If action is Akshay Kumar’s bread and butter, comedy is his jam. After Priyadarshan-directed Haiwaan failed to make an impact at the box office, the actor is keen to let loose with comedy, and who better to team up with than his close friend and collaborator Sajid Khan? Nearly 14 years after Housefull 2 (2012), the duo is reuniting for an untitled comedy produced by Ektaa R Kapoor.

After playing each other’s rival in Kesari Chapter 2: The Untold Story of Jallianwala Bagh (2025), Kumar and R Madhavan will now share the screen in this comedy, with Shriya Saran and Disha Patani also joining the cast.

“Madhavan is excellent at comedy but he has not done this kind of role before. Last year, Akshay and he were seen in the courtroom drama. This is the first time they are paired together in an out-and-out Sajid Khan comedy,” shares a source.

Once Kumar wraps up Samuk, Kanishk Varma’s alien survival thriller, “he will shoot in a start-to-finish schedule”. “The film is a hilarious comedy of errors, revolving around middle-aged men and mounted on a grand scale, with Disha and Shriya playing the romantic leads,” adds the source. 

The film will go on floors in London “by the end of year or early 2027”, after Khan wraps up Hero Ki Horrorine, starring Yashvardhan Ahuja and Nitanshi Goel.

Sajid Khan was set to direct ‘Housefull 4’, but was dropped following multiple sexual harassment allegations against him.

Mumbai: India's content business is entering a new phase as tightening margins across television and streaming push creators and production houses to look beyond traditional commissioning models and build and monetize their own intellectual property, with YouTube emerging as a key destination for premium, long-form originals.

Ekta Kapoor's Balaji Telefilms partnered with YouTube to launch five long-form fiction shows, following the video-sharing platform's collaboration with Aamir Khan on the 2025 film Sitaare Zameen Par. YouTube is also in talks with other production houses for exclusive programming. Producers see the model as a way to experiment with formats while retaining IP and monetization rights, signalling a broader shift in India's content economy. Applause Entertainment and Swastik Productions also launched YouTube-led offerings.

Balaji Telefilms' tieup with YouTube is an early example of this shift. The companies are launching five premium original shows spanning 200 episodes, including Haq Se Season 2, Phir Pyar Ki Yeh Kahani Suno and Kehne Ko Humsafar Hai Season 4, with other projects under development.

The slate will be produced in 4K and made available globally. Kapoor will lead the creative vision and retain ownership of the IP, while YouTube will provide global distribution and monetization pathways through advertising and brand deals.

The partnership comes as producers increasingly look to own and build IPs rather than produce shows purely on a commissioned basis. Kapoor said the move addresses a gap between linear television and premium subscription platforms.

"Television is now catering to the older, immobile family viewer and the subscription-led apps cater to a very niche audience and a very high-paying audience which young Indians maybe sometimes can't afford," Kapoor told ET. Building fiction while owning the IP is the "need of the hour" and gives her greater risk-taking ability in storytelling, she said.

YouTube's growing presence on connected television is central to that opportunity. The platform has more than 75 million adults watching YouTube on connected TV in India, according to YouTube India managing director Gunjan Soni. The scale of connected TV is creating opportunities well beyond a single content category, Soni said.

"Connected TVs themselves have scale. When you already have 75 million-plus adults watching on the larger screen, it is creating opportunities for different players across different verticals," Soni said.

Audiences increasingly want the "best of both worlds" - on-demand viewing and premium content on larger screens, she said. Her comments point to connected TV becoming an increasingly important distribution layer for premium, long-form content.

The shift is also visible among established television personalities. Shekhar Suman, who previously hosted the talk show Movers and Shakers, has taken his new show, Shekhar Tonite, to YouTube.

"YouTube allowed us to speak directly to the audience without being restricted by time slots, programming formulas or the pressure to shape every conversation around conventional ratings," Suman said.

John Abraham with producer Ajay Kapoor

Mumbai: A sessions court has granted interim protection from arrest to film producer Ajay Kapoor, who has backed movies like Parmanu: The Story of Pokhran, RAW (Romeo Akbar Walter), Attack, and his wife, Ekta Kapoor, in a cheating case registered by the Economic Offences Wing (EOW) over alleged non-payment of more than Rs 17.70 crore to a company owned by politician-turned-real estate businessman Mohit Bhartiya alias Kambhoj. Additional Sessions Judge V R Jagdale observed that both applicants had appeared before the EOW and were partly cooperating with the investigation, while hearing their anticipatory bail plea.

The case arises from an FIR lodged by Sukumar Shetty, Bhartiya’s real estate manager, at Santacruz police station. Since the alleged fraud exceeded Rs 10 crore, the investigation was transferred to the EOW.

According to the complaint, the dispute relates to Kamboj Palace, formerly Khushi Belmondo Building, on Vallabhbhai Road in Santacruz (West). The building, developed by Hiral Classic Properties Pvt Ltd, received its occupation certificate in 2013, while a condominium of nine members comprising 13 apartments was formed in 2017. Bhartiya purchased four flats in the building in 2016, while the Kapoor couple jointly bought four flats in 2017.

Following a dispute over alleged unauthorized construction in 2022, the condominium appointed Bhartiya to undertake regularization, with costs to be shared proportionately by apartment owners. The complaint states that members also agreed to sell their flats to Bhartiya on mutually agreed terms, with 18% annual interest payable on outstanding regularization dues if transactions were delayed.

The Kapoor couple’s share towards regularization was pegged at Rs 5.83 crore, while their liability towards renovation, repairs and civil works was estimated at Rs 8.09 crore. Including interest from Nov 2022 to June 2026, the amount allegedly due exceeded Rs 17.70 crore. The complaint alleges the couple neither sold their flats nor reimbursed the expenses incurred on their behalf.

Nearly a decade after Yeh Kahan Aa Gaye Hum went off air, actor Saanvie Tallwar levelled allegations of on-set harassment and physical assault against former co-star Karan Kundrra. While her claims have sparked conversations online, one question, she says, has repeatedly come her way: Why did she not take legal action at the time?

Tallwar alleges that during the filming of a scene, Kundrra came too close and kissed her, catching her off guard. She claims she responded by pushing and slapping him, after which he allegedly slapped her back and abused her and her family.

Explaining why she chose not to file a police complaint, Tallwar tells us that producer Ektaa Kapoor’s intervention played a key role. “Many ask why I didn’t file a complaint because Ektaa texted me and met me after the incident. She supported me, and we went back to working on the show. That was why I didn’t file a complaint against him for assaulting me,” she says.

Tallwar also claims that pursuing the matter legally at that stage could have jeopardized her career. “Professionals aise hote hain, if I would have taken the legal route back then, career khatam ho jata. But maaf nahin kar sakti, kabhi nahin,” she says.

On why she has chosen to revisit the episode now, the actor says she never received the closure she sought. “Baat purani hai, but I haven’t got closure from him ever. Also, I have to come out with the correct version. Mistakes are part of human nature, but you learn from your mistakes before moving on; he hasn’t,” she says.

Tallwar adds that she had spoken about the incident earlier, but feels her account “was not picked up correctly at that time”.

Kundrra has not publicly addressed the renewed allegations in recent reports. We reached out to his team for a comment but received no response till the time of going to press.

Yashvardhan Ahuja’s Bollywood debut is turning into a family affair. While Yash is all set to make his debut with Ekta Kapoor’s Hero Ki Horrorine (previously titled Hundred), his mother, Sunita Ahuja, will also be making her Bollywood acting debut by playing his onscreen mother. We have now learnt that Govinda, too, is set to join the film for a special dance number with his son.

According to sources, Govinda will soon shoot a special song with Yash over a two-day schedule, marking their first on-screen collaboration. Besides adding to the film’s appeal, the song will also mark Govinda’s return to Bollywood after he was last seen in Rangeela Raja (2019).

nterestingly, the development comes shortly after Govinda announced his comeback to the big screen with Roopa, a film he is also producing. While Roopa marks his return as a leading man, Hero Ki Horrorine will see him make a special appearance alongside his son as Yash embarks on his Bollywood journey.

We reached out to Govinda and the production house, but they did not respond.

Incidentally, in an earlier conversation with us while discussing her stint on Lock Upp: Sach Ya Sazaa, Sunita had confirmed that she would be making her Bollywood debut in a film starring her son. The reality show contestant had exited the series voluntarily owing to health issues.

Recalling the circumstances that led to her departure, she had said, “I got upset at that moment because everyone knew about my health condition. I was expecting food to be sent to me, but it didn’t happen, and I became very emotional. My diabetes also started getting worse because of the stress. I hadn’t eaten, yet I had to take my diabetes medication. I want to clarify that whatever I said was out of anger. I have a lot of love and respect for Netflix and Ekta Kapoor. From the very next day, they took great care of me. My doctor visited me three times a day, my diet was changed, and I was given food suitable for my diabetes. I’m truly grateful for all the care and support. I would love to work with Ekta again. In fact, I’m doing a film with Ekta that stars my son. Thank you so much.”

Call it her bindaas attitude or candid personality, Ssunita Ahuja has steadily become a favourite among reality show makers. After brief appearances in Laughter Chefs: Unlimited Entertainment and Maa Hai Na, she is now seen as a participant on Lock Upp: Sach Ya Sazaa. Ahead of joining the show, Ssunita told us about what prompted her to say yes, how her family reacted and the one boundary she has no intention of allowing anyone to cross.

Asked why she chose to take up the show at this stage of her life, Ssunita replied, “I have been offered many reality shows, but I chose Lock Upp because Ekta Kapoor loves me and I love her too. She gave my son (Yashvardhan Ahuja) his Bollywood break, a film I am also part of. So, it felt right. Besides, participating in a show at any age doesn’t make a difference to me. I like to enjoy life and meet new people. I will also get to understand the younger generation and their perspective. I am probably the eldest there, and I don’t think anyone will misbehave with me. I am sure I will gel with everyone. I believe I will handle everything well; the rest is destiny.”

Addressing the idea that truth can sometimes become a punishment, she disagreed. “I have never faced problems because of my honesty. Nobody can take my honesty for granted. I am what I am, and people know I don’t lie. I am an open book and don’t get scared of being watched 24/7.”

Speaking about her husband Govinda’s reaction, she shared, “We have reached a stage in our marriage where, after 40 years together, I don’t have to ask him about every decision. However, when he learnt about it, he was tense and worried that someone might misbehave with his wife. He said, ‘Maine apni biwi ko phool ki tarah rakha hai. Isko andar kisi ne dukh de diya toh woh rone lagegi.’ He kept asking why I was doing the show. Govinda ko pata hai uski ek hi biwi hai, isliye usko itni tension hoti hai ki meri biwi ko koi rulaaye nahi, koi dukh na de. What he doesn’t know is that his wife is very strong, sab kuchh jhel sakti hai aur sabse ladd bhi sakti hai.”

She added, “My children were a little scared because they have never seen me away from home for so many days. They feel I am very emotional and might break down if someone misbehaves. But yeh sab game ka part hai.”

She was equally clear about drawing boundaries when it came to her personal life, particularly amid speculation surrounding her marriage.

“This show is not about marriage and I wouldn’t want anybody discussing it. Govinda and I have had our ups and downs, but I hope people understand and stop talking about us, just like I have stopped. I have a happy family, aur bure time ke baad achha time aata hai. Family ka already bohot tamaasha ho gaya hai. Jo khel khelna hai khelo, par family par nahi. Main kisi ko koi clarification nahi dene wali hoon. I am answerable to myself, no one else,” she signed off.

After TV show Naagin 7 grabbed attention online for an unedited VFX shot that aired in a recent episode, producer Ektaa R Kapoor and actor Priyanka Chahar Choudhary have finally responded to the reactions.

