Latin superstar Shakira is set to return to India after 18 years for the third edition of Feeding India with District by Zomato. The Colombian artist will perform in Mumbai on April 10 at Mahalaxmi Racecourse and in Delhi on April 15 at Jawaharlal Nehru Stadium. The shows will be produced and exclusively ticketed by District, along with presenting partner HSBC India.

Shakira last performed in India in March 2007, with her Oral Fixation Tour in Mumbai. At the time, large-format international pop concerts were still sporadic in the country, and her show drew one of the biggest audiences for a global female artist then touring India. Since that visit, the domestic live entertainment business has expanded significantly, from audience demand and ticketing ecosystems to the frequency of international bookings.

Shakira Set to Headline Multi-City India Concert in 2026

Jio Studios and Mumbai Film Company have unveiled the first poster of the upcoming historical epic 

, marking the occasion of Chhatrapati Shivaji Maharaj Jayanti. Actor-filmmaker Riteish Deshmukh shared the first look on social media, offering audiences an initial glimpse of the film’s scale and tone.

The poster features Deshmukh in the role of Chhatrapati Shivaji Maharaj in a stern side profile, sword in hand and expression set, signalling the film’s focus on the Maratha warrior king’s rise and legacy. The makers position the project as a large-scale historical action drama aimed at both domestic and global audiences.

Conceived as a bilingual production in Marathi and Hindi, 

 brings together a notable technical team. The film’s music is composed by the celebrated duo Ajay–Atul, while cinematography is handled by internationally recognised filmmaker Santosh Sivan. The combination signals an emphasis on visual sweep and orchestral scale, in keeping with the genre’s recent theatrical ambitions.

According to the makers, the film will trace the journey of Shivaji Maharaj from oath to uprising, framing the narrative around the founding of Swarajya and the resistance against dominant powers of the time. Positioned as more than a conventional biographical retelling, the project aims to foreground the emotional and political stakes behind the historical figure’s rise.

The film is presented by Jio Studios and produced by Jyoti Deshpande and Genelia Deshmukh under the banner of Mumbai Film Company. The producers describe the film as a cultural spectacle intended to travel beyond linguistic markets.

Historical epics rooted in regional history have increasingly sought pan-India positioning, and 

 appears calibrated for that model, with its bilingual strategy and emphasis on theatrical scale. The first-look launch, timed to Shivaji Jayanti, underscores the film’s attempt to anchor itself in cultural sentiment while building early audience awareness.

The film is currently slated for a worldwide theatrical release on May 1, 2026. Further details regarding the supporting cast and production timeline are expected to be announced in the coming months

'Raja Shivaji' First Poster Unveiled on Shivaji Jayanti; Riteish Deshmukh Leads Historical Epic

is set for her second theatrical release of the year: 

. Led by Akshay Kumar, the horror-comedy is directed by Priyadarshan and will open in cinemas on April 10. 

Kumar welcomed the actor on the sets of his TV show, which he is hosting, and noted how Palkar transitioned from the internet to the big screen. She was last seen in Vir Das' comedy 

Officially speaking about their collaboration, Kumar added, "In 

, Mithila will be seen playing the role not of the 'bhoot', but of my sister. Mithila has done an extraordinary job and portrayed her role with a lot of love." The duo reunited on the sets of the game show, 

has generated considerable buzz as it marks the reunion of director Priyadarshan and Kumar after 14 years. Their legendary partnership has previously yielded cult classics like 

Notably, their upcoming film will also feature the late veteran actor Asrani in one of his last on-screen appearances. A fixture throughout Priyadarshan’s filmography, the veteran actor passed away in 2025. The film also stars Tabu and Wamiqa Gabbi.

Priyadarshan and Kumar are also collaborating on 

, which also features Saif Ali Khan. The film brings back the of actors after a gap of 17 years. Their last film together was Yash Raj Films' action-drama 

remains their most iconic outing together.

will be the first release of Kumar for 2026. The actor had a packed 2025 with four theatrical releases: aerial actioner 

Kesari Chapter 2, Sajid Nadiadwala-backed 

Mithila Palkar To Play Akshay Kumar's Sister in 'Bhooth Bangla'


, another highly anticipated Anurag Kashyap film is headed for general release in 2026. 

, a provocative incarceration drama starring Bobby Deol that screened at the Toronto International Film Festival, is set for a worldwide theatrical release on May 22, 2026. 

, Deol plays a fading television star named Sabar who is accused of rape by his ex-girlfriend and taken into judicial custody. The film features an ensemble cast including Saba Azad, Sanya Malhotra, Sapna Pabbi, Raj B Shetty, Jitendra Joshi, Riddhi Sen, Nagesh Bhosle and others. 

 is written by Sudip Sharma and Abhishek Banerjee. Sharma is known for creating the acclaimed web shows 

 while Banerjee's credits include the 2018 horror film 

had its world premiere at the 50th Toronto International Film Festival in 2025, where it screened in the Special Presentation category. This is the first time Deol has collaborated with Kashyap as a director. The 

, a musical drama released in 2007 and starring Deol and Upen Patel. 

“I never imagined a film of mine will go to a festival,” Deol said at the premiere of 

. “I enjoyed every moment of working on this film. It had been my desire for many years to collaborate with the great Anurag Kashyap. Finally he thought of something, and my producer, Nikhil Dwivedi, made it happen.”

, starring Rahul Bhatt and Sunny Leone, released on ZEE5 after a 3-year wait. The film had premiered at the Cannes Film Festival in the Midnight Madness sidebar in 2023. 

, Kashyap revealed he has written two new scripts for himself and would likely go on floors with both in 2026.

'Bandar': Bobby Deol-Anurag Kashyap Film Sets May Theatrical Release

After 46 years, Superstar Rajinikanth and Ulaganayagan Kamal Haasan are reuniting on screen together.

The latest tease is a new poster of the arms of both the stars, 

who appear to be dressed in leather jackets,

 next to each other. 'Cool Retro Swag' reads the text, with a promo video set to drop tomorrow.

T.he film has been in the works for several months now, since both the actors announced their intention to team up again. Production house 

Red Giant Movies, which is bankrolling the project, shared a new poster last evening as well, which features a vintage Mercedes. Tentatively titled 

, the text on the poster read, “Some men set rules, some men just rule.”

said earlier, “We’ve been itching to work together for a long time. Like how a biscuit was being split into two, we had then demanded that we each be given a whole biscuit each. Now we’ve found the joy again to realise that we are both happy with just that half biscuit again. So we’ll come together.”

It is expected that director Nelson will helm 

, with Anirudh Ravichander as the music composer. 

Nelson is at least the third director to have been associated with this high-profile reunion. Before him, reports had suggested that Lokesh Kanagaraj would be making the film.

Meanwhile, it was earlier announced that filmmaker Cibi Chakaravarthi has replaced Sundar C. as the director of 

, the film is produced by Kamal Haasan's Raaj Kamal Films International along with R Mahendran.

 (tentative title) is one of the biggest Tamil films under production this year, creatively reuniting Kamal Haasan and Rajinikanth after years.

 in 2026, directed by Nelson Dilipkumar, reprising the character of "Tiger" Muthuvel Pandian in the sequel. He is joined by SJ Suryah, Ramya Krishnan, Mithun Chakraborty and others in the cast. 

, marks the directorial debut of the acclaimed stunt choreographer duo Anbariv, known for their work in films such as 

'KHxRK': Kamal Haasan, Rajinikanth Team Up After Four Decades; New Poster Out

and filmmaker Prasanth Varma's upcoming mega mythological feature may have hit a roadblock. The film, billed as a big-scale epic, reportedly is now stuck after Prabhas exited the project after a few days of test shoot.

Varma is best known for helming the 2024 blockbuster 

which marked the start of the Prasanth Varma Cinematic Universe (PVCU). 

According to reports, the film was tentatively titled 

, with Prabhas reportedly playing Bakasura. The movie, backed by Mythri Movie Makers, had a test shoot a few months ago with Prabhas. However, things didn't go as planned. 

claimed that Prabhas was not convinced with what the team shot, following which he stepped away from the project. There has been no official confirmation from the makers. The filmmaker was earlier also reportedly mounting a Ranveer Singh project, which was speculated to be a film called 

as well as Nandamuri Mokshagna’s debut. 

According to the report, his film with Prabhas was speculated to go on floors before Kalki 2898 AD: Part II and Salaar Part II, but there is no update about its status as of yet.

While there is no confirmation yet on his film with Prabhas, the filmmaker is set to helm his next feature, 

, starring Rishab Shetty and produced by Mythri Movie Makers.

Prabhas will be next seen in Sandeep Reddy Vanga's 

where he is speculated to feature as an angry young police officer who takes on a mighty mafia syndicate. 

Written, edited and directed by Vanga, the film is produced by Bhushan Kumar, Pranay Reddy Vanga, Krishan Kumar, and Prabhakar Reddy Vanga. Billed as a global entertainer, with a release in multiple languages, 

will open theatrically next year. The film also stars Triptii Dimri, who worked with Vanga in his 2023 blockbuster, 

Prabhas Exits Prasanth Varma's Mythological Film: Report

After Kerala Chief Minister Pinarayi Vijayan condemned the trailer of 

, accusing it of spreading “false propaganda” and fuelling communal divisions, the Kerala High Court has issued notices to the producers, the Central Board of Film Certification (CBFC), and the Union Ministry of Information & Broadcasting following a petition challenging the film’s censor certificate. 

The petition, filed on February 18 by a Kannur resident, contends that the CBFC granted certification to the film without complying with statutory requirements under the Cinematograph Act, 1952. Petitioner Sreedev Namboodiri argued that the trailer and teaser — which depict narratives involving Hindu women and alleged conversion themes — unfairly brand such incidents as linked to Kerala, potentially stigmatising the state and its people. 

In a statement posted on Instagram, Kerala CM Vijayan wrote on Thursday: “We must reject hate campaigns with contempt and firmly uphold facts and the values of secularism and brotherhood. Kerala is our pride. Truth must prevail over lies. We must stand together for that… They are spreading false propaganda by portraying even marriages conducted with mutual consent as examples of communalism and forced religious conversion.”

Shashi Tharoor, a Congress MP from Kerala, called the first 

 a ‘hate-mongering film’ without factual grounding. “The first film, Kerala Story, was a hate-mongering film. It lacked any foundation. They were saying that thousands of people were converted, which is not true. I think there were around 30 such cases over a number of years. Ours is a very big country. If a case occurs here and there, it doesn't mean you should turn it into a big story and use it as propaganda," Tharoor was quoted as saying. 

was unveiled earlier this week and the film is scheduled for release on February 27. The film has been cleared by the Central Board of Film Certification with a U/A certificate. Directed by Kamakhya Narayan Singh, the sequel follows three Hindu women — played by Ulka Gupta, Aishwarya Ojha and Aditi Bhatia — who fall in love with three Muslim men in what the film claims as a calculated agenda of religious conversion. The trailer has drawn criticism from political leaders and social media users, who have accused it of spreading misinformation and communal narratives. A scene depicting the women being forcefully fed beef has become a flashpoint in the controversy. 

, directed by Sudipto Sen released in 2023, centred on allegations of forced religious conversion and radicalisation in Kerala, faced accusations of exaggeration, fear-mongering and stoking communal tensions. Despite factual inaccuracies and negative reviews, the film became a significant box-office hit and also won two National Film Awards.

Earlier, producer Vipul Amrutlal Shah, who also backed the first film, thanked the CBFC for clearing the second installment for a wide release. "It reflects their faith in the intent and integrity with which we have told this story. This decision is especially important because it allows us to reach young girls and families across the country," Shah was quoted as saying. 

'The Kerala Story 2’ Controversy Explained: High Court Sends Notices to Makers, CBFC 

The Indian film industry breathed a sigh of relief as legendary 

film producer and screenwriter Salim Khan who was admitted to Mumbai’s Lilavati Hospital on Tuesday (February 17, 2026) morning for a brain haemorrhage, is now stable and under observation, doctors confirmed.

He has been placed on ventilator support as a “safeguard and for stability”. According to reports,

 doctors also dismissed reports of Khan, who is 90 years old, being critical and added that he will be taken off ventilator support soon and kept under observation for a few more days.

At this point in time, we look back at Khan's legendary collaboration with Javed Akhtar that delivered classics like 

The two writers, who together formed the celebrated duo Salim–Javed, reshaped mainstream Hindi cinema in the 1970s and 1980s with a string of landmark films.

However, there is a particular ache reserved for partnerships that end too soon. Hindi cinema still carries it for the duo, whose split in the early 1980s and the whole country felt the cultural rupture. Long before “writer” became an industry talking point, Salim Khan and Javed Akhtar had already rewritten the grammar of the mainstream Hindi film. Their batting average was mythic. Film after film did not merely succeed; it settled into the bloodstream of popular culture.

 revisits this near-miraculous run, often through the familiar prism of the brooding, system-busting hero. But to reduce their legacy to rage alone is to miss the tonal agility that made their writing so enduring. Even at their most combustible, Salim-Javed understood the pleasures of warmth, wit and emotional sunlight.

This list carries both the obvious entries from the Angry Young Man canon to the softer, sunnier and slyly funnier films in their filmography.

 feels less like a film and more like a place one has visited. Salim–Javed built its world with patience, giving every character a past, a rhythm, a line that stayed. Directed by Ramesh Sippy, the dacoit drama became an iconic tale on friendship, loss and courage, told in a language both earthy and poetic. Jai (Amitabh Bachchan) and Veeru’s (Dharmendra) silences mattered as much as their bravado, while Gabbar’s (Amjad Khan) menace came from the writing, not just the performance. The film raised the scale of popular cinema without losing its warmth. After 

, the idea of the Hindi film expanded. It could be epic and intimate at once.

Salim–Javed wrote Vijay as a man shaped by memory. The film stripped away the decorative excess of the period and replaced it with urgency, marking the first collaboration between the legendary writer-duo and Amitabh Bachchan, who was established as a superstar with the Prakash Mehra directorial. In the seventies, when anti-establishment sentiment was rising, 

offered a new kind of protagonist: the angry young man. 

Two brothers divided by an idea of justice. A mother who becomes the axis of conscience. The force of 

comes from how deeply it understands humiliation. Vijay’s (Amitabh Bachchan) journey is not a rise to power but a response to a childhood scar that never healed. Salim Khan’s writing gave the Hindi film hero a moral fracture and allowed him to stand tall with it. The landmark confrontations between the brothers (the other played by Shahshi Kapoor) endure because they grow from character, not design. While 

introduced the angry young man, Deewar cemented it. And 

Indian cinema has been rewriting that template ever since.

so iconic—among other things—is the clarity of its writing. The double role gave the film its heart, never turning it into a gimmick. One man is feared and distant. The other is nervous, talkative and learning to survive inside a life that is not his. Salim–Javed built the tension from this contrast and kept the story moving with clean, memorable lines. While the Chandra Barot-directorial is stylish, the style heavily comes from the screenplay’s control over pace and reveal. It showed that a mainstream entertainer could be smart without losing their mass appeal.

turns the revenge drama into an inheritance story. Vijay’s (Amitabh Bachchan) battle is with absence as much as with power. The writing locates the conflict in the wound carried by his mother, making ambition itself feel emotional. Yash Chopra uses Salim-Javed's writing as a measure of legitimacy and exclusion, where success becomes a way of rewriting a personal history and the women hold the moral centre. The film gave the mainstream narrative a new emotional architecture, where anger could coexist with longing. 

Before the clenched fists and moral fury came the delicious chaos of mistaken identities. 

 remains one of Salim-Javed’s most nimble tonal high-wire acts, a film that pirouettes between farce, melodrama and feminist wish fulfilment with remarkable ease. On paper, the premise is pure masala: separated twins, one timid and oppressed, the other a street-smart firecracker. In execution, the film becomes a sly subversion of the good-girl/bad-girl binary that Hindi cinema had long been comfortable with. What makes the writing sparkle is its refusal to patronise either sister. 

Salim-Javed lace the screenplay with situations that feel engineered for audience catharsis: the tyrannical relatives getting their comeuppance, the demure sister discovering her spine, the comic misunderstandings that spiral just enough without exhausting the viewer. Even the romance is feather-light, never allowed to swamp the central sisterhood. The jokes land clean, and beneath the laughter sits a radical idea: the woman probably doesn’t need rescuing.

If Hindi cinema had a family scrapbook of lost-and-found narratives, 

 would occupy the most dog-eared page. Yet what distinguishes Salim-Javed’s treatment is how effortlessly the film balances pulp mechanics with emotional memory. The familiar ingredients are all present: separated brothers, a traumatic childhood, destiny working overtime. But the screenplay leans into music and mood in ways that feel unusually tender for writers often associated with muscular storytelling. The title song itself becomes a narrative device, a mnemonic thread stitching the brothers back together. The writers understand something fundamental about popular cinema: sorrow must arrive in digestible portions.

The film feels like a bridge text in their career. You can sense the tightening of the revenge template they would later perfect, but here it is wrapped in melody and sentiment.

 appears to belong squarely within the grim, coal-dusted world of the Angry Young Man era. But look closer and the film reveals a surprisingly humane core, one that prioritises collective resilience over individual swagger. Inspired by real-life mining disasters, the film gives Amitabh Bachchan one of his most internally conflicted roles. Yet Salim-Javed resist the temptation to turn the narrative into a one-man morality play. Instead, the screenplay spreads its emotional weight across an ensemble of workers, engineers and dreamers trapped beneath the earth and, metaphorically, within the system.

 arrived, Salim-Javed were already legends, but this father-son drama revealed just how elegantly they could write emotional stalemates. The film is often remembered for its heavyweight casting, yet its real triumph lies in the moral geometry of the screenplay.

At its centre is a conflict that refuses easy resolution: duty versus affection, law versus blood. What keeps the film from tipping into operatic excess is the writers’ discipline. The confrontations are sharp but never shrill. The silences, often more telling than the dialogue, carry the ache of two men who cannot quite reach each other. Instead of engineering crowd-pleasing outbursts at every turn, they allow the tragedy to accumulate slowly. The result is a film that hurts in lasting waves.

If proof were needed that Salim-Javed could do whimsy without losing narrative grip, 

 is the gold standard. Released after their partnership had formally ended but built on a story they had developed earlier, the film carries their unmistakable storytelling DNA.

 so enduring is its tonal generosity. The screenplay moves with childlike curiosity, blending sci-fi fantasy, slapstick comedy, social commentary and emotional sincerity without ever feeling overstuffed. The invisible-man gimmick could easily have become a one-note novelty; instead, the writers ground it in the everyday struggles of an ordinary, good-hearted man. In that sense, 

 feels like the perfect gentle coda to a writing partnership that understood both thunder and sunlight.

Salim Khan's Landmark Films: The Man Who Scripted the Angry Young Man Era, Shaped Indian Cinema

Yash is back with a vengeance. The teaser for his much-awaited 

, unveiled on Friday, offers a striking glimpse into the film’s sprawling, blood-soaked world—and an all-new, radically transformed avatar of the star.

Directed by Geetu Mohandas, the teaser was dropped in Kannada, Hindi, Telugu, Tamil and Malayalam. Moving from a circus setting to an East Asian-inspired backdrop, 

teaser spans different time periods with a dark, edgy atmosphere clubbed with high-octane visuals, as it places Yash in a ferocious form. 

"This time the war is different, and so is their treachery. You can't go against the world and survive. Stop being stubborn and give up, Raya. It's over," says a character to Yash, who thunders back: It's over when I say it's over.

At the center of the reveal is the transformation of Yash, showcasing a range of appearances—from a lean, agile silhouette to a massive, battle-hardened physique.

Earlier, the makers had dropped 'Introducing Raya' birthday glimpse featuring Yash, followed by stylish character posters of Nayanthara’s 'Ganga', Kiara Advani’s 'Nadia', Huma Qureshi’s 'Elizabeth', Rukmini Vasanth’s 'Mellisa', and Tara Sutaria’s 'Rebecca'.

has been shot simultaneously in Kannada and English, with dubbed versions releasing across Hindi, Telugu, Tamil, Malayalam, and more. Produced by Venkat K. Narayana and Yash under KVN Productions and Monster Mind Creations, 

 is set to hit the theatres on March 19, when it will clash with Ranveer Singh-led 

secured a record overseas distribution deal, with Phars Film acquiring the international rights to the film’s Indian-language versions for an advance of ₹105 crore. The film also became the first non-Telugu production to secure a ₹120 crore distribution deal in the Andhra Pradesh–Telangana market, acquired by Sri Venkateswara Creations.

'Toxic’ Teaser: Yash Isn't Afraid to Clash With The World in Geetu Mohandas' Epic Actioner; Debuts New Look

National Award-winning actor Nithya Menen has taken a significant step in her career, launching her own production company and formally entering film production alongside acting. The move signals a strategic expansion for the versatile performer, who has steadily built a reputation for choosing character-driven roles across multiple South Indian industries.

Menen, who received widespread critical acclaim and the National Award for her performance in 

, has long been regarded as one of the most dependable actors working in Tamil, Telugu and Malayalam cinema. Following that success, she appeared in films such as 

, further consolidating her popularity with audiences and filmmakers alike.

Her new venture marks a clear pivot toward content creation and development. While the official name of the production banner and its first slate of projects have yet to be announced, the company is expected to focus on content-rich films that prioritise storytelling over scale. The move also gives Menen greater creative control over the kinds of narratives she wants to champion at a time when actor-led production houses are increasingly shaping the regional film landscape.

According to sources familiar with the development, the banner intends to back meaningful cinema, promote new talent both in front of and behind the camera, and experiment across genres and formats. The focus will span Tamil, Telugu and Malayalam industries, reflecting Menen’s own multilingual career trajectory.

Menen has indicated that the decision is motivated not merely by the desire to produce films but by a broader ambition to support stories that resonate with contemporary audiences. Industry observers see the move as part of a wider trend of established actors stepping behind the camera to build more sustainable creative ecosystems.

Balancing acting commitments with production responsibilities will be the next test for Menen, but the early response from the trade has been one of cautious optimism. With her track record for strong script selection and performance-led cinema, expectations are already building around the banner’s first official announcement.

Nithya Menen Launches Production House, Expands Into Filmmaking

For more than a decade, digital entertainment has largely been a one-way street: you browse, you click, you watch. Today, JioHotstar and OpenAI have announced a partnership designed to change that dynamic by introducing a ChatGPT-powered conversational discovery experience at the heart of India’s largest streaming destination.

Built using OpenAI APIs, the new voice and text interface enables users to explore JioHotstar’s vast streaming library through natural language conversations in multiple languages. The feature aims to address the persistent “what to watch” dilemma through Multilingual Cognitive Search, replacing scroll fatigue with more meaningful, human-centric discovery.

Audiences can now discover, engage with, and immerse themselves in their favourite stories simply by speaking across languages, genres and moments. Instead of navigating menus or typing keywords, viewers can express their intent, mood or context conversationally and receive context-aware recommendations in real time.

The ChatGPT-branded voice assistant moves beyond restrictive keyword-based discovery, surfacing recommendations not only for what viewers explicitly request but also for what they may not yet know they are looking for, enabling a richer and more intuitive entertainment experience.

Speaking about the partnership, Uday Shankar, Vice Chairman of JioStar, said, “AI marks a transformative shift for the media and entertainment industry. It fundamentally disrupts every aspect of the value chain, from conceptualisation and production to discovery and monetisation. As a tech-native, user-first platform, JioStar is embedding AI at the very core of the user experience. Our partnership with OpenAI will allow viewers to discover, engage with, and even curate content simply using their voice. This is a fundamental reimagining of the entertainment experience; one that anticipates culture and feels deeply personal to every viewer.”

“Traditionally, entertainment is a one-way experience where you passively consume content — AI completely changes that dynamic,” said Fidji Simo, CEO, Applications, OpenAI. “Through our partnership with JioHotstar, we’re bringing personalised AI directly into entertainment and live sports, turning every moment into an opportunity for deeper engagement. Viewers can move seamlessly from watching to asking, from curiosity to context, and from exploration to recommendation in ways that feel natural, personal and immediately useful.”

The assistant is designed to interpret cultural nuance, situational context and layered prompts. For instance, users can say, “My parents are visiting, suggest something we can all watch together,” or “We are twins and only watch movies about identical twins,” and receive tailored recommendations.

The experience will also extend to live sports on JioHotstar, enabling conversational discovery of key moments, scores, player highlights and other real-time information.

The rollout will span both live and on-demand formats, beginning with select experiences and expanding in phases.

Beyond the in-app experience, JioHotstar and OpenAI plan to introduce new integrations within ChatGPT itself. Users who search for entertainment recommendations on ChatGPT will receive contextual suggestions and relevant streaming links from JioHotstar’s catalogue, creating a two-way discovery ecosystem.

By integrating advanced AI into streaming at scale, JioHotstar is positioning conversational discovery as the next frontier in digital entertainment. 

JioHotstar Launches ChatGPT-Powered Conversational Streaming Experience in India

, who was granted interim bail earlier this week in a cheque-bounce case, said "truth" will eventually prevail with time. The 54-year-old actor said right now, he needs "time more than sympathy".

"I have always received sympathy from you all. That is why I am here. But more than sympathy, I need time," Yadav said, talking to news agency 

. "Whatever happens, time will bring out the full truth - separating milk from water, revealing what is pure. And I will always abide by the law of my country. Wherever and whenever the law directs, I will comply. I will always be present," he added.

Currently in his hometown, Shahjahanabad in Uttar Pradesh, Yadav said he has faith in the judiciary and added that he will also hold a press conference on the issue and clear the air.

Yadav, one of the most loved comedians of Indian cinema, spent a week in Tihar Jail after surrendering on February 5. Amid his troubles, the Bollywood film fraternity rallied behind Yadav with offers of financial support. Celebrities like Mika Singh, Sonu Sood and Guru Randhawa have publicly pledged their support, while leading actors like Salman Khan and Ajay Devgn have also reached out in his hour of need.

"Through social media, all those who have connected with me —with their body, mind, and wealth—I want to thank them from the bottom of my heart. And those who are not on social media but are indirectly connected, the long list of people from our Indian cinema fraternity—I thank them too, from the bottom of my heart. Every day is the beginning. Every day is a learning day. Every day is a new day," he added.

Yadav, one of the most loved comedians of Indian cinema, spent a week in Tihar Jail after surrendering on February 5. Amid his troubles, the Bollywood film fraternity rallied behind Yadav, offering financial support. Celebrities like Mika Singh, Sonu Sood and Guru Randhawa have publicly pledged their support, while leading actors like Salman Khan and Ajay Devgn have also reached out in his hour of need.

The Delhi High Court earlier granted the actor interim bail after he deposited the required amount in connection with the case. The next hearing in the case is scheduled for March 18.

Rajpal Yadav Says He Needs Time More Than Sympathy: 'It Will Bring Out The Full Truth'

Veteran screenwriter Salim Khan has been admitted to the intensive care unit at Mumbai’s Lilavati Hospital, where he is currently stable but under close observation. Longtime collaborator and lyricist Javed Akhtar visited the hospital on Tuesday to check on his health.

A video shared by paparazzi showed Akhtar arriving at the Bandra-based hospital earlier in the day. The two writers, who together formed the celebrated duo Salim–Javed, reshaped mainstream Hindi cinema in the 1970s and 1980s with a string of landmark films.

Salim and Javed rose to fame after penning blockbusters such as Deewar, Sholay, Zanjeer and Agneepath. At the height of their success, they were regarded as the highest-paid writers in the industry, reportedly earning a rupee more than leading actors — a testament to their influence and stature. Their partnership, which lasted 12 years, eventually ended, with their separation widely attributed to creative fatigue.

Throughout the day, members of Salim Khan’s family were seen arriving at the hospital. His wives, Helen and Salma Khan, were present, along with his son, actor Salman Khan. Later, Salman’s siblings Alvira Khan Agnihotri and Arpita Khan, accompanied by Atul Agnihotri and Ayush Sharma, also visited. Salim Khan’s grandchildren — Arhaan, Nirvaan and Alizeh Agnihotri — were among those at the hospital. Actor Sanjay Dutt, a close friend of Salman Khan, was also seen arriving to be with the family.

In an official statement, Lilavati Hospital said the veteran writer was brought to the emergency department by family doctor Dr Sandeep Chopra on Tuesday at 8.30am and was admitted to the ICU.

“Emergency care was initiated and Mr Salim Khan was shifted to the intensive care unit on the first floor. A team of doctors consisting of Dr Vinay Chavan (neurologist), Dr Ajit Menon (cardiologist), Dr Nitin Dange (neurosurgeon) and Dr Bineet Ahluwalia attended to him,” the hospital said in a statement.

“Respecting the relatives' request, further details are not being shared today. However, tomorrow at 11am we shall be addressing a press bulletin with the due consent of the relatives and maintaining the confidentiality of the patient to the utmost. Kindly bear with us,” the statement added.

“He is stable but is under close observation with regard to his clinical status,” it further said.

Salim Khan Stable But Under Observation; Javed Akhtar Visits Longtime Collaborator

The sequel to the 2017 Tamil fantasy comedy hit 

 was formally launched in Chennai on Monday (February 17), with the team commencing production after a traditional pooja ceremony. Titled 

, the film brings back much of the original cast and crew, including Aadhi Pinisetty, Nikkii Galrani, Munishkanth, Anandaraj and director ARK Saravan.

The launch event was attended by actors Karthi and Arya, along with filmmaker Venkat Prabhu, who were present to extend their support to the team. Karthi sounded the ceremonial clapboard, while Arya and Venkat Prabhu announced the rolling of the camera, marking the official start of principal photography. Several prominent filmmakers associated with Axess Film Factory also attended the ceremony.

In addition to the returning cast, the sequel will feature Priya Bhavani Shankar, Sathyaraj, Arunraja Kamaraj, Danie and Muruganandam in pivotal roles. The makers have yet to reveal plot details, but the film is expected to build on the fantasy-adventure template that made the original a box-office success.

 revolved around two small-time smugglers who embark on a mission to retrieve a powerful emerald medallion for a ruthless gang leader. Their seemingly straightforward task spirals into chaos when they discover that the medallion is cursed, unleashing a series of supernatural events. Blending horror elements with situational comedy, the film struck a chord with audiences and gained popularity for its quirky tone and performances, as well as the hit song “Nee Kavithaigala.”

