JAILER 2 is excellent as it puts up a total of 133 crore nett in three days which is the fourth highest weekend ever for a Tamil film after COOLIE, 2.0 and LEO. The top films are practically all Rajinikanth films with only LEO being non Rajinikanth out of the top six. JAILER (2023) had collected 95 crore nett over the same period and its well ahead of that.

JAILER went on to collect over 325 crore nett and is the second highest grossing film from the Tamil film industry after 2.0. Looking at the trend here of Jailer 2, it can challenge these films. The trend of the film is strong looking at the Saturday jump and even Friday was excellent as the drop was not much for these type of films with sort of release.

The dubbed Hindi version RAJINI: THE JAILER 2 is also doing pretty well with collections of 10 crore nett in the first three days. It looks like RAJINI: THE JAILER 2 will come out the best Hindi films this week despite the limitations on release as its without a national chain release. But if the public really wants to watch something, they find a theatre.

Aamir Khan has big-screen ambitions, and his production house is reportedly shopping beyond Bollywood for an action spectacle. Aamir Khan Productions has been in talks with Hong Kong filmmaker and actor Stephen Chow for an action-heavy project that can “compete on an international scale”.

Sources inform that Khan is determined to make an action film that is larger in scale than any other Indian movie.

“His contemporaries Shah Rukh Khan and Salman Khan have already headlined big-ticket action spectacles. [While Aamir has done action], he is keen to explore the genre with a film that can compete on an international scale. Given Stephen’s distinctive approach to action and physical comedy, Aamir is keen to work on something with him,” shares a source close to production.

However, the project is far from locked. Khan, known to take his time before committing to a film, is considering several scripts.

“Aamir is also weighing an actioner by Atlee. He has requested time till March 2027. Right now his focus is on Ashutosh Gowarikar’s Lalkaara [based on the historic 1952 India-Pakistan Test cricket series] and director Rajkumar Hirani’s sequel to 3 Idiots which will be ready by January 2027,” adds the source.

- ‘All For The Winner’ (1990)

- ‘Fight Back To School’ (1991)

- ‘Royal Tramp’ (1992)

- ‘Shaolin Soccer’ (2001)

- ‘Kung Fu Hustle’ (2004)

Akshay Kumar is set to reunite with filmmaker Priyadarshan for another comedy, this time playing a quirky tiger hunter in a film set in the 1970s. The yet-untitled project, also Priyadarshan’s 99th movie, is expected to go on floors in the last week of November. The film is being produced by Ramesh Taurani.

A source close to the development tells us, “The film goes on the floors in the last week of November.” The source adds that the three-month shoot will take place in Rajasthan’s wildlife locations and on a set in Mumbai, while the team is also scouting locations in Bhopal.

Annu Kapoor and Rajpal Yadav have been roped in for the ensemble cast, while the search for the female lead is underway. The film has been written by Priyadarshan and Rohan Shankar, who previously collaborated on Bhooth Bangla.

When contacted, Priyadarshan remained tight-lipped, saying, “Let the project get locked then I will talk.”

The filmmaker had recently told us that he intends to focus on comedies in Hindi cinema following the lukewarm response to Haiwaan. “If that’s the demand, why should I experiment with other kinds of films? I will play for the gallery and try meaningful movies in the South,” he had said.

Mumbai: Actor Imran Khan Pal (44) filed a petition in Bombay High Court Saturday challenging a “leave India notice” issued to him by the FRRO for participating in a protest here on October 10 in support of the CJP’s anti-CEC stir in Delhi. Khan, a US national having an OCI registration, has been asked to leave the country by October 28, reports Swati Deshpande.

The notice is “arbitrary, unreasoned and wholly mis­c­o­n­ceived’’ and against princip­l­es of natural justice as it was is­sued sans any hearing to him and flouts his fundamental rights to equality under Article 14 and to life under Article 21 of the Indian Constitution, his plea said. He was given nei­t­her reasons nor any reason­a­b­le opportunity to be heard and the notice was issued directly, he says in his petition.

His petition says it is a “punitive executive action’’ where he is made a “scapegoat’’ and the notice appears to be for “extraneous’’ reasons to “stifle perceived dissent.’’ The pl­ea will be mentioned likely on Monday.

He said he has been in India since he was two years old and says that he has “no association, affiliation or connection whatsoever with any organization or institution involved in organizing or participating in the protest against the incumbent Chief Election Commissioner.’’

Articles 14 and 21 are constitutional guarantees available to even foreigners in India, his petition underscored. He e-filed his petition on Saturday and on the same day FRRO sent him a fresh notice.

The FRRO has invoked the Immigration and Foreigners Act (IFA) 2025 to issue him the “leave India notice”. The notice is based on “purported contravention of uncited provisions of the IFA and the Rules and Orders’’ under it, the petition states. The petition says Khan has no criminal antecedents.

Seeking urgent intervention of the HC to stay the notice, the petition filed through MZM Legal advocates Zulfiquar Memon, Parvez Memon and Chirag Naik, says its potential enforcement would be a “mockery of the principles of natural justice and the Constitution of India’’.

The notice is completely silent on any instances of the contravention in question; any underlying order or data forming the basis for issuance of the order or even any security report, the petition said. “The notice is not a bona fide exercise of statutory authority, but a manifestly arbitrary, high-handed and grossly disproportionate abuse of power, vitiated by complete non-application of mind. It seeks to single out the Petitioner as a convenient scapegoat and make an example of him in furtherance of extraneous personal agendas with which he has no connection, whether to appease public opinion or to stifle perceived dissent,’’ the petition says.

The notice doesn’t disclose statutory contravention or the semblance of any due process, Khan’s petition adds.

Mumbai: After issuing actor Imran Khan a leave India notice on October 14, Foreigners Regional Registration Office (FRRO), Mumbai, on Saturday sent him a second notice, this time asking him to show-cause why his Overseas Citizen of India (OCI) status should not be cancelled.

Khan, a US national, was granted OCI cardholder status on December 15, 2006. To decide if OCI registration should be cancelled, Centre views as relevant the “nature and circumstances” of activities undertaken in India and their implications.

The notice cites his presence at the August Kranti Maidan protest in support of CJP’s anti-CEC stir in Delhi. The notice says no police permission was granted for the protest and a case was registered against him and other protesters for unlawful assembly.

FRRO has sought his reply in 15 days as the law provides for a hearing before any action is taken to revoke an OCI card under the provisions of the Citizenship Act, 1955.

FRRO acknowledges, though, that the FIR registration and detention by themselves are not conclusive proof of the allegations or an automatic ground for cancellation of his OCI registration, nor does participation, by itself, establish a ground for cancellation.

However, FRRO said, the nature, circumstances and implications of acts on the interest of the public, and the OCI’s conduct, are to be examined, where relevant, to see if registration should be cancelled under section 7D of the Citizenship Act.

The Citizenship Act Section 7D (e) empowers revocation of OCI in the interests of the sovereignty, integrity of India and security of India, friendly relations with any foreign country, or in the interests of the general public. Centre said it was of the “provisional opinion” that Khan’s registration as an OCI Cardholder may be liable to cancellation under this section, subject to his reply and explanations.

FRRO cited an SC ruling to say national security falls under a “broad range of public interests” when legal powers are directed towards the protection of the interests of the state and the public, based always on facts as well.

Khan’s advocate Zulfiquar Memon of MZM Legal said, “As his legal representatives, we are currently examining the contents of the new show-cause notice issued to Imran and we look forward to complying and cooperating with the FRRO in terms of replying to the notice. However, we will take this point up before the high court when the matter comes up for hearing so that we get clarity on the status of the earlier issued leave India notice in light of this new show-cause notice issued by the FRRO.”

Centre said his participation, detention and related circumstances warrant scrutiny on whether his continued OCI status is consistent with the interests of the general public, and has factored in the distinction between Indians and OCIs and the limited and regulated rights available to OCIs.

After a whirlwind year featuring Maamla Legal Hai, Gullak, and now Chumbak, actor Anant V Joshi is ending 2026 on a high note Eetha.

Joshi calls it great phase of his career, “Of course it’s amazing, koi plan nahin thha, just like that the entire year gave me what actors wish for years.”

Reflecting on the projects, Joshi admits that the success didn’t come from a calculated strategy. “Of course it’s amazing, koi plan nahin, just like that the entire year gave me what actors wish for years,” he says. For an actor who has balanced gritty series and light-hearted roles, the consistency has been a pleasant surprise.

“It feels like a dream because with Maamla Legal Hai, Gullak, and now Chumbak, the kind of acceptance that everyone has received, iise badi himat aur umeed mili hai.”

With the first season of Chumbak out, the question of a third season arises. “While there is no official announcement, par ayega. We discuss it on our WhatsApp group every day, so now we know the next season will come soon. The consistent response that we are getting all the DMs, all the messages makes it feel like we will bring another season very soon.”

Joshi notes that the show’s open ending was a deliberate choice. “Yes, that was intentional. That means you can plan ahead, depending on how you get the response.”

“So, all the three series, two of them are already franchises. We will start to work on the next chapters in 2027; maza ayega.”

Known for slipping into distinct personas, from Parsi and Marathi characters to the eccentricities required for playing Chief Minister Yogi, Joshi says it's all about observation. “The most fun thing about being an actor is that he can live in some art and life... changing voices and adapting dialects is a very beautiful process,” he says.

He recalls working with maker Aatish Kapadia, who demanded full commitment to a character’s voice. “He didn’t want me to play a regular guy for Freddy; he said, ‘I want you to go ahead like full throttle.’ They wanted to create characters like Rosesh and Hansa that will be remembered for their voices and style of speaking.”

Ultimately, for Joshi, acting is a human endeavour rooted in watching the world. “I rely majorly on observations,” he adds, “because humans are mimicking in the animal kingdom, that is very natural.”

Joshi is set to close the year on the big screen with Eetha, starring alongside Shraddha Kapoor. It’s a transition he is eagerly anticipating. “A theatrical release is very special because of that response, that nervousness, how it’s going to be at the box office... it gives a perfect theatrical release,” he explains. 

After a year defined by OTT successes, he views the shift as a natural progression. “I think it’s a creative role, it’s not a medium role. In India, the love for the silver screen is always there.”

On his co-star Shraddha Kapoor in the film, he adds, “She is a gem of a person, very humble. Most of my scenes are with her, and that actually made me a bit nervous initially, but once we started working, things were on a roll. I can say it’s a pivotal role irrespective of its length. Marathi character thha, toh it was more appealing for me.”

While he admits to missing the specific culture and food of his home region during the festive season, he has developed an appreciation for Mumbai’s energy.

“I think Bombay is one of those cities where festivals are very strong. When you go to markets, I have seen the ronak in Mumbai, and it’s heartwarming. But having said that, I love Dusshera in Uttarakhand it has a distinct way of celebration, aur main usko sanjon ke rakhna chahta hoon hamesha.”

Twelve years ago, when Anant Roongta, then a 20-something, bursting with ambition, decided to step away from his family business and build a sports tourism company with his cousin, his father Arun Jagmohanlal Roongta was surprised. “So, you are going to start a travel agency,” he had said, unsure why his son didn’t want to take the reins of a legacy nurtured by two generations of the family. It was, after all, no ordinary inheritance—Famous Studios in Mahalaxmi.

A year older than independent India, the studio had hosted shoots for some of Hindi cinema’s most celebrated films, including Taj Mahal (1963), Seeta Aur Geeta (1972) and Hum Saath Saath Hain (1999), while serving as the hub for the Indian advertising industry. Its facilities spanned six studio floors, post-production labs and a screening room.

But Roongta, who, after completing his Master’s in International Business from Aston University, UK, returned to Mumbai to work alongside his father in 2009, could sense a flattening in the business. Much had to do with external forces—the film industry in general wasn’t experiencing any major churn, with the same kind of movies being released year after year, and, with a preference for shooting in the suburbs or on location, staying relevant was becoming harder.

“At the end of the day, mind-set really matters and you have to be ruthless to do something different,” says 39-year-old Roongta when I meet him at his, “war room” in the year-old office in Santa Cruz West. 

So much has changed between then and now. After four years in tourism, Roongta came back to the studio in 2018 with fresh zeal and a new vision, building a co-working space within the premises. Last year, the studio in the iconic Art Deco building that had served as the nerve centre of the family’s empire shuttered to make way for a residential tower. Famous, which has turned 80 this year, moved bag and baggage to the western suburbs, with offices in Santa Cruz and Andheri. “It was a very difficult decision to take, especially for my father, who spent a considerable part of his professional life in that building. But I think it’s all part of evolution,” says Roongta, managing director of the studio, adding that cinema still runs in his veins.

The movies happened to the family by accident. Before 1946, the Roongtas, like many traditional Marwari business families, were engaged primarily in jute and cotton trade. They acquired the studio from producer Shiraz Ali Hakim, who had taken a loan from Roongta’s grandfather Jagmohan Bilasrai and had offered the Mahalaxmi land where he had built this, as collateral. During Partition, Hakim decided to move to Pakistan and gave up the studio. “Since it was already functional, my grandfather decided to run it.”

Back then, Roongta says it was “Asia’s first air-conditioned studio”, equipped with imported cameras and a processing laboratory. “Because we shot on negatives, experts from Japan and countries in Europe would come to visit my grandfather to learn about film.” Roongta’s grandfather was also a two-time president of the Indian Motion Picture Producers’ Association (IMPPA), founded in 1937.

The studio enjoyed a golden era that Roongta, born in the 1980s, later heard about. “My grandfather told me a funny story about actor Raaj Kumar. He was called to the set one day, but he had other plans. He came in, sat on a chair and lit a cigarette. As soon as the director said, ‘Sahab, aapka time hai,’ he replied in his typical style, ‘Jaani, aaj mood nahi hai,’ threw away his cigarette and went home. He had come just for the air-conditioning,” says Roongta, laughing.

Roongta was still at school when one of the studio’s sets was converted into a nightclub to shoot the song Koi Kahe Kehta Rahe from Dil Chahta Hai (2001). “I remember interacting with Aamir Khan, Saif Ali Khan and Akshaye Khanna. Little did I realize then that the song would become such a hit,” he says. 

Incidentally, ad world figures, including Piyush Pandey and Prasoon Joshi, also spent time at the studio, he shares.

Contrary to claims that the studio’s closure was hastened by a slump, Roongta says that its last few years in Mahalaxmi—barring the brief COVID lull—were buzzing and alive. The co-working space had breathed new life into it. “We were also opening up the place for concerts and launches.” The shift was a response to the changing nature of the work.

“We’ve always been a service-led business, whether it was renting out our studio floors or providing post-production, virtual production, motion capture and visual effects services. But when we moved out, we decided that it was time to transition into a full-fledged creative business,” he says, adding that he is now looking at developing stories for theatrical-first filmmaking.

“Today, people are seeking out more organic stories that are deeply rooted in their lived experiences. This has been made possible because of the cinema that they are being exposed to across Indian languages.” He has already set up a new team of storytellers.

This decision might seem surprising, considering the OTT boom and the influx of microdrama platforms. But Roongta says that “there has been a lot of advancement in technology, which is making the cinematic experience more immersive”. “So, I still feel there’s a huge opportunity there.”

The end goal, he says, is to create culturally relevant content originating from the length and breadth of the country, for global audiences. Roongta admits that it hasn’t been easy to sustain a legacy business like theirs. The business has had its highs and lows. Survival, he says, has required adapting to technology that now changes every quarter. “In fact, we’ve been using AI for the last 18 months.”

Apart from using AI for research and development and gathering data in real time, the studio has, in some cases, been using it to assist with storytelling at the scripting stage. “We are also training our visual effects and animation team to blend a bit of AI into their work,” he says.

In the past, the studio has been a passive film investor, with creative and production work being executed by external parties. But moving forward, Roongta says it will serve as a production house, “which means we will now be involved from concept to development to production, post production and final distribution”. “That was the one thing we hadn’t attempted as a studio.”

Before we end the interview, we visit his new office cabin, where a shelf is dedicated to scale models of different aircraft, all positioned as though about to take off. It’s exactly the mode Roongta believes the studio needs to be in.

When we reached actor Divyenndu’s hotel in the city—huffing and puffing—and asked the security personnels to lead us to the celebrity’s room for his interview, a group of men came running with a plastered smile on their faces, declaring, “Haan! Munna Bhaiya aa gaye hain.” Upon hearing this anecdote, a visibly proud and evidently flattered Mirzapur-star replies, “This character is not mine, it’s theirs. They have the ownership of this more than me.”

But this level of adulation should come as no surprise to anyone who has followed the actor’s career trajectory. His Pyaar Ka Punchnama character Liquid, for instance, is a classic example of that. Perhaps his sense of perspective that the audience immortalizes iconic charcaters on screen comes having spent years navigating an industry that has changed considerably since he first arrived in Mumbai. For Divyenndu, however, the journey began in Pune, at the Film and Television Institute of India (FTII), an experience he still carries with him.

“Pune will always have a special place in my heart because those two-and-a-half magical years at FTII changed a lot of things for me,” he says,” adding, “I learnt so much about cinema and spent my days watching films, learning, shooting and discussing cinema with students from different parts of the country. It was such a magical experience, and that's why Pune remains so special to me,” he recalls. 

The atmosphere was so immersive that students had a name for it - Planet FTII. Why? “Because the campus had everything. Once you entered, you didn't feel like going out,” says Divyenndu.

About 15 years into his career, Divyenndu doesn't see himself as someone who has finally figured out the industry.

“I don't think I understand the industry any better now,” he admits, adding, “I don't really have a sob story to tell because I got lucky that my first film was a hit, and my second film was a hit too.”

What followed, he feels, was partly ‘self-inflicted pain’. Despite receiving offers, there was always the keeda of not wanting to play certain kinds of roles, prompting him to turn down projects. Looking back, though, he sees an industry that has evolved alongside him.

“It’s more organized now, there are more opportunities for outsiders like me, and audiences have developed a much more varied taste. They are more accepting of flawed, layered characters and different kinds of stories. Writers have also come a long way. I'm just happy that I've been part of that movement and have witnessed this change,” says the Madgaon Express actor.

Divyenndu is uncomfortable with the increasing emphasis on box-office figures and the industry’s tendency to celebrate opening-day or opening-weekend numbers. “I find that quite embarrassing because filmmaking shouldn't be reduced to box-office numbers,” he says. He acknowledges that numbers matter to the business but doesn't believe they necessarily determine the quality of a film. More importantly, he doesn't think audiences should be made to feel responsible for supporting a particular film or filmmaker.

“Whatever they see in a trailer should engage them and they should decide for themselves whether they want to watch it in a theatre or later on OTT. The beauty of this field is that you never really know what audiences will connect with. I would never want to burden them with that choice,” he shares.

At a time when actors are expected to remain as visible as possible, be it on social media or at events, Divyenndu is comfortable with the idea of disappearing. “I'm not a publicity-hungry actor who's always out there,” he adds, “I believe there should be some mystique to an actor or an artist. Do your job, go back and do whatever you want. Go stare at a wall if you want to, but you don't have to tell people that you're sitting and staring at a wall.”

For him, there is an important distinction between being relevant and being constantly visible. He worries that constantly projecting a public persona can eventually make actors lose sight of who they really are. “You can eventually lose the real you in all of it. You start projecting a certain image of yourself, and that behaviour can reflect in your work,” he says, adding, “For me, life is much better when you're seen less. Sometimes I even feel like quitting social media altogether.”

Singing reality shows have often faced criticism over the use of sob stories to manipulate viewers’ emotions, auto-tuning performances and allegations of favouritism towards certain contestants. Neha Kakkar, who has judged several shows and is currently judging I-Popstar Vol 2, defends post-production enhancements.

She says, “Name any singer, and I can tell you that their songs use auto-tune. Almost every singer’s track is processed with it. Think of it as a filter, much like the ones we use on photographs before posting them on social media. There is nothing wrong with enhancing something to make it look or sound better. Contestants sing live, and their performances are enhanced during post-production. That does not mean we are misleading anyone.”

Another criticism Neha frequently faces is that she gets emotional at the drop of a hat, with some questioning whether her tears over contestants’ personal struggles are genuine.

She says, “People on social media who say these things are just rage-baiting to generate views. Unka kaam chal raha hai, toh unko bolne do mere khilaaf. I have gone through a lot in life. Main kahaan se kahaan aayi hoon, aur jab main logon ka pain dekhti hoon, toh main feel kar paati hoon. Maybe others haven’t faced the same challenges or are not as emotionally affected by what people go through. Mujhe toh har emotion touch karta hai.”

Neha and her brother, singer Tony Kakkar have also faced persistent trolling over their music, particularly their upbeat pop tracks, which are often mocked for repetitive hooks and lyrics that prioritise catchy phrases over depth.

Neha says, “We also do songs like Mile Ho Tum Humko, O Humsafar and Khuda Bhi Jab Tumhe, but people don’t talk about these songs because there is nothing to criticize. They are well-written and sung. The discussion is usually around chatpate gaane because these songs are fun to talk about. People actually go crazy and paaglon ki tarah naachte hain on the songs they troll. Aur hamein mazey karaane mein bahut mazaa aata hai (smiles). We are easy targets, so we are trolled, lekin hamein trolls se koi problem nahi hoti.”

While Neha is prepared for criticism of her music, speculation about her personal life is harder to dismiss.

She says, “Mostly, I am prepared. Jab iss tarah ka pop music karte hain, hum gaaliyaan expect karte hain. But I feel terrible when they drag my personal life into it, when they spread pregnancy rumours or say, ‘Neha aur Rohanpreet ka divorce ho gaya hai’. I feel bad about such baseless speculation, but unfortunately, it is part and parcel of being famous. People like to gossip about celebrities.”

Putting the rumours about her marriage to rest, Neha describes her relationship with Rohanpreet Singh as one based on friendship.

She says, “Rohu and I are very happy together. This year, we are completing seven years. Hum isko shaadi maante hi nahi hain, hum isko friendship maante hain aur friendship mein bachche nahi hote (laughs!). Toh hamaara woh pyaar hai. Hum sirf masti karte hain.”

For Rajeev Khandelwal, Navratri is steeped in memories of college, borrowed dupattas, jugaad for passes and dancing till midnight. The Aamir and Bloody Daddy actor recalls the innocence of those celebrations and reveals why garba remains close to his heart. He also shares how the festival, and the way it is celebrated, has changed over the years.

Talking about his college days, Rajeev says, “I loved listening to Falguni Pathak’s garba songs, and she remains a favourite even today. I remember HL College in Ahmedabad ke andar garba hota tha, and we loved going there. Those three years (spent at Xavier’s in Ahmedabad) were among the best years of my life.”

Rajeev shares, “During your college days, you eagerly waited for festivals like Navratri. Uss time pe not playing garba was a crime! However, now, when you are invited to a venue as a celebrity, you can’t even play garba properly, so it’s not the same. Every generation feels the celebrations used to be the best when they were young. But back then, and I am talking about at least 25 years ago, there was a certain innocence associated with the festival, and I loved that.”

He further adds, “At our hostel, the countdown would begin a few days before the festival. The biggest incentive was, of course, getting to play dandiya with all the pretty girls (laughs). Main bahut achhe se taiyyar ho ke jaata tha garba khelne! We had limited resources, but I would make sure to wear my best kurtas. Uss time pe ladkon ka fashion sense toh kuch aur hi tha. Those were simpler times; we would just ask the girls in our friends circle to lend us their dupattas. There was no concept of online shopping. Once we had our kurtas, borrowed dupattas and dandiyas, and we were totally garba-ready!”

For the actor, Navratri memories are filled with childhood mischief, jugaad for passes and embarrassing moments on the garba floor.

He says, “We would always be doing some jugaad for Navratri passes. Humare group mein ek raees baap ka beta tha, toh uss ko hum bolte thay, ki bhai passes chahiye, bol na tere dad ko. I have another funny, but embarrassing memory associated with the festival. Once, while at a garba venue, I was eagerly waiting for my turn to play dandiya with a particularly pretty girl. I thought I would impress her with my garba skills. But just before that happened, my dandiya broke into two pieces! Even today, thinking about that incident brings a smile to my face.”