The original Jailer, directed by Nelson Dilipkumar, was a massive commercial success, grossing over Rs 600 crore worldwide and becoming one of the highest-grossing Tamil films of all time. The film featured Rajinikanth in the title role of a retired jailer who takes on a criminal network, with an ensemble of stars making cameo appearances. Jailer 2, which was announced shortly after the first film’s success, promises to up the stakes in every department — and the addition of Hrithik Roshan is the biggest statement yet.

Two Superstars, One Screen

The prospect of Hrithik Roshan and Rajinikanth sharing screen space has sent Indian film fans into a frenzy. Rajinikanth, 75, is arguably the most iconic star in Indian cinema history — a figure whose appeal transcends language, region, and generation. His films are events, not merely releases, and his fan base extends from Tamil Nadu across India and into global diaspora communities.

Hrithik Roshan, 52, is Bollywood’s quintessential leading man — an actor whose combination of physical charisma, dancing ability, and dramatic range has earned him a unique place in Hindi cinema. From his debut in Kaho Naa Pyaar Hai to franchise blockbusters like Krrish and War, Hrithik has consistently delivered performances that blend commercial appeal with artistic ambition.

The two stars represent different traditions of Indian cinema — Rajinikanth’s larger-than-life style rooted in Tamil cinema’s mass entertainment philosophy, and Hrithik’s more polished, globally influenced approach typical of Bollywood. Bringing them together is a creative gamble that, if it works, could produce something truly special for Indian audiences.

What We Know About Jailer 2

Details about Jailer 2’s plot remain tightly under wraps, but industry sources suggest that the film will expand the universe established in the first instalment. Rajinikanth will reprise his role as the protagonist, while Hrithik is reportedly playing a significant antagonist — a departure from his typical hero roles that has excited both fans and critics. (Related: Prabhas, Rajinikanth, and Allu Arjun Lead South Ci…)

Director Nelson Dilipkumar, who is known for his blend of dark humour and action, is said to have written the role specifically for Hrithik after the success of the first film gave him the creative leverage to dream big. “When you have Rajinikanth on one side, you need someone equally magnetic on the other,” a source close to the production told industry media. “Hrithik was always the first choice.”

The film’s production budget is reportedly in the range of Rs 300-350 crore, making it one of the most expensive Indian films ever made. The budget reflects not only the combined star power of the cast but also the film’s ambitious action sequences, which are expected to include elaborate set pieces shot across multiple international locations.

The Business of Pan-Indian Cinema

The casting of Hrithik in a Tamil-language franchise is the latest example of the growing convergence between Bollywood and South Indian cinema. Since the game-changing success of Baahubali, RRR, KGF, and Pushpa, the boundaries between Indian film industries have become increasingly fluid. Stars, directors, and technicians now move freely between language industries, and audiences have shown a willingness to embrace films regardless of their language of origin. (Related: Kangana Ranaut Speaks on Peddi Objectification Row…)

Jailer 2, with its combination of a Tamil superstar and a Bollywood icon, is positioned to be a truly pan-Indian event. The film is expected to release simultaneously in Tamil, Hindi, Telugu, Kannada, and Malayalam, with each version featuring the original performances rather than dubbing — a practice that is becoming standard for major cross-industry productions.

For the business side of Indian cinema, the film represents a test of whether the pan-Indian model can consistently deliver blockbuster results. While films like RRR proved that audiences will turn out for the right content regardless of language, several subsequent attempts at pan-Indian releases have underperformed, suggesting that star power alone is not enough — the content must deliver.

Fan Expectations and Industry Buzz

Social media erupted within minutes of the news breaking, with “Hrithik” and “Jailer 2” trending simultaneously on X (formerly Twitter) in India. Fan-made posters combining images of the two superstars went viral, and the official announcement — expected in the coming weeks — is anticipated to break social media engagement records.

For Hrithik, the role represents an opportunity to expand his appeal into South Indian markets, where he is admired but has not had the same box office impact as in the Hindi belt. For Rajinikanth, the collaboration brings Bollywood’s commercial machinery into play for what could be his final few films as a leading man.

Production is expected to begin in the second half of 2026, with a tentative release window in mid-2027. If the stars align — both literally and figuratively — Jailer 2 could be the Indian cinema event of the decade.

The post Hrithik Roshan Set to Reunite With Rajinikanth After 40 Years in Jailer 2 — Bollywood Meets Kollywood Mega-Collaboration appeared first on Daily Tips.

The advance booking numbers surpass even the extraordinary records set by recent blockbusters, with major multiplex chains like PVR-INOX and Cinepolis reporting near-complete occupancy for opening day shows across metros and tier-2 cities alike. Single-screen theatres, which have struggled in recent years, are also reporting a surge in bookings — a testament to Sunny Deol’s enduring appeal among mass audiences.

From Lahore 1947 to Batwara 1947

The film’s journey to the screen has been eventful. Originally announced as “Lahore 1947,” the title was changed to “Batwara 1947” following discussions about the narrative’s focus and marketing positioning. The new title — “Batwara” meaning “partition” in Hindi — more directly evokes the traumatic division of British India in 1947, the central historical event around which the film’s story revolves.

While the original Border depicted the Battle of Longewala during the 1971 India-Pakistan war, Batwara 1947 shifts the timeline back to the Partition era. The film explores the human cost of Partition through the story of families torn apart by the Radcliffe Line, combining intimate personal drama with large-scale action sequences that showcase the violence and chaos of one of history’s largest mass migrations.

Sunny Deol, who delivered one of Bollywood’s most iconic performances as Major Kuldip Singh in Border, plays a different character in the sequel — a Sikh farmer-turned-protector who must guide his family and neighbours to safety across the newly drawn border. The casting of Deol, whose association with patriotic and action-heavy roles is unmatched in Hindi cinema, has been a masterstroke in building audience anticipation.

Trade Expectations and Box Office Projections

Trade analysts are projecting record-breaking numbers for the film’s opening. Taran Adarsh, the veteran Bollywood trade analyst, described the advance booking numbers as “unprecedented” and predicted that Batwara 1947 could join the exclusive Rs 100 crore opening day club — a feat achieved by only a handful of Hindi films. “The combination of Sunny Deol, the Border brand, and the Partition theme has created a perfect storm of audience interest,” Adarsh wrote on social media.

The Rs 125 crore opening weekend projection, if achieved, would make Batwara 1947 one of the biggest Bollywood openers of all time. The film’s release timing — coinciding with the summer holiday season and a relatively clear release window with no major competing titles — further supports the optimistic projections.

Overseas markets are also showing strong interest, particularly in the UK, US, Canada, and the Gulf countries, where the Indian diaspora has historically turned out in large numbers for patriotic and culturally resonant films. The international distributor has reported the highest advance sales for any Bollywood film this year.

The Border Legacy

The original Border, directed by the legendary J.P. Dutta and released in 1997, was a watershed moment in Hindi cinema. Based on the true story of the Battle of Longewala during the 1971 Indo-Pakistani War, the film starred Sunny Deol, Jackie Shroff, Suniel Shetty, and Akshaye Khanna. It became the highest-grossing Bollywood film of 1997 and is regarded as one of the greatest Indian war films ever made.

The film’s songs — particularly “Sandese Aate Hain,” composed by Anu Malik — became anthems of patriotism that continue to be played at Independence Day celebrations across India nearly three decades later. The Border brand carries enormous emotional weight with Indian audiences, and the prospect of a sequel has generated nostalgia-driven interest that few other franchises can match.

Batwara 1947 has big shoes to fill, but early reviews from critics who attended advance screenings have been positive. While specific details are under embargo, the general consensus is that the film delivers on its promise of emotional depth and spectacular action, with Sunny Deol’s performance being singled out as a career highlight.

Bollywood’s Blockbuster Season

The success of Batwara 1947’s advance bookings is a positive signal for the Bollywood industry, which has been navigating a challenging period marked by the rise of regional cinema, streaming competition, and audience fatigue with formulaic content. The film’s performance suggests that audiences are still willing to turn up in massive numbers for the right content on the big screen.

For Sunny Deol, who has experienced career highs and lows over his four-decade career, Batwara 1947 represents a potentially career-defining moment. His 2023 hit Gadar 2, which grossed over Rs 500 crore, proved that his star power remains formidable. If Batwara 1947 delivers on its box office promise, it will cement his status as one of Bollywood’s most bankable action stars — a title he has held, arguably, since the original Border.

Also Read

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• Bollywood Box Office March 2026: Blockbusters, Surprises, and a Resurgent Hindi Film Industry
• Bollywood June 2026 Preview — Bobby Deol’s Bandar Leads Packed Month with Varun Dhawan and Imtiaz Ali Films Also Lined Up

As theatres prepare for the onslaught of audiences this weekend, one thing is clear: the Border spirit lives on.

The post Sunny Deol’s Batwara 1947 Shatters Advance Booking Records — Border Sequel Set for Rs 125 Crore Opening Weekend appeared first on Daily Tips.

Don 3, announced in 2023 as the next instalment in one of Bollywood’s most iconic action franchises, was expected to be a career-defining project for Ranveer. The franchise, which starred Shah Rukh Khan in the 2006 reboot Don: The Chase Begins Again and its 2011 sequel Don 2, was being reimagined by filmmaker Farhan Akhtar with Ranveer in the lead. Filming was weeks away from commencing when reports emerged that the actor had pulled out, citing undisclosed reasons.

How the Controversy Unfolded

The trouble began in early May 2026, when the producers of Don 3 raised formal concerns with industry bodies about Ranveer’s decision to exit the film at short notice. The production had reportedly invested significant resources in pre-production — including set construction, costume design, and crew contracts — making the sudden withdrawal financially and logistically damaging.

FWICE, which represents thousands of daily-wage film workers including technicians, makeup artists, and spot boys, issued an informal advisory asking its members to reconsider collaborating with the actor. While stopping short of a formal ban, the message was clear: Ranveer’s walkout had affected livelihoods, and the industry was upset.

The advisory triggered a firestorm on social media. Ranveer’s fans launched #WeStandWithRanveer campaigns, while industry voices were divided. Some veterans supported the union’s right to protect workers’ interests, while others argued that an actor has the right to choose or reject projects without being penalised.

The Legal Notice and Resolution

The turning point came when Ranveer’s legal team sent a notice to FWICE, the contents of which have not been publicly disclosed. Sources familiar with the matter suggest the notice challenged the legality of the boycott call and warned of potential defamation proceedings. The BBC reported that while it had not reviewed the notice directly, the intervention was confirmed by multiple industry sources.

FWICE president B.N. Tiwari subsequently issued a statement expressing support for Singh, asserting that “the industry is united” and urging constructive dialogue. Chief advisor Ashoke Pandit said the decision to lift the boycott followed appeals from various industry groups and encouraged Singh to meet with the union to resolve any outstanding issues.

“We celebrate his stardom,” Pandit told NDTV. “We lack the authority to impose bans. We remain hopeful for a constructive response from Ranveer.” The statement marked a clear de-escalation, with the federation essentially stepping back from its earlier position.

Why Did Ranveer Leave Don 3?

The million-dollar question — why Ranveer exited the franchise — remains unanswered. The actor has not commented publicly, and his spokesperson has only said that he “holds the film industry and its workers in the highest regard.” Speculations have ranged from creative differences with the director to scheduling conflicts with personal commitments, including wife Deepika Padukone’s second pregnancy.

Industry insiders suggest the reasons may be more nuanced. One widely discussed theory is that Ranveer was uncomfortable stepping into Shah Rukh Khan’s iconic shoes in a franchise so closely associated with SRK’s charisma. Another theory points to disagreements over the script’s direction and the financial terms of the deal. Whatever the reason, Ranveer’s silence has only fuelled speculation.

What’s Next for Don 3 and Ranveer

For the Don franchise, the future is uncertain. Producer Ritesh Sidhwani and director Farhan Akhtar have not announced a replacement for Ranveer, and it’s unclear whether the project will move forward, be shelved, or be reworked with a different lead. The franchise, which has grossed over Rs 500 crore across its previous instalments, remains a commercially attractive property.

For Ranveer, the controversy appears to be behind him — at least legally. He has several other projects in various stages of development and is expected to resume professional commitments after a brief break to support Deepika during her pregnancy.

Also Read

• Ranveer Singh Banned by FWICE Over Abrupt Don 3 Exit — Farhan Akhtar Demands Rs 45 Crore in Damages
• FWICE Withdraws Non-Cooperation Directive Against Ranveer Singh Over Don 3 — How the Bollywood Industry Row Was Resolved
• Bollywood June 2026 Preview — Bobby Deol’s Bandar Leads Packed Month with Varun Dhawan and Imtiaz Ali Films Also Lined Up
• Deepika Padukone Flaunts Baby Bump During Bandra Outing

The episode, however, has raised important questions about the power dynamics between stars, producers, and worker unions in Bollywood. In an industry where daily-wage workers are often the most vulnerable, the tension between an actor’s right to choose and a crew’s right to livelihood is a conversation that is far from over.

The post FWICE Drops Boycott Against Ranveer Singh Over Don 3 Exit — Actor Sends Legal Notice, Industry Rallies Behind Star appeared first on Daily Tips.

The sighting comes weeks after the couple’s adorable pregnancy announcement on Instagram, which featured their daughter Dua holding a positive pregnancy test kit — a post that crossed 4.1 million likes within hours and had celebrities from Katrina Kaif to Priyanka Chopra and Kareena Kapoor showering them with love and congratulations.

The DeepVeer Love Story Continues

Deepika and Ranveer, fondly called “DeepVeer” by fans, have been one of Bollywood’s most public and beloved couples since they began dating in 2012. Their chemistry, first ignited on the sets of Sanjay Leela Bhansali’s Ram-Leela, deepened through Bajirao Mastani and Padmaavat, before they tied the knot in a fairytale wedding at Lake Como, Italy, in November 2018.

Their first child, daughter Dua Padukone Singh — whose name means “prayer” — was born in September 2024. The couple kept Dua’s early months intensely private, only sharing glimpses of their parenting journey through carefully curated social media posts. Now, with baby number two on the way and expected in December 2026, fans are overjoyed at the growing DeepVeer family.

“We are grateful, blessed, and excited beyond words,” Deepika wrote in her pregnancy announcement post. “Dua is ready to be the best big sister in the world.” Ranveer, known for his exuberant public persona, shared a separate post with a heart emoji and the caption: “Our little family grows. Life is beautiful.”

A Maternity Fashion Moment

As with her first pregnancy, Deepika has been setting maternity fashion goals. During the Bandra outing, she was spotted wearing a flowing olive-green maxi dress paired with oversized sunglasses and minimal jewellery — a look that was simultaneously effortless and elegant. Within hours, the outfit was being searched and replicated across fashion platforms, with “Deepika maternity look” trending on Google India.

The actress, who has long been a style icon, was also spotted earlier this month at a maternity brand photoshoot, giving fans their first full glimpse of her baby bump. The images, shared by the brand on social media, showed Deepika in a series of pastel-toned outfits, radiating what fans have been calling her “pregnancy glow.”

Fashion commentators noted that Deepika’s approach to maternity style — confident, visible, and unapologetic — represents a shift in how Bollywood handles celebrity pregnancies. “There was a time when actresses would disappear from public view during pregnancy,” said fashion journalist Priya Tanna. “Deepika is normalising the baby bump in the public eye, and that’s wonderful.”

Ranveer’s Busy Year

While Deepika focuses on her pregnancy, Ranveer has been navigating a professionally eventful year. His exit from the Don 3 franchise earlier in 2026 sparked one of Bollywood’s biggest controversies, with the Federation of Western India Cine Employees (FWICE) initially calling for an informal boycott before retracting it following a legal notice from the actor.

Despite the Don 3 drama, Ranveer has multiple projects in various stages of production and is expected to resume shooting after a brief paternity break. Industry insiders say the couple has planned their schedules to ensure one parent is always available for Dua during the pregnancy months.

Bollywood’s Baby Boom

The DeepVeer pregnancy adds to what has been called Bollywood’s “baby boom” year. Multiple celebrity couples have announced pregnancies or welcomed children in 2025-26, leading to a wave of family-centric content on social media that has delighted fans. The trend also reflects a broader shift in Bollywood, where parenthood is no longer seen as a career-ending event for actresses.

Deepika herself has been vocal about continuing to work through and after pregnancy. She has two major film projects slated for 2027 and has indicated that she plans to resume shooting within months of delivery, as she did after Dua’s birth.

Also Read

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• FWICE Withdraws Non-Cooperation Directive Against Ranveer Singh Over Don 3 — How the Bollywood Industry Row Was Resolved
• FWICE Drops Boycott Against Ranveer Singh Over Don 3 Exit

For now, the couple is enjoying what Ranveer recently described as “the most beautiful phase of our lives.” With December just six months away, the countdown to baby number two has well and truly begun.

The post Deepika Padukone Flaunts Baby Bump During Bandra Outing With Ranveer Singh — Second Baby Expected in December 2026 appeared first on Daily Tips.

The Peddi Controversy

The debate erupted after the release of Peddi, which crossed the Rs 200 crore mark at the global box office within five days of release. While the film’s commercial success has been undeniable, it has also sparked a fierce conversation about the portrayal of female characters in mainstream Indian cinema.

Critics and social media users flagged several sequences in the film that they described as gratuitously sexualised, arguing that the female lead was reduced to a visual spectacle rather than being given meaningful character depth. The controversy gained momentum rapidly on social media, with hashtags both defending and criticising the film trending nationally.

The debate took on additional dimensions when it intersected with broader conversations about consent, creative freedom, and the responsibility of filmmakers in shaping societal attitudes toward women. Several prominent actors, directors, and cultural commentators weighed in, creating one of the most significant public discussions about gender in Indian cinema in recent years.

Kangana’s Nuanced Take

Kangana Ranaut’s intervention in the debate has been characteristically provocative and multi-layered. Speaking to India Today, she addressed the question of why mainstream cinema continues to rely on hypersexualised female characters at a time when actors are increasingly demanding stronger, more layered roles.

“Women are objectified even if you go to a local train. So, to say that in movies they are objectified is such a wrong thing to say. If you go to a local train, the pushing, punching, even a local bus for that matter. It happens on the road also. So, anyway, it has nothing to do with movies,” Kangana said.

However, she immediately qualified this statement by acknowledging cinema’s specific culpability. “But yes, the lens of movies has been very harsh to women. Whether it is item songs like ‘Sexy Sexy Mujhe Log Bole,’ whether ‘Sarkailo Khatiya,’ all those things,” she added, referencing popular Bollywood songs from previous decades that have been widely criticised for their objectifying content.

In perhaps her most thought-provoking observation, Kangana noted that the line between seduction, vulgarity, and injustice to women “gets blurred, knowingly or sometimes unknowingly.” She argued that actors themselves need to speak up about how they are portrayed, rather than relying solely on external criticism or social media campaigns.

The Broader Industry Response

Kangana’s comments have added fuel to an already blazing debate within the Indian entertainment industry. The response has been divided, reflecting the complex and often contradictory attitudes toward gender and representation in Bollywood and the broader Indian film ecosystem.

Some industry voices have supported the criticism of Peddi, arguing that the film reflects a persistent male gaze that treats female characters as accessories to male-driven narratives. Director Zoya Akhtar, speaking at a recent industry event, noted that “the conversation about representation is long overdue, and it’s not enough to create one strong female character while filling the rest of the film with stereotypes.”

Others have defended the film and its makers, arguing that creative expression should not be subject to censorship by social media tribunals. Producer and trade analyst Komal Nahta pointed out that audiences are voting with their wallets, and Peddi‘s massive box office success suggests that the content resonates with a large segment of the moviegoing public.

The Economics of Objectification

The Peddi controversy has also highlighted the complex economics of objectification in Indian cinema. Item songs — standalone musical sequences featuring seductive dance performances, often by A-list actresses — remain a significant commercial draw and are widely used in marketing campaigns. These songs generate massive YouTube viewership, drive music streaming numbers, and create cultural moments that translate directly into box office revenue.

The tension between commercial imperatives and progressive values creates a genuine dilemma for the industry. Films that eschew objectifying content often struggle at the box office, while those that lean into it face social media backlash but commercial success. This paradox makes it difficult to drive meaningful change through market forces alone.

“The industry responds to incentives, and right now the incentives are mixed. Audiences criticise objectification on Twitter but reward it at the box office. Until that equation changes, the industry will continue to hedge its bets,” said Anupama Chopra, film critic and founder of Film Companion.

Kangana’s Own Complex Legacy

Kangana Ranaut’s engagement with the objectification debate is particularly interesting given her own complex legacy on the issue. As an actor, she has been one of Bollywood’s most vocal advocates for strong female characters, choosing roles in films like Queen, Tanu Weds Manu, and Manikarnika that featured women with agency and depth.

However, her transition to politics and her often controversial public statements on various social issues have complicated her standing as a feminist voice. Her critics argue that her positions on gender issues are selective and politically motivated, while her supporters maintain that she remains one of the few public figures willing to speak uncomfortable truths about the industry.

Vaibhav Suryavanshi Connection

In a lighter moment during the same interview, Kangana also spoke about young cricketer Vaibhav Suryavanshi, the teenage batting sensation who has been making waves in the IPL. “World Cup lekar aao yaar” (Bring the World Cup home), she quipped, demonstrating her ability to pivot between serious commentary and populist engagement.

Former Indian captain Sourav Ganguly also commented on Suryavanshi, advising the young prodigy to “play carefully” and avoid the pressures of early fame — advice that, in many ways, parallels the broader conversation about how young talent is handled and protected in both cinema and cricket.

Where Does the Debate Go From Here?

The Peddi objectification controversy, amplified by Kangana Ranaut’s intervention, is unlikely to result in immediate structural change. However, the fact that the conversation is happening at all — publicly, across platforms, and involving voices from across the political and cultural spectrum — represents progress of a kind.

The Indian film industry, like entertainment industries worldwide, is in the midst of a slow but significant reckoning with questions of gender representation, consent, and creative responsibility. Whether this reckoning produces meaningful change or remains confined to periodic social media storms will depend on the sustained engagement of audiences, creators, and critics alike.

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• Kangana Ranaut at 40: How Bollywood’s Most Polarising Star Navigates Cinema, Politics, and Public Scrutiny
• IPL 2026 League Stage Concludes — Playoffs Set

For now, Kangana Ranaut has, characteristically, ensured that her voice is at the centre of the conversation. Whether you agree with her or not, her willingness to engage with complexity — acknowledging both the industry’s failures and the limitations of outrage culture — adds a dimension to the debate that purely polarised positions cannot.

The post Kangana Ranaut Speaks on Peddi Objectification Row: ‘The Lens of Movies Has Been Very Harsh to Women’ — Bollywood Debate Intensifies appeared first on Daily Tips.

Rao, who arrived in Kolkata earlier this week after completing the Mumbai leg of the shoot, was spotted at the Kolkata Maidan on Wednesday morning before heading to Eden Gardens for filming. The pictures, shared widely on Instagram and X, show the actor in what appears to be a recreation of one of Ganguly’s most memorable batting stances — a sight that immediately drew comparisons and commentary from cricket fans across the country.

The Transformation

Rajkummar Rao’s physical transformation for the role has been one of the most discussed aspects of the project since it was announced. The actor, known for his chameleon-like ability to disappear into characters — from the scrawny protagonist of Newton to the buffed-up hero of Mr & Mrs Mahi — has reportedly undergone intensive cricket training and physical conditioning to embody Ganguly’s distinctive batting style and on-field presence.

Sources close to the production say Rao spent three months training with former first-class cricketers to master Ganguly’s left-handed batting technique, his trademark off-side drives, and the elegant flick shots that were hallmarks of the “God of the Off Side.” The training extended to fielding, as Ganguly’s captaincy and on-field body language are expected to feature prominently in the film.

The leaked images from Eden Gardens show Rao wearing the Indian cricket team’s classic whites from what appears to be the late 1990s era — the period when Ganguly burst onto the international scene with his legendary debut century at Lord’s in 1996. The costume department has reportedly sourced period-accurate equipment and worked closely with cricket historians to ensure authenticity.

Eden Gardens: The Spiritual Home

The decision to film at Eden Gardens is laden with significance. The 68,000-capacity ground in central Kolkata is more than just a cricket stadium — it is the spiritual home of Sourav Ganguly’s career and a sacred site for Bengali cricket fans. Ganguly played some of his most memorable innings at Eden Gardens, including the famous 2001 Test against Australia where India staged one of cricket’s greatest comebacks.

The production team has reportedly been granted access to the ground for a 15-day schedule, during which key cricketing sequences — including match scenes, training montages, and off-field moments at the Cricket Association of Bengal (CAB) offices — will be filmed. The CAB, which Ganguly later headed as president, is located adjacent to the ground, and scenes depicting his administrative career are also expected to be shot in Kolkata.

Local Kolkata residents and cricket fans gathered outside Eden Gardens on Wednesday, hoping to catch a glimpse of Rao in character. Social media was flooded with photos and videos from the crowds, with many fans holding up posters of both Rao and Ganguly and expressing excitement about the biopic.

About the Film

Dada: The Sourav Ganguly Story is expected to chronicle the life and career of one of India’s most influential cricketers — from his early days in the Behala neighbourhood of south Kolkata, through his explosive international debut, his transformative captaincy that reshaped Indian cricket’s attitude, and his post-retirement career as BCCI president.

Ganguly, popularly known as “Dada” (elder brother in Bengali), is credited with instilling an aggressive, never-back-down mentality in Indian cricket during his captaincy from 2000 to 2005. His iconic celebration at Lord’s in 2002 — removing his shirt and waving it from the balcony after India won the NatWest Trophy final — remains one of the most powerful images in Indian sporting history.

The film is also expected to explore the controversies that marked Ganguly’s career — his public feud with coach Greg Chappell, his dramatic dropping from the Indian team, and his equally dramatic comeback that culminated in being part of India’s 2011 World Cup victory as a selector and administrator.

Why Rajkummar Rao?

The casting of Rajkummar Rao — rather than a more physically imposing actor — initially raised eyebrows among fans who expected someone with a larger frame to play the 5’11” Ganguly. However, Rao’s track record of delivering award-worthy performances through sheer commitment to his characters has won over most sceptics.

Critics point to Rao’s National Award-winning performances in Shahid and Newton, as well as his commercial successes in Stree and Srikanth, as evidence that he possesses the range to capture both Ganguly’s intensity on the field and his complex off-field persona. The actor has spoken publicly about his admiration for Ganguly, calling the role “the most challenging and exciting of my career.”

Ganguly himself has reportedly been involved in the production as a consultant, providing insights into personal moments and behind-the-scenes stories that will give the film an authenticity that purely research-based biopics often lack.

The Cricket Biopic Wave

The Ganguly biopic joins a growing list of cricket-themed films that have found success in Indian cinema. From MS Dhoni: The Untold Story starring Sushant Singh Rajput to 83 with Ranveer Singh as Kapil Dev and Sachin: A Billion Dreams, cricket biopics have consistently resonated with Indian audiences who share a near-religious devotion to the sport.

What makes the Ganguly story particularly compelling for cinema is the dramatic arc — a gifted but temperamental cricketer from a privileged Kolkata family who had to fight internal politics, coaching disputes, and public perception to establish himself as the man who changed Indian cricket’s DNA. The Chappell saga alone provides enough dramatic material for a full film, and the question of how the filmmakers handle these controversial episodes will be closely watched.

The production is expected to continue in Kolkata through early June before moving to international locations for scenes depicting Ganguly’s career highlights abroad. A release date has not been officially announced, but industry sources suggest a late 2026 or early 2027 window, potentially timed to coincide with the start of the IPL season.

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The post Rajkummar Rao’s First Look as Sourav Ganguly in ‘Dada’ Goes Viral — Biopic Filming Moves to Eden Gardens in Kolkata appeared first on Daily Tips.

In what has become one of the most candid celebrity interviews of the year, rapper, singer and music producer Yo Yo Honey Singh has laid bare the devastating impact of bipolar disorder on his life and career, revealing in unflinching detail the years of isolation, addiction and suicidal ideation that he endured at the height of his fame. Speaking in a long-form conversation that aired on Thursday, the 43-year-old musician said fame had become meaningless during his darkest periods and that he had actively prayed for death.

“I had everything — money, fame, cars, a beautiful house, millions of fans. But none of it meant anything. There were days when I would lie in bed and pray that I wouldn’t wake up. I wanted death because living felt like being tortured every single day,” Honey Singh said, his voice breaking at several points during the interview. “People think bipolar is just mood swings. It’s not. It’s like two completely different people fighting for control of your body and your mind, and you can’t stop either of them.”

The Seven Years of Darkness

Honey Singh, whose real name is Hirdesh Singh, disappeared from the public eye around 2014-15 at the peak of his commercial success, when hits like “Lungi Dance,” “Angrezi Beat” and “Dheere Dheere” had made him the most commercially successful rapper in Indian music history. His sudden absence from the music scene spawned widespread speculation, with rumours ranging from drug addiction to a career crisis to financial troubles.

The truth, as Honey Singh revealed, was far more complex and devastating. He was diagnosed with bipolar disorder, a chronic mental health condition characterised by extreme mood swings between manic highs and depressive lows. During manic episodes, he would stay awake for days, making plans for albums and tours that he would abandon completely when the depressive phase took over. During depressive episodes, he could barely get out of bed, wouldn’t eat for days, and would refuse to see anyone — including his parents, who lived in the same house.

“For seven years, I basically lived in one room. I didn’t meet people, I didn’t make music, I didn’t go outside. My parents would leave food outside my door like I was a prisoner, and I would eat only when the hunger became unbearable. I gained weight, I lost all my fitness, I couldn’t recognise myself in the mirror,” he said.

The isolation was compounded by a severe addiction to alcohol and prescription medication that Honey Singh developed as a form of self-medication. He described a vicious cycle where alcohol would temporarily numb the pain of depression, only to deepen the depressive episode once the effects wore off. The prescription medications, initially prescribed by a psychiatrist, were increasingly consumed in quantities far exceeding the recommended dosage.

Shah Rukh Khan and Akshay Kumar’s Intervention

In a revelation that highlights the often-hidden support networks within the entertainment industry, Honey Singh disclosed that Bollywood superstars Shah Rukh Khan and Akshay Kumar personally intervened during his darkest period, urging him to seek help and warning him that substance abuse would “finish him.” He had collaborated with both actors on hit songs during his commercial peak, and their concern was genuine and persistent.

“Shah Rukh bhai called me multiple times. He said, ‘Honey, this will finish you. You have too much talent to throw it away.’ Akshay sir was the same — he would check on me, send messages, try to get me to come out of my room. But when you’re in that dark place, even the people who love you can’t reach you. Your mind has built walls that no one can break,” Honey Singh recalled.

It was eventually a combination of professional psychiatric treatment, a structured rehabilitation programme, and the persistent support of his family that allowed Honey Singh to begin his recovery. He credited his mother’s unwavering patience as the single most important factor in his survival, saying she “never gave up on me even when I had given up on myself.”

The Stigma of Mental Health in India

Honey Singh’s decision to speak openly about his bipolar disorder is particularly significant in the context of India, where mental health conditions remain heavily stigmatised and discussion of them in public life is still relatively rare. According to the National Mental Health Survey, approximately 10 per cent of India’s population suffers from some form of mental health condition, but fewer than 20 per cent of those affected receive any form of treatment due to a combination of stigma, lack of awareness and inadequate mental health infrastructure.

The musician acknowledged that his earlier silence about his condition was partly driven by fear of professional consequences. “In the music industry, if people think you’re ‘pagal’ [crazy], your career is over. No one wants to work with someone who can’t be relied upon. I was terrified that if I admitted I had bipolar disorder, all my contracts would be cancelled and no one would ever hire me again,” he said.

His openness has been welcomed by mental health professionals and advocacy organisations. Dr Samir Parikh, Director of the Department of Mental Health at Fortis Healthcare, said celebrity disclosures about mental health conditions can have a “transformative impact” on public attitudes. “When someone like Honey Singh, who is admired by millions of young people, speaks openly about bipolar disorder, it gives permission to thousands of others who are suffering in silence to seek help. It normalises the conversation in a way that no public health campaign can match,” Dr Parikh said.

The Comeback and Current Work

Honey Singh’s return to music over the past two years has been marked by a more reflective and mature artistic sensibility, in contrast to the high-energy party anthems that defined his early career. His recent work, including collaborations with younger artists and experimental ventures into genres beyond Punjabi pop, reflects both his personal growth and his desire to use his platform for more than just commercial entertainment.

He is currently working on a new album that he described as “the most personal and honest music I’ve ever made,” drawing directly on his experiences with mental illness, addiction and recovery. “I want people who are going through what I went through to hear these songs and know that they’re not alone. If my music can save even one person from the darkness I experienced, it will be worth more than all the commercial hits combined,” he said.

The singer also revealed that he maintains a strict daily routine that includes medication management, regular therapy sessions, physical exercise and limited social media use to manage his condition. He emphasised that bipolar disorder is a lifelong condition that requires ongoing management and that recovery is not a destination but a daily practice.

A Message of Hope

Honey Singh concluded the interview with a message directed at anyone struggling with mental health issues: “If you’re reading this and you’re in that dark place, I want you to know that it gets better. It doesn’t feel like it will, but it does. Please reach out to someone — a friend, a family member, a doctor, anyone. You don’t have to fight this alone.”

Mental health helplines in India include iCall (9152987821), Vandrevala Foundation (1860-2662-345), and NIMHANS helpline (080-46110007). If you or someone you know is struggling with mental health issues, please reach out to these services.

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Mumbai, the undisputed capital of Indian cinema, is celebrating its status as India’s only UNESCO Creative City of Film with a series of special events launched on Sunday, 25 May 2026. The centrepiece of the celebrations is an exhibition at the National Gallery of Modern Art in South Mumbai featuring an extensive collection of vintage and contemporary Hindi and Marathi film posters, accompanied by panel discussions, masterclasses and industry networking events that highlight the city’s profound and enduring relationship with the art of filmmaking.

The UNESCO Creative Cities Network, established in 2004, recognises cities that have identified creativity as a strategic factor for sustainable urban development. Mumbai was inducted into the network under the City of Film designation, joining an exclusive group that includes global cinema capitals such as Rome, Sydney, Busan, Łódź and Bristol. The recognition acknowledges Mumbai’s extraordinary concentration of film production infrastructure, its vast pool of creative talent and the central role that cinema plays in the city’s economic and cultural life.

The NGMA Exhibition — A Visual History of Indian Cinema

The exhibition at the NGMA is curated around the theme “City of Dreams, City of Film” and traces the evolution of Mumbai’s film industry from the silent era of the early 1900s to the contemporary digital age. Over 200 original film posters, many sourced from private collectors and the archives of major production houses, are displayed across three galleries, offering visitors a vivid visual timeline of how Indian cinema has evolved aesthetically, thematically and technologically over more than a century.

The first gallery focuses on the founding decades of Indian cinema, featuring posters from Raja Harishchandra (1913), the first full-length Indian feature film, directed by Dadasaheb Phalke in what was then Bombay. The gallery traces the development of the studio system in the 1930s and 1940s, with posters from iconic studios like Bombay Talkies, Prabhat Film Company and V. Shantaram’s Rajkamal Kalamandir that shaped the visual grammar of Indian cinema.

The second gallery covers the golden age of Hindi cinema from the 1950s through the 1970s, arguably the most creatively fertile period in Bollywood history. Posters from landmark films including Mother India, Mughal-e-Azam, Guide, Sholay and Deewaar are displayed alongside lesser-known but critically acclaimed Marathi films that were being produced simultaneously in the same city. This juxtaposition highlights a key curatorial decision to present Mumbai’s film heritage as a dual tradition encompassing both Hindi and Marathi cinema, rather than focusing exclusively on Bollywood.

The third gallery brings the timeline to the present day, featuring posters and production materials from contemporary Indian films that have garnered international recognition. Works by directors such as Anurag Kashyap, Zoya Akhtar, Sanjay Leela Bhansali, and Marathi filmmakers like Nagraj Manjule and Chaitanya Tamhane are represented, demonstrating the continuity between Mumbai’s cinematic heritage and its living creative present.

Panel Discussions and Masterclasses

Alongside the exhibition, the celebrations include a programme of panel discussions featuring prominent figures from the Indian film industry. Sunday’s inaugural panel, titled “The Future of Film in a Streaming World,” brought together producers, directors and platform executives to discuss how the rise of over-the-top streaming services has transformed the economics and creative ambitions of Indian filmmaking.

Upcoming sessions this week will cover topics including the role of artificial intelligence in film production, the preservation of India’s vast but deteriorating film heritage, the economics of regional cinema in the streaming era, and the potential for Mumbai to serve as a hub for international co-productions. These discussions reflect the city’s ambition to leverage its UNESCO designation not merely as an honorary title but as a catalyst for practical policy initiatives and industry development.

Film education is also a focus of the celebrations, with masterclasses scheduled for emerging filmmakers and students from Mumbai’s numerous film schools. These sessions, led by established professionals in cinematography, sound design, visual effects and scriptwriting, aim to bridge the gap between academic training and industry practice, one of the persistent challenges facing India’s film education ecosystem.

Mumbai’s Film Industry by the Numbers

The scale of Mumbai’s film industry is staggering by any measure. The city is home to over 1,000 production companies, 150 post-production facilities and dozens of recording studios, dubbing theatres and screening rooms. An estimated 1,500 to 2,000 films are produced in Mumbai annually across Hindi, Marathi and other languages, making it one of the most prolific film production centres in the world by volume.

The economic impact is equally significant. The film industry directly employs an estimated 300,000 people in Mumbai and supports an additional 500,000 jobs indirectly through related sectors including hospitality, transportation, catering, construction and technology. The industry’s contribution to Maharashtra’s GDP is estimated at over Rs 20,000 crore annually, a figure that is growing as streaming platforms invest heavily in original content produced in Mumbai.

The city’s infrastructure advantage is formidable. Film City, the sprawling studio complex in Goregaon, provides approximately 520 acres of purpose-built filming facilities. Major studios including Yash Raj Films, Dharma Productions and T-Series maintain their headquarters and production facilities in Mumbai, and the city’s diverse architectural and geographical landscape offers filmmakers an extraordinary range of locations within a single metropolitan area.

What the UNESCO Designation Means Going Forward

Being part of the UNESCO Creative Cities Network opens specific opportunities for Mumbai’s film community. The designation facilitates collaboration with other network cities, potentially enabling co-production agreements, talent exchanges and joint festival programming that can elevate Mumbai’s profile on the global cinema stage. It also provides a framework for policy advocacy, giving the city’s film industry a recognised international platform from which to engage with government authorities on issues such as taxation, censorship, infrastructure investment and heritage preservation.

The celebrations this week are intended to serve as a launchpad for more sustained engagement with the UNESCO framework. City officials have indicated that they plan to establish a permanent Film Heritage Centre in Mumbai, drawing on the UNESCO designation to attract both public funding and private sponsorship. The centre would serve as a museum, archive, screening venue and educational facility, creating a permanent home for the kind of cultural programming that is currently being showcased at the NGMA exhibition.

For a city that has defined itself through cinema for over a century, the UNESCO recognition is both a validation of past achievement and an invitation to imagine new possibilities. As the commercial success of Indian cinema continues to grow and the boundaries between regional and global filmmaking continue to blur, Mumbai’s Creative City of Film status positions it to play an even more central role in the global entertainment landscape.

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Veteran actress and former Member of Parliament Hema Malini is expected to receive the Padma Vibhushan, India’s second-highest civilian honour, on behalf of her late husband Dharmendra at a ceremony at Rashtrapati Bhavan in New Delhi on Sunday, 25 May 2026. The award, announced on the eve of Republic Day in January 2026 as part of the annual Padma Awards list, recognises the legendary actor’s exceptional and distinguished contribution to the field of Indian cinema over a career spanning more than six decades.

Dharmendra, born Dharam Singh Deol on 8 December 1935 in Sahnewal, Punjab, passed away on 24 November 2025 at the age of 89, leaving behind a legacy that encompasses over 300 films, countless iconic performances and an enduring place in the hearts of Indian movie audiences. His death was mourned across the country, with tributes pouring in from politicians, fellow actors, cricketers and fans who grew up watching the man affectionately known as “He-Man” and “Garam Dharam” dominate the Hindi film screen.

A Career That Defined an Era of Hindi Cinema

Dharmendra’s journey from a small Punjab village to the pinnacle of Bollywood stardom is one of Indian cinema’s most remarkable stories. He made his film debut in 1960 with Dil Bhi Tera Hum Bhi Tere and quickly established himself as one of the most versatile actors of his generation, equally convincing in romantic roles, action sequences, comedies and dramatic performances. His filmography reads like a history of Hindi cinema itself, spanning the golden age of the 1960s, the angry-young-man era of the 1970s, the masala blockbusters of the 1980s and character roles in the 2000s and beyond.

Among his most celebrated films are Sholay (1975), where his portrayal of Veeru alongside Amitabh Bachchan’s Jai created one of the most iconic buddy partnerships in world cinema. The film’s dialogue, action sequences and Dharmendra’s magnetic screen presence helped make Sholay the highest-grossing Indian film of its time, a record it held for years. Other landmark performances include Satyakam (1969), Chupke Chupke (1975), Yaadon Ki Baraat (1973), and the Deol family franchise Apne (2007).

What set Dharmendra apart from his contemporaries was his ability to combine physical charisma with genuine emotional depth. While he was undeniably a screen heartthrob — winning the Filmfare Award for Best Actor multiple times and being consistently ranked among Hindi cinema’s most handsome leading men — his performances in films like Satyakam and Bandini demonstrated a sensitivity and range that belied his action-hero image.

Hema Malini’s Emotional Response to the Honour

Hema Malini, who was married to Dharmendra for over four decades and co-starred with him in numerous hit films including Sholay, Seeta Aur Geeta and Dream Girl, expressed deep pride and bittersweet emotion when the Padma Vibhushan was announced in January. Speaking to media, she said, “It makes us very happy, the entire country is happy. Had it come earlier, Dharmendra ji would have been extremely happy, and seeing him, his fans would have been even happier.”

In a subsequent statement, Hema Malini added, “So so proud that the government has recognised Dharam ji’s immense contribution to the film industry by bestowing on him the prestigious Padma Vibhushan award.” She also thanked the central government for acknowledging his legacy, noting that the honour had been a long time coming and reflected the magnitude of Dharmendra’s impact on Indian popular culture.

The Rashtrapati Bhavan ceremony will be attended by other Padma awardees for 2026 and is expected to draw significant media attention given the emotional significance of the posthumous recognition. Members of the Deol family, including sons Sunny Deol and Bobby Deol, both established actors in their own right, are expected to be present at the ceremony alongside Hema Malini.

The Padma Vibhushan and Its Significance

The Padma Vibhushan is the second-highest civilian honour in India, ranking below only the Bharat Ratna. It is awarded for exceptional and distinguished service in any field, including arts, education, industry, literature, science, sports, medicine, social service and public affairs. The award carries no monetary grant but includes a certificate signed by the President and a medallion that is typically presented at a formal investiture ceremony at Rashtrapati Bhavan.

Dharmendra joins a distinguished list of Indian cinema personalities who have been honoured with the Padma Vibhushan, including Akkineni Nageswara Rao, Lata Mangeshkar, Dilip Kumar and Rajinikanth. The posthumous nature of the award has drawn some commentary about whether India does enough to honour its cultural icons during their lifetimes, a debate that has recurred with similar posthumous recognitions in the past.

Legacy Beyond the Screen

Dharmendra’s influence extended well beyond his film career. He served as a Member of Parliament from the Bikaner constituency in Rajasthan, winning the 2004 Lok Sabha elections on a BJP ticket. While his political career was relatively brief, his entry into politics reflected the enormous public goodwill and name recognition that his decades of screen work had generated.

His personal life, particularly his marriages to Prakash Kaur and later to Hema Malini, was a subject of intense public fascination throughout his career. Despite the controversies that inevitably accompanied his high-profile personal choices, Dharmendra maintained a dignified public persona and was widely respected by industry colleagues for his professionalism, generosity and genuine passion for cinema.

The Deol family dynasty that he established continues to be a significant force in Bollywood. Sunny Deol’s career included blockbusters like Gadar and Border, while Bobby Deol has experienced a remarkable career renaissance in recent years through critically acclaimed performances in both Hindi and South Indian cinema. The next generation of Deols, including Karan Deol and Rajveer Deol, are also making their mark in the industry, ensuring that Dharmendra’s cinematic legacy will endure through his descendants.

As Hema Malini prepares to accept the Padma Vibhushan at Rashtrapati Bhavan, the ceremony will serve as a moment of national remembrance for an actor who entertained, inspired and moved millions of Indians across multiple generations. The honour, though arriving after Dharmendra’s passing, is a fitting recognition of a life lived in service of the art that he loved.

Explore more: Bollywood | Entertainment

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In a surprise announcement on 21 May 2026, Netflix India confirmed that Dhurandhar Raw and Undekha, the uncut version of Ranveer Singh’s blockbuster spy thriller Dhurandhar: The Revenge, will begin streaming on the platform from 22 May. The announcement comes at a strategic moment, just two weeks before the film’s regular OTT premiere on JioHotstar, which is set for 4 June.

The Raw and Undekha version is expected to feature a less censored viewing experience with rawer dialogues, toned-down visual cuts, and unseen moments created exclusively for OTT audiences. Apart from Hindi, the film will also be available in Tamil and Telugu, expanding its reach across India’s multilingual audience base.

The move represents a calculated strategy by Netflix to capture audience attention during the gap between the film’s theatrical run and its competitor’s OTT premiere. By offering an exclusive uncut version, Netflix differentiates its offering from the standard theatrical cut that JioHotstar will stream, potentially driving new subscriptions from fans eager to see the uncensored content.

A Staggered Digital Rollout Across Platforms and Markets

Dhurandhar: The Revenge has had one of the most complex OTT release strategies in recent Bollywood history. The film first arrived on Netflix for US and Canada viewers on 14 May, approximately eight weeks after its theatrical debut in India. That international version was also billed as “raw and uncut,” offering overseas viewers the uncensored experience before Indian audiences.

Now, with the Indian Netflix release on 22 May and the JioHotstar premiere scheduled for 4 June, audiences will have access to two distinct versions of the film on two competing platforms. JioHotstar subscribers will also receive the film’s regular domestic cut from 5 June onwards, along with what the platform has described as additional bonus content.

This multi-platform, multi-version strategy reflects the evolving economics of Bollywood distribution, where streaming rights are increasingly carved up to maximise revenue across different windows and territories. Major films now generate substantial income from digital premieres, sometimes rivalling or exceeding their theatrical earnings, which gives producers leverage to negotiate complex deals with multiple streaming partners.

Dhurandhar’s Box Office and Cultural Impact

Dhurandhar: The Revenge was one of 2026’s biggest Bollywood releases, combining a high-octane spy narrative with Ranveer Singh’s trademark intensity. The film enjoyed a strong theatrical run in India, generating significant word-of-mouth buzz and performing well at the box office across all demographics. The franchise, which began with the original Dhurandhar, has established itself as one of Bollywood’s most commercially reliable series, combining action spectacle with a narrative complexity unusual for mainstream Hindi cinema.

The film’s director crafted a story that resonated with audiences by blending patriotic themes with slick international espionage setpieces. Critics noted that the theatrical cut felt slightly trimmed in places, leading to immediate speculation about an uncut version that would restore deleted sequences and rawer dialogue. Netflix’s announcement confirms what fans had been hoping for since the film’s theatrical release.

Singer Jasmine Sandlas, who performed one of the film’s chart-topping songs, recently made headlines herself when a barricade collapsed during her Dhurandhar concert performance in Dehradun, leading her to stop the show mid-performance to ensure audience safety. The incident underscored the franchise’s massive cultural footprint across India.

The Streaming Wars Intensify in India

The Dhurandhar release strategy highlights the intensifying competition in India’s OTT market, where Netflix, JioHotstar, Amazon Prime Video, and Disney+ Hotstar are battling for subscribers in the world’s most populous country. Major Bollywood film releases have become key weapons in this competition, with platforms paying hundreds of crores for exclusive or early-window streaming rights.

Netflix’s decision to release the uncut version ahead of JioHotstar’s premiere is a classic competitive move designed to pull subscribers before a rival platform can capitalise on the same content. For consumers, the competition is broadly positive, as it increases the variety and timeliness of available content. However, the fragmentation of viewing experiences across platforms can also create confusion about which version of a film is available where.

What Viewers Can Expect From the Uncut Version

While Netflix has not released a detailed comparison between the theatrical and uncut versions, industry sources suggest that the Raw and Undekha cut includes approximately 15 to 20 minutes of additional footage. This includes extended action sequences, dialogue that was toned down for theatrical certification, and at least one subplot that was trimmed from the cinema release due to runtime considerations.

The Indian entertainment industry has been increasingly embracing the concept of director’s cuts and uncut versions for OTT releases, recognising that streaming audiences often prefer longer, more detailed storytelling that theatrical runtime constraints do not allow. Films like Pushpa, KGF, and Animal have all released extended versions on streaming platforms to considerable commercial success.

Franchise Future and Sequel Speculation

The strong performance of Dhurandhar: The Revenge across theatrical and digital platforms has fuelled speculation about a third instalment in the franchise. While no official announcement has been made, Ranveer Singh has hinted in interviews that the story has “much more to tell,” and the film’s ending leaves clear room for continuation. The franchise’s ability to generate revenue across multiple distribution windows makes it an attractive prospect for producers, and industry insiders expect a formal sequel announcement before the end of 2026.

For now, Indian audiences can look forward to experiencing the uncut version starting 22 May on Netflix, with the standard JioHotstar premiere following in June. The staggered release ensures that Dhurandhar fever will continue to dominate entertainment conversations for weeks to come.

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