EXCLUSIVE: Karan Anshuman defends Glory’s SHOCKING climax: “I don’t see it as an unacceptable ending in any way…it is about patriarchy and blind obsession”

Karan Anshuman is one of the directors of Glory, the Netflix series that has been receiving widespread acclaim. Starring Pulkit Samrat, Divyenndu, Suvinder Vicky and others, the show stands out for blending the world of boxing with an intriguing whodunit. The show ends on a shocking and unexpected note, which has become a talking point on the internet. In an exclusive interview with Bollywood Hungama, Karan Anshuman spoke about this aspect and a lot more.

When asked if he had any criticism for the climax since it’s unexpected and disturbing, he replied, “No, I haven’t got any negative feedback. Some people claimed that they were able to guess it. I don’t believe it! But I guess, there are many smart people out there.”

Karan explained why he went for such an ending, “If you apply the cultural lens and realize where the story is set, it is not shocking because we have seen so many stories in real life. Another word for glory is honour. If you think about the word ‘honour’ and ‘killing’, you know what happens. So, there were many clues along the way that would have pointed it out. It is about patriarchy and having this blind obsession with chasing something. Considering all these factors, I don’t see it as an unacceptable ending in anyway.”

Karan Anshuman has also turned producer and started Atomic Films with Mohit Shah. Speaking about it, Karan explained, “Under Atomic Films, we have produced Glory, Rana Naidu and Andhera. Now, there are films happening for sure. I have a couple of things in place. What’s interesting is that it was set up to do my stuff. But I quickly realized that it has empowered both Mohit and me to look at other voices and enable them. We want to do a certain kind of storytelling which makes a brand out of it in a way. There are a lot of people with whom we have grown up in the last few years, be it writers or directors, and I would love to enable all these people and help them get a platform. I know my own journey and how difficult it was to get a break. It took me 10 years. I just want to make sure that things are fairer now.”

Karan is one of the creators of the iconic series, Mirzapur, which is being made into a film. How does he look at this development? He replied, “I am very happy for everyone. This is literally the first time that it’s happening that a show is going to theatres. I am sure it’ll work and once that happens, it’ll be great. I am sure it’ll work and once that happens, it’ll be great. All of us can then have new characters, who have been seen on smaller screens, go on to a much bigger platform. So, I am hoping that it does well.”

Future plans

When asked about what’s next in the pipeline, Karan Anshuman revealed, “I am writing five scripts right now and I hope I can get going with one of them as soon as I can.”

Interestingly, Karan Anshuman has made only one film, Bangistan (2015), after which he made several web series including Inside Edge, the first OTT show in India. Does he have any plans to get back to directing movies?

Karan Anshuman answered, “100%. I have some scripts. But it’s all about timing and opportunities. Whether it’s a film or a series is not important. I am more interested in telling a story and how excited I get about it. Then, I have to understand whether it’ll take me two hours to tell that story or six hours. That’s it. Glory could have been a film. But it had so much to say and keeping up the pace for seven episodes was more rewarding. Also, casting is perhaps trickier for films than it is for a show. If I have a single hero, other things in place and a solid two-hour one-line story that cannot possibly hold for six hours, then of course, it’ll be made as a film. So, I am open to everything.”

He added, “However, I enjoy streaming. There’s a uniqueness to it and it’s like my home ground in a way.”

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Ayushmann Khurrana starrer Pati Patni Aur Woh Do aims to keep comedy genre alive after Bhooth Bangla box office success

Trade was speculating that after the unimaginable success of Dhurandhar, what kind of content would work at the box office. Then came Akshay Kumar with Bhooth Bangla and showed everyone why he is the master of comedies. Most importantly, audiences rediscovered something they had quietly missed for years — unapologetic, loud, situational comedy.

Now, it seems like Ayushmann Khurrana’s Pati Patni Aur Woh Do might extend the hit run for comedy genre, an all audience favourite, started by Bhooth Bangla!

When the first poster of Pati Patni Aur Woh Do dropped online, the reaction was instant curiosity. The title alone sounded like classic Bollywood confusion comedy. But insiders claimed the film was far more ambitious than people expected.

Pati Patni Aur Woh Do follows Ayushmann whose life spirals into absurdity after three women enter his life leading to hilarious situational comedy that has been missing in theatres!

Where Bhooth Bangla succeeded by mixing supernatural madness with old-school comic timing, Pati Patni Aur Woh Do appeared ready to carry the momentum forward with urban relationship comedy rooted in everyday bizarreness. The common factor was simple: both films prioritized fun & entertainment over spectacle.

Cinema owners are also optimistic. One distributor described the film perfectly, “People are exhausted from being emotionally drained every Friday. They want to laugh together again.”

Even industry veterans began comparing the moment to the golden comedy eras of the 2000s — when theatrical comedies dominated conversations for months. The difference now was that the humor had evolved. Instead of slapstick alone, films like Pati Patni Aur Woh Do blended satire about digital life, marriage pressure, online culture and modern insecurities.

Ayushmann himself is the ideal face to shoulder such comedies having delivered super successes with this genre throughout his career starting from Vicky Donor. Audiences trusted him to turn panic into comedy without losing emotional warmth.

Nothing unites an audience faster than laughter and Ayushmann’s film is looking to do just that when it releases in theatres on May 15th worldwide.

Also Read: Ayushmann Khurrana reveals Aamir Khan connection in Pati Patni Aur Woh Do!

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Anupam Kher returns to DDLJ’s climax spot in Maharashtra, urges government to preserve cinematic heritage

Anupam Kher recently took a nostalgic trip down memory lane as he revisited the iconic railway station where the climax scene of Dilwale Dulhania Le Jayenge was filmed more than three decades ago. On May 11, 2026, the veteran actor shared a video on social media from Apta Station in Raigad district, Maharashtra, the same location where one of Indian cinema’s most memorable scenes featuring Shah Rukh Khan and Kajol was shot.

The station became immortalised in Bollywood history through the climax sequence in which Raj pulls Simran onto a moving train. The moment continues to be regarded as one of the defining romantic scenes in Indian cinema.

Sharing his emotions, Anupam Kher wrote that returning to the same location after 32 years felt deeply emotional and filled with memories. Translating his Hindi caption into English, the actor said it did not feel like so many years had passed since the filming of the famous Raj and Simran sequence. He admitted that while shooting the film, nobody could have imagined that the scene featuring Shah Rukh Khan and Kajol would go on to become one of the most iconic moments in Indian cinematic history.

 

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He further reflected that the beauty of life lies in realising the greatness of certain moments much later. According to the actor, standing once again at Apta Station made it feel as though time had paused for a while.

Anupam Kher also urged the Maharashtra government to develop the location into a tourist destination. He pointed out that globally, film locations often become emotional landmarks for audiences and fans, and India too should preserve such cinematic heritage with the same respect.

In his post, the actor fondly remembered late filmmaker Yash Chopra and spoke about his warmth, simplicity and generosity. He also added a philosophical note, writing that magic does not only exist in films, but sometimes becomes a part of certain places as well.

Released in 1995 and directed by Aditya Chopra, Dilwale Dulhania Le Jayenge remains one of the most celebrated Hindi films of all time. Even after more than three decades, the film continues to enjoy immense popularity among audiences across generations.

Also Read: Kajol reacts to The Academy’s nostalgic post on Dilwale Dulhania Le Jayenge

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Photos: Sakshi Malik, Roshni Walia, Harman Baweja and others grace the launch of Roswyn Hotel

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Vardhaan Puri reveals he has been writing down his mother’s advice since 2008: “If I can become even 1% of…”

This Mother’s Day, Vardhaan Puri reflected on the immense impact his mother, Dr. Meena Rajeev Puri, has had on his life and career. Calling her “balanced, disciplined, and passionate,” the actor shared that many of the values he lives by today come directly from her upbringing.

Vardhaan revealed that one of the most timeless lessons his mother taught him was to treat every human being with equal dignity, respect, and kindness, regardless of their social or financial standing. “Character is how you treat someone regardless of what they can do for you in return,” he shared, adding that he consciously tries to practice every day.

The actor also opened up about how seriously he takes his mother’s guidance. In an emotional revelation, he shared that he has maintained a diary since 2008 where he writes down all the important advice she gives him. “If I can become even 1% of the human being she is, I’ll be grateful,” he said.

Recalling a defining moment from the start of his acting journey, Vardhaan remembered asking his mother if he was truly ready to step into films. Her response stayed with him forever: “One never feels ready. One has to jump into the ocean and learn to swim.”

On Mother’s Day, Vardhaan also shared that he intends to celebrate the occasion with an intimate family dinner, live music, and a cozy movie night at home with salted caramel popcorn.

Also Read: Mother’s Day 2026: Here’s celebrating the beautiful bond between these leading ladies and their moms

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EXCLUSIVE: Sanjana Sanghi to make web series debut: “I am really itching to kick off on that”; also reveals she is exploring international projects

Sanjana Sanghi has, over the years, explored theatrical as well as OTT films. But she has never been seen in a web series. Well, the wait is over for her as she is all set to be seen in her first long format content.

In an exclusive chat with Bollywood Hungama, Sanjana said, “I am really excited about finally being able to venture into the streaming space in terms of doing a show. I haven’t done a long-format show up till now. There has been a lot of material over the years that kind of came my way but I feel a show is such a big commitment because that character can run across seasons. I have been very selective in that. But I am excited about doing that.”

When inquired more about the show, the Dil Bechara actress said, “It hasn’t gone on floors yet. It went through a slightly stop-and-start kind of a journey but I am really hoping that in the second half of this year we are finally on floors because I am really itching to kick off on that.”

Sanjana still has one more box to tick as an actor. “What I really want to do now, honestly, is a comedy,” she said. “It’s something all the filmmakers I have worked with also tell me that they feel like I have this comic timing that I have explored very minimally in my characters thus far. An out-and-out comedy will be really fun to do.”

Her general criteria to take up roles is quite sorted. “I am always looking out for that girl that’s fully rounded,” she said. “Who has her weaknesses and strengths; who may not be perfect, but is a whole and very fleshed out woman. I think as women we have lots of colours to us; we are not one-dimensional.”

Sharing about her other upcoming projects, Sanjana said, “I am excited about Dhak Dhak sequel whenever it finally goes on floors. I have also been exploring international work in terms of languages not just Hindi. Because of Netflix and Amazon, I feel like the world has become one place. So, there are a lot of queries and auditions being coming in that regard as well, which I am actively pursuing.”

Sanjana has recently been in the news for participating in the Women in Power Conference at the Harvard Kennedy School.

Also Read: EXCLUSIVE: Sanjana Sanghi was pleasantly surprised to know people at Women in Power Conference at Harvard Kennedy School had been following her work: “I felt I will tell them about my work and then they will discover it”

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Photos: Arjun Rampal graced the launch of Roamer Watches in India

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Elnaaz Norouzi speaks on avoiding “getting comfortable” as an actor: “The moment you repeat yourself, you stop growing”

Elnaaz Norouzi has steadily carved a space for herself in both Indian and international entertainment industries by choosing roles that prioritize growth and experimentation over familiarity. At a time when many actors are often associated with a fixed image or genre, Elnaaz says she consciously looks for characters that challenge her emotionally and psychologically.

Speaking about her approach to acting, the 29-year-old actress shared that she does not want to remain confined to one kind of performance or storytelling space. “For me, it’s very important to not get comfortable in one space. I think as an actor, the moment you start repeating yourself, you stop growing. I don’t consciously chase different genres as a checklist, but I am very drawn to roles that challenge me emotionally or psychologically,” she said.

Elnaaz further explained that the genre itself is not the deciding factor for her. Instead, she looks for authenticity and emotional depth in the characters she portrays. “Sometimes that happens in a thriller, sometimes in a drama, sometimes even in something like a comedy. What matters to me is whether the character feels real and pushes me to discover something new about myself,” she added.

Over the years, Elnaaz has built a diverse filmography across streaming platforms, Indian cinema, and international projects. She first gained widespread recognition with Sacred Games, where her performance attracted significant attention. She later showcased her range further with projects such as Ranneeti and Tehran.

The actress has also expanded her global footprint through international productions, including Kandahar alongside Gerard Butler. Her growing presence in cross-cultural projects has positioned her as one of the few actors balancing Indian and international entertainment spaces simultaneously.

Also Read: Elnaaz Norouzi REACTS to US-Israel strikes on Iran; says, “Praying for all innocent civilians”

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Dibyendu Bhattacharya exposes Bollywood colourism; why the industry’s fairness bias refuses to die

Sometimes, one statement is enough to expose an entire system. Dibyendu Bhattacharya’s recent revelation that he was allegedly replaced in an advertisement because of his dark skin is not just another actor’s painful industry anecdote. It is a reminder of a truth that Bollywood has spoken around for decades but rarely confronted directly.

According to reports, the actor recalled that he was once replaced shortly before an ad shoot because the team supposedly did not want a kaala actor. The sentence is ugly. But what makes it uglier is that it does not shock anyone enough. And that, perhaps, is the real problem.

Colourism in Hindi cinema is not new. It has existed in casting rooms, brand meetings, makeup vans, magazine covers, song picturisations and advertising campaigns. The industry has always known it. The audience has always sensed it. Yet, every few years, when an actor says it aloud, everyone behaves as if this is a new wound. It is not. It is an old infection.

Bollywood has often celebrated itself as aspirational, glamorous and progressive. It speaks beautifully about representation. It gives speeches about diversity. It applauds itself when rooted stories become successful. But when it comes to the visual imagination of beauty, desirability and mainstream appeal, large parts of the system still remain trapped in outdated ideas. Fair is still too often treated as premium. Dark is still too often treated as earthy, intense, poor, dangerous, comic, villainous or character actor material.

This is not merely about who gets cast. It is about what kind of person a darker-skinned actor is allowed to be on screen. Can he be romantic? Can she be glamorous? Can he be wealthy? Can she be soft? Can he be the centre of desire? Can she be the face of luxury? Can he sell a perfume, a car, a watch, a wedding campaign or a premium brand without the casting brief suddenly becoming coded? This is where the real colourism lives, not only in rejection, but in categorisation.

Hindi cinema has always had brilliant, darker-skinned actors. Many of them have delivered unforgettable performances. But the industry has too often admired them as talented while reserving words like beautiful, heroic, desirable and aspirational for a narrower visual type. That is the polite hypocrisy. Talent is allowed. Stardom is rationed.

Dibyendu Bhattacharya’s case becomes even more significant because it reportedly came from the advertising space. Films can often hide behind excuses like script, character, region, realism or period setting. Advertising has fewer hiding places. Ads reveal what the market thinks desire looks like. Ads reveal who brands believe the consumer wants to become. If a talented actor can be rejected because his skin tone does not fit a brand’s idea of acceptability, then the issue is not merely artistic. It is commercial prejudice dressed up as market logic.

That is why this debate cannot stop at Bollywood alone. It must include brands, casting agencies, ad filmmakers, creative directors, marketing heads and the larger beauty economy. Cinema reflects society, yes. But cinema and advertising also train society. For decades, Indian audiences were told, directly or indirectly, that fairness equals confidence, marriageability, success, modernity and upward mobility. The names of fairness products may have changed. The vocabulary may have become safer. But has the mindset changed enough? Dibyendu’s revelation suggests that it has not.

The irony is that the audience has moved ahead faster than the industry in many ways. Today’s viewers are more accepting of faces, accents, body types and personalities that would once have been dismissed as non-mainstream. OTT has played a major role in this shift. Regional cinema has also challenged the old beauty template. Social media, too, has weakened the monopoly of the traditional glamour factory. Audiences now celebrate performers who feel authentic. They are not as obsessed with the airbrushed template as the industry imagines them to be.

And yet, the industry continues to second-guess the audience.

The excuse is always the same: This is what sells. But who decided that? And for how long will the industry keep hiding behind the consumer while actively shaping the consumer’s choices? If only one kind of face is repeatedly projected as desirable, the market will naturally learn to desire that face. If the screen keeps saying fair is premium, the audience will absorb it. If the screen changes, the audience can change too.

Bollywood cannot claim to be progressive while quietly preserving regressive casting filters. It is not enough for the industry to post supportive messages whenever such stories emerge. Casting briefs must change. Brand conversations must change. Makeup and lighting practices must change. Character descriptions must change.

There is a larger creative loss too. When an industry filters people through fairness, it damages storytelling. It narrows the emotional palette. It makes the screen less Indian, not more aspirational. India is not one shade. India is not one face. India is not one type of beauty. The more Bollywood tries to flatten that diversity, the more artificial it looks. Dibyendu Bhattacharya’s revelation hurts because it is believable. That is the shame of it.

The industry now has two choices. It can treat this as one more outrage cycle that will fade in 48 hours. Or it can use it as a mirror.

Because this is not about one advertisement. This is not about one actor. This is not about one casting decision. This is about the invisible hierarchy that decides who gets to be seen, how they get to be seen and whether they are allowed to be more than their complexion.

Bollywood loves to say that talent eventually wins. Dibyendu Bhattacharya’s revelation forces a more uncomfortable question: how many talented people were never even allowed to reach the starting line because the industry could not look beyond their skin?

Also Read: Sudhanshu Saria reveals he’s producing Pech and Silverfish to back fresh voices; says “filmmakers today feel disillusioned due to fewer opportunities…want my directors to feel safe and protected”

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EXCLUSIVE: Sudhanshu Saria reveals he’s producing Pech and Silverfish to back fresh voices; says “filmmakers today feel disillusioned due to fewer opportunities…want my directors to feel safe and protected”

After impressing audiences with Loev, Big Girls Don’t Cry and Ulajh, National Film Award-winning filmmaker Sudhanshu Saria is now all set to produce two films based on fresh ideas. Under his banner, Four Line Films, he’s producing Kumar Chheda’s Pech, which explores class and marginalization against the backdrop of Mumbai. Silverfish, directed by Krishna and co-written by Sudhanshu, is about a creature let loose in Silicon Valley. In an exclusive interview with Bollywood Hungama, Sudhanshu Saria spoke about turning producer and a lot more.

Sudhanshu Saria said, “Work has been going on for these two films for the last 2-2 ½ years. We’ll be going into production this year. When I run into filmmakers now, there’s a sense of disillusionment about how they are supposed to get started and launch their careers in this time when opportunities seem scarce. In these times, you can either make a very big film or not make a film at all. Hence, for all those reasons, it felt important to back new filmmakers with fresh voices.”

Does his experience as a director give him an advantage as a producer? Sudhanshu replied, “Absolutely. I have a lot of perspective to share and I can predict things before they happen. Of course, every film is a unique adventure. There are places where I’ll be way more overbearing because I know the ins and outs of it. I’ll be way more of a perfectionist and a micromanager. If taken in the right spirit, those things can be very useful. But when you don’t have that perspective, it can also be frustrating. So, like anything, it has its pros and cons. Obviously, I’d play to its strengths. I, myself, have been helped by and guided by so many experienced people who have contributed to my films and got me to where I am today. The idea is to do the same – provide guidance and perspective so that both my filmmakers are able to make terrific first films in a journey that makes them feel safe and protected and allows them to be at their creative best.”

It has become even more challenging to produce a film, especially on a certain budget. Sudhanshu Saria looks at this scenario differently, “Which industry is not facing a challenge right now? And I feel limitations are definitely a part of the job. People have less discretionary income while unemployment is rampant. So, it’s not something that I complain about – why is the public not going (to cinemas)? Why are they not paying and consequently, why are the budgets so low? I would anyway prefer a time where a lot of films are made at unheard-of budgets. I believe that when there’s wastage, it hurts creativity. My producer instinct begins from the moment we are doing subject selection. After making enough films, you do get a rough idea after reading the brief of what kind of budget a film requires. Also, with a first-time filmmaker, one also knows that there’s only a certain amount of money that the market can risk, what kind of casting potential it has, what the audience for it is, etc. In short, that math begins at subject selection. If the equation doesn’t add up, then I am not doing my job as a producer.”

Sudhanshu Saria’s films in the past have taken the festival route. Will Pech and Silverfish follow suit? The filmmaker explained, “Screening a film at a film festival is one of the best parts of making a film – to get that live reaction from people of different cultures and different places. Having said that, every film determines its own strategy. Both these films have very audience-friendly content. I was very clear when picking subjects that I am making films for people to go to the cinemas and watch. That is definitely the purpose. As we look to revitalize our business, now is the time to be very focused on films that bring people out of their homes. Now, festivals play a very important part in that journey but I have to do what’s correct for the films and make sure it reaches its audience. So, if it means holding it back from the festivals and building up an anticipation that explodes in cinema, that’s fine. But if it means giving people an early taste of the film so that we can build buzz and demand, that’s fine too. But yes, I am certainly grateful for the support I have got from the festivals.”

Will he juggle direction while producing these two films? Or would he like to focus on making these two films before donning the director’s hat? Sudhanshu stated, “I keep saying that I’ll multitask. But so far, that has not been true! I feel that I’ll prioritize the work on these films over my directorial. I feel very protective of these filmmakers. So, I definitely need to do a better job of focusing on my work. If I do my job right in this pre-production stage, then I can believe that during production, the team can take over. I’d very much like not directing something during the shoot. But if that happens, we’ll handle it then.”

Also Read: Sourabh Raaj Jain scores success on OTT and stage with Sangamarmar and Mere Krishn: “Grateful people are loving me”

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Alia Bhatt pours love on Vedang Raina and Sharvari’s ‘Maskara’ song from Main Vaapas Aaunga

Imtiaz Ali’s much-awaited Main Vaapas Aaunga is already creating a buzz ahead of its release. After the teaser and the soulful track ‘Kya Kamaal Hai’ by Diljit Dosanjh received immense love from audiences, the makers recently unveiled the romantic track ‘Maskara’, which continues to win hearts across streaming platforms and social media.

Adding to the growing excitement, Alia Bhatt, Ayushmann Khurrana and many more celebrities recently reacted with the love and appreciation.

Alia Bhatt commented, calling the song “So so lovely ”, while showering love on Vedang Raina and Sharvari’s chemistry in the track. Vedang also responded warmly to Alia’s comment with heart emojis, making fans even more excited.

Ayushmann Khurrana also reacted to the song with “”, to which Sharvari sweetly replied, “AK .”

 

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The song has been receiving an overwhelmingly positive response from listeners, with audiences praising its soulful melody, dreamy visuals, and the refreshing chemistry between Vedang and Sharvari. Social media continues to be flooded with appreciation posts and fan reactions celebrating the romantic vibe of ‘Maskara’.

Main Vaapas Aaunga is set in Imtiaz Ali’s dreamy world of love and longing, starring Diljit Dosanjh, Naseeruddin Shah, Sharvari Wagh, and Vedang Raina in pivotal roles. Produced by Applause Entertainment and Mohit Choudhary and Shibasish Sarkar of Window Seat Films, the film releases in cinemas on June 12, 2026.

Also Read: Sharvari and Vedang Raina show their playful chemistry in ‘Maskara’ from Main Vaapas Aaunga, lighting up the romantic world of Imtiaz Ali

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Does Bollywood really need 3 Idiots 2, or should Rancho, Farhan and Raju be left in peace?

Aamir Khan has confirmed that Rajkumar Hirani is working on 3 Idiots 2, with reports saying the sequel is set years after the original and aims to retain the humour of the 2009 film.

A sequel to 3 Idiots sounds like the easiest yes in Bollywood until one remembers what 3 Idiots means to people.

Veteran trade analyst Taran Adarsh has fond memories of 3 Idiots. “I distinctly remember I had watched 3 Idiots almost 10 days before the release,” he said. “Vinod Chopra and Raju Hirani had kept a screening for the main crew and I was invited. I think I was the only outsider there. And I distinctly remember when the movie ended, I got up from my seat and I gave it an ovation. If you see the review on Bollywood Hungama, I had put it before the release.”

This was not just a successful film. It was not merely a blockbuster, a comedy, a campus entertainer or another Rajkumar Hirani social drama. For an entire generation, 3 Idiots became part of the emotional vocabulary. It gave students a line to repeat when the pressure felt unbearable. It gave parents a film through which they could understand the suffocation of marks, ranks and expectations. It made friendship, failure and rebellion feel mainstream. It made Aal izz well more than a dialogue; it became therapy disguised as cinema. That is why the idea of 3 Idiots 2 is both exciting and terrifying.

Exciting, because the characters are beloved. Rancho, Farhan, Raju, Virus and Chatur are not forgotten names. They are part of popular culture. The original film has survived beautifully through television reruns, memes, reels, hostel nostalgia and family viewing. A follow-up by Rajkumar Hirani with Aamir Khan’s involvement naturally creates curiosity. Where is Rancho today? What happened to Farhan and Raju? Did the system change, or did it simply become more brutal? These are genuinely interesting questions.

But the fear is equally real. Some films become classics because they end at the right time. 3 Idiots ended with closure, laughter, emotion and hope. It did not leave the audience hungry in a frustrating way. It left them fulfilled. That is a dangerous place from which to build a sequel. When a film has already said what it needed to say, a continuation risks becoming an explanation nobody asked for.

Bollywood’s current relationship with nostalgia is complicated. On one hand, revisiting loved films makes business sense. Familiar titles reduce risk. Audiences already know the emotional world. Marketing becomes easier. On the other hand, nostalgia can become a trap. When a classic is revived merely because the title has recall value, the result often feels like a brand extension rather than a story that demanded to be told.

With 3 Idiots 2, the biggest challenge is not humour. It is relevance. The educational pressure that the first film addressed has not disappeared. In fact, it has mutated. Today’s students are dealing with entrance exams, international admissions pressure, AI disruption, social media comparison, career uncertainty, mental health issues and the fear of becoming obsolete before even starting adult life. If the sequel has the courage to engage with this new reality, it can become meaningful. If it simply tries to repeat the old magic with familiar jokes and callbacks, it may disappoint.

The original worked because it attacked a system while entertaining the masses. It did not feel like a lecture. It made people laugh before making them uncomfortable. That balance is extremely hard to recreate.

Rajkumar Hirani understands emotion and humour better than most Hindi filmmakers, but even he will know that 3 Idiots 2 carries unusual pressure. This is not just another sequel. This is a sequel to a film people are protective about.

Aamir Khan’s return to Rancho also raises expectations. The character cannot simply be older; he has to be evolved. A sequel set years later must answer a difficult question: what happens to idealists when they age? Does Rancho still believe in changing the system? Has he compromised? Has he built something revolutionary? Or has the world become too cynical even for him? These questions could make the sequel fascinating.

But the larger debate remains: does every classic need continuation? Audiences often demand sequels, then punish them for not matching memories. That is the cruellest part. 3 Idiots 2 will not be compared to a normal film. It will be compared to people’s youth, their college days, their friendships, their exam stress, their parents, their dreams. No film can easily compete with memory.

Adarsh does, however, hold out hope for this particular team. “Rajkumar Hirani is not the type who would capitalise on his own brand,” he said. “So, when he made Munna Bhai (MBBS) and the latter part (Lage Raho Munna Bhai), they worked because it was a natural and organic transition. The fact that Raju Hirani has come up with an idea, I think, sounds very interesting.” That said, he added a note of caution: “But 3 Idiots is a much-loved, flawless, outstanding film. To attain that kind of benchmark again will be challenging. You will be competing not with other films; you will be competing with the first part. People will compare it very minutely, so you will have to get it very right. A sequel for the sake of a sequel would not work. I think it’s still in the initial stages right now. But if at all it happens when the script is locked, I would be very happy to see it. As I said, my only concern is that it ought to be a natural, organic transition from the first part.”

Rajkumar Hirani understands the pulse of middle class India, Aamir Khan knows the weight of Rancho, and the audience still has enormous affection for that world. But 3 Idiots 2 cannot simply survive on nostalgia, callbacks and a few Aal izz well moments thrown in for applause. It has to answer why Rancho is needed in 2026, not just why he was loved in 2009. The sequel must justify its existence not with memory, but with meaning. Because this time, the audience will not be giving grace marks. They will enter the theatre with excitement, emotion and a red pen in hand. If the film works, everyone will happily say, Jahapanah tussi great ho. But if it feels like a forced extension of a perfect memory, then even Rancho might need to sit through one final viva and this time, Virus won’t be the only one asking tough questions.

Also Read: Aamir Khan CONFIRMS 3 Idiots sequel is in the works, reveals Rajkumar Hirani directorial is set 10 years later: “It’s a beautiful story”

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EXCLUSIVE: Nikhita Gandhi reveals why she’s partial to Bhooth Bangla’s ‘Tu Hi Disda’: “It’s RARE that a song gives equal real estate to male and female singers”; BREAKS silence on AI threat to singers: “If you can’t beat it, then join it”

Nine years ago, Nikhita Gandhi made a stunning entry into Hindi film music with the title track of Raabta (2017), and since then, she hasn’t looked back. After getting her big break from A R Rahman with I (2015), she went on to lend her voice to several memorable Hindi film albums, including Jagga Jasoos (2017), Jab Harry Met Sejal (2017), Sanju (2018), Stree (2018), Kedarnath (2018), Luka Chuppi (2019), Tu Jhoothi Main Makkaar (2023), Tiger 3 (2023), War 2 (2025), etc. Over the years, she has collaborated with artists such as Pritam Chakraborty, Sachin-Jigar, Arijit Singh, Diljit Dosanjh, and many more. Her recent release, ‘Tu Hi Disda’ from Bhooth Bangla, featuring Akshay Kumar and Wamiqa Gabbi, has amassed 50 lakh views on YouTube and counting. In an exclusive interview with Bollywood Hungama, Nikhita opened up about ‘Tu Hi Disda’, her singing career, the concert boom in India, AI in music and a lot more.

How has the feedback been for ‘Tu Hi Disda’? It’s quite a catchy number…
Of all the new releases, I am a little partial to this song for sure. It’s very rare that a song gives equal real estate to the male and female singers. It’s a very quintessential duet. There are lots of duets out there where the female portion comes only towards the end. Some of my biggest songs are like that, like ‘Qaafirana’ (Kedarnath; 2018). ‘Tu Hi Disda’ is not like that; it has a really cute banter between the boy and the girl. I find it refreshing and very Indian. Hence, I am glad to be a part of it.

Why is it that male and female playback singers don’t have equal prominence in songs nowadays? This was not the case earlier…
I don’t think there’s a conscious decision behind it. In the past, there were proper lip-sync songs, more on the lines of ‘he-said-this-and-then-she-said-this’. It was like a conversation. So, it required male and female playback singers to alternate. That’s how cinema was in the past. Now, songs are sometimes from a third person’s perspective. So, it has nothing to do with gender as such. Also, songs are usually composed by a male composer. So, they automatically compose it in a male scale and from a male perspective. The female perspective is a refreshing in-between.

But as I said, it’s not a conscious thing. In the case of ‘Tu Hi Disda’, it’s a balanced duet. Also, the female character is wearing a saree, and there’s a conversation going on between the two, just like it was in the olden times.

The concert boom is happening right now in India. How much do you enjoy doing concerts and live performances?
I love being on stage and performing. When I started out, I didn’t plan to be a singer. It wasn’t a career path that I had worked towards; it happened accidentally. So, even the role of being a performer was something I had slipped into inadvertently, but never truly explored until I actually became a singer (smiles).

Sometimes, attendees surprise performers by requesting an underrated track, something the singer never expected to be asked for. Has that ever happened to you?
Of course. I love when these surprises happen because it’s so important to be surprised by life and by people. You never want to feel complacent and think you have done everything you wanted to do. I did a wedding show recently. We started late and hence I skipped a few songs. I went straight away to the party tracks in order to cater to the mood of the event. After the event, a fan told me that he was a big fan of my music and requested me to sing ‘Qaafirana’ (smiles).

It was not surprising because of the song; after all, ‘Qaafirana’ is my biggest song. But the fact that somebody paid so much attention and specifically wanted to hear that. That just made it so special and beautiful. Some of the underdogs from my discography are also requested. When that happens, it’s such a win.

What are your views on AI’s ability to replicate singers’ voices? Do you see it as a threat?
The ultimate truth is that if you can’t beat it, then join it! You need to work with it to your advantage. For instance, there’s a singer who wants to present her music, but she’s not a producer. She doesn’t even have the budget to hire a producer. AI can prove to be of help. That’s how I would function as an artist – if I am bad at something or don’t want to spend time as much as doing it because it’s not my primary skillset, and if I don’t have the means to hire someone to do it, I’ll resort to AI. We are also living in a world where everyone wants to see a finished product. No one wants to see a pitched idea; they all want a complete product. My filmmaker friends create AI animation as a pitch before the pilot, so that the producers can see what the film is going to look like. Hence, the best way to move ahead is to find ways to implement it in your work.

Also Read: Nikhita Gandhi and Rekha Bhardwaj express happiness after working on the web-series Khalbali Records

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EXCLUSIVE: Tadanobu Asano reveals the heart behind Mortal Kombat II; says, “I hope I make my son proud”

The thunder is about to strike again. New Line Cinema is dialling up the brutality, bloodshed, and fan-favourite characters as Mortal Kombat II gears up for its grand theatrical release in India on May 8, 2026. Set to hit cinemas and IMAX screens in English, Hindi, Tamil, and Telugu, the sequel promises a bigger, darker, and more intense chapter in the iconic franchise.

At the centre of this mythological mayhem stands Lord Raiden, Earthrealm’s all-powerful thunder god and protector, brought to life once again by acclaimed Japanese actor Tadanobu Asano.

In an exclusive conversation, Asano offered an insightful glimpse into the evolution of Raiden and what fans can expect this time around. “Lord Raiden chooses the champions for Earthrealm. In the last film, he found Cole Young, and in this film, he finds Johnny Cage. Raiden feels that Johnny has great power, even though no one else sees it. He’s a very funny character, but he seeks his power step by step,” the actor revealed.

Picking up after the events of the 2021 film directed by Simon McQuoid, the sequel raises the stakes as Earthrealm’s champions face a fierce and unforgiving threat under the dark reign of Shao Kahn. A major highlight this time is the arrival of fan-favourite Johnny Cage, played by Karl Urban, an unexpected yet crucial addition to Raiden’s chosen warriors.

For Asano, stepping into Raiden’s shoes goes far beyond delivering dialogues or executing elaborate fight choreography. The transformation into the thunder god is deeply tied to the character’s physical identity, especially one iconic element. According to the actor, Raiden truly comes alive the moment he dons his signature headgear, making it a defining part of his performance.

Beyond the action, Mortal Kombat II is also shaping up to be a visual spectacle. Asano was particularly effusive about the film’s production design and his reunion with celebrated designer Taneda-san. “The production designer, Taneda-san, is wonderful. I worked with him in Japan, and I was so happy to work with him again. One of the sets he designed for this film is Raiden’s Sky Temple. It was so beautiful and made being in character as Raiden very easy,” he shared.

The Sky Temple sequence is already being touted as one of the film’s standout moments, with its immersive design helping actors fully inhabit their roles and elevating the cinematic experience.

However, beyond the spectacle and scale, it was Asano’s personal revelation that truly stood out. In a heartfelt moment, the actor shared the emotional anchor behind his performance. “I hope I make my son proud! He loves this game,” he said, offering a rare glimpse into the deeply personal motivation that fuels his portrayal of the thunder god.

With a powerhouse team including director Simon McQuoid and writer Jeremy Slater based on the iconic video game created by Ed Boon and John Tobias Mortal Kombat II is gearing up to deliver an electrifying cinematic experience.

Brace yourselves. The battle for Earthrealm is about to get even more brutal.

Also Read: EXCLUSIVE: No CGI, just carnage: Martyn Ford promises brutal realism as Shao Kahn in Mortal Kombat 2

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Adivi Sesh eyes romantic turn after Dacoit success; signs two love stories ahead of G2

After the commercial performance of Dacoit, Adivi Sesh is preparing to explore a different genre in his upcoming projects. The Telugu action thriller has emerged to be one of the most loved Telugu films of 2026 so far and is said to have even recovered its costs. While Sesh has largely been associated with high-stakes, action-driven films, the actor is now set to take on romantic dramas, indicating a shift in his choice of roles. Before that, he will return to familiar territory with G2, the sequel to Goodachari, which continues his established action franchise.

Following G2, Sesh has signed two romantic projects. The first will be directed by Sai Marthand, who recently delivered the Telugu film Little Hearts. The projects are expected to explore relationships and emotional narratives, marking a contrast from the intense roles Sesh has portrayed in recent years. Speaking about this transition, Sesh said, “Dacoit has been an incredibly rewarding journey, especially because of the love it has received from audiences. But as an actor, I’ve always believed in the importance of not getting too comfortable in one space.”