The sequel will feature music composed by Dhibu Ninan Thomas, with cinematography by PV Shankar and editing by Thirumalai Rajan R. The project is produced by Sudhan Sundaram, Manish Singhal, Durgaram Choudhary, Dev and KV Durai under the banners of Passion Studios, Dangal TV, RDC Media, Axess Film Factory and Good Show.

With the core team reuniting and new additions joining the ensemble, 

 is positioned as one of the notable Tamil releases currently in production.

‘Maragadha Naanayam 2’: Aadhi, Nikkii Galrani and Priya Bhavani Shankar’s Sequel Launched

Alia Bhatt will serve as a presenter at the 79th edition of the BAFTA Film Awards, the British Academy confirmed on Tuesday. The ceremony, formally known as the EE BAFTA Film Awards, will take place on 22 February at London’s Royal Festival Hall.

Bhatt shared the announcement on Instagram, reposting the official BAFTA update and writing: “100 points if you can spot me.” The actor joins a slate of international presenters spanning film and television.

This year’s presenter line-up includes Cillian Murphy, Kate Hudson, Alicia Vikander, Bryan Cranston, Sadie Sink, Patrick Dempsey, Delroy Lindo, Emily Watson, Ethan Hawke, Gillian Anderson, Glenn Close, Hannah Waddingham, Monica Bellucci, Regé-Jean Page, Riz Ahmed and Stellan Skarsgård.

The BAFTA Film Awards, organised by the British Academy of Film and Television Arts, are among the most prominent fixtures in the global awards calendar. First held in 1949, the ceremony honours achievement in film across performance, direction, writing and technical craft categories. It is widely viewed as a bellwether for the Academy Awards, often shaping momentum in the final stretch of awards season.

Bhatt’s participation reflects her expanding international profile, following a run of commercial Hindi-language successes and appearances at major global industry events. While the academy has not disclosed which category she will present, her inclusion signals continued recognition of Indian cinema within international award spaces.

India will also be represented in the nominations. Filmmaker Lakshmipriya Devi is expected to attend with her Manipuri-language feature 

, nominated in the best children’s and family film category. Backed by Farhan Akhtar and Ritesh Sidhwani under Excel Entertainment, the film centres on a young boy from Manipur attempting to surprise his mother with a gift.

On the work front, Bhatt's upcoming projects include Sanjay Leela Bhansali's 

Alia Bhatt to Present at The BAFTAs 2026 in London

Indian screenwriters are sending out an increasingly urgent distress signal, yet again. An industry research report, based on a nationwide survey of writers across films, 

, television, advertising, documentaries and gaming, has revealed that the structural fault lines still haven’t healed, even as the industry prides itself on championing storytelling. 

Conducted by talent agency Tulsea and Ormax Media, the second edition of The Right Draft: 2026—where 254 writers participated in the survey—highlights how Indian screenwriters see pay and credit gaps persisting, even as AI begins reshaping writing workflows.

The money problem is getting worse, not better

Three out of four writers—74 per cent—now say they are not paid fairly, a steep climb from 63 per cent in the previous edition. More than half report delayed payments (up from 40 per cent), and nearly 78 per cent say they are forced to repeatedly chase dues.

Placed against the backdrop of India’s content ecosystem—rising platform investments, pan-India theatrical bets, and the explosion of micro-form storytelling—the numbers point to a paradox. While scale has grown in some sense, the writer’s share of the value chain hasn’t kept pace.

Credit remains a negotiation, not a right

More than half the respondents do not believe they receive fair credit, while 64 per cent say there is no standardised credit protocol across producers and platforms.

had previously reported on how the battle for fair credits remains a priority for several screenwriters, as many had alleged being denied that by directors and producers under the garb of "collaborative art".

The star system is still the main character

In theatrical films, the hierarchy is sharp: only six per cent of writers believe scripts are valued over stars, while 83 per cent say star power dominates decision-making. Even OTT—once positioned as the writer’s medium—shows a perceptible shift. The proportion of writers who feel scripts are prioritised or treated at par has dropped from 76 per cent in 2023 to 62 per cent.

The change coincides with the streaming reset, with tighter budgets, performance-driven commissioning, and a renewed emphasis on attaching popular actors and directors early in development.

The vanishing ladder: mentorship and development

If the current generation of writers feels stuck, the pipeline behind them looks even more fragile. Only 19 per cent said they have access to meaningful mentorship, which is down from 30 per cent in 2023. A staggering 76 per cent say there is no adequate infrastructure to develop their craft, and only 38 per cent feel they have access to effective grievance redressal.

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