the theme …we Indians have turned judgemental and crass in taking misogyny to extreme levels …a woman has to be svelte, slim and slender for the male beholder. Thin, Normal and Fat …a woman categorised into shapes that judge their very being with Beauty Queens setting impossible templates.
The 31st Kolkata International Film Festival (KIFF) opened with a strong focus on migration and displacement — themes at the heart of its newly introduced section, ‘Beyond Borders.’ Running from November 6 to 13, the festival will screen 315 films from 39 countries across 21 venues, with Poland as this year’s partner nation. The new segment presents nine films probing the emotional and political dimensions of migration, including Tales of the Wounded Land by Iraqi-French filmmaker Abbas Fahdel, Aisha Can’t Fly Away by Egyptian director Morad Mostafa, Passing Dreams by Palestinian filmmaker Rashid Masharawi, and Palestine 36 by another Palestinian filmmaker Annemarie Jacir. Festival chairperson and filmmaker Goutam Ghose described the new section as a response to the global displacement crisis. He noted that migration has emerged as one of the world’s defining challenges, and that filmmakers chronicling such realities take creative and political risks deserving both applause and empathy. West Bengal chief minister Mamata Banerjee was all praise for the inclusion of ‘Unheard India – Rare Language Films,’ a category honouring voices from linguistic peripheries such as Bodo, Santhali, and Konkani, remarking that cinema without grassroots connections cannot mirror ordinary lives. Mamata also announced the Bangabibhusan — West Bengal’s highest civilian honour — for legendary singer Arati Mukherjee and actor Shatrughan Sinha.
The angst, fear and insecurity of a Sri Lankan illegal immigrant family and their touching journey of acceptance by the locals is starkly and strikingly told by director Abhishan Jeevinth in Tourist Family, a runaway Tamil hit of 2025. This Rs 7 crore budget movie which raked in Rs 100 crore, now enjoying its OTT showing is surely a case study for cinematic treatment ….how an everyday event (go to Mandapam, Rameshwaram and watch the fear-ridden ephemeral no man’s land of Sri Lankan immigrants) is turned into a humanitarian story of love, laughter, fear and living in shadows. Tourist Family owes its hit status as much to its director Jeevinth as it does to its cast led by Sasi Kumar, Simran, their kids and a lovable dog, free of anxieties of an immigrant. Jeevinth is already on to his next venture. Oh, and his extraordinary success gave him another milestone …He married his 6th grade sweetheart Akila Ilangovan in a grand wedding at Poes Garden. Jeevinth proposed to her even as he was on stage for the promos of Tourist Family. He chose October to bring Akila into his family, taking a cue from Sasi Kumar and Simran’s love chemistry that holds up the hope that they will not remain tourists, permanently.
In a move aimed at ending perennial disputes over festival release slots, Tollywood’s leading industry bodies have drawn up new rules to prevent clashes of big-budget films and improve working conditions for technicians. The Eastern India Motion Pictures Association (EIMPA) and the Federation of Cine Technicians and Workers of Eastern India (FCTWEI) — headed by Pia Sengupta and Swarup Biswas — jointly announced that no more than three Bengali films will be released on a single day. The decision follows repeated controversies over the allocation of single-screen theatres during festive seasons. Under the revised policy, there must be a minimum gap of 15 days between two major releases, allowing each film sufficient box-office run. Smaller films, however, may release in between with mutual consent. This Christmas will see the release of Dev Entertainment and Bengal Talkies joint production Prajapati 2, Surinder Films Mitin Mashi, and one film from the Srikant Mohta–Mahendra Soni stable – Bijoynagarer Heere. For January 23, 2026, Hok Kolorob, another Mohta-Soni production, and Bhanupriya Bhuter Hotel are confirmed, while films by Ankush Hazra and Firdousul Hasan have been postponed. A new production structure has also been outlined. SVF, Surinder Films and Nandi Movies will produce six films each annually; Windows, DAG Creative Media and Camellia Productions four; and Jeet, Pia Sengupta and Ankush Hazra two. Prime-time slots will be allotted based on annual output. In a parallel move, the industry has approved a 30% pay hike for small-screen technicians and 33% for big-screen technicians, while reducing maximum working hours from 24 to 18. The ceiling for low-budget films is also set to rise from Rs30 lakh to Rs 35 lakh, offering greater flexibility to independent filmmakers.
They say success has many fathers and failure is an orphan, and the fate of ‘War 2’ illustrates that proverb perfectly. The film began with a show of camaraderie: Hrithik Roshan and Junior NTR promoted it together in Hyderabad and Mumbai, projecting a united front. But when the film flopped, that unity evaporated. Junior NTR distanced himself and pointed fingers at the producers; in turn another producer Naga Vamsi defended his own decisions while criticizing Yash Raj Films as the Main Producer and the Decision-maker, insisting that he along with Jr NTR had trusted the studio and backed the wrong creative choices. Made on a reported budget of 400 crores, War 2 failed to recover its costs, and the public spectacle of blame-shifting left the project politically and reputationally orphaned. Cast and crew who once stood shoulder to shoulder in promotion were suddenly eager to separate their names from the failure. The fallout extended beyond personal recriminations. Director Ayan Mukerji has claimed that he merely followed the script by writer Sridhar Raghavan and therefore had limited creative inputs, a statement that coincided with his exit from Yash Raj’s Dhoom 4 and his reported move to work on Brahmastra 2 with Dharma Productions. Meanwhile Aditya Chopra and Yash Raj Films have largely refrained from talking to the press about the disappointment. The production house that enjoyed a major hit like Saiyaara and a major flop like War 2 in the same year now finds itself fielding public criticism from former collaborators rather than defenders. In the end, War 2’s failure has few takers: while many involved were quick to distance themselves, silence or deflection remain the dominant responses—leaving the film, as the proverb warns, orphaned in its failure.
Malayalam films have set benchmarks in many dimensions of cinema…simple yet complex stories (contradiction?), slick editing, chilling suspense and above all gripping unravelling of a credible plot at budget spends. The English subtitles have further boosted their allure to audiences, weary and wary of boy meets girl stories, families fighting over wealth, incredible plots and huge budgets. People like Dulquer Salmaan are fully conscious of the boredom and ennui of run-of-the-mill films. So Dulquer eases into the change brigade. His Wayfarer Films is now enjoying the record-breaking success of Lokah Chapter 1: Chandra which had a dream run in cinemas, grossing Rs 300 crore…it set the trend for a film superheroine, a novel status. Heroine Kalyani Priyadarshan is still savouring the fantasy theme. It is learnt that Wayfarer Films already has the sequel to Lokah Chapter 1: Chandra almost ready to hit cinemas; even as Lokah 1 breezes into OTT. But there is a big change ….Tovino Thomas is the superhero playing Chathan Kutti in Lokah Chapter 2. Dulquer appears in the sequel too as the Odiyan Ninja. Malayalam cinema is reinventing itself like Rowling’s Harry Potter series …Ministry of Magic, a universe where good and evil fight, ghouls, goblins, house elves, wizards, witches, Yakshis who transport you to the world of ancient magic. Cinema as an art form is transforming itself from a “golden era” of diverse content to new wave entertainment of bold themes. The success of Bahubali and Kantara have definitely opened up audience appeal to folklore and fantasy.
