The much-anticipated preview screenings of Dhurandhar The Revenge didn’t go as planned across multiple cities, with shows abruptly halting at interval as the second half failed to reach many cinemas. Disappointed moviegoers, who had booked the film’s previews in advance, had to either wait 1.5-2 hours for the film to start, watch it begin after the interval, or leave as the film failed to resume in most cinemas. “I had booked a 7.30 pm show in Noida, and when we came out during the interval at 8.30pm, we found that moviegoers who had come for the 5pm show were also waiting for the post-interval version of the film,” a moviegoer shared.

When we spoke to the exhibitors, they refused to comment on the issue and said they had tried their best to ensure that moviegoers could watch the film, but it was not possible in some cases due to technical glitches. 

At some screens, the situation turned almost humorous, as moviegoers actually called the police to complain that the film was not being played. Police officials had to intervene to calm down furious fans, telling them, “It’s not the cinema’s fault; they don’t have the film.” Hassled cinema managers claimed, “It’s not that we don’t want to show a film; it’s just that we don’t have one.”

Issuing a statement, PVR clarified, “To everyone who stayed back and watched the film despite the delays – thank you for your patience, warmth, and love for cinema. It truly means a lot to us. To those whose shows were delayed or cancelled, we sincerely apologize. We understand how disappointing it feels when something you were looking forward to doesn’t go as planned. We wanted to share a clearer update with you: Delays happened due to content-related challenges in certain locations beyond our control. Cancellations occurred as regional language versions were not made available by the production side, as also shared on their official platforms.”

The film didn’t reach most screens in time, leaving audiences angry. The delivery to digital service providers like UFO Moviez happened at the very last minute. Usually, it is done two days before. Insiders say there were multiple instances of things going wrong for the preview content not reaching in time and, in some cases, the second half of the film not reaching cinemas at all. The paid previews were scheduled to start at 5 pm, and digital cinema providers received the content post 1 pm.

An insider says, “Content was delivered somewhere around noon yesterday, and shows were meant to start at 5 pm. The fact that shows could happen at many places at 5pm itself is a miracle. It speaks volumes about the efforts and hustle that the distribution team and digital cinema providers put in to maximize the number of shows that could at least play.”

Another industry source added, “With just a 4-5 hour lead time between when the content was provided and the release, it had to be distributed across more than 6,000 screens in less than five hours something that can only be described as extremely challenging.”

Moviegoers across cities say that it was chaotic as they had to wait for long hours for the film to start after interval or for the refund. A manager shares, “Fans were not leaving even after being told that we were issuing refunds. Some moviegoers waited for over five hours for the post-interval screening.

In Mumbai, most Hindi paid preview shows of Dhurandhar 2 at 5 pm on Wednesday were cancelled, and the 5.30 pm ones were delayed by 40 minutes. A source told us, “Most theatres didn’t receive content and Key Delivery Message (KDM), a security file often referred to as a digital ‘passcode’ required to play the digital movie files in theatres on time. The Hindi ones were delivered by 6 pm, after which most shows started.”

Manoj Desai, Executive Director of G7 and Maratha Mandir, said, “It’s strange that they weren’t prepared even though they had opened advanced bookings for paid previews days ago. The south centres will get to see the dubbed versions a day after the film’s worldwide release. How were they not prepared? This inconvenienced the audience a lot. The crowd was angry at our staff because the shows were cancelled, but we had nothing to do with it.”

While there were delays and cancellations, exhibitor Raj Bansal says the paid previews have earned over Rs. 42 crore.

Confusion and delays were reported across several locations. Jothika M Joshi, a PhD student in Chennai, says, “The show was scheduled for 5 pm, but we waited outside the theatre for nearly 30 minutes. Even after taking our seats, there was another delay before the film began. No one offered any explanation, and we were left waiting without knowing if the film would be screened at all.”

Another moviegoer Divya Reddy says, “We reached the theatre around 5.40 pm only to be told that it was cancelled due to a ‘screening issue.’ By then, a crowd had gathered near the concession area, many having travelled long distances. What made it more confusing was that while booking, the platform carried a disclaimer that even IMAX shows would run in a regular format. Yet at the theatre, we were told only IMAX screenings would go ahead. The lack of clarity and last-minute cancellation left people confused and disappointed.”

The paid preview shows of the film in Tamil Nadu, Andhra Pradesh, and Telangana were cancelled due to the unavailability of dubbed language versions.

Exhibitor Akkshay Rathie said, “The Hindi version is out there now. Every cinema, every property, every screen that was meant to play the Hindi version is now active. The South Indian language versions will hopefully be available in 1–2 days. But as far as Hindi is concerned, every screen meant to play it is now running shows.”

– With inputs from Renuka Vyavahare and Roopa Radhakrishnan

A long-held aspiration is taking shape for Saiee M Manjrekar as she steps into period cinema with The India House. Set in 1905 against the backdrop of love and revolution, the pan-India film features her as Sati. Produced by Ram Charan and Abhishek Agarwal, the Ram Vamsi Krishna directorial also stars Nikhil Siddharth and Anupam Kher.

Saiee shares, “Acting in a period drama has always been one of my dreams. As soon as I knew I wanted to be an actor, I knew I wanted to be in a period drama, so it feels like a dream come true. Being part of The India House feels special and surreal. When I first heard the narration, I knew this was not just another film, but a story that carries emotion, history and purpose.”

Her character brings together contrasting traits. She says, “My role is Sati, and it’s a beautiful part. She is strong-willed, yet soft and kind-hearted. Finding that balance within myself has been a very exciting process.”

Adapting to the demands of a period setting came with its own learning curve. She says, “I remember in the middle of a scene, I would end up saying ‘please’ or ‘thank you’, phrases we use casually in other genres. I would then apologise and do the scene again. It has been an interesting process, learning about that time and understanding how people lived, dressed and spoke. Shooting in Hampi, surrounded by such a rich past, has added another layer of emotion to my performance.”

The experience of working with the film’s team has also been significant. “Working on Ram Charan sir’s maiden production is something I truly value. He is one of the biggest stars in the South industry, yet his vision as a producer is rooted in storytelling and authenticity. The respect he has for cinema and everyone involved reflects in every detail of this film. Sharing screen space with Nikhil Siddharth and Anupam Kher sir has been a huge learning experience. Being on set with actors of such calibre pushes you to give your best every day. I feel fortunate to be part of a film that celebrates love, revolution and the spirit of India,” she concludes.

The recently released lyrical video of Sarse Ninna Seraga Sarse from KD - The Devil, starring Dhruva Sarja, Reeshma Nananaih, Shilpa Shetty, Nora Fatehi and Sanjay Dutt, has sparked a wave of criticism online, with some netizens calling its lyrics and visuals ‘vulgar’ and ‘regressive.’ Just a few hours after the song was released, several users described the track as ‘regressive,’ arguing that it reinforces outdated stereotypes about women under the guise of mass entertainment. 

A section of viewers also took issue with the choreography and styling, saying it leaned heavily on “male gaze-driven” presentation rather than narrative relevance. Critics on social media pointed out that such songs continue to normalise problematic portrayals, especially in big-ticket films featuring stars like Dhruva Sarja and Sanjay Dutt. Others questioned the creative choices, asking whether commercial appeal is being prioritized over sensitivity and evolving audience expectations.

In an exclusive conversation with Bangalore Times, director Prem defends his recent song Sarse Ninna Seraga Sarse, saying the outrage is premature and rooted in misinterpretation. Director Prem, who has also penned the lyrics, calls the backlash “misplaced” and urges audiences to reserve judgment until the full video is released. “If one’s angle of view is right, they won’t take this song the wrong way. Why is it that whenever a woman is involved, people assume the worst?” he asks.

Prem insists the lyrical video was only meant to pique curiosity, a standard practice in film promotions. “People are reacting without watching the actual video or understanding the context,” he says, adding that he is open to criticism — but only after the complete song is out.

Addressing specific concerns about the lyrics, Prem explains that the song uses metaphor and wordplay, which may not be immediately obvious. “The entire song revolves around the ‘bottle’. I can’t keep repeating that word — it loses its charm. The visuals will make it clearer,” he explains. He points to specific lines in the song that, according to him, carry a deeper meaning. In the first verse, he writes “Kaiyal baatlu antha manevargo thakkondu hogbedi…” — a line he says is a caution against taking one’s drinking habits back home.

In the second verse, he adds “Meese hotthorigella, naan ondu question kella…”, which according to Prem the character questions men about why they seek time outside when they have a loving wife waiting at home. Prem maintains that these nuances are being overlooked. “People are not listening to the lyrics precisely before pointing out mistakes,” he says, reiterating that the full video will offer better context to the metaphors used.

Prem says he is not dismissing criticism but believes systems exist to address such concerns. “We have the Censor Board for a reason. I trust them and will stand by their decision.” He clarifies that while the Hindi version of the song has been taken down, he is not directly involved. “A different team handles the Hindi release,” he says, adding that the Kannada version will remain. Standing by his work, Prem reiterates that his intent is to entertain, not offend. “If a small section wants to label the song, they are free to. But I know I mean no harm.”

Dancer and choreographer Shakti Mohan says that while dance is physically demanding and comes with a limited career span, her focus remains on celebrating the art form and nurturing the next generation through her initiatives. Speaking about the pressures dancers face in a profession where the body itself is the primary instrument, Shakti says she prefers to view the journey positively rather than as a struggle.

“Dance is definitely physically demanding, but it’s a beautiful art form, and I love it. I celebrate it every single day. I don’t see it as a challenge; I see each day as a game I have to figure out. The rules keep changing,” she said.

Reflecting on how the body evolves with time, Shakti says, “In your 20s, you can throw your body anywhere and not feel a thing. Now, when you perform, you realize you have to take care of everything, you need to stretch more, ice more, do physiotherapy and so on. It comes with a lot of maintenance. Like anything new you buy, it’s all fresh at first, but over time it requires more care.”

Despite the industry’s constant conversation around staying relevant, she believes her priority lies elsewhere. “As for staying relevant in the profession, all I care about is continuing to do what I love. What matters more to me is giving back to the community through my dance academy. That is far more important than staying relevant. My love for dance is greater than any need to remain relevant in the profession. If you’re doing good work, I believe people recognize it and give you love.”

She adds, “Relevance is something I don’t know how you gain or lose. As for insecurities, I feel secure within myself. I think that’s a personal thing, it doesn’t come from outside validation or awards. I’m very happy with what I’m creating, and I don’t allow myself to feel otherwise.”

For years, Krishna Shroff stayed away from the camera that followed her famous family. The daughter of Jackie Shroff and sister of Tiger Shroff says growing up under public scrutiny left her battling deep insecurities — something that made the idea of being in the spotlight feel impossible. Today, however, she is embracing it on her own terms. With appearances on reality shows like Khatron Ke Khiladi 14 and Chhoriyan Chali Gaon, Krishna is carving a space for herself in non-fiction television.

The turning point, she says, came when she discovered fitness. “Once I found my love for the gym, everything changed,” Krishna says, explaining how training transformed not just her body but her mindset.

“People don’t realize the gym is not just about physicality. It goes hand in hand with how you feel mentally. It instilled confidence in me and gave me a sense of security I never had growing up,” she adds.

That new confidence pushed her to take risks—especially as an entrepreneur. "Building a business is not an easy feat. It's years of work, but eventually I got there. I always used to say I want to be an entrepreneur because I don't want to work for anyone. But when you have something that's your own, the work never stops. The phone never stops ringing. You give so much more."

Krishna, stepped into the world of Mixed Martial Arts and launched her own fitness brand. She also co-founded Matrix Fight Night (MFN) with Tiger and her mother Ayesha Shroff.

Her childhood, she recalls, was marked by harsh public commentary. As an overweight teenager often photographed alongside her father, Krishna says online criticism shaped her self-image.

“I had a lot of insecurities growing up. The media would post my pictures and I would read really mean comments. At that age, what people say becomes your reality. I was so sure I never wanted to be in front of the camera,” she says.

Away from work, Krishna credits much of her personal growth to her partner, Afghan MMA fighter Abdul Azim Badakhshi. The two have been together for five years. “I don’t like the word boyfriend,” she says. “He’s my partner and a huge motivating factor in my life. I’m very chaotic and he’s calm and grounded, so we balance each other perfectly,” she says.

For years, Indian television bowed to the novelty gods, fresh faces, Instagram reels, and Gen-Z casting ruled. Veterans, quietly benched. But of late, seasoned stars are flipping the script, reclaiming prime time, sparking a ratings renaissance and riding the viewer nostalgia wave. Cue Mahadev & Sons, where Sneha Wagh, Shakti Anand, and Manasi Salvi reunite which garnered a whooping 1.4 TVR in the opening week, a solid debut for a fictional show on prime time. Powerhouses like Smriti Irani, forever etched as Tulsi in Kyunki Saas Bhi Kabhi Bahu Thi, and Rupali Ganguly of Anupamaa fame, hold court as leads in top TRP shows. And yes...whispers grow louder: Kasautii Zindagii Kay and Madhubala eye reboots, with original casts in talks instead of newbies.

Creative Director Siddharttha Vankar, who is presently helming two top television shows, Kyunki Saas Bhi Kabhi Bahu Thi and Naagin 7, believes veteran actors offer something far deeper than just familiarity as compared to fresh faces.

 “Veteran actors don’t merely add gravitas to a show; they carry decades of shared memory, emotional investment and unspoken trust between performer and viewers. In an era where television audiences are fragmented, impatient, and increasingly distant from appointment viewing, familiar faces act as a powerful emotional anchor. Nostalgia here is not a retreat into the past, but a bridge, one that reconnects audiences to a medium they once loved and slowly drifted away from.”

Siddharttha further adds, “For many older viewers, who have disengaged from active television consumption, the return of beloved actors feels like a personal call-back. These actors arrive with a built-in relationship with the audience; their presence reassures, comforts, and invites loyalty in a way no marketing campaign can manufacture overnight. At a time when newer faces and experimental formats often struggle to hold attention, veteran performers offer stability, credibility and emotional familiarity. They don’t just bring audiences back, they bring back the habit of watching, the comfort of routine, and the sense that television still understands its viewers. And in doing so, they quietly help revive the very ecosystem that once made them icons.”

Veteran actress Manasi Salvi, who gained popularity with the show Kohi Apna Sa in 2001, shares, “Right now we are in a very good time in television because there is an amalgamation happening between veteran actors and new faces. There was a phase when people felt you just needed a beautiful boy or a beautiful girl, and everything else will work, and that you don’t need people like Ram Kapoor or others to make the show work. But now makers are realising that if you want a show to be stable, even in the first one or two months, you need stable faces. We veterans have a recall value. When viewers feel, ‘I’ve seen her somewhere,’ they want to stay and see what she’s doing now. That familiarity really works. Veteran actors also bring their own loyal audience. With new actors, it takes time to build that connection, but here you already get a ready-made audience, and that’s a plus.”

Rajan Shahi, producer, director and writer of shows like Yeh Rishta Kya Kehlata Hai and Anupamaa says he has always preferred to have experienced actors in his shows. “Experienced actors bring a lot to the table,” he says, adding, “New shows with new faces mostly are not working on TV so popular names and faces are back in demand.” 

Ask him why the veterans were missing from the small screen for so long, and he says without hesitation, “Over time, it became difficult for makers to work with seasoned actors as most of them came with a lot of baggage of stardom. A large number of them were also were eyeing OTT and films. But now things have changed and they are slowly coming back to TV, without any baggages, of course! TV as a medium has become big, more so, as the shows are also streamed on OTT.”

Actor Shakti Anand, remembered for his role as Hemant Virani in Kyunki Saas Bhi Kabhi Bahu Thi, and is now seen in the sequel of the show, believes the television industry is finally recognising the value of seasoned performers after years of chasing trends.

“I’ll say the industry moves and grows with the trend. There was a time when a young boy with 2 million followers was cast. But following someone on Instagram and converting that into a viewership it’s all not the same. Long-time television actors still evoke that nostalgia which people connect with. And because of this new trend of casting more experienced actors, we veterans are finally getting their due, and many actors shall also get the chance to make a comeback,” he says.

Producer, writer, and director Saurabh Tiwari, known for Madhubala and Ek Ishq Ek Junoon, has released Mahadev & Sons, featuring three veteran actors. On the real advantage of casting veterans, he says, “What veterans really bring is experience. You don’t have to train them the way you train new actors. They understand performance, camera, and character depth. For a producer, that gives confidence in the content, ki chalo show chale na chale, mera show bann toh acha raha hai. Beyond that, everything else is mostly hype. The trend of casting veteran actors is a phase. Everybody in the industry is just trying to find a formula for the show to run, but there is no such strategic formula.”

Tiwari also cautions on casting older actors: “It’s not like veterans are suddenly reviving television, or earlier chocolate-boy heroes and girls were the only reason shows were running. That’s not how it works. The market today is extremely overcrowded. So, unless you’re actually trying to say something, unless there’s something unique and organic in the storytelling, nothing really shakes the audience. We need to get out of this thought that an actor of any generation can run a TV show. A show works because a few things have gone right in the making and the telling. Nostalgia is a part of it, yes, but it’s just ‘a’ part. If you ask me honestly, a veteran actor may add 10 per cent. The remaining 90 per cent is still content. Kyunki Saas Bhi Kabhi Bahu Thi is working because the storytelling and the making are right; nostalgia is only one layer. Similarly, nobody was waiting for Rupali to come back with Anupamaa. It’s the story that brought in the TRPs.”

Actor Sneha Wagh, best known for her performance in Ek Veer Ki Ardaas...Veera (2012), currently seen in Mahadev & Sons, says, “The makers were thinking that a good number of social media followers would bring the audience and viewership. They weren’t realizing that those followers are not the television audience, they are basically those who are doomscrolling. The industry is now getting a realization that even when an actor is having a less number of followers, his talent to portray a character will always be more vital for the show. In terms of pay, it’s fine, but I won’t say it’s very good. Of course, veterans are paid well compared to newcomers. However, yes, there will always be a certain recall and face value that old-time actors bring,” she says.

Ilia Volok with Nawazuddin Siddiqui and director Kushagra Sharma

With a filmography spanning over 200 Hollywood projects and collaborations with acclaimed directors such as Steven Spielberg, Oliver Stone, David Fincher and Roman Polanski, Ilia Volok has worked across a wide spectrum of the Western film industry. Now, the actor is set to make his Bollywood debut with Faraar, directed by Kushagra Sharma and starring Nawazuddin Siddiqui. In a candid conversation, Volok talks about stepping into Hindi cinema, working alongside Nawazuddin, the creative contrasts between Hollywood and Bollywood, and why his first visit to India left a lasting impression.

Ilia didn’t hesitate when Faraar came his way. He says, “I’ve always been fascinated by Hindi cinema and hoped that one day I would get the chance to work in Bollywood. When I was approached for Faraar and read the script, which I loved, there was no doubt in my mind that I had to be part of the project.”

A major factor was Kushagra’s collaborative approach. He shares, “He was open to my suggestions and ideas. That openness is valuable. It allows an artiste to exchange ideas freely and flourish, ultimately benefiting the film.”

Ilia speaks with admiration about his co-actor Nawazuddin Siddiqui. He says, “From the first moment on set, it was clear that Nawazuddin is a master of his craft and a complete professional.”

They quickly discovered a shared acting philosophy. He adds, “I sensed that his approach aligns with the style of method acting I was trained in. It focuses on emotional truth & encourages an actor to explore a character’s inner emotions and motivations.”

Elaborating on his experience with Tom Cruise on Mission: Impossible – Ghost Protocol (2011), Ilia highlights discipline and generosity. “What struck me most was his focus and attention to detail, as well as his generosity as a scene partner. I knew he was there to help if I had any questions or needed clarification,” he recalls.

For Ilia, these qualities define true professionalism. He adds, “Some actors get distracted by external aspects of stardom. Some focus too much on superficial things, like the size of their trailer or vanity van. I prefer working with those who see acting as a continuous process of growth.”

For all its scale and technical precision, Ilia finds Western studio filmmaking more rigid. He explains, “I would say that within the Hollywood structure there is less room for improvisation. Working on Faraar taught me to be more open to the director’s new ideas and changes on the day of the shoot. That was refreshingly surprising! I think too much structure and control can potentially stifle creativity. In Bollywood, creativity breathes freely.”

Reflecting on his first visit to India last November to shoot a portion of the film, the actor says the experience reshaped his perspective. “Even though my visit was brief, I was blown away by this amazing country and its people. Over the years, I’ve heard and read about India, but nothing can substitute first-hand experience,” he says.

What stayed with him most was the warmth of the people. He shares, “Their kindness, warmth and generosity left a strong impression on me. I look forward to another visit soon.”

Actress Kareena Kapoor Khan’s Instagram posts - whether it’s her no-makeup selfies, a cheeky Saif Ali Khan moment, or adorable glimpses of Jeh and Taimur - often make headlines. While she now enjoys the platform, the actor admits it took some convincing to get there.

Kareena joined Instagram six years ago when she came on board as Puma’s brand ambassador, with the brand keen on her having a social media presence.

“It wasn’t easy to say yes (to the brand), as I wasn’t on Instagram and they were very clear about it. Because the world is going digital and brands want that. It was Covid, so they were very clear that they wanted me on Instagram. So that was why I actually came on Instagram,” she says, adding, “Later on, it kind of all worked out because I actually started enjoying myself. So that was fun. I think a brand has to resonate with the actor — being authentic, being real. Otherwise, a brand can take on 100 ambassadors, even younger people.”

Talking about her association with the brand, she adds, “I’m a mother of two. I’m 46 this year. And it feels great that brands in India are supporting mothers and working women.”

But was it difficult to convince her to come on Instagram? She replies, “It was. Everyone had come on Instagram and I hadn’t. But then I was like, why not? I’ll do it for the brand. But then I started to love posting, and now I’m pretty real on Instagram. I like to post and be as real as I can.”

DHURANDHAR THE REVENGE set the box office on fire as it not only set a first day record by beating the numbers of JAWAN by a huge distance but it also clocked the highest single day in history also going past the collections of PUSHPA 2 - THE RULE standing at around 74.50 crore nett on its first Sunday. DHURANDHAR THE REVENGE has recorded a first day of around 75-76 crore nett.

The circuit numbers are generally less than the PUSHPA 2 - THE RULE Sunday and that includes Delhi/UP and East Punjab (may just edge past on final numbers) but DHURANDHAR THE REVENGE has business from the South which was very limited for the Allu Arjun-starrer. The national chains are way ahead of the PUSHPA 2 - THE RULE's Sunday. The fact the film has not reached the Sunday circuit figures of PUSHPA 2 - THE RULE shows what is to come over the weekend. That first Sunday of PUSHPA 2 - THE RULE is the only other time that a Hindi film has crossed 70 crore nett in a single day.

As far as the first day goes, it has beaten JAWAN by a margin. The Shah Rukh Khan-starrer had a release on Janmashtami which is a holiday in many places while DHURANDHAR THE REVENGE released on Gudi Padwa which is mainly a South and parts of Western India holiday. Not that it really matters much as even if it was not a minor holiday, DHURANDHAR THE REVENGE would still be looking at huge numbers. Such is the craze of the film.

The film was always on course for records due to the appreciation of the first part but eventually its about doing it and this film has done it. The first parts had certain elements against a certain community but this film follows a more patriotic path and against an enemy country. The propaganda accusation will always be around in the media though it does not matter. DHURANDHAR had made Aditya Dhar the top director of the country and this film just cements this position. Its never been seen before that the first three films of a director are such huge mega hits and that includes the legends like Raj Kapoor, Manoj Kumar or Subhash Ghai. Here its URI, DHURANDHAR and now DHURANDHAR THE REVENGE.

The franchise is also the first one where that underworld and mafia theme has really worked in a big way. Generally these type of films were Mumbai based like VAASTAV, COMPANY, SATYA or ONCE UPON A TIME IN MUMBAAI and they only worked in Maharashtra while the rest of the country did not care though the critics did get orgasms over these films. The placing and positioning here is totally different as the franchise goes into the underworld of Pakistan with patriotism which gives it huge appeal in the Northern and Central belts which those earlier underworld films never got. The music may not be at the level of the first part but again it works big time for the film in the background.

The collections including paid previews stand at around 115 crore nett and the story is just starting as it the film goes on a record breaking spree.

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DHURANDHAR THE REVENGE set a new opening day record as it smashed the old record of JAWAN by a distance collecting around 75 crore nett. This 75 crore nett came after a huge collection in paid previews. If there was no paid previews the margin would have been more. There are some films in the list below like JAWAN and ANIMAL, which had reasonble collections in regional dubbed formats, but even if we add that, DHURANDHAR THE REVENGE is still better.

DHURANDHAR THE REVENGE was released in dubbed formats but there was hardly any collection which was expected as it does not have names linked to the South industries like JAWAN and ANIMAL which helped these films get some collections. The target audience in the South is watching the film in the original language in numbers and may will shatter all box office records of JAWAN and ANIMAL in the long run including their dubbed versions.

DHURANDHAR THE REVENGE has reached the 75 crore nett mark but if we look at number ten, then its only 40 crore nett. So, it still shows that despite the benchmark going this high, its not easily achievable and a film has to be really special. The film has also pushed ticket rates to an insane level and the process is always that the next event film takes the rates of previous event film at a minimum or takes it a little higher. The problem now will come if an event film does not quite have the hype it should have but has rates at DHURANDHAR THE REVENGE level which could be a recipe for disaster. The footfalls on day one were a little less than JAWAN.

The top ten opening days for original Hindi films are as follows.

2. Jawan - 63,87,00,000

3. Pathaan - 55,72,00,000

4. Stree 2 - 53,12,00,000

5. Animal 51,48,00,000

6. War - 50,61,00,000

7. Thugs Of Hindustan - 48,27,00,000

8. Bharat - 41,62,00,000

9. Tiger 3 - 40,88,00,000

10. Singham Again - 40,18,00,000

Iconic — the adjective doesn’t just describe the body of work, but the man behind it as well. Filmmaker-host-actor Karan Johar, in a candid chat on The Right Angle with Sonal Kalra, talks about everything under the sun — his upcoming films and the underworld threat looming large over the film industry to the rumours around a possible comeback of a much-loved film. Excerpts

There is no Kabhi Khushi Kabhie Gham 2 (K3G2), and there is no derivative of Takht being made. I’d never make a K3G2. I’m not saying K3G was the best film ever made, not at all. Every film has its flaws, but what K3G has in abundance is nostalgia. Generations have grown up watching that film — for what they’ve loved, what they haven’t, what they’ve cried about and laughed with. They love the movie, and I’m very grateful to the universe that I got to create a film that still lives on. I would never mess with that nostalgia or the love the film has, because you’re setting yourself up for disaster when you make a film like K3G2. So yes, the absolute truth is there is no K3G2.