The episode in question, titled Radhika’s Deadly Betrayal, featured a visible blue screen and exposed wires, as Priyanka stood on one side, in what was meant to be a high-action sequence. The slip quickly went viral, with viewers flooding social media with memes and calling out the error.

Sharing a video of the exact scene, a social media user wrote, “Ektaa Ma’am on her way to the office from Thailand after yesterday’s Naagin blue screen mistake by the editors.” Reposting it on her Instagram Stories on Monday, Ektaa wrote, “Eggjacctlyyy [Exactly].”

Priyanka, who plays the lead in the show, also took the whole blunder sequence in zest. When a paparazzi asked her about the whole fiasco, she replied, “Human error hai...Ab dekho kya hi keh sakte hain, iss cheez par kaam kiya jaa raha hai taaki future mein aisi galti na ho. Guys human error hai, ho jata hai kabhi kabhi.”

The focus on cinema is often divided between the flamboyance of the faces we see on screen and the creative minds behind it – the directors, the lyricists, screenwriters, musicians, cinematographers, etc. But the credit that rolls out last – that of the producer – is not usually as fascinating for those of us who write on, or read about, the world of cinema. Logistics, finance, permissions – where’s the romance or the flamboyance in that, eh?

Guneet Monga, as the only Indian producer so far, to hold an Oscar in her firm grip, forces you to rethink that. The self-taught go-getter of a girl who left Delhi for Bombay, heartbroken, in her early 20s, having lost both parents. The hustler par excellence who feels she just took ahead the school prefect confidence. The daughter who today feels she is closer than ever to her parents, who attributes all her swag and her mindset of abundance to the core beliefs that her dad instilled in her. The production geek who understands the global business of cinema and thinks India has barely scratched the surface. The daughter-in-law who today wants to spoil her mother-in-law in the way she couldn’t spoil her mother. Guneet’s trajectory and life are as filmy as it gets. Read on:

I began working in films very, very early. Meri pehli internship thi 2004 mein with Anureeta Sehgal, joh meri best friend ki mother hain, for Valley Of Flowers. It was a Pan Nalin (whose Chhello Show went to Oscar) film. Subsequently, poora liaison ka kaam main karti thi. End to end – from equipment to ministry. I built a bond with American, French, Italian producers. I used to get Rs. 2 lakh per week at that time in dollars. Logistics did not scare me. Maybe because I was a prefect in school – we used to put up large scale events and wohi core of leadership ban gaya tha.

I was flown to Ladakh for my first film. It was August 15, 2004. Meri life ka itna bada high tha. But I had just spent a couple of days when I got a call ki mummy ko cancer nikla. And so, the very next day, I had to come back. Maybe, if I had stayed for that shoot, had been on set, my life journey would have been in another direction. But because I came back and then I handled all the logistics of the film from Delhi, it kind of defined my life, I constantly took on producer roles.

My mother passed away in 2008. It was a four-year journey. I was with her throughout. She was pushing me to go to Bombay. My friends were all in FTII, SRFTI, Jamia for post-graduation. Mujhe lekin course nahi karna tha, mujhe paise kamane thay, ghar khareedna tha parents ke liye. They were living in a rented place (after having to leave father’s family house in very difficult circumstances).

I learnt on the job. I did a lot of freelance international work. I was also a location scout; I was hired for one year by the producer of The Lord Of The Rings, Tim Sanders. I had to go pan-India and find locations for a sci-fi film that was supposed to star Johnny Depp. That film never happened. But it built me many contacts. I became somebody who was a very integral part of any film setting up in India. I was often the first one hired and then the line producers.

I worked on a Canadian TV film, Murder Unveiled, directed by Vic Sarin. After wrapping that film, Vic Sarin landed back in Delhi to work on a project of his own – Partition. He asked me to run the film as his line producer and assistant. Sarin empowered me to take charge. I learned a lot.

After post-graduation, my friends were moving to Bombay, and my mother also wanted me to go. So I went, but har weekend flight le ke ghar aati thi kyunki main dollars mein weekly kamati thi. I did this for one year. And then she got better and life was good.

The cancer relapsed in 2008. And it got very bad. She passed away in July. I had barely come to grips with that when, very unexpectedly, dad had a sudden heart attack in February 2009. And so I lost them both in six months.

When she was dying, my mother used to talk to me, she also knew Dad was very unwell. She would say tu kya karegi humare baad, tu maasi ke paas chali jaana. And I would say bakwaas mat karo, kuch hoga hi nahi. I was delusional.

My maasi herself lost her 21-year-old son three months after my mom’s death. So it was July, my mom; November, my cousin; February, my father. My maasi went into depression. Mummy ka grand plan tha ki maasi will be your guardian after we are no more, but that never happened.

I have lived through so much personal tragedy in my twenties, so much. Insaan khatam ho sakta hai uss se. But it was my dad’s resilience and joy that kept me going. Money has come to me easily; kabhi paise ke liye kaam nahi kiya, kabhi nahi. I have never negotiated and I have always gotten in abundance, because it is my dad’s mindset. Main apne kaam se bahut pyaar karti hoon, toh mujhe kaam karna hai. Paisa, they will manage, the universe will manage.

Tabhi main itne logon ki anxiety handle kar paati thi as a producer kyunki mujhe anxiety nahi hoti thi... because of my dad.

Then I moved to Bombay and sought work. I just had to stay occupied to keep my mental sanity. I was interviewed by Ekta Kapoor for Balaji. They asked me what I was expecting and I said it doesn’t matter, give me Rs. 25,000, I just need to keep busy. They were very surprised but didn’t say anything. But when the first cheque came, it was for Rs. 1,25,000.

And then, I worked with Anurag Kashyap. I went to school basically working with Kashyap. Six years, I was his producing partner. Gangs Of Wasseypur, Shaitan, Shahid... Bahut saari filmein banayi with AKFPL (Anurag Kashyap’s production house). I learnt how you make a good script better. How do you add value on content? What is good writing, what is good material, what do you take back, how do you impact?

Kashyap said meri picturien international hain, so yeh meri life ka mission ho gaya – to find international platforms for them. Main 40-40 ghante ki flight lekar kahin bhi pahuch jaati thi to pitch for a film. I have lived in Paris with no money in Pan Nalin’s house for almost a month to be able to pitch my films, get sales agents, build the word – and then they got selected in Cannes. That is the role of a producer, Kashyap used to tell me. So, I was like okay, I’ll do it. Like that, karte karte bahut travel kiya, har film festival gayi.

Today I stand at a career where I have had 9 film premieres at Cannes, 16-17 films in Toronto, 3-4 in Sundance, 4 in Venice, 4 Oscar nominations for my films, 2 wins. And this whole international vocabulary that I built was because Kashyap used to tell me to go out and figure how we can sell our films. In my 20s, I was able to do that.

Jab The Lunchbox release ki Karan Johar ne, and following him, I learnt marketing. Suddenly I became an intern. I have a beautiful relationship with Karan. He is a friend, a mentor; he does not even realize ki itna kuch life lesson sikha ke chala jaata hai. He is one person who has never made me feel like I am young. He has treated me like an equal. Karan is an absolute cinephile. I feel he has a talk show and an image in the janta, but like Kashyap, he is an absolute cinephile. Knows about history of cinema like no one else. When you travel, you understand how films are distributed around the world. And it is amazing. And we have not even scratched the surface of it.

The numbers are not comparable. In 2000, Crouching Tiger Hidden Dragon made like 300 million dollars. Humne 30 million nahi cross kiye hain. Abhi Dhurandhar ke kya latest stats hue honge – 30-35 million. Aur usse pehle everything is about 24 million. We have not cracked global distribution – because global distribution is above 100 million, 200 million, 300 million. There is a conscious effort in how distribution is done. Hum log sirf diaspora ko distribute karte hain.

So now I am a producing geek. I know so much about global business, about worldwide business. I have innovated distribution in The Lunchbox and in Kill. Kill became Lionsgate’s first-ever acquisition for India. Sony Pictures Classic had bought The Lunchbox. These are not diaspora sales. These are all A-list sales. Kill released in a thousand screens in US. These are all huge things in our industry to pull off. John Wick’s director Chad Stahelski has acquired the remake of Kill.

These are the things I have done, I have been able to propel IPs on, and that is my joy as a producer. We got invested in by Jio in February, so I have built a production company of value that got invested in. They took 50% of Sikhya and so, we were able to encash these years of mehnat. To be able to make that level of business where you are doing a merger with a company... and I feel I just got started at 42.

Gurbani mein Kabir ji ke kuch dohe hain jinko sun kar mere dwar khul gaye. A lot of things about criticism, about what someone said, who is unhappy with you, who you have to impress – it stopped affecting me. A lot of brain cells get damaged in sorting ki saamne wala kya bol raha hai. So it was actually taking your own power back from the world and being sure of what you are doing. And you need that, because we are in such a subjective industry. When you are making a film, har koi aa kar bolta hai ki bakwaas hai. Ya log kehte hain ‘mujhe samajh aa gayi, pata nahi logo ko aayegi ki nahi’ – this is classic. Art is so subjective. And then today, validation lies only in the box office.

To be honest, I have never had a 100 crore film. But I am among the most successful producers. In India, if you have a 100 crore film, you have validation. But if I have made a film in 15 crore and I have made 30 crore from it, I am very high ROI and I am very successful. Aur maine yeh therapy mein bhi seekha. Otherwise, you make it to the front pages basis this. Jisne 100 cr kamaya woh accha hai. Jisne 500 cr kamaya woh bahut hi acchha hai. Acche bure mein farak aaj hum paison se dekh rahe hain... Where have we led ourselves?

Mere saath to aaj tak aisa hua nahi. Hoga ek din, main banana chahti hoon ek film jo itne paise kamaye. Lekin mera jitna access tha maine uss dayere mein kaam kiya. Mera access first-time directors thay. Mera access younger actors hai. I work with people who want to work with me. So I have never waited in the line for validation or for bigger access – ki yeh actor yes bolega tabhi yeh picture banegi.

No, I am not hardheaded. I am just clear. I’ve learnt to have clear conversations. Because we are dealing with bad situations all the time. We are dealing with unfulfilled dreams all the time. When you are making a film, aap ka director, aap ka actor, kuch bhi bol sakta hai. You are constantly dealing with expectation management.

I have never been fascinated by vanity. And that comes from my dad. Because I have been able to hold my own. ‘This is how we will shoot. This is how we will do it. This is what you will expect. This the time it will start, this is the time it will end’ – very clear conversations. I have just decided to be clear. Because we are always negotiating.

Yeah, yeah... even at work. I am from the heart. But the brain is practical, towards the money. That combination makes me a good producer, I believe. Because you need a lot of empathy to be a producer.

Itne gaane nahi afford kar sakte... uski shoot nahi afford kar sakte... yeh nahi kar sakte.. itne halls mein release ho jaaye... articles chhap jaayein... sab ko sab kuch chahiye hota hai. Everyday is expectation management. Every day!

I pray for clarity. I only pray for clarity. Otherwise, there is no end. Your skill set is specific to the cinema industry, but at the core of what you do is the approach, the self-belief, for which you give all credit to your father. Your differentiator, to me, is your execution and mindset. Yes, it is the execution.

But you see, when someone like that, like my father, says ki aap kabhi bhookhe nai soge, bindaas raho – toh bahut stress khatam ho jaata hai. Aisi-aisi cheezein sikhai hain na papa ne mere... Ki kabhi paise khatam ho rahe ho na, toh saare kharch kar dena. Bachana mat. Mann nahi maarna. Kyunki maine tumhe itna padhaya hai. Tum kuch bhi kar sakte ho. You will be able to fend for yourself.

That taught me abundance. That taught me my relation with money – it was never of scarcity. And that is why I could do what I did. My mindset is very different. Every penny on the screen – it should be the best version.

That mindset took us forward. Producer ka ek mindset ho jata hai – jo de rahe ho, thoda kam de do, thoda kam spend kar do. Woh hai hi nai, bachapan se hai hi nai. (Pauses) Bas yeh regret raha hai... Mummy kabhi India se bahar nahi gayi thi. Unko duniya dikhani thi. Venice film festival mein mujhe kamra mila thaa joh samundar pe khulta thaa. And I was asking myself, main yeh kya duniya dekh rahi hoon? And my parents can’t see it.

That is my angst. Which will always stay.

Maine Delhi mein bahut international films ki thi. Mere neighbour, Kamlesh Aggarwal, ek din aaye with a business idea: ‘Newborn babies ki videos bana kar parents ko bechenge.’ I asked him, aap kitne paise lagana chahte ho ismein? He said 50 lakh. I said, bahut waahiyat idea hai. Instead, aap mujhe 50 lakh de do, main Bombay ja kar film banaungi. I was 22-23, and had only seen Bombay on a school trip.

Since I used to work on international films in Delhi, I knew the light vendors in Bombay – at that time Delhi didn’t have the big lights, toh main Bombay se mangwati thi. So the light vendors, gaffers – woh sab mere dost thay.

I started asking them, kisi writer–director ko jante ho? Mere paas 50 lakh hai, main film banana chahti hoon. Food court mein meri ye meetings hoti thi. Unhone mujhe kuch ADs, writers, directors se milwaya. Some thought they could con me. But I was like – ‘No. I’m from Delhi. I know better.’ (Laughs) Dilli ka khoon hai. Jugaad 101.

Then I met the wonderful Subhash Kapoor, who is also from Delhi. He has now made films and shows like Jolly LLB, Maharani. Unki pehli film thi – Say Salaam India. He told me the story – it was a classic underdog story. Very Jo Jeeta Wohi Sikandar. This was in 2006 and 2007 mein World Cup tha. We were thinking hum kitne amazing hai, 2006 mein film bana kar 2007 mein World Cup ke dauran release karenge.

So I had 50 lakh, Subhash ji had 50 lakh. The film’s budget was 1.5 crore, so we both raised 25 lakh each. We made the film with Milind Soman, Sanjay Suri, Shweta Nigam – lots of amazing actors. That was my first feature film as a producer. We were also able to raise marketing money because there was a lot of surrogate marketing with World Cup.

Then in the Group stage India lost the first match. People were furious, matlab putle jalne lag gaye. But in the next match they made some 420 runs. They were our heroes again. Meanwhile, my movie was ready for release. Humein kaha ja raha hai – dekho, India pe 2,000 crore lage hain toh haarega nahin. Adlabs came on board to market and distribute the film. Ek independent filmmaker ke liye bahut badi baat thi. Then came the third deciding match to go to the next round – there was so much hype, people were doing hawan, etc. My film was supposed to release the next Friday. And India loses. Phir se putle jal rahe hain. Dil toot gaya hamare desh ka.

Then the cinema halls started calling – ‘Ye dabbe (film reels) wapis le lo, purani picture de do. Agar abhi cricket ki baat kar di na toh log theatre jala denge’.

And I was in shock. I was like – main producer kaise banungi main agar ye paise wapis nahi kar sakti! And, I had actually taken a job for Ghajini. It was very exciting for a young producer. But I had to leave it. I told the producer that I have to go figure out my film. Mujhe paise recover karne hain.

And I came back to Delhi. I went to my school – Bluebells. They used to sometimes take kids for movie screenings for Rs. 50 per student. I told my principal, ‘I have made this beautiful film and it’s for children. Would you please do a paid show with students?’ And she said yes. Then I went to Sapna Cinema, which was behind my house and asked how much do they make from the morning 9 am show. They said Rs. 3,000-5,000. I booked the hall for Rs. 10,000, a 1000 students came to watch the film and the teachers gave me Rs. 50,000 – Rs. 10,000 went to the hall and 40,000 mere. This was the first paid show.

And kids loved the film. I heard a thousand kids jump and celebrate and laugh. And I remember – my parents standing there with a 1000 chocolates – Rs. 5 wali. The principal had great feedback and I asked her for a letter of appreciation. I took it straight to DPS RK Puram – 25,000 kids. The minute DPS RK Puram got on (board), all the DPS of the city got on (board).

And it got overwhelming for me. It took a week to crack one school. So, I went to my college to get student volunteers. I told my principal that I will get all volunteers internship letters from Adlabs studio. So I got interns for the next 2–2.5 months – 27 boys on bikes. They’d all come to my house in the morning, mummy aloo parantha banati thi, then they would go to different schools. There was one day when there were 50 shows in Delhi simultaneously.

Then I went to the offices of Lintas, and told then I have so many shows happening, I will give you the interval, you can bring brands in. Those brands gave me Rs. 10,000 per show. So, per show I increased my revenue. I had my volunteers stand in front of every screening with the audio CDs – Rs. 10 cost, we sold them for Rs. 25 each.

Aise karte-karte 350 shows kiye and we recovered all the money. We did shows in Sonipat, Panipat, Karnal, Chandigarh – school after school. It took nine months of my life. But I gave the money back to Kamlesh ji.

And I became a producer.

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"The journey of a producer is so different and so difficult. I’ll not want to water it down. It is very difficult. Things take two-three years. There is no instant gratification. You are not making a reel. Three years is a long gestation period"

- Guneet Monga

When Akshay Kumar and Rajpal Yadav first shared screen space in David Dhawan’s Mujhse Shaadi Karogi (2003), little did they know that they would go on to work together in many popular comedies. The upcoming episode of Wheel Of Fortune India, which is hosted by Kumar, served as a platform for the duo to reminisce about their on-screen chemistry and off-screen friendship.

On February 27, the superstar shot the episode with his Bhooth Bangla producer Ektaa R Kapoor, co-actors Yadav and Wamiqa Gabbi. According to sources, Kumar introduced Yadav as the undisputed comedy king of the Hindi film industry.

A source revealed, “Akshay delivered a touching tribute to his co-star. On the show, he attributed his comic timing to Rajpal. Akshay told the audience, ‘Sach bolu toh, inki badolat se meri comedy chalti hai’.”

Yadav returned the compliment by admiring the superstar’s love for fitness as he said, “I’ve known him for so many years. Inki fitness kamaal ki hai, aur khaane mein bhi inka bohot achchha control hai.”

It took Ektaa R Kapoor’s intervention to reunite filmmaker Priyadarshan and Akshay Kumar after 16 years. Despite collaborating on six films earlier, the duo hadn’t worked together since Khatta Meetha (2010). That changed when Kapoor approached them with the script of Bhooth Bangla, which releases next month. The script “excited both of us”, shares Priyadarshan, adding that the actor had suggested Kapoor approach him to direct the project.

Priyadarshan says he took the story from the writer but developed his “own screenplay”. Bhooth Bangla draws heavily from “Indian folklore and mythology like the English werewolf. Soul-switching, controlling souls, and black magic is the core of the film. [The idea] — tele-transportation, where one soul inhabits the body of another human [is significant] even in the Bible and Indian philosophy. It is funny because I am a psychology student and I don’t believe in ghosts,” laughs the director. He adds that the film unfolds from the perspective of a non-believer who suddenly encounters a soul.

Unfazed by comparisons with the Bhool Bhulaiyaa franchise, Priyadarshan insists that the Kumar, Wamiqa Gabbi, and Tabu-starrer is “being made on a grander scale.” He adds, “People will smile and then the eeriness will creep in. The climax is one of the biggest ends ever shot on a huge canvas.”

The director reveals that Tabu — with whom this horror-comedy marks his fifth collaboration — “looks as beautiful in it as she did in Virasat [1997]. Without Tabu’s character, there’s no logic in the story.” He recalls that the actor was equally excited to reunite and work with him again.

However, it is Rajpal Yadav’s comic timing that the filmmaker cannot stop praising. “He is hilarious in the film and a character you will remember,” he notes, adding that while he has no plans to turn Bhooth Bangla into a franchise, “Maybe, Ektaa can take it forward.”

We saw and loved Akshaye Khanna in ‘Dhurandhar’ (2025). Now, it looks like we’ll get a dose of another Akshay in ‘Dhurandhar The Revenge’. Before rumours emerge about Akshay Kumar’s cameo in the action drama, let us set the record straight. mid-day has exclusively learnt that a promotional song of Kumar’s ‘Bhooth Bangla’ will be attached to the March 19 release, thus serving as the first look of filmmaker Priyadarshan’s upcoming horror comedy.

Usually, movie trailers are attached to films playing in cinemas. But from what we’ve heard, ‘Bhooth Bangla’ producer Ektaa R Kapoor felt that releasing the track instead of a dialogue promo would instantly grab attention.

A source shared, “Akshay and Priyadarshan’s 2007 horror comedy ‘Bhool Bhulaiyaa’ benefited immensely from its title song, ‘Teri Aankhein Bhool Bhulaiyaa’, which became wildly popular. So, this time, with Pritam having composed another song that has the potential to become a chartbuster, Ektaa felt it would catch on among listeners and create buzz around ‘Bhooth Bangla’. Attaching it to ‘Dhurandhar The Revenge’ made sense as it’s among the most awaited films.”

Also starring Tabu and Wamiqa Gabbi, ‘Bhooth Bangla’ is a fantasy horror comedy that reportedly explores black magic. The source added, “The song was filmed on a grand scale with Akshay and over 100 background dancers. Given the film’s theme, a set of a spooky mansion was built.”

Ever since prominent producers including Karan Johar (Dharma Productions), Sajid Nadiadwala (Nadiadwala Grandson Entertainment), Ektaa Kapoor (Balaji Telefilms), Farhan Akhtar and Ritesh Sidhwani (Excel Entertainment), Zoya Akhtar (Tiger Baby Films) among others were seen leaving actor-producer Aamir Khan’s residence in Mumbai on Thursday, the film industry was abuzz with speculation about what might have been the reason behind the same.

While parties involved have remained tight-lipped about the meeting’s agenda, a well-placed source tells HT City that it was to resolve the ongoing issue between an actor and Excel Entertainment.

“Aamir is trying to resolve the rift between Ranveer Singh and Excel Entertainment. The meeting at his place was to address the same,” the source informs.

Excel Entertainment has sought Rs. 40 crore from actor Ranveer Singh after his exit from Don 3 for alleged financial losses.

Reports of Sunita Ahuja’s film debut have been doing the rounds lately. Things have been kept under wraps, but a source spotted her shooting at a temple in Bhopal for the said film. The movie marks Sunita’s full-fledged Bollywood debut and not just a special appearance. An industry insider revealed that she will star alongside her son, Yashvardhan, in it.

The source shares, “The film is a horror-comedy helmed by Sajid Khan, who returns to direction after many years and is produced by Ekta Kapoor. It is being shot in Mumbai currently and stars Sunita in a pivotal role. She will be seen replicating her real-life role as Yash’s mother on screen as well. Dono maa-beta will share the screen for the first time.”

The film stars Yashvardhan with Laapataa Ladies’ Nitanshi Goel and Gadar 2’s Simrat Kaur Randhawa in leading roles.

The ‘Shootout’ franchise is officially stepping out of Mumbai and going international. After earlier plans to shift the narrative to Delhi, the makers have now finalized Dubai as the setting for the third film, titled ‘Shootout In Dubai’.

Following ‘Shootout At Lokhandwala’ (2007) and ‘Shootout At Wadala’ (2013), which chronicled the rise of Mumbai’s underworld, the new instalment marks the franchise’s first international outing. Harshvardhan Rane is currently the only actor confirmed to headline the film.

The project has been in development since 2021, with the script going through six major drafts. According to sources, Ektaa R Kapoor and co-creator Sanjay Gupta were unwilling to move forward until the screenplay matched the visceral punch of the earlier films.

“There was no pressure to rush this. The makers were very clear that unless the script carried the same aggression and attitude as Lokhandwala and Wadala, they wouldn’t greenlight it. Each draft was about the tone. It seems they finally have something they can bet on and will lock it by March,” a source told mid-day.

Unlike the previous films, which drew heavily from real-life gangland encounters, Shootout In Dubai will tell a completely fictional story. “This one is designed to feel swankier. Dubai allows for scale, be it glass buildings, highways, night action, a more international visual grammar. It’s still a Shootout film, but with a fresh skin,” the source concluded.

Sonam Bajwa is reportedly a front runner for the female lead.

Urvashi Dholakia was among those caught in the unforgiving path of Cyclone Ditwah, which wreaked havoc across Sri Lanka recently. What began as a routine work trip to Colombo for the actress — joined by Chetan Hansraj and Ektaa Kapoor — quickly spiralled into an ordeal they never saw coming.

Urvashi, who returned to Mumbai on December 1, said she felt grateful to have made it back home safely. She told Bombay Times, “I have never been through a cyclone before. I think God was on our side, as we reached Sri Lanka despite the intense weather conditions. The next day, it was sunny, so we were able to finish our work and return safely to India.”

Recalling the journey, the actress said, “It all began with flights from Mumbai to Colombo getting delayed or cancelled. The reasons were unknown to us at the time. It’s an almost two-hour flight, and about 25 minutes in, we were hit by heavy turbulence. From the window, I couldn’t see anything, just a white mass. I thought maybe it’s heavy rain. Then the captain announced that we were landing, and I was wondering where, because I couldn’t see anything! He then said that due to the bad weather conditions, he would update us about the landing in 10 minutes. Fortunately, we had a smooth landing, and I’m truly grateful to the captain for bringing us safely into Colombo. In fact, ours was the only flight that managed to land in Sri Lanka. The rest got cancelled or diverted to Thiruvananthapuram. Hamara captain khiladiyon ka khiladi nikla.” 

Reflecting on the experience, she added, “The idea was to go to Sri Lanka to have a chill time and not get chilled in that weather. This is one flight I’ll never forget — not because of the turbulence, but because of the remarkable way the captain handled the entire situation. Both Ektaa’s and my phones wouldn’t stop ringing after we landed. While we were safe, I know many people in remote parts of Sri Lanka were badly hit.”

Tusshar Kapoor says he’s never been busier, but it’s not just work that’s keeping him on his toes, but also fatherhood. As he completes 25 years in the movies next year, the actor, who debuted with Mujhe Kucch Kehna Hai in 2001, says, “If I had to relive those years again, I would do those same things because I wouldn’t have been who I am today if I hadn’t made certain mistakes. I wouldn’t want to have it any other way.”

Tusshar, who is Jeetendra’s son and Ekta Kapoor’s brother, believes his legacy came with both privilege and pressure. “I do believe there’s a concerted effort to pull you down if you come from a legacy, especially since my father had done over 200 films. But I didn’t consciously plan to block the noise out, you can’t do that. You have to live with it, and it does affect you. But you can’t let it consume or shake you to the point where you can’t do your work,” shares the actor, who was last seen in the horror comedy Kapkapii and is currently shooting for Welcome To The Jungle.

Even during the lows, when the box office wasn’t too kind, Tusshar says he never hit the panic button. The Golmaal actor explains, “I’ve always laughed and enjoyed even the worst of my phases. After my first film, when a few films didn’t work, it took me a while to understand that this is not in my control. So, the learning curve was when I toughened up and I realized that. I just focused on my work.”

Elaborating on how it’s not just about the number game anymore, says, “The industry has rewarded me for my hard work and has also allowed me to experiment. But I do feel that I have a lot more to do. Earlier, I would be too choosy. Back then, there was a lot of pressure to be selective. Today, you’re not dependent on any one medium. You can wait for your film to find its due wherever it does; so you can do more work, and you’re not at the mercy of the box office.”

On the personal front, Tusshar, who is a single father, says he has always been honest with his son Laksshya (9) about their family dynamics. “I’ve inculcated in him from childhood the idea that one has to understand that every family is different and unique. He has grown up as a very secure child. He understands that I wanted to be a father, and he’s the reason why I’m a father. That question (about where his mom is) has never come up, but I’ve always spoken to him in case somebody in school brings it up,” he shares.

As for love and relationships, Tusshar says he’s in a content space. “When you start working in this industry, you become so obsessed with your work. The only void I felt was that I didn’t have a child, but I have Laksshya now. I’m open to finding a life partner in the future, but that is something I cannot predict. However, there’s no vacuum. I really value and cherish this freedom.”

Content producer Balaji Telefilms is reshaping its digital strategy with a multi-platform approach that spans the newly launched Kutingg app, an expanding YouTube network, commissioned content for major OTT platforms such as Netflix, and collaborations with independent creators through the newly formed Balaji Studios.

The company has also entered the fast-growing microdrama space, signalling a clear shift toward a more diversified, sustainable, and lower-risk digital model.

“Kutingg will be a smaller but sharper piece of our digital business,” said Sanjay Dwivedi, CEO, Balaji Telefilms. “We don’t want to burn cash. We will scale it gradually.”

Unlike ALTT, Balaji’s earlier digital venture that focused on bold storytelling, Kutingg will offer family-oriented, mass-market entertainment. “We want to be as clean as possible,” said Dwivedi. “We don’t want any drag now when we are at a better place in terms of market cap and business.”

Kutingg’s content strategy blends television-style storytelling with digital viewing habits. The app will release daily episodes from Monday to Thursday, with each show running between 30 or 60 episodes. After completing its run on the app, each show will move to YouTube under an ad-supported model.

“The strategy is simple: daily content with relatable stories and limited runs,” said Nitin Burman, Group Chief Revenue Officer, Balaji Telefilms. “We will also have Friday binge-watch titles with slice-of-life stories that don’t rely on big stars. If the story is good, it works.”

The long-form series will serve as engagement drivers, while shorter binge titles will help attract new users. “This app is hybrid, both subscription-led and ad-led,” Burman said. “It’s designed to balance acquisition and engagement.”

He added that commissioned shows for other OTT platforms will remain a key part of Balaji’s business. “At the end of the day, we are a production house, and commissioning for other OTT platforms will be a bigger piece for us,” Burman said.

A key part of the company’s strategy is Balaji Studios, a new content arm that will collaborate with external creators for both OTT and regional projects. “Till now, Ekta Kapoor was the sole creator for our TV and OTT projects,” Burman said. “Now, through Balaji Studios, we are inviting independent creators to collaborate with us.”

The studio is already co-producing projects for Amazon’s MX Player and ETV Win and plans to pitch new concepts across languages. “We want to expand our horizon and start working both ways, producing our own content and co-creating with others,” Burman said.

Balaji is also opening the door to new creators. “Not everyone can reach Netflix or Amazon because of the guardrails they have,” Burman said. “Kutingg can be an entry point for new creators to showcase their work.”

Beyond Kutingg’s long-form shows, Balaji is betting on microdramas, short vertical videos designed for mobile audiences. Burman said the company has partnered with StoryTV to produce and co-own a slate of microdramas, some exclusive to that platform and others available on both StoryTV and Kutingg. Balaji is also creating content for WinZO and Zupee.

“There’s huge demand in the market, but also a rush to produce quantity over quality,” Burman said. “Many are copying Chinese short dramas and making Indian versions. We want to do both quality and quantity.”

Microdramas typically run for about 60 to 70 minutes in total, spread across 30 to 35 episodes of around 90 seconds each. Production budgets range from Rs. 5 lakh for smaller titles to Rs. 25-30 lakh for higher-quality shows featuring TV actors. “The key is that every episode must end on a hook,” Burman said. “That’s what keeps audiences watching.”

He believes short and long formats will continue to coexist. “As long as you can engage the audience, they’ll watch two minutes or twenty,” he said.

Balaji had invested nearly Rs. 1,000 crore in ALTT, which peaked during the pandemic with 2.3 million paying subscribers before viewership declined. “It became expensive to run,” Dwivedi said.

The company has since moved away from an aggressive subscription-led model to one that spreads risk across advertising, brand partnerships, and commissioned work. “We are not heavily dependent on SVOD,” Dwivedi said.

“Our YouTube presence alone has over 10 million subscribers across four channels, and we’re looking to grow that further,” Burman added.

Dwivedi noted that both television and OTT are facing a slowdown as companies cut content budgets to focus on profitability. “Broadcasters need to invest meaningfully in content,” he said. “You need one breakthrough show. For that, you have to invest, sample, and spend. That rigour is missing in broadcasting.”

He added that India’s biggest TV successes such as Kyunki Saas Bhi Kabhi Bahu Thi, Kaun Banega Crorepati, Bigg Boss, and Khatron Ke Khiladi all came from risk-taking networks willing to back bold ideas. “You have to disrupt the market with content,” he said. “Some shows will fail, but the investment has to be there.”

Burman also drew a distinction between global and Indian OTT thinking. “Netflix and Prime Video may seem like they overspend, but they think globally,” he said. “Most of their hits are global hits. Indian platforms are still thinking like broadcasters, focusing on what can be made cheaper rather than what can be made better.”

Mumbai: Reliance Industries' stake in Ekta Kapoor-led Balaji Telefilms dropped to 21.07% in FY25 from 24.82% a year earlier, according to the production company's annual report. Nonetheless, Reliance Industries (RIL) remains the largest non-promoter shareholder in Balaji Telefilms. It had invested Rs. 413 crore in 2017 for nearly 25% stake through a preferential issue as part of its Jio content play.

The promoter group comprising Jeetendra, Shobha Kapoor, Ekta Kapoor and Tusshar Kapoor holds 32%, down from 34.21% last year. Among institutional investors, Vanderbilt University Atyant Capital Management raised its holding to 6.19% from 4.51%, Gothic Corporation to 6.68% from 4.76% and Atyant Capital India Fund to 5.77% from 4.02%.

To bolster its film business and create intellectual property, Balaji Telefilms raised Rs. 130.7 crore through a preferential issue to eight investors, including Ekta Kapoor, Atyant Capital India Fund I and Duke Endowment.

RIL is now sharpening its media and entertainment focus on JioStar, where it is the majority shareholder alongside Disney. It has infused nearly Rs. 22,000 crore in the business over two years, first into Viacom18 and later into JioStar after the Disney merger.

Balaji Telefilms, known for its TV dramas, is pivoting toward films and digital as broadcasters reduce content spends, eroding per-hour revenue from TV. Over the next three years, the company expects films to be its main growth driver, followed by digital, with television a distant third. It has signed a content deal with Netflix, which is expanding its mass-market offering in India. Balaji Telefilms recently shut down its over-the-top platform ALTT after the information and broadcasting ministry blocked it among 25 apps for obscene content.

Ektaa R Kapoor has issued a statement after the government recently banned ALTT, ULLU, and 23 other OTT apps for “vulgar” and “obscene” content.

Taking to Instagram, the producer clarified that she and her mother, Shobha Kapoor, aren’t “associated in any capacity with ALTT,” adding that “they had stepped down from their association with ALTT way back in June 2021.”

The statement read: “Balaji Telefilms Limited, listed on the BSE and NSE, is a professionally run media organization and following the recent amalgamation of ALT Digital Media Entertainment Ltd. (previously its wholly owned subsidiary) duly approved by the Hon’ble NCLT, it operates ALTT wef June 20, 2025.”

Ektaa clarified that neither she nor Shobha are connected with ALTT: “Media reports have been in circulation about ALTT being disabled by the authorities, however, contrary to such reports, Ms. Ekta Kapoor and Mrs. Shobha Kapoor are not associated in any capacity whatsoever with ALTT and they had stepped down from their association with ALTT way back in June 2021. Any insinuation contrary to the above facts is strongly denied and media is requested to report the accurate facts.”

Ektaa concluded her statement by affirming that Balaji Telefilms complies with all laws and maintains high corporate governance standards.