GenZ may not be familiar with this metamorphosis in the film world of South India. But old timers and mid-gens do remember the scorn and dismissive attitude of the North for Southern heroines …fat, frumpy, matronly and of course “dark”. But, Vyjayanthimala, Padmini, Hema Malini, Rekha, Sridevi changed all that…turned this perception into sheer adoration.…Bollywood geniuses threw open not just their talent but their classic beauty and striking sexuality. Today, this change into sleek, sexy and sophisticated much in demand femme fatale stars has churned up more. Fifteen south Indian actresses lead the roster in terms of the number of brands and products they endorse, pan India. The reach of these cinema influencers only highlights their talent and striking looks to launch any product, from red hot jewellery to shimmering sarees and tech gadgets, even start-ups — any product that needs the absorbing presence of a woman of sustenance. The list is headed by Rashmika Mandana , the national crush, with Nayanthara and Kajal Aggarwal not far behind. Nayanthara’s Tanishq ad is a lesson in sleek jewellery that embellish Nayan …or is it Nayanthara’s exquisite presence launching a line of temptations? Hema Malini gave new meaning to Shudh Pani in her Kent Ad. Walk on Cathedral road, the Fifth Avenue of Chennai and Tamannaah Bhatia easily makes traffic stop with her jewellery ads. The brand success of Idhayam Nallennai is a testimony to graceful Jyothika whose calm and classy looks launch products as diverse and coveted as Diamond Jewellery to mundane ones like kitchen products. Trisha Krishnan has launched many jewellery brands. But behind these influencers who are so compelling, there must be an ethos, a work ethic, a professionalism. These stars have awesome linguistic skills to relate to customers …their regional and pan India filmi identity have launched them as ideal influencers for brands.
India’s wealthiest ‘farmer’ Amitabh Bachchan has celebrated his 83rd birthday on 11 October by purchasing three plots of land at Alibaug near Mumbai. Already owning a land parcel in the same locality, Amitabh has been leading the list of celebrities who have preferred Alibaug for land purchases. Alibaug, the Raigad district headquarters, has emerged as perhaps the most popular tourist destination over the years outside Mumbai. Now that multiple options like the expressway and the water transport services are becoming available, land prices in Alibaug and the environment are constantly showing an upward trend. Top stars like Shahrukh Khan, Anushka Sharma, Kartik Aaryan, Kriti Sanon and cricketer Virat Kohli are among those who have invested in land in the area. Amitabh’s latest purchase was registered on 7 October by paying stamp duty of over Rs.39 lakh. The lands have been sold by a firm, HOABL Landbuild, which had sold land to him earlier, too. That was in April 2024. Amitabh’s previous land purchase that became famous was in Ayodhya. It took place just before the Ram Temple was inaugurated in Ayodhya. The Alibaug land is near the Mandwa jetty, which runs regular sea trips to Mumbai daily. The land holds potential of development as a sprawling villa. Amitabh has so far maintained silence over the transactions. His three bungalows in Mumbai are in the elite Juhu area. The latest acquisition by him makes him one of prominent real estate owners in India.
This Diwali has exposed a striking contrast: Tamil cinema is enjoying a creative and commercial upswing while Bollywood offers a muted, formula-driven lineup. Two Tamil releases—Dude and Bison, both out on October 17, have captured audience attention. Dude, a breezy romantic comedy infused with local masala, opened strongly, while Bison, a sports drama from veteran director Mari Selvaraj, earned glowing reviews and solid opening numbers thanks to powerful storytelling and word-of-mouth. These films feel rooted, fresh and connected to contemporary audiences, especially younger and family viewers who respond to authenticity and strong narratives. By contrast, the Bollywood slate releasing mid-week on October 21 looks underwhelming. Thamma (an Ayushmann Khurrana horror-comedy) and Ek Deewane Ki Deewani (starring Harshvardhan Rane and Sonam Bajwa) are competent but lack the novelty and scale we normally associate with Diwali. With neither superstar-driven star power nor bold thematic risks, these mid-budget releases lean on familiar formulas rather than offering new cinematic experiences. Historically, Diwali has been the domain of spectacle—big stars, family entertainers and larger-than-life marketing—but this year Bollywood’s offerings fall short of those expectations. The difference comes down to ambition and audience connection. Tamil films are taking creative risks, genre blends, culturally specific stories and directors with distinct voices, resulting in stronger word-of-mouth and sustained interest. Bollywood’s conservative programming this festive season suggests risk aversion and reliance on safe templates, which may cost it market share as regional films continue to raise the bar.
Tamil Nadu’s Deepavali is not just about new clothes, sweets and crackers…a new film is a must to add to the festivities. Producers work overtime to ensure the movies are released during Deepavali. This year’s festival releases are three unusually titled films …Dude, Diesel and Bison. October 17 was truly a red-letter day for young Dhruv Vikram, veteran actor Vikram’s son. Coincidentally, Vikram’s first film too was released on October 17. Mari Selvaraj, the King creator of down-to-earth compelling movies like Pari Yerum Perumal, Karnan, Mamannan and Vazhai has again focussed on societal inequalities and caste-based exploitation …Bison is centered on Kabaddi, based on the true life Arjuna Award winner Manathi Ganesan. Selvaraj’s Bison not just holds up a clear mirror to the oppression of the underprivileged…he scores with real life depiction of a player tunnelling his way up in this caste overwhelmed social morass that makes the privileged sit up and take note …not just feel guilty about their conferred birth, but in some ways wanting to right these wrongs to bring more equity to the underdog. Kollywood is fortunate to have a clutch of prescient and compelling creators — directors, producers, script writers who remain faithful to ideologies of social inequality and in some way raise the awareness through their artistic craft of storytelling. Weaving the politics of TN into his hard-hitting film, Selvaraj builds Bison as the angry but aspirational archetype of an oppressed young man, determined to win. Even sports are not out of the clutch of caste oppression.
No need to go to the auditorium to watch Soumitra Chatterjee’s plays. One Theater, India’s first theatre-focused OTT platform is bringing over 300 plays from Bengal’s rich dramatic heritage directly to viewers’ screens. Developed by ESI BPL Group and Banglamanch under G-TPL, the platform aims to unite theatre groups from every corner of the state, offering audiences a single, seamless digital stage. Organisers said that One Theater is more than entertainment — rather a bold step to preserve and celebrate Bengali theatre for generations to come. A highlight of the app is a dedicated archive of late legendary actor Soumitra Chatterjee’s theatrical works, allowing audiences to experience his timeless performances. The inaugural lineup features productions that span themes from human relationships to nostalgia and moral dilemmas. Typist, directed by Soumitra Chatterjee’s daughter Poulomi delves into the subtleties of office life and romantic undercurrents, featuring veteran theatre personality Debshankar Haldar and Poulomi Chatterjee. Mitali, directed by another theatre veteran Gautam Haldar, captures the tender story of teenage love in the era of handwritten letters, long before the digital age. Meanwhile, Chandanpur-er Chor, another Shyambazar Mukhomukhi production, blends humour and humanism as three thieves enter an elderly woman’s home, confronting ethical dilemmas, with performances by Rajatab Dutta, Shankar Chakraborty, Deblina Dutta, Pritha Majumdar, Saurav Kar, and a talented ensemble of young actors. The founders of One Theater envision the platform as more than a streaming service—it is a living archive, a cultural bridge, and a digital window into Bengal’s theatrical soul. They hope this initiative will bring Bengali theatre back to the national and international spotlight, ensuring that its stories continue to resonate across generations.
In a watershed year for Indian cinema, Kannada and Malayalam industries are leading the charge with blockbuster epics that blend cultural depth with universal spectacle. Rishab Shetty’s Kantara: Chapter 1 has shattered records, amassing Rs 500 crore worldwide, fuelled by its raw portrayal of Karnataka’s ‘Bhoota Kola’ rituals and environmental folklore. Shetty’s dual role as the fierce Panjara— a forest guardian clashing with modernity—delivers visceral action and spiritual resonance, backed by immersive folk music and stunning Udupi landscapes. The film’s grassroots appeal exploded through dubbed versions in Hindi, Tamil, and Telugu, turning rural myths into pan-Indian anthems and earning global acclaim at festivals like Busan. Hot on its heels, Malayalam’s Lokah Chapter 1: Chandra released on August 20, 2025, surged past Rs 300 crore in just six weeks, heralding a superhero saga rooted in Kerala’s matrilineal heritage. Director Dominic Arun masterfully fuses high-octane VFX with emotional intimacy, as producer Dulquer Salmaan crafts a universe where heroine Chandra (Kalyani Priyadarshan) wields ancestral powers against cosmic threats. Priyadarshan’s nuanced turn — from vulnerable orphan to empowered icon — fills a void in female-led genre tales, while spicy dialogue controversies sparked viral debates, boosting theatre footfalls. Salmaan’s bold vision promises spin-offs, blending local lore with Marvel-esque flair. This duo’s dominance underscores a broader renaissance: Gujarati’s Chhello Show 2 breached Rs 100 crore with its heartfelt immigrant saga; Marathi’s Dashaavtar hit Rs 50 crore via satirical family dramedy; and Tamil’s Coolie topped Rs 250 crore in labour-rights thriller mode. Smart OTT tie-ups, dubbed releases, and culturally authentic narratives propel these beyond regional silos, outshining Hindi’s faltering Param Sundari and Sunny Sankari ki Tulsi Kumari. As indigenous voices claim centre stage, Indian cinema evolves into a vibrant mosaic....
The idiom aging like an old wine seems apt for the 56-year old Bobby Deol. Finally, he has stepped out of the shadow of his father Dharmendra and brother Sunny Deol. For an actor who almost became a recluse and took to drinking, the comeback has proved all his detractors wrong. What changed his life was an innocent question by his children: why is daddy home and not going to work? This is what he said in an exhaustive interview to Times Now‘s Navika Kumar. He went out looking for a job and he was lucky. A web series came his way and his role as Baba Nirala in Aashram (2020) made audiences sit up again. Then came Animal (2023), where his near-silent performance stole the spotlight despite limited screen time. Suddenly, Bollywood’s “forgotten Deol” was the industry’s most talked-about star. Bobby made his debut in Barsaat (1995). With hit films like Gupt, Soldier, Badal and Bichhoo he had carved a niche for himself as the romantic action hero. His downfall started some time in 2010 as a lot of new faces emerged who were versatile. Now cut to current days, he seems breezing with confidence… zipping in and out of film sets or TV news studios. Sure, Bobby has bounced back but diehard industry watchers have a piece of advice for him. “Now, that films are coming the way, he should pick and choose…he should strike a fine balance between art and commerce…that’s a craft he needs to master”.
In the intensely competitive ecosystem of Kollywood, traversing 22 years and reaching Lady Super Star status is no mean feat …in the same demanding profession where beauty, fitness and a modicum of acting talent combine to make a star. Forty-year old Nayanthara has achieved this milestone, still holding steady as one of the highest paid heroines (Rs 7 crore per film) pan India. Before she turned into the legend Nayan, she was Diane Mariam Kurian, dad Kurian Kudiyattu from the armed forces and mother Omana Kurian who bestowed her beauty and grace. Maybe she carried her military disciplined upbringing to her profession. But Nayan, went through some stormy and controversial romantic hookups too…her dalliance with a married Prabhu Deva, her brief affairs with Simbu and Arya provided much chomping fodder to the media, hungry for titillating bits and bytes. From her first film, Manasinakkare in Malayalam in 2003, to playing Sarat Kumar’s lead in Aiyya in 2005 …pairing with Rajinikanth in Chandramukhi which put her in orbit …soon Vijay, Ajitt, Suriya, Vikram, Simbu, Dhanush and Arya were her co-stars. Nayan’s name guaranteed a good box office run. She carried a mythological, Mookuthi Amman on her shoulders and turned a craze among women; the director is now ready with Mookuthi Amman 2. Vignesh Shivan, her husband came into her life with his directed film Naanum Rowdy Thaan, a relationship that merged into marriage in 2002, a much-hyped wedding… Netflix filmed and marketed it. Her twin boys, Uyir and Ulagh keep her busy, even as she still works in films with the same zeal in heroine-oriented roles. Nayan’s cosmetics start-up is sought after by fashionistas.
Trisha Krishnan is a beautiful and talented Tam Brahm enigma in Kollywood. At 40, she is still sought after. Trisha turned into a craze after Ponniyin Selvan, a Mani Rathnam magnum opus, though her Vidaamuyarchi with Ajith left the audience cold. The media and fans are still trying to decode her persona …is she a Cool Cat or is she a Virago Vixen? Those close to her would vouch for a potent mixture of both. And making public statements like her recent bold dare “I am waiting for people to plan my honeymoon too”. Is she tired of the talk about her romantic links or the presumed liaisons (Vijay figures prominently) or is she trumpeting her bold attitude? Not that Trisha is a boring, simpering and simple lady who pulls her housing shell tightly over her head and coils up. Not at all…she is a fun-loving effervescent girl who bubbles more like her Bubbly in her Chennai beach outings with her friends. But she has had some near escapes from permanent betrothal…her relationship with Rana Daggubati went on for long, then suddenly ended. Another engagement to a sturdy South Indian turned stormy, when Trisha stormed out of the ceremony. She does seem to get these last-minute jitters, poor girl but is not prepared for the backlash …constant chatter about her next romance. One such “almost real almost fake news” must have raised her hackles. Filmdom has many such encounters of a nasty kind but only a few like Trisha can take them head on.
Fifty-four-year old national award-winning Bengali actress Rituparna Sengupta flew into the UK recently for the premiere of her film Puratawn (The Ancient). Rituparna held two screenings — London and Manchester — to attract the Indian diaspora and other nationalities. The film received an overwhelming response from her fans and others, as the film revolved around the sensitive subject of dementia. The UK has a huge population suffering from this disease. Over one million suffer today, and the numbers are likely to increase to 1.4 million, say experts, thus making Rituparna’s film more relatable to the UK audiences. The Bengali film with English subtitles explores memory loss, and reconciliation through the story of Ritika, who returns to her ancestral home with her husband to celebrate her mother’s 80th birthday. What begins as a family gathering evolves into a profound meditation on ageing, identity, and the shadows of the past. The film stars screen legend Sharmila Tagore alongside Sengupta and Indraneil Sengupta, with cinematography by Ravi Kiran Ayyagari and music by Alokananda Dasgupta. The film’s delicate treatment of memory and its exploration of the bonds between generations touched the chords of the UK audiences. To Rituparna, producing and acting in the film was both a professional challenge and a personal journey.
There is some mysterious compulsion in film stars who hanker for media projection, compulsively, yet want to play hide and seek with their fans. Often, the liaisons go through many hoops…we are just friends, we are co-stars who respect each other, our families have known each other …but the real relationship surfaces only after many such games. National crush Rashmika and the middle ‘classic’ icon Vijay Deverakonda are supposed to have pledged their future together at an “intimate, private ceremony in Hyderabad”…a news item that immediately raised the radar of not just speculation, but certainty. Soon enough the mainstream media had the news flash. Rashmika may have instinctively realised that she couldn’t make Vijay wait indefinitely. Now the next speculation about how strong the bond is, as the age difference between the two is seven years, and the Telugu hero Deverakonda has been overtaken by Rashmika who has moved into a pan India super slot after her Pushpa, Animal, Chavva, Sikander and Kubera collectively grossing Rs 3,300 crore. Pushpa and sequel have of course hit the top slot many times over, with Rashmika competing equally with Allu Arjun for encore applause, 26 films in her kitty. Telugu audiences went crazy over their super chemistry in Geetha Govindam, the first film starring both, a chemistry that turned into a relationship over time. Forbes India lists Vijay as one of the highest paid Telugu film stars, even though his Kingdom and Khushi met with average success. The wedding is planned for February, 2026…in case you get invited.
This Dussehra weekend produced a striking box‑office lesson: Rishab Shetty’s Kantara Chapter 1, a regional franchise title released in multiple languages, dramatically outperformed the new Hindi release Sunny Sanskari Ki Tulsi Kumari starring Varun Dhawan despite modest marketing for both. Kantara’s all‑language opening was reported at Rs 60 crore, with the Hindi version alone contributing Rs 19.5 crore on day one; SSKTK’s day one tally was roughly Rs 9 crore. On day two Kantara held very strong — around Rs 43.65 crore across languages, with the Hindi slice at about Rs 12 crore — taking a two‑day cumulative near Rs 105.5 crore, while SSKTK dropped to about Rs 5.25 crore on day two, totalling roughly Rs 14.25 crore across two days. Those numbers are revealing. First, the Hindi‑belt audience clearly embraced Kantara’s Hindi version at levels more than double SSKTK’s in the initial 48 hours. This suggests that a compelling story, rooted identity and franchise momentum from the South can translate into pan‑Indian box office power, even against a star‑led mainstream Hindi release. Second, the performance underscores how audiences today often prioritize spectacle, strong world‑building and franchise potential over conventional star vehicles, especially during holiday windows when families seek high‑energy, communal viewing experiences. For Hindi industry stakeholders the takeaway is urgent: star power alone may no longer guarantee opening weekend dominance. Building durable IP, investing in cross‑lingual accessibility, and crafting marketing that conveys the film’s scale and emotional stakes are critical. Simultaneously, distributors and producers should respect release timing and ensure robust promotional pushes in non‑native markets. Kantara’s success is not merely regional pride; it is a reminder that content that feels native yet universal, backed by smart release strategy, can outshine traditional formulas and reshape audience expectations across India.
Tripti Dimri has a larger than life brief to enact when she plays stormy Parveen Babi in a soon to be made biopic by Netflix. Who doesn’t know Parveen Babi’s Royal Afghani lineage, her modelling career careening into Bollywood as a sex symbol, the eight films she co-starred with Amitabh Bachchan, her boldness to take on roles that closet cowards ached to ape, her riveting, sizzling on screen presence that turned on audiences? But destiny dealt a serious blow to her career when she was diagnosed as schizophrenic, soon labelled manic. Imagine her state of mind even as she rode the crest of filmi success when she accused Big B of being a Don, planning to kidnap and kill her. Many more such incidents weighed on her career. She tried a spiritual retreat and overseas trip. In 2005, this tempestuous and beautiful actor died alone in her Mumbai flat. After Tamil actress Silk Smitha’s biopic, Dirty Picture, is this another effort to lay bare an artist’s sad life or is it a homage to Parveen Babi who raked in millions for her producers? In a misogynistic social environment, women who are bold enough to smash so called societal norms are termed easy prey. One only hopes that this biopic will depict her talent and magnetic screen presence marred by mental health issues. Babi lived her personal and professional life on her terms.
Fifty-year old Bollywood actress, model and entrepreneur Shilpa Shetty Kundra is once again mired in controversies. The latest one pertains to Rs 60 crore fraud/cheating case filed by businessman Deepak Kothari, alleging misuse of funds meant for business growth in their now-defunct company Best Deal TV Pvt Ltd. He claims that between 2015-2023, money given for business expansion was used for other purposes, under the pretext of a loan or investment. A lookout circular (LOC) has been issued against both, and the High Court has denied them permission for a foreign trip amid the investigation. Earlier, she was drawn into a controversy involving her husband Raj Kundra over pornography/racy-content apps case, where Kundra was arrested in 2021 for allegedly producing and distributing adult content through mobile apps. During the porn app controversy, many were sympathetic to her, saying she was being dragged into her husband’s business affairs and unfairly targeted by the media. But, in the latest fraud case public sentiment seems divided. Then she said she was not aware of it and got a lot of public sympathy. Such controversy is certainly a setback for a celebrity like her. It has resulted in the closures of her Bandra restaurant being shut down. Shilpa who debuted in Baazigar (1993) has acted in over 50 films in Hindi, Tamil and Kannada. Looks like she has de-risked her strategy. She does not have too many films on her hand. She was recently seen in Hungama 2 and is working in OTT space. Shilpa has moved beyond films – judging reality shows, invested in gym/fitness business, fashion and brand endorsements. The general question everybody is asking is: was she a partner in crime?” Legally nothing has been proved. She and her lawyer are denying culpability. Investigation is ongoing. No court has declared her guilty as of now.
It has become rather hard to classify a film star politician or a politician drawing massive crowds as a star in the South. At least two deputy CMs of significant states have added value to their Star status…Udhayanidhi Stalin and Pawan Kalyan. Pawan Kalyan’s just released film, They Call Him OG, is setting all kinds of records for crowds drawn, collections at box office and the craze for the actor politician. In just two days, OG swept in Rs 200 crore globally. Trade analysts are busy with their matrix of comparison with other “hits”. We in India are quite familiar with cinema and star craze. But Germany had a shocking incident …a poster of Pawan Kalyan was bathed in milk in public and incensed the Germans, who were angry about such low-level civic sense. In a Chittoor (Andhra Pradesh) cinema, a huge garland on the hero’s poster caught fire and people ran helter-skelter. But such over the top intense hero worship is par for the course in a star struck ecosystem. If the star is a weighty politician, the frenzy and celebrity fever only intensifies. Despite record-breaking collections, critics have cautiously slammed the plot and the film. But then do critics matter? When you lead a mammoth fan club, the film just flaunts the Hero…and all is in the well at the Box Office. Keep your hold on those fans …the magic formula.
Janhvi Kapoor has carved a distinctive space in Hindi cinema by consistently balancing content‑driven performances with mainstream, masala entertainers. From early hits like Dhadak to more challenging outings such as Gunjan Saxena: The Kargil Girl, Milli and Good Luck Jerry, her choices have demonstrated a willingness to oscillate between star‑led commercial projects and single‑minded, performance‑oriented films. That versatility has kept her visible: even when her filmography lacks a long list of commercial blockbusters, endorsements, a strong social‑media presence and curated publicity have ensured she remains in the public eye. What sets Janhvi apart is her readiness to embrace markedly different screen personas. On one hand, she takes on glamorous, crowd‑pleasing roles in big‑banner potboilers that rely on charm, song-and-dance and mass appeal. On the other, she accepts taxing, festival‑friendly parts that foreground craft over gloss. Her recent internationally lauded turn in Homebound — playing a marginalized, complex character — has won critical praise and is India’s Official Oscar entry, while her work in more commercial fare continues to draw mainstream attention. This duality is not accidental: it’s a strategic blend that expands her range and broadens her audience. Her upcoming releases further underscore this balance. The Dussehra‑timed Sunny Sanskari Ki Tulsi Kumari positions her in an ultra‑glamorous, high‑energy entertainer aimed at wide family audiences, even as her involvement in arthouse projects keeps her relevant on the festival circuit. Few contemporary actresses manage this tightrope so consistently: to command box‑office visibility while also earning critical credibility. By alternating between mass entertainers and serious, performance‑led films, Janhvi has ensured simultaneous traction in both columns — critical appreciation and commercial promise — keeping her career lively and versatile.
This soft gentle hero, R Madhavan has travelled all the way from a Jamshedpur TamBrahm middle class upbringing to the giddying heights of Bollywood and Kollywood with an untarnished reputation. He also made box office history with strong story line plots of love, sentiment and family bonds, and directed a few patriotic films. His biopic Rocketry: The Nambi Effect on Nambi Narayanan, was warmly received. In a recent media interaction, Madhavan decoded his strategy for choosing between “financial stability and making Good films”. If the overriding concern is financial stability, you tend to grab every film that falls your way …but choosing good films can happen only if you are financially secure. Profound or trite? With Madhavan there is no Dr Jekyll and Mr Hyde stand. This clean-cut hero has come a long way to make his home in Dubai. And that not to be missed trapping…he is the proud owner of a yacht. “There is buzz that I own a ship …nothing of the sort…it is just a Rs 16 crore 75 feet pleasure boat”. There is also talk that Maddy has dabbled in real estate and owns property in Mumbai. Sensible, down to earth middle-class values …use your money in sensible ways, not prowl for instant wealth. He does remind you of Dhoni who succeeded enough to make his name a brand with his outstanding play, quietly made his millions…balanced fame and fortune, curated. Dhoni and Maddy are like peas of the same pod …humble, practical and at the end of the day poster boys for middle class ethos, not razzmatazz power play.
It is striking how quickly lack of marketing leads some producers to resort to manufactured controversy as a substitute for a coherent release strategy. Hindi feature film, ‘Ajey: The Untold Story of a Yogi’, a biopic of Uttar Pradesh chief minister Yogi Adityanath illustrates the risks of that shortcut. The film, directed by Ravindra Gautam with newcomer Anant Joshi in the lead, endured censor delays and repeated postponements, and was released with almost no pre‑release publicity: no sustained trailer campaign, limited social assets, negligible media buying and no visible on‑ground outreach. With no established star, director profile, or promotional momentum, the makers appear to have leaned on controversy to generate interest. Media reports and social chatter suggested that some groups opposed the film and that it faced restrictions in certain overseas markets; those narratives were amplified across news channels and digital platforms, creating a storm of attention that had little to do with the film’s craft or storytelling. By contrast, Jolly LLB 3 benefited from classic, disciplined marketing: franchise recognition, TV integrations, viral short‑form content and broad social amplification. The result was Jolly LLB 3 reported opening day collection of around Rs 13 crore, while Ajey managed barely Rs 20 lakh nationwide. That gulf underlines a simple truth: controversy is not a marketing plan. Manufactured outrage may produce headlines, but it rarely translates into sustained audience trust or ticket sales. The Ajey case serves as a cautionary tale for low‑budget and debut projects. Effective promotion need not be extravagant, but it must be strategic: clear positioning, targeted digital spend, festival and critic engagement, and grassroots visibility. When films are launched without those basics, manufactured controversy becomes an all‑too‑tempting, and usually ineffective, fallback.
Controversy continues to dog Tollywood, this time over the release of four much-awaited films that are set to clash during Durga Puja, the industry’s most lucrative season. Directors Nandita Roy-Shiboprosad Mukhopadhyay, Anik Dutta, Shubhrajit Mitra and Dhruva Banerjee have lined up their big-budget movies — Raktabeej 2, Joto Kando Kolkatatei, Debi Choudhurani, and Raghu Dakat. Despite a recent intervention by a state-appointed committee, industry insiders confirm that disputes have emerged over screen distribution and prime-time show slots. Speculation is rife that Dev’s Raghu Dakat, co-produced with SVF, has secured an edge in theatre count and timings. Writer Jinia Sen (Raktabeej 2) and producer Firdausal Hasan (Joto Kando Kolkatatei) admitted they had heard “market buzz” about Raghu Dakat cornering a good number of theatres. The speculation gained momentum when Trinamool Congress (TMC) spokesperson and actor Kunal Ghosh publicly questioned why an “influential” film had been given extra slots. Though he did not name anyone, many in the industry viewed it as an indirect swipe at actor-MP Dev, his party colleague with whom he has sparred earlier on social media. Dev’s recent release Dhumketu’s co-producer Rana Sarkar hinted at a deeper game. Exhibitors Naveen Chokhani and Jaydeep Mukhopadhyay, along with distributor Shatadip Saha, dismissed claims of preferential treatment for Raghu Dakat, saying no final decisions had been made. Still, several single-screen owners admitted the real pressure would fall on them, as unequal slot allocation during Puja season often sparks discontent. Ghosh also added a political edge, claiming Raghu Dakat owed thanks to TMC for the backing Dev reportedly received from local leaders during district promotions.
Twenty-four action-filled years have passed on in 49-year old Malaika Arora’s life, since she gained global fame for her dance Chaiyya Chaiyya with Shah Rukh Khan atop a moving train in Dil Se. Nothing much has changed for this feisty and fast fashionista…her love for undiluted publicity, fashion statements and boundless energy have only grown along with her passion for fitness. Oh! Yes, her liaisons do make for high voltage news, not surprising that after her divorce from Arbaaz Khan (brother of Salman Khan) social media chatter made her every link newsworthy, especially her long standing relationship with Arjun Kapoor. Now the same ‘GRIPE VINE’ is trumpeting a break with Arjun Kapoor. Recently HT carried an interview with Malaika about her past state of mind and her present transformation, a weighty self-assessment and certification. “Till now my style quotient, dress sense, fashionista status and relationships determined my personality in the eyes of others”. Pardon us, but celebrities are scoped for this very reason, if this scrutiny and projection stop, the celebrity is no longer a celebrity. What was Malaika conveying? Others cannot influence what I should do. “But when I stopped justifying my actions and appearance, I felt a lot more free”. She concluded by forgetting what people think, it’s important what you think of yourself. She justifies her boldness, openness and going that extra mile which has put her on top. For added measure she states that people who contain her in a narrow perception cage are not her well-wishers. Is Malaika down to earth honest or is she styling for her next move? Best to be an enigma and baffle the curious.
People are justifiably wondering about the movie title Idli Kadai, featuring popular Tamil star Dhanush with Nithya Menen as a leading lady. Perhaps the movie may just prove that titles don’t matter as long as the content is gripping. Strangely enough Dhanush seems to have that innate trick of marketing his film through the curiosity factor. In a recent promo event Dhanush talked about his childhood when his family couldn’t afford even idlis, how he yearned for them and hence centrifugal his plot with a well fermented storyline, soft, spongy and sentimental. Like all mid-level heroes, Dhanush is at the crossover crossroads …which option to jump to the next level? Especially after Vijay pole-vaulted to politics and his bête noire Sivakarthikeyan inching to top slot, though Madharaasi fell flat despite the hype. But Dhanush has a leg-up which many don’t have; he can multi-task as an actor, director, singer and scriptwriter. His female lead Nithya Menen is a dependable lead, talented and fearless …though her film Thalaivan Thalaivi was rejected both in cinemas and OTT. In that too Nithya romances a Kothu Parotta seller …food is the rocket to a man’s heart, head and bank.
Recent box‑office disappointments from Baaghi 4 and War 2 to the latest Housefull 5 instalment, all underline a fundamental shift: the star cast no longer guarantees good openings. In past decades marquee names could single‑handedly generate massive opening weekends; today even established superstars such as Tiger Shroff, Hrithik Roshan, Akshay Kumar, Salman Khan, Shahid Kapoor and Jr NTR struggle to ignite the immediate surge that once defined success. High‑profile casts with weak concepts are faltering, while content‑led films and global formats are finding passionate, sustainable audiences. Younger viewers, particularly Gen Z, now prioritise authenticity, narrative innovation and experiential value over celebrity worship. They binge Korean dramas, embrace Japanese anime like Demon Slayer, attend immersive live experiences and discover diverse global content on OTT platforms. The enthusiastic reception for Demon Slayer’s theatrical release and the success of content‑driven films such as Saiyaara demonstrate that strong storytelling, memorable music and convincing world‑building can outdraw even big‑name star vehicles. Conversely, titles that leaned primarily on star power including some recent franchise entries like Baaghi 4 and Housefull 5 have failed to translate celebrity into sustained box‑office momentum. For filmmakers, producers and studios the implications are clear. First, invest in content development: prioritise script refinement, richer character arcs and tonal clarity before locking in headline casting. Second, align casting to story needs rather than assuming star wattage will compensate for weak material. Third, embrace mid‑budget, high‑concept projects that allow creative risk and targeted marketing rather than relying solely on costly tentpoles.
Malayalam cinema’s suave hero, Dulquer Salmaan is truly a Lucky Baskhar. You might think so what? He is a nepo hero from the house of a film legend, Mammootty. Bloodlines can exalt a star only for a limited time, eventually they have to prove their mettle. Dulquer has leaped further than his father. His company, Wayfarer Films just released Lokah: Chapter 1 – Chandra is setting new records at the box office. In just 13 days of showing, it has collected Rs 200 crore and much critical acclaim for its producer Dulquer who plays a cameo in the film. Dulquer is shrewdly strategizing his status not just as a star but a producer of quality stuff. Dulquer’s upcoming film, Kaantha was all set for release on September 12 but he suddenly decided to postpone its release to get the best of Lokah’s ROI. Its cost of production was Rs 32 crore and Dulquer is confident it will bring in Rs 300 crore. He has already announced that he will share the overflow with the crew of Lokah. Dulquer wants Kaantha too, to be an unforgettable film. Success needs well thought out master plans. Luck is the magic component.
Imagine someone sitting next to you in a cinema house describing the climax of a suspense movie. You will be livid for receiving the unwarranted running commentary. You will certainly tend to express your anger in some manner. This is exactly what happened though the end of the incident was totally unimagined. This happened in Chinchwad, Pune, where the famous “The Conjuring: Last Rites” was being screened. Said to be another thrilling chapter of the iconic Conjuring cinematic universe, the movie is based on real events, shown in a powerful and spine-chilling end. As the audience was engrossed in watching the unfolding story with a baited breath, a couple began discussing the plot loudly. The magnanimous husband started dispensing the knowledge and soon reached the climax point. This naturally enraged the people sitting nearby as their interest could not hold after knowing the end. As someone sitting next to the couple asked the husband to remain silent, an altercation ensued. As the complainant was not ready to relent, the husband attacked him. The former’s wife tried to intercede but she, too, had to suffer blows from the attacker. The police have filed a case under various sections of the Indian Penal Code but no arrests have been made since there is no precedent in the annals of the criminal justice history of India.
By this time next week, the biopic on Uttar Pradesh chief minister Yogi Adityanath — Ajey: The Untold Story Of A Yogi — is slated for global release on September 19. The film made in multiple languages traces the remarkable journey of Ajay Singh Bisht, from a Himalayan village to becoming Yogi Adityanath, a monk, spiritual leader and his emergence as CM of Uttar Pradesh. Based on Shantanu Gupta’s bestselling book, The Monk Who Became Chief Minister (published in 2017) the film blends politics and spirituality in a compelling biopic. Gupta says an effort was made to produce it like M.S. Dhoni: The Untold Story (2016).”We got Dhoni script writer — Dilip Jha — to work on the film. Along with Priyank Dubey and me on the script, ” he says. The idea of making the film came to the author during Covid years. Gupta says it was his chance meeting with the California-based NRI Ajay Menji in course of promoting his book that led to the making of the biopic. When asked if Yogi had a sneak preview of the film, Gupta shared that of the two books that he had written on the UP CM, Yogi always preferred the second one — The Monk Who Transformed Uttar Pradesh (2021) — as it showcased his work. “He has not seen the film yet,” says Gupta. With only Bihar polls round the corner and UP polls, a good two years away.”Ajey” may have nothing to do with votes. The film under Samrat Cinematics banner with a modest budget of Rs 35 crore is directed by Lucknow born Rajinder Gautam. It has a stellar cast with Anantvijay Joshi, Paresh Rawal, Nirahua, Ajay Mengi, Rajesh Khattar, Pawan Malhotra, Garima Vikrant Singh and others.
Inban Udhayanidhi is all of 20 years of age even as he moves in as CEO of Red Giant Movies, a production and distribution company, incubated and grown by his father Udhayanidhi Stalin, now deputy CM of Tamil Nadu. In just 17 years, Red Giant emerged as a near monopoly in terms of its scale and reach. Inba, as he is informally called by his closest friends, has the provenance of politics, power and privilege, a DNA soaked in cinematic and political wealth. WunderbarFilms and Don Pictures combined production, soon to be on screen, Idli Kadai directed and lead by Dhanush is the first film to be distributed under Inban Udhayanidhi’s watch. Don’t be irreverent to this banal title …Idli Kadai (idli shop). Dhanush is known to choose powerful themes and dramatic storytelling. Idli Kadai marketed and promoted by Red Giant is expected to strike that Midas touch too, with push and pull from this well-known political family. The news is that Inban is simultaneously being coached and trained in acting, another legacy from his father who could orchestrate his film and family status with agility. In a state where cinema and politics are de rigueur as environmental interests, Inba has his play station all mapped and pegged. Red Giant’s popularity hit a high in 2010 when all four of its distributed films… Vinnaithaandi Varuvaya, Madrasapattinam, Boss Engira Bhaskaran and Myna became popular hits. Since 2022, film promos could no longer use Udhayanidhi’s name as he was Minister for Youth Welfare and Sports. Inban Udhayanidhi inherited the reins. Ah, the inscrutable ways of destiny.
A fresh controversy has erupted in Tollywood with the list of names proposed for the Bengali film review committee, to be submitted in the High Court as part of an ongoing case between a section of filmmakers and the Federation of Cine Technicians and Workers of Eastern India (FCTWEI). The proposed panel has left out practicing Bengali directors, sparking sharp discontent within the industry. The development comes close on the heels of West Bengal chief minister Mamata Banerjee’s directive to single screen and multiplexes to screen Bengali films in primetime. While the order was widely welcomed, insiders now argue that the celebratory mood is being eclipsed by what they describe as a snub to local talent. One of the petitioners, director Indranil Roychowdhury maintained that Kolkata insiders could be influenced and therefore only nationally reputed figures from outside Bengal should be included. The proposed list features directors Dibakar Banerjee, Konkona Sen Sharma, Nandita Das, Adil Hussain, Nagraj Manjule and Hansal Mehta. A senior director, requesting anonymity, pointed out that earlier committees had stalwarts like Prabhat Roy and Haranath Chakraborty, but the new list excludes Tollywood filmmakers. He questioned whether Bengali directors were being treated as outsiders in their own industry. The Calcutta High Court has requested a final committee list by September 8. Information & Broadcasting Secretary Shantanu Basu has been tasked with drawing it up, based on names submitted separately by the 13 petitioner directors and the Federation. Questions have also arisen over whether institutions like SRFTI can serve as committee members, and who will bear the costs of bringing in outstation experts.
It was the audio launch of the just released Sivakarthikeyan film Madharaasi. No point in asking why this title (time was when all south of the Vindhyas were Madrasis often parodied by comedian Mehmood). Sivakarthikeyan did not need aide memoirs or pre coded script to grip audience attention …his TV anchor days experience seamlessly slipped into his hero status on stage. He was all praise for director AR Murugadoss (ARM) and the hit films Deena, Ramana, Ghazni and Thuppakki ..headlined by Thala Ajith, Suriya, Vijay and late Vijayakanth, …each one moulded by ARM to portray powerful roles and make hit films. SK’s praise for the ARM acting method was not stage “feel good” acclaim. The vacancy left by Vijay (riding into politics) and Thala Ajith (adrenaline amped up race cars) were waiting to be filled. Naturally, SK, the romantic comedian hero, has set his sights on an action hero mould …how Madharaasi will catapult him to this fighter mode depends on how powerful his transition is …his Amaran was praised as a classic. Madharaasi’s story is about guns brought in containers to be stored in a factory for future mayhem in TN. This danger needs a suicidal hero to put his life on the line. “I took steroids to replicate an intense craze driven look.” This simple Simon who talks without rancour recalls his struggling aspiring days …even water wouldn’t be given for those who knock on film doors. Today, they ask me Sir , some juice, cake? I have Tamannaah to my left and Samantha on my right…a distraction when I failed to notice Dhanush in the front row. SK has now overtaken his finder, Dhanush. Is SK destined to ride the crest of cinema without borders?
The soon to be released film Manusi led by singer and talented actor Andrea Jeremiah directed by Aram fame Gopi Nainar has a parallel story of its own to recount before release. Manushi is swinging like a pendulum between the Central Board Of Film Certification Board (CBFC), the filmmakers and the Madras High Court. For added misery to producer Vetrimaaran, the film is ready, yet its public viewing is uncertain. So what’s delaying it? The CBFC is apparently unhappy with the film’s potshots at the government, fiery dialogues and what is apparently seen as a mix up with communist ideology. So Vetrimaaran, approached the CBFC and the Madras HC after several cuts of scenes, dialogues chopped and probably ended up making an impactful film, insipid and inane; falling between two stools. CBFC did not give any certificate so the producer approached the HC. Recently, Sun Pictures’ got ‘A’ certificate for Rajini starrer Coolie. Sun Pictures moved the court to get ‘UA’ instead of ‘A’. Probably the makers wanted the youth and kids to view this masterpiece. The Court promptly set aside the plea. But like the Scottish folklore of Robert Bruce, producer Vetrimaaran try again approach seem to have with the HC. He approached the court, objected to the multiple cuts and changes. This time, Judge Anand Venkatesh watched the movie. He was so moved by Manusi and its portrayal of “the dark underbelly of power”. His review of this film was carried in all media. All one can say is that the learned Judge taught movie reviewers to fully understand the nuances of a film before reviewing it. He also ordered a few changes in the film but more importantly, the CBFC had to issue a certificate for release within two weeks.
Sixty-one-year old Govinda, who ruled Bollywood throughout the 90s and then saw years of no work, seems to be in the news for all the wrong reasons. The rumours of his divorce from Sunita has been making headlines at regular intervals. While some dismiss it as a publicity stunt, a few film insiders say it’s for real. A few days back there were reports that wife Sunita and her son Yashvardhan were spotted in the family court, Bandra, Mumbai’s western suburb. A few days later paparazzi got an invite from Govinda-Sunita for the Ganpati festival just to indicate all is well between the couple. Not only those close to the couple say that there were issues and Sunita had been vocal about it. And few it’s a publicity stunt to invite attention. Again, people close to Sunita, she did move the court in December 2024 alleging cheating and desertion. During this time there were strong rumours of some Marathi actress entering Govinda’s life. The latest buzz is that counselling is on and the next court hearing is at the end of the year. Ideally, his diehard fans would want Govinda who has acted in over 165 films to make a big comeback and save his marriage. Wishful thinking!
‘Param Sundari’s opening weekend has put a spotlight back on Siddharth Malhotra’s commercial pull — and the picture isn’t flattering. The film debuted with a Friday of roughly Rs 7.25 crore and, with mixed-to-negative reviews and early controversies (criticism over the portrayal of a Malayali character by Janhavi Kapoor, stereotypical use of Mohiniyattam and jasmine motifs, claims about one song’s origins), is now pegged to finish the weekend near Rs 25 crore. With an estimated production cost of around Rs 50 crore, and reported fees of about Rs 12 crore for Siddharth and Rs 5 crore for Janhvi, theatrical recovery looks challenging unless the film finds strong legs or ancillary revenue. Siddharth’s track record in recent years has been uneven. He has had high points — notably Ek Villain and his supporting turn in Kapoor & Sons — but several solo outings such as Yodha, Thank God, Jabariya Jodi, Mission Majnu, Marjaavaan and others failed to translate into consistent box-office domination. That patchy filmography suggests he is not, at present, a reliably bankable solo star who can guarantee big openings that make producers comfortable taking large commercial bets. In Param Sundari’s case, the controversies and perceived lack of charm relative to mainstream entertainers have clearly dampened audience enthusiasm. The film also invited unfavourable comparisons to more successful masala entertainers like Chennai Express. For Siddharth to reassert himself as a genuine box-office force he needs sharper script choices, stronger director collaborations, and perhaps strategic fee negotiations so producers can allocate more to production and promotion. After Param Sundari he is not a guaranteed box-office anchor.
Once again filmmaker Vivek Agnihotri has been mired in controversy. This time it’s over his soon-to-be-released The Bengal Files. Since the launch of its trailer in Kolkata, it has been locked in legal disputes, political allegations, clarifications from lead actors and objections from freedom fighter Gopal Mukherjee’s grandson. Agnihotri has accused the Mamata Banerjee government of trying to stall the release. He claimed actors Saswata Chatterjee and Sourav Das were compelled by Didi’s government to issue media statements. The Bengali actors distanced themselves, saying they were unaware of the full script and were only briefed on their roles. Saswata Chatterjee, who plays the antagonist, clarified his role was limited to acting, with no involvement in political or historical debates. He admitted he had not read the complete script—describing this as common in the industry—and learned of the title change from The Delhi Files to The Bengal Files only after shooting ended. Santana Mukherjee, grandson of freedom fighter Gopal Mukherjee (Gopal Patha), filed a FIR objecting to the portrayal of his grandfather as a butcher. He described this as distortion, stressing that Patha, a member of Anushilon Samity, owned two goat-meat shops, was a wrestler, and had taken up arms in 1946 to protect civilians from Muslim League attacks. He alleged misrepresentation without consulting the family. Sourav Das, who plays Gopal Patha, distanced himself too, saying he was only briefed on his role. Amid the uproar, National award-winning filmmaker Goutam Ghose released a video statement, noting Bengal’s pioneering role in India’s independence but also its scars from Partition. Ghose insisted films on Partition or communal riots must rest on rigorous research rather than political or emotional motives.
Aryan Khan’s directorial debut arrives with a confident, offbeat pulse that immediately distinguishes it from routine star launches. The promo’s cheekiest beat comes when Aryan breaks the fourth wall, addressing the camera as the familiar, violin-laced Shah Rukh Khan motif plays — an audacious, meta wink that signals reverence without reverence’s usual stiffness. That tonal gamble pays off: the piece feels mischievous and smart rather than self-important. Visually, the promo is polished and assured. Clean frames, slick colour palettes and an Arri Alexa–style sheen hint at streaming-grade cinematic ambition. Art direction and sound design suggest a larger production muscle at work, while the supporting cast — names like Bobby Deol and Raghav Juyal — promise layered turns that complement Aryan’s youthful voice rather than overshadow it. The world he sketches is slightly chaotic and deliberately uncertain, an apt playground for an emerging filmmaker aiming to stake out an identity. Beyond style, the project carries heavyweight goodwill. Glimpses of Shah Rukh Khan and buzz from industry peers amplify attention; Netflix’s visible enthusiasm — from executives in India to global leadership — underscores how much is riding on the series as a conversation-starter for the streamer. But flash isn’t the same as staying power. The promo does its job: it teases tone, talent and production values and provokes curiosity rather than answers. Whether Aryan “scores” will depend on what follows — sharp writing, assured long-form direction and committed performances across episodes. This moment also sits within a broader trend: star children and actor-turned-directors reworking industry legacies into new careers. From the lineage of filmmakers such as Randhir Kapoor and Rakesh Roshan to contemporary scions like Utkarsh Sharma, Junaid Khan and Krishna Shroff exploring directoral roles, filmmaking has long been a family trade.
In her recent interview to Tamil magazine Kumudam, ageless wonder and popular actress Nadhiya talks about the secret of her youthful looks, energy and enthusiasm as if it is as easy as plucking a low hanging fruit off a tree. She made her mark even in her first Tamil film Poove Poochoodava in which she played the granddaughter of another rocking beauty, Padmini. Not just looks but talent too, earning a Filmfare Award. But several Tamil, Telugu and Malayalam films later, it was her role as a single mother in M Kumaran S/O Mahalakshmi that brought her a huge wave of adulation ..Ravi Mohan, Asin and Prakash Raj were just foils to this dedicated actor …she takes her son to be enrolled in school…the Principal insists that the field “father” must be filled. Nadhiya just grabs the pen and fills the form as Son of Mahalakshmi. This scene inspired many single mothers. Then she looked like an older sister to Ravi Mohan …now, paradoxically, he looks like her older brother. At the height of her career, in 1988, she married Shirish Godbole and winged off to America, to live her life as a family maker. What made her give up fame, celebrity status? She is clear why…I knew him as a student, we planned to marry only after he settled down. Two daughters and American life did not erode her magnetism. When she flew into Mumbai, her fans accepted her. Even if she sashayed into her modelling role, she could have launched several products — bangles, sarees, sandals. She shares the secret of her youth and energy…a down to earth attitude to life, eat only when needed, workouts are non-negotiable and focus on tasks. Her fans are perplexed about why this talented and striking beauty is not chosen for more rewarding roles.
