What started out as an experiment has become a box office force. Mirzapur The Movie, which has collected more than Rs. 170 crore at the domestic box office, has done more than just extend the popular Prime Video series to the big screen. mid-day has learnt that the success of the Pankaj Tripathi, Ali Fazal, and Rasika Dugal-starrer has prompted conversations within Excel Entertainment about the possibility of a second theatrical offering.

According to an industry insider, the team is overjoyed at the film’s run and confident that there is a theatrical audience for it.

“Next week, the actors, director Gurmmeet Singh, and writer Puneet Krishna will meet producers Farhan Akhtar and Ritesh Sidhwani, to discuss the way forward. There are several ideas being discussed, but nothing has been formally locked,” said the insider.

The timing is interesting because the crime drama’s fourth season is in development.

The insider added, “Earlier, the focus was on taking Mirzapur forward as a series by prioritizing the fourth season. Now, there is a realization that the audience will also come to theatres for these characters. If the story and the scale make sense, the team will explore another film.”

Ranveer Singh’s Don 3 controversy is far from abating. After the Federation of Western India Cine Employees (FWICE) announced at the June 3 press conference that it is withdrawing its non-cooperation directive against the actor with immediate effect, mid-day has learnt that the Producers Guild of India is stepping in again to resolve the dispute between the superstar and producers Farhan Akhtar and Ritesh Sidhwani.

The Guild is expected to hold another round of discussions in the coming weeks. When mid-day reached out to Manish Goswami, vice-president, Guild, he refrained from putting a timeline to it, but agreed that the body will reconvene to resolve the issue that sparked when Singh apparently exited Don 3, to be directed by Akhtar, weeks before it was to roll.

“The Guild is yet to formally table the deal. From here, it can go two ways. We encourage an amicable resolution and hope the parties can resolve the matter through dialogue. But there is always the court route, if that falls through,” said Goswami.

The Guild’s meetings are expected to focus not only on resolving the current conflict, but also on establishing clearer industry protocols around actor commitments and safeguarding producers’ interests.

Meanwhile, sources, who worked on Don 3, revealed that Excel Entertainment — which alleged a loss of Rs. 45 crore due to Singh’s exit — made payments to all associated with the project. “All payments were cleared last month. To ensure there’s not another instance of loss of livelihood for technicians, we hope this incident changes things for good,” said a source.

On June 3, in a press conference, FWICE announced the withdrawal of its non-cooperation directive against Ranveer Singh. Earlier in the week, the actor reportedly served a legal notice to the cine body against its non-cooperation directive. FWICE President Birendra Nath Tiwari said at the presser, “On behalf of the Federation, we would like to request Ranveer Singh to come and sit with us… No one has won or lost in this matter. Our legal department will respond to his legal notice.”

FWICE Chief Advisor Ashoke Pandit said the decision was taken following requests from other cine bodies.

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We all adore Ranveer Singh; we might not all be fans, but in an industry full of leading men who took themselves too seriously, he was a breath of fresh air. His knowledge of obscure movies and songs, his kitschy fashion sense made him relatable and interesting. Other stars were a little too “polished” and reserved. Enter Singh, who broke out into songs mid interviews, wore eye-watering pink suits, and said and did whatever he wanted.

But his wilfulness has earned the ire of the Federation of Western India Cine Employees (FWICE), which recently put out a non-cooperation directive against the actor after he pulled out of Don 3’s production. The May 25 notice requested around 38 different artist associations and unions to boycott any projects linked to Singh, and all hell broke loose.

In media reports, many have alleged that this is a tactic to get Singh to pay out the Rs 45 crore already invested in Don 3’s pre-production by Excel Entertainment and its owners, Ritesh Sidhwani and Farhan Akhtar. Industry stakeholders, though, insist that the real motive is to send a message: it’s high time that stars understand they cannot exit a project willy-nilly.

Either way, though, it’s the last rung of Bollywood that will suffer the most. Hundreds of technicians who committed their time and expertise to Don 3 have now lost weeks of work because of this mess. And even if FWICE’s boycott is carried out, once again, it’s technicians who will lose out on paying work.

“Throughout the recent developments surrounding Don 3, he [Ranveer Singh] has consciously chosen to maintain silence, believing that professional discussions and personal equations are best handled with dignity, maturity and mutual respect.

While several narratives and speculations have surfaced over time, Ranveer has never considered it necessary to respond publicly or contribute to conjecture. