is undergoing a massive change. The streamer has cancelled the show's international spin-offs, 

. The two offshoots of the Russo Brothers-created series will not be moving forward as an individual series.

received mixed reviews but racked up strong numbers at Prime Video, becoming the most-watched series worldwide during its first weekend of release in November 2024.

Prime Video Cancels 'Citadel' Spin-offs 'Honey Bunny' and 'Diana'

Marvel Studios has released a second teaser trailer for 

, offering a sombre glimpse of Thor’s return and signalling a tonal shift for the long-gestating ensemble film. The footage, which has circulated online in leaked form following theatrical preview screenings, focuses on Chris Hemsworth’s God of Thunder not as a warrior first, but as a father preparing for another battle.

The teaser opens with Thor alongside his daughter, played by Hemsworth’s real-life child India Rose Hemsworth, before cutting to a moment of private prayer. Addressing his father, he asks for the strength to fight once more—not for glory, but so that he can return home safely. “Not as a warrior, but as warmth,” he says, framing the conflict in emotional rather than mythic terms. The implication is clear: whatever lies ahead will test Thor in ways that brute force alone cannot resolve.

The battle in question is widely understood to be against Doctor Doom, played by Robert Downey Jr., whose casting marks a striking return to the Marvel Cinematic Universe after more than a decade as Tony Stark/Iron Man. Downey’s reappearance, this time as one of Marvel’s most iconic villains, signals both a narrative reset and a calculated act of reinvention for a franchise increasingly shaped by legacy casting and audience memory.

Directors Joe and Anthony Russo, who return to the MCU after 

, described the teaser succinctly on social media: “When even a god has to pray for strength.” The line underlines the film’s apparent interest in vulnerability, a theme echoed in an earlier teaser released weeks ago.

That first official preview focused on Steve Rogers, confirming that Chris Evans will reprise the role despite previous comments suggesting he was finished with the character. The silent sequence shows Rogers riding to a farmhouse, holding a newborn child and later retrieving his Captain America suit from storage. The teaser ends with the words: “Steve Rogers will return in Avengers: Doomsday.”

The last time audiences saw Rogers was at the end of 

 (2019), when he passed the shield to Sam Wilson, now Captain America. His return, alongside Downey’s re-entry into the franchise, points to 

 functioning as both continuation and reckoning for Marvel’s original generation of heroes.

 is scheduled for theatrical release on December 18, 2026.

‘Avengers: Doomsday’ Teaser Shows Thor Praying For Strength as Marvel Signals a Darker Turn

, director Sundar C’s upcoming Tamil-language film headlined by Nayanthara, have announced the completion of filming. The update was shared through a special announcement glimpse in which cast and crew are seen celebrating the end of production and reflecting on their experience working with the director.

The team also confirmed that actor Sneha will make a special appearance in the film, joining Khushbu Sundar in a cameo role. Sneha, known for performances that balance emotional restraint with dramatic weight in films such as 

, has in recent years taken on selective roles across Tamil and Telugu cinema, often returning to the screen in appearances that lean on familiarity and goodwill rather than scale.

 carries the title of RJ Balaji’s 2020 hit, the sequel shares no narrative continuity with the original film. Sundar C’s version is positioned as a standalone project, signalling a shift in creative approach while retaining the devotional-comedy framework suggested by the name.

Nayanthara, who leads the film, continues her run as one of Tamil cinema’s most bankable stars, following recent appearances that have ranged from large-scale commercial projects to women-led films anchored in star power. Her involvement through Rowdy Pictures, the production banner she runs with filmmaker Vignesh Shivan, underscores her increasing role as both actor and producer within the industry.

The ensemble cast includes Regina Cassandra, Suneel, Yogi Babu, Abhinaya, Ineya, Garuda Raam, Singampuli, Vichu Vishwanath, Ajay Ghosh and Myna Nandhini—actors known for their work across ccharacter-driven roles that anchor mainstream Tamil films.

Music for the sequel is composed by Hip Hop Tamizha Adhi, a frequent collaborator of Sundar C, while the screenplay is co-written by Venkat Raghavan and the director. Cinematography is handled by Gopi Amarnath, with editing by Fenny Oliver and production design by Gururaj.

Backed by Ishari Ganesh’s Vels Films International and co-produced by Avni Cinemax, Rowdy Pictures and Ivy Entertainment, 

 now moves into post-production, with release details yet to be announced.

Sundar C's 'Mookuthi Amman 2' Wraps Filming, With Sneha Set For Cameo Appearance

even the last day of the year is eventful as they launched the debut character poster of Nayanthara from the upcoming feature, headlined by Yash. The new still showcases Nayanthara, one of the country's biggest female stars, as Ganga.

According to the makers, the striking first look positions Nayanthara's Ganga as a "defining force" within the universe of Yash’s most ambitious project yet. The poster features her wielding a gun with authority, echoing elegance and danger, against the opulence of a grand casino entrance.

"We all know Nayan as a celebrated star with a commanding screen presence, and a remarkable career spanning two decades, but in 

, audiences will witness a talent that has been quietly waiting to explode," director Geetu Mohandas said in a statement. 

with Yash, said she wanted to portray Nayanthara in a way that she’s never been showcased before. 

"But as the shoot progressed, I began to see how closely her own personality echoed the soul of the character. It wasn’t imitation, it was alignment. The depth, the honesty, the restraint, and the emotional clarity she brought were not performances layered on top of the character; they were qualities she already possessed. I found my Ganga, so brilliantly performed by her, and even more unexpectedly, I found a dear friend," Mohandas added.

will be Yash's first film after the global success of 

, Earlier, Kiara Advani's first look as Nadia was unveiled, followed by Huma Qureshi’s dramatic reveal as the enigmatic Elizabeth.

The film has been filmed simultaneously in Kannada and English, with dubbed versions planned in Hindi, Telugu, Tamil, Malayalam, and several other languages. 

is slated for a grand theatrical release on the long festive weekend of March 19, coinciding with Eid, Ugadi, and Gudi Padwa.

'Toxic': Makers Drop First Look Poster of Nayanthara as Ganga

Actor Siddhu Jonnalagadda is set to reunite with producer Naga Vamsi for a new Telugu-language project, marking their third collaboration after the commercial successes 

 (2024). The upcoming film, which is yet to be formally launched, is being produced under the banners of Sithara Entertainments and Fortune Four Cinemas, with Srikara Studios presenting.

While details about the project remain under wraps, the makers have indicated that Siddhu will be seen in a markedly different avatar from his earlier roles. The film is positioned as a departure from the flamboyant, fast-talking persona that defined his breakout 

 series, suggesting a shift in both tone and characterisation.

The announcement comes at a crucial moment in Siddhu’s career. His recent releases, 

, failed to make an impact at the box office, prompting industry watchers to frame the new project as a potential reset. The continued association with Naga Vamsi, a producer closely linked with Siddhu’s biggest hits, is being viewed as an attempt to recalibrate after a string of underperforming films.

In parallel, Siddhu has also signed another project titled 

, which will be directed by Ravikanth Perepu, best known for the critically acclaimed thriller 

. The two previously collaborated on the web series 

, and their reunion has drawn attention for signalling a tonal shift. Unlike Siddhu’s earlier mainstream successes, 

 is being described as more restrained and character-driven, blending humour with darker emotional beats.

 is written jointly by Perepu and Siddhu and is also backed by Sithara Entertainments and Fortune Four Cinemas. 

Naga Vamsi along with Sai Soujanya are the producers backing this project. 

The film is slated for release in 2026, with a first-look poster already unveiled. Together, these projects suggest a period of reinvention for Siddhu Jonnalagadda. 

Siddhu Jonnalagadda Teams Up Again With Producer Naga Vamsi For New Telugu Film

, tracking for a modest opening—and shrouded in doubt ahead of its release—would go on to become the only title of the year to cross ₹1,000 crore worldwide, cementing itself as one of the biggest hits in the history of Indian cinema. Equally unthinkable was the idea that two of the year’s most formidable releases, 

,  arriving on the same day and fronted by crowd-pulling superstars, would collapse so dramatically.

thrived on shocks and surprises. It pulled no punches in delivering the good, the bad and the blockbuster. Here's a breakdown of the year that went by (all trade figures are worldwide gross as per industry tracker 

Top 10 Highest Grossing Indian Films of 2025 at the Box-Office:

India’s top 10 highest-grossing films of 2025 have collectively amassed ₹5,500 crore-plus worldwide, underlining a sharply top-heavy year at the box office. The top five films alone contributed ₹3,748 crore-plus, while the bottom five added ₹1,579 crore, reinforcing how a handful of titles did the bulk of the heavy-lifting. 

, the only film of the year to cross the ₹1,000 crore mark worldwide so far. What makes its run particularly striking is that the film achieved this milestone without a Gulf release and as a single-language Hindi offering, bucking the current trend of multi-language, pan-territory rollouts. 

Trade sources indicate the film still has gas left in the tank, with its India nett alone tracking toward the ₹800 crore mark, suggesting 

’s final tally could stretch even further.

Two films this year came close to the four-digit milestone but fell just short; 

(₹852 crore) and Vicky Kaushal-headlined 

(₹808 crore) both delivered exceptional results. While Rishab Shetty-led 

 benefited from a multi-language release strategy and a massive sequel hype, 

performance stands out for achieving scale largely without a broad multi-language rollout (it was only in Hindi and Telugu), relying instead on sustained word-of-mouth and strong core-market traction.

The year’s biggest surprise success story, however, was Mohit Suri's 

(₹570 crore). Emerging as the highest-grossing romantic film of all time, the film’s run is considered remarkable given that it starred debutants Ahaan Panday and Aneet Padda, was helmed by a director not previously associated with blockbuster-scale hits, and thrived in a romantic drama genre that has struggled theatrically in the post-pandemic era.

What further underlines the unpredictability of the 2025 box office is the combined performance of 

, which together delivered a staggering cumulative gross of ₹1,201 crore worldwide. None of the three fit the conventional “safe bet” blockbuster template, yet collectively they outperformed several marquee, star-driven projects.

(₹364 crore) stand out as the year’s most prominent under-performers among tentpole releases, with a combined global gross of ₹882 crore. 

, hyped as a massive Rajinikanth–Lokesh Kanagaraj collaboration, was widely expected to challenge the ₹1,000-crore mark and potentially become Tamil cinema’s first entrant into that club. 

While it still crossed the ₹500-crore threshold—making it one of Rajinikanth’s consecutive ₹500 crore global performers, as per trade consensus—the film fell well short of expectations relative to its scale and pre-release buzz.

shocked the trade. The sequel from the YRF Spy Universe, featuring Hrithik Roshan and Jr NTR, ended up earning less than the production house's 

, a modestly mounted romantic drama. For a franchise built on spectacle and star power, the result was one of the most significant misfires of the year.

Among the year’s biggest surprises was 

(₹327 crore), which scripted history by emerging as the highest-grossing animated film ever from India, according to trade data. Its unprecedented run caught the industry off guard, proving that animation—when rooted in strong cultural and mythological resonance—can deliver blockbuster-scale results.

(₹304 crore) rewrote the rules for Malayalam cinema, smashing previous records and clocking global blockbuster numbers rarely seen from the industry.

(₹289 crore) failed to ignite the box office in a meaningful way. The disappointment around 

was particularly sharp, given the franchise’s proven commercial pedigree and the expectation that it would comfortably rank among the year’s biggest entertainers.

Top 10 Highest-Grossing Indian Films of 2025: From 'Dhurandhar' and 'Kantara: Chapter 1' to 'Saiyaara'

“₹105 crore-plus humara gross collection ho gaya hai worldwide. Just imagine, agar Hindi aur Tamil mein bhi release hoti toh ₹500 crore cross karta (We grossed over ₹105 crores worldwide. Just imagine, if we’d released the film in Hindi and Tamil, we’d have crossed ₹500 crores).” 

“By virtue of being a woman, if that’s coming across as being pushy or whatever, then so be it. But it is no secret that a lot of superstars, male superstars, in the Indian film industry, have been working for eight hours for years, and it’s never made headlines.”

“It’s fundamentally a very insecure industry...Don’t look for friendships here.”

“Indian films, especially Bollywood, show India in a bad light.”

“Am I the face of Bollywood hate, and if I am, then ‘thank you’ for giving me this elevation. But do I deserve it? I don’t think so.”

 said after an awkward moment when a foreign journalist didn’t recognise him at the Met Gala in May. 

(My mother left me a letter saying that my real father is Donald Trump).” 

 said to paparazzi in October, posted by 

“He has a phobia of smiling in front of the camera.”

“Raat gayi baat gayi (Forget about it once it’s done).”

“Never has any award been bought or aggressive PR been done by me.”

 on buying awards, replying to a comment on X in October.

“I don’t drink every day, only on Sunday. It is my cheat day.”

“When you’re doing a nine-to-five and sitting at a desk, you don’t have to be 100 per cent present. You can take your tea breaks, chill out, walk, talk and do your job. But we  can’t.”

“Per plate da hisaab hai (It’s budgeted per plate).”

 said while flaunting his Met Gala invite on his Instagram page.

“You have to marry Silicon Valley with a Marwari mindset.”

on turning entrepreneur, in an interview with 

“I don’t know if it’s a reflection of our society or if it is a reflection of the fantasies of our society. I think the films which feed into the secret fantasies of men, who in their heart of hearts, look down on women, these are being fed and it’s actually very scary to see how much approval such films get from the common viewer. It’s very terrifying and it does explain the horrendous things that happen to women in a lot of places in our country.”

 said in an interview with Parvathy Thiruvothu at the Kerala Literature Fest in January.

“It’s 2025 and the films that get green-lit are films that belong in the 1980s and not even the good ones.” 

“In our industry, the same thing is repeated for five years straight — then, when people get bored, they finally let it go. Actually, insecurity bohut badh gayi hai (there’s a lot of insecurity).”

 said in an interview with Puja Talwar for her YouTube channel in May.

“[Bollywood] can’t even make a Pushpa…because they don’t have the brains to make a film.”

“Do not sign a three-movie deal. Give your debutant freedom, allow them to run away. As it is said, ‘Let them free, if they belong to you, they will come back.”

To read more exclusive stories from The Hollywood Reporter India's December 2025 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

The Most Quotable Celebrity Quotes of 2025: From Urvashi Rautela to Shah Rukh Khan

2025 was a weird year for Kollywood; tentpole star vehicles disappointed, while the mid-budget comedies, romances and family dramas succeeded in keeping the theatres (and the streamers) pleased. Few traditional leading actors managed to pass the year unscathed; it was instead the less-heralded supporting and ensemble casts that walked away with the most plaudits. 

In no particular order, here are a few memorable performances from the year that was, which kept audiences — as well as the box-office — invested. 

It is to Pasupathy’s credit that, even though he turned in a powerhouse showing as another father figure leading his protégé to sporting honour a few years back in 

evoke memories of the imperious Vaathiyar. Clearly a Ranjith and Mari favourite, Pasupathy plays the doting, proud yet worried father to pitch-perfection here, ably complementing Dhruv’s physical, thriving act. The broad-shouldered actor is at his best in many of the scenes where he cowers with suppressed rage before his oppressors; you feel the same anger, the same fear, and finally, the same sense of triumph.

Much was expected from this reunion of the 

 combo, and while Fahadh Faasil is as dependable as ever, it is Vadivelu as Velan who subverts all expectations and owns every frame he is in. The legendary comedian, now excelling in his new avatar as a character artist, pulls out all the stops to keep us guessing on Velan’s motives until the big reveal at the end. But it’s not all dark and mysterious; traces of vintage Vadivelu also seep through in many of the early portions that amuse us to no extent, and also leave us a little nostalgic to see more of the Vaigai Puyal in the coming years.

Shanthipriya and Anjali Sivaraman (Bad Girl)

Indian cinema’s best mother-daughter duo this year was in Varsha Bharath’s directorial debut, brought to life by two dazzling performances from Anjali Sivaraman (in just her second feature film) and Shanthipriya (returning to Tamil screens after three decades). In many ways, 

 was an intertwined coming-of-age journey for both the women in the family, as they spend their lives trying to understand, love and live with each other, slowly trying to break the shackles of unspoken patriarchal and generational trauma. The fact that Shanthipriya’s hard-nosed Sundari is a teacher in Ramya’s school adds to the fun and drama, and finally, when they both reconcile, it’s a thing of absolute delight. 

Geetha Kailasam had as prolific a year as ever, but after playing innumerable mothers over the last few years — and expertly so — she turned lead protagonist in the drama 

 with a role that truly befitted her talents. An adaptation of Perumal Murugan’s short story Kodithuni,

traces a conflict between a mother and her younger son, when the latter demands that she wear a blouse to impress his prospective in-laws. Playing an elderly widow struggling to adapt to changing times and society, Kailasam is fantastic in the titular role, as she elevates the film from being just another slice-of-drama into a moving, poignant portrait of what it means to hold onto one’s sense of individuality.

Another Tamil cinema ‘hero’ who has now reinvented himself as an actor of substance, Sarathkumar makes a serious case to be one of the most versatile on-screen dads today with his two memorable roles this year, as different as they may be. While his Bose in 

 (2020) remains a personal favourite, Sarath plays both the scheming, casteist Athiyamaan in 

as well as the gentle, longing Vasudevan in 

 with consummate ease, being the scene-stealing father in both outings. At the age of 71, the remarkably fit star is charting a career blueprint that several of his contemporaries could, and should, take note of.

 flatters to deceive at times, but Dulquer Salmaan pulls off the complex character of TK Mahadevan in riveting style. Caught in a battle of egos with his mentor (a naturally fab Samuthirakani) while fighting his own demons of insecurity as a superstar actor, Salmaan is terrific throughout the narrative that eventually shifts towards an investigative thriller. It’s a shame that audiences this year will remember his cameo as the Odiyan Charlie in the blockbuster 

 from 2025 more, as DQ truly delivers his career’s finest work in 

No matter how absurd the source material may be, Suriya brazenly gives it his all — as was evident in Karthik Subbaraj’s 

— implicitly trusting his director. Karthik Subbaraj’s ambitious epic thriller went to places (literally) nobody saw coming, but even the most outlandish of scenes were somehow papered together thanks to Suriya’s no-holds-barred commitment to his character of Paari. Be it the viral 'Kanimaa' song, the extensive action sequences, or the long-drawn romance portions, Suriya turns in another humdinger of a performance, using his powerful eyes to stunning effect.

Pradeep Ranganthan proved he was no flash in the pan with successive hits in 

 becoming the breakout new-age Tamil cinema star that genuinely nobody saw coming. Elsewhere, Vikram in 

turned in another highlight, while Sasikumar, Simran and the entire cast of 

 collectively warmed our hearts; meanwhile, Ajith Kumar hammed it up 1000x in 

 we haven’t seen him having such a jolly good time in forever!

The Best Tamil Film Performances of 2025

2025 has been yet another towering reminder that the finest Hindi-language storytelling continues to thrive on streaming. Many of the shows on this list rank among the very best we’ve seen since the streaming era kicked off almost a decade ago. These are distinctive, hopeful, ambitious clutter-breakers that defy convention, push boundaries, and embody what Indian streaming was always supposed to champion.

So, in no particular order — from sincere sports dramas to contemplative crime thrillers to inventive “shockumentaries” — here’s a list of the best Hindi shows of 2025.

 started the year with a bang, giving many of us hope. The tremendously crafted seven-episode series, created by Vikramaditya Motwane and Satyanshu Singh, follows the harrowing, haunting, and hardening experiences of Sunil Kumar Gupta (an excellent Zahan Kapoor), newly appointed assistant superintendent jailer at Tihar Jail in the early ’80s.

Part bleak workplace drama, part coming-of-age saga, and part friendship story, the narrative approaches Tihar as a microcosm of our society, using the lives of guards and inmates to examine the staggering corruption and indifference of our deeply fractured justice system. 

 refuses to conform to conventional crowd-pleasing structures and feels like the kind of show that gets made against all odds — despite the system rather than because of it. The kind of series you’re just glad somehow exists.

The second season of Sudip Sharma’s landscape-defining 

 is among the most stunning pieces of storytelling to emerge from Indian streaming. With its refined sophomore outing, the series finds the coveted middle ground between arresting and meaningful — unputdownable, urgent storytelling paired with stirring philosophy.

In Sudip Sharma’s bleak, contemplative worlds, a murder investigation is merely an excuse to dive into the dark heart of the nation and examine the fractures in our society. In his work, the politics 

 the plot. And then there are the indescribable highs of watching one of our finest actors deliver one of modern Hindi cinema’s greatest creations: Jaideep Ahlawat as Hathi Ram Chaudhary, the tragic lone warrior in an indifferent system who refuses to give up the good fight, even while knowing the war is already lost.

It wouldn’t be a stretch to say we haven’t seen anything quite like writer-director Pushkar Sunil Mahabal’s dazzlingly inventive 

 emerge from Hindi cinema. This playful, clutter-breaking “true crime” thriller is a triumph of form, plotting, and subtext — and some of the most fun I’ve had watching anything this year.

Across six deliciously bingeable episodes, the series uses the language and packaging of a true-crime docu-series to mount a compelling murder mystery, while interrogating our willingness to blindly submit to well-packaged media narratives. The thrill lies not just in following the investigation, but in investigating the show itself — constantly questioning what is true and what isn’t. This is one of the coolest, most distinctive, and most enjoyable Indian streaming shows in recent memory, keeping us on edge right up to that unforgettable final frame. And even then, the question lingers: did he do it?

, from creator Smita Singh, is the kind of singular, distinctive storytelling we always hoped streaming would enable. Despite its ghosts, spirits, and supernatural flourishes, nothing here is as bone-chilling as placing us on a bus in Delhi with a young woman pressed against a sea of men.

When the series simply follows Madhu — played by a terrific Monica Panwar — navigating suffocating public spaces, it becomes genuinely terrifying. Long walks down dark alleys. Metro tunnels at night. Strangers offering lifts. The constant feeling of being followed. The exhausting vigilance. The supernatural almost feels quaint compared to the everyday horrors of the city.

What is the relentless experience of being stalked, watched, objectified, commodified, belittled, and unsafe — something women live with daily — if not a slowly unfolding horror narrative? To watch 

 is to momentarily experience what it means to live in fear.

 follows the true story of two men, played by Mohammad Zeeshan Ayyub and Manav Kaul, who set out to start Kashmir’s first-ever professional football club. It’s a heartfelt underdog sports drama that finds its strength in patience, examining the nuts and bolts of building a team and a club from scratch.

Refusing to compress a difficult, messy journey into a rousing montage or package itself as a conventionally “sexy” sports drama, the series uses football as a lens to explore the lives, challenges, hope, and spirit of the people of Kashmir. If you’ll excuse a brief sporting metaphor switch, with this one SonyLIV lands yet another home run.

The Best Hindi Streaming Shows of 2025

The actor Jr NTR has publicly welcomed a recent order by the Delhi high court that extends legal protection to his personality rights, calling the decision an important safeguard in an era increasingly shaped by digital misuse and artificial intelligence.

In a statement shared on social media on Monday evening, the Telugu cinema star thanked the court for issuing what he described as a “protective order” designed to prevent unauthorised commercial and public exploitation of his identity. He also acknowledged the efforts of his legal team, praising their consistent and committed support throughout the proceedings.

The ruling places Jr NTR among a growing list of prominent figures from Indian cinema who have sought judicial intervention to curb the misuse of their name, image and likeness. In recent years, the Delhi high court has emerged as a key forum for celebrities attempting to rein in unauthorised endorsements, manipulated images and deepfake content circulating online. Actors including Amitabh Bachchan, Aishwarya Rai Bachchan, Akshay Kumar, Hrithik Roshan, Karan Johar, R Madhavan and Rishab Shetty have all approached the court seeking similar protections.

Personality rights, while not explicitly codified under a single statute in India, are rooted in broader principles of privacy, dignity and intellectual property. They allow individuals to control how aspects of their identity — such as their name, photograph, voice, signature or distinctive mannerisms — are used, particularly for commercial gain. Legal experts generally divide these rights into two strands: the right of publicity, which guards against unauthorised commercial exploitation, and the right to privacy, which protects individuals from intrusive or misleading representations.

The issue has gained urgency amid the rapid spread of AI-generated content, including deepfakes and fabricated endorsements, which can blur the line between authentic public presence and manufactured imagery.

On the professional front, Jr NTR continues to maintain a high-profile presence across regional and national cinema. He was last seen in Koratala Siva’s 

, released in 2024, and recently expanded his footprint in Hindi cinema with Ayan Mukerji’s action film 

, alongside Hrithik Roshan and Kiara Advani. 

He is currently working with director Prashanth Neel on a new project that is widely reported to be titled 

Jr NTR Praises Delhi High Court Order on Personality Rights Protection

 has joined the cast of Ram Charan's upcoming Telugu drama, 

. The film’s cinematographer, R Rathnavelu, shared a behind-the-scenes still welcoming Irani to the cast, thereby confirming his presence in the film’s exciting cast. Directed by Buchi Babu Sana, 

also stars Janhvi Kapoor as the female lead, with Kannada superstar Shiva Rajkumar, Jagapathi Babu and Divyendu Sharma in key supporting roles.

In the picture, Irani and Rathnavelu are joined by 

’s director, Buchi Babu Sana. According to reports, in 

, Irani will be seen as a middle-aged man with a mysterious connection to the rural world of Peddi. Rathnavelu, sharing the photograph on social media, described the collaboration as an “absolute honor” and called Irani a “perfect choice” for Buchi Babu’s screenplay. “An absolute honor working with this legend and true cinema lover, Boman Irani sir! A perfect choice for Buchi Babu’s script,” Rathnavelu had captioned the post.

is mounted on a large scale and features music by Oscar-winning composer AR Rahman. Ram Charan was last seen in Shankar’s political drama 

(2025), co-starring Kiara Advani and SJ Suryah. 

Janhvi Kapoor recently appeared in Shashank Khaitan’s Hindi romantic comedy 

, opposite Varun Dhawan, following her theatrical outing in Neeraj Ghaywan’s Homebound.

, Ram Charan is also preparing for a high-profile reunion with director Sukumar. The yet-untitled project is scheduled to go on floors in July 2026. The duo last collaborated on 

, a landmark Telugu blockbuster released in 2018. 

, Sukumar has already started developing the screenplay for his next and is currently focused on refining its narrative structure. The project is said to be in the pre-production stages. ukumar’s core team has reportedly begun preparations well ahead of schedule, laying out the logistical and creative framework required for the film. 

Boman Irani Joins the Cast Of Ram Charan’s 'Peddi'

, Prabhas exists across timelines, slipping between past and present, equal parts action hero and (sort of) ghostbuster. He’s both Batman and Joker rolled into one. The film’s '2.0' trailer firmly anchors itself on his star power, with 

 doing the heavy lifting as he juggles action and drama, takes on demons and ghosts, and even wrestles an alligator along the way.

Written and directed by Maruthi, the film also stars Sanjay Dutt, Boman Irani, Malavika Mohanan, Nidhhi Agerwal, Riddhi Kumar and Zarina Wahab.

The new trailer, over three minutes long, gives a glimpse into the supernatural world of 

, as it shows Prabhas and team dealing with a troubled spirit in a haunted mansion, which was once a palace in a kingdom.

"This is not a house but a palace of illusion," a voiceover is heard introducing the setting, "People come here of their own will, but leave only as per your grandfather's will," teasing Dutt as the mighty evil force that Prabhas will take on. 

The trailer, much like the previous visual asset, shows Prabhas' two characters: a younger version in the horror house as well as an older, cigar-smoking man. The 2.0 clip then ends with a 

-inspired look of Parbhas, as he sits with a giant hammer and reveals his face.

The film is directed by Maruthi and is gearing for a grand global release on January 9, 2026. Produced by TG Vishwa Prasad and Krithi Prasad, 

, Prabhas will be seen in two other films, including 

The film, billed as a dark cop action drama, stars Triptii Dimri and began filming this month, with a tentative 2027 release in sight. 

also co-stars Vivek Oberoi, Prakash Raj and veteran actress Kanchana.

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