On paper this film had everything: a near Rs 400 crore production, two of India’s biggest stars — Hrithik Roshan and Jr NTR — backed by Kiara Advani, Anil Kapoor and Ashutosh Rana, and the marketing muscle of a major studio. It should have been a global blockbuster. Instead it collapsed under its own weight, and the fault lies squarely with the writers. The story is credited to Aditya Chopra, a name associated with some of Hindi cinema’s biggest commercial properties. The screenplay and execution were entrusted to Sridhar Raghavan (whose earlier work on big projects raised expectations) and dialogue by Abbas Tyrewala, a writer capable of sharp lines. Together they should have turned this star-studded canvas into a taut, emotional spectacle. Instead, overconfidence and sloppy plotting have produced a film that looks spectacular but feels hollow. Technically, the film often delivers: lavish set pieces, slick VFX and ambitious action set-pieces that scream big-budget cinema. But those production values only highlight the script’s failures. Characters are one-dimensional; motivations are perfunctory; scenes exist to justify action rather than to emerge from character. Even sequences that should thrill — aerial dogfights, tense confrontations — veer into the absurd and invite laughter instead of awe. This is not a failure of stars or resources but of storytelling. Aditya Chopra’s confidence in scale seems to have tipped into complacency: the belief that marquee names and massive budgets can substitute for a coherent story. What should have been a Rs 1,000 crore-level tentpole looks unlikely even to cross Rs 250 crore. This movie is a reminder: scale magnifies both strengths and weaknesses. No amount of star wattage, stunts or VFX can compensate for an unmoored script.
Malayalam movies abound in realism, and low budgets. But even as these movies gained recognition for down to earth plots, the reality of gender exploitation had become a scourge…female artists often faced casting couch exploitation, and other forms of sexual harassment. AMMA (Association of Malayalam Movie Artists) under superstar Mohanlal faced serious charges, chapter and verse instances that could not be swept under the carpet. The Hema Committee Report forced the entire body to resign and face fresh elections. When former Miss India Femina Beauty Queen, 51-year old Shwetha Menon threw her hat in the ring, the male oligopoly did not take it as a serious threat. But just to ensure Shwetha got besmirched by bad publicity, a scandal campaign on Shwetha made the rounds; it quoted and charged her under Section 67 A of the obscene films law …a smear campaign that would have scorched any other female artist. But not her…she got acquitted. Not only that she worked her way to win 159 votes against actor Devan who got only 132 votes. For the first time in its 31-year old history, AMMA has a female artist as its head. Even though she tries to pun on AMMA, “Yes, a real Amma heads the Association now.” She has a plan but first she wants to get all the members on her side and work without rancour. Workplace sex exploitation is widespread. But women are now getting tough and willing to crack the whip on those whose touch is creepy.
After years of CIA and FBI stranglehold on the global cinema audience, an Israeli spy story series Fauda in 2015 became the benchmark for spine-chilling storytelling, pitting bitter enemies in death strangleholds. Fauda and later Teheran much-watched and lauded spawned a long line of spy thrillers, some even playing out the most recent and may be still unfolding events of Ranneeti: Balakot & Beyond. Fauda was cloned as Tanaav for India. But why clone, when we have our own braveheart stories? Our creative teams scaled new heights in espionage thrillers with Sare Jahan Se Accha, The Family Man, Special Ops (two seasons of pure thrills, spills and chills in which Kay Kay Menon plays the antagonist-protagonist), Sarzameen, Rannneeti: Balakot & Beyond and currently Salakaar, a hit show guaranteed to nail bite to stumps. Naveen Kasthuria, an unmistakable Ajit Doval with Mouni Roy, the alluring honey trap Mariam aka Shrishti, give a new meaning to heroism. Are these new genres building new age heroes? The valiant and versatile intel agents who risk their lives as much as the military combatant, gathering invaluable humint? We predict OTT will be the future launch pad for real life (but unseen) heroes …the reel life ones have had their day. No one denies that these thrillers carry significant hype…intel failures have changed the course of border protection. But it is clearly an era of Sare Jehan Se Acha.
‘Sholay’ has become a legend and keeps on attracting film lovers even after half a century. Many stories, real and apocryphal, associated with it abound. It has been widely reported how some of the actors in ‘Sholay’ were paid small sums for their performances and how they accepted the amounts without any murmur. One of them is veteran Marathi actor Sachin Pilgaonkar, who also has recently celebrated his film career spanning 50 years. Sachin’s role of Ahmed in ‘Sholay’ was very brief but quite powerful. The grandson of a wheelchair-bound septuagenarian, played by AK Hangal, the then teenager Sachin is remembered even today for the effective depiction. Equally interesting is the fact that Sachin was gifted with a refrigerator instead of monetary remuneration. He did not grumble since it was a common practice in those days to compensate in kind. Sachin has since appeared in numerous films and is an icon for the Marathi stage and cinema. His wife Supriya is a household name due to her varied film roles while their daughter Shriya, too, has made her debut on the screen and is well accepted. Recalling the history, Sachin has said in a social media post, “Sholay is an emotion. A celebration. I’ll always be grateful to Ramesh Sippy Ji who I considered one of my Gurus for making me a part of this magnum opus and for giving me the opportunity to learn so much even behind the scenes.”
On August 8, 2025, Bollywood witnessed a disheartening chapter for two of its veteran filmmakers, Suneel Darshan and Rajiv Rai, whose latest releases, Andaaz 2 and Zora respectively, met with resounding rejection at the box office. These senior filmmakers, once titans of the Hindi film industry, are struggling to resonate with today’s audience, their latest works exposing a stark disconnect rooted in their adherence to outdated storytelling and production styles. Suneel Darshan, celebrated for launching stars like Priyanka Chopra and delivering hits like Jaanwar (1999) and Andaz (2001), returned with Andaaz 2, a sequel banking on nostalgia. Similarly, Rajiv Rai, known for stylish, music-driven blockbusters like Vishwatma (1992) and Gupt (1997), presented Zora, a murder mystery. Both films crumbled because of poor execution, weak screenplays and ineffective marketing. Andaaz 2 featured music by Nadeem of Nadeem-Shravan fame and lyrics by Sameer, the names synonymous with 90s chartbusters, but the soundtrack failed to evoke the same magic, sounding dated and uninspired. Zora’ suffered from a weak narrative and forgettable music, failing to capture the intrigue expected of a thriller. Both films were dismissed by audiences underscoring a critical truth: nostalgia alone cannot sustain success in today’s dynamic cinematic landscape. Interviews with Suneel Darshan and Rajiv Rai reveal a bitterness toward past collaborators, particularly actors who no longer align with their projects. This resentment, coupled with their reliance on 90s filmmaking tropes —melodramatic narratives, formulaic music, and predictable plots —highlights their struggle to adapt. The failure of Andaaz 2 and Zora mirrors the struggles of other veterans like Subhash Ghai and Ram Gopal Varma. Filmmakers, regardless of past laurels, must shed outdated baggage and embrace modern techniques.
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Four years have zipped by and we are crossing another milestone on 31st January 2025 – it’s our 4th Anniversary. It feels good.
Looking back at the 1460 days, I must say Short Post has made its mark with people who matter via 4000 stories published in the areas of politics, business, entertainment and sports. All made possible by the unflinching commitment and dedication of our senior editors, most of whom have been part of this journey from Day One.
Small pack, big impact is in essence the story of Short Post which was launched at the height of the Covid-19 pandemic in 2021. It shows our conviction. In all humility, I can say, we have created a new niche in the news segment space like Hindustan Unilever which created a new segment, when it launched CloseUp Gel.
Yes, we have created a brand (in a limited sense), created demand (readers) and created supply (senior journalists). But we are facing teething problems like all start-ups. What makes us happy and confident is the recognition of our efforts. For instance, we have an arrangement with the OPEN Magazine, part of the $4.5 billion Kolkata-based Sanjiv Goenka-RPG Group. This arrangement sees around 10 Short Post stories posted on OPEN Magazine website every week. This arrangement is testimony that our content has been well received! Also, I may add that the Maharashtra government has recognised Short Post and has allowed our senior editor to cover the Assembly sessions. Ditto: Odisha.
Our goal is to ensure that Short Post becomes a habit. I would like people to keep checking their smartphones to know the latest Authentic Gossip. As regards AI and the fear of it disrupting all businesses including media. On that, personally, I have no such fear as I am confident AI cannot smell news particularly Authentic Gossip. That’s the place we are well entrenched.