He added, “Over the last few years, I’ve explored intense, high-stakes narratives, and I’m grateful for how strongly they’ve connected. At the same time, I’ve been feeling a strong pull towards stories that are more intimate and emotionally driven. Romance, when done right, can be incredibly powerful and deeply relatable.”

Opening up about his decision to take on two romantic films, Sesh said, “These two scripts really stood out to me because they approach love and relationships in very different ways. They’re not just love stories, they’re about people, vulnerability, and the choices that define us. That’s something I’m very excited to explore as an actor.”

Despite this shift, the actor clarified that he is not moving away from action. “I don’t see it as a shift away from action, but rather an expansion of what I want to do. G2 is very much in that high-octane space, but these romantic dramas allow me to tap into a completely different emotional spectrum. As an actor, that’s the kind of diversity I’ve been seeking.”

With G2 and two romantic films in the pipeline, Adivi Sesh appears set to balance both action and emotionally driven storytelling in his upcoming slate.

Also Read: Adivi Sesh’s Dacoit becomes first hit in Telugu post Sankranti season; actor says, “It motivates me to keep pushing boundaries”

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Photos: Athiya Shetty attends a special Mother’s Day event hosted by Fossil

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Balan The Boy heads to Cannes 2026: KVN Productions & Thespian Films’ Malayalam film to be showcased at Marché du Film

In a significant development for regional cinema, Balan The Boy is set to be showcased at the prestigious Cannes Film Festival 2026. The film will have a special market screening at the Marché du Film on May 14, introducing it to an international audience of buyers, distributors, and cinema professionals.

Backed by KVN Productions and Thespian Films, the project has already generated early buzz, particularly for bringing together two prominent creative voices from Malayalam cinema—director Chidambaram, known for Manjummel Boys, and writer Jithu Madhavan, associated with Aavesham.

Speaking about the film’s presentation at Cannes, director Chidambaram shared, “Balan The Boy is a film about what we carry without knowing… the weight of where we come from, and the hunger to find where we belong. I made this film for the person who has felt both of those things deeply and never found the words for them. Cannes has always been a home for cinema that trusts its audience with exactly that kind of truth and Balan The Boy trusts its audience completely. To feel before they understand. And to carry something home long after it is over.”

 

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Producer Venkat K Narayana of KVN Productions also expressed his thoughts on the film’s global showcase. “Balan The Boy is not just a film, it is a statement. The kind that reminds you exactly why you got into this industry in the first place. Malayalam cinema is making work the world cannot afford to ignore, and we are at Cannes because we believe, with everything we have, that Balan The Boy belongs at the centre of that conversation.”

Sharing her personal connection to the festival, Shailaja Desai Fenn of Thespian Films added, “Cannes holds a very personal place in my heart. When I visited in 2022, I made a quiet promise to myself, that the next time I come here, it will be with a film. Standing here today with Balan The Boy, I can tell you that some promises are worth every sleepless night it takes to keep them. It is a matter of immense pride for all of us at KVN Productions and Thespian Films to be here at the Marché du Film with a story we deeply believe in. I am grateful to our incredibly talented director Chidambaram for making this vision a reality. Balan The Boy is a universal story that will move audiences across all ages, everywhere in the world. And that, for me, is the most beautiful thing a film can be.”

Exploring themes of identity, survival, and the emotional bond between a mother and child, Balan The Boy aims to present a universally resonant narrative. With its screening at the Marché du Film, the film is poised to expand its global footprint and engage with the international film community.

Also Read: Yash starrer Toxic release postponed again, new date to be announced soon

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Photos: Malaika Arora, Kritika Kamra, Amrita Arora and others snapped in Bandra

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Photos: Aditi Rao Hydari snapped outside the gym in Bandra

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Sanya Malhotra-starrer Pagglait 2 in the works at Sikhya Entertainment and Netflix India: Report

A sequel to Pagglait is officially in development, with Sanya Malhotra set to return in the lead role. The project, titled Pagglait 2, will once again bring together Sikhya Entertainment and Netflix India, continuing their successful creative partnership.

According to a report by Variety India, director Umesh Bist, who helmed the original film, is also returning for the sequel. The filmmaker is expected to take the story forward with a new narrative approach while preserving the emotional and humorous tone that made the first installment stand out.

At present, it is unclear whether Pagglait 2 will directly continue the events of the 2021 film or explore a fresh story connected by similar themes and characters. However, the sequel is expected to retain the distinct blend of wit, grief, family drama and self-discovery that resonated with audiences in the original release.

Production on the sequel is likely to begin around August or September 2026. No official release date has been announced yet.

Released in 2021, Pagglait received praise for its unconventional storytelling and strong performances. The film followed the journey of a young widow navigating personal loss, family expectations and emotional transformation. Sanya Malhotra’s performance in the lead role was widely appreciated.

Founded by Guneet Monga Kapoor and Achin Jain, Sikhya Entertainment is known for backing notable projects such as the Academy Award-winning documentary The Elephant Whisperers, The Lunchbox, Kathal and Peddlers.

The company also has several upcoming releases in the pipeline, including a new project from filmmaker Karthik Subbaraj and the spy comedy Udta Teer, starring Ayushmann Khurrana and Sara Ali Khan.

Also Read: Sanya Malhotra starrer Pagglait turns 3, actress shares memory on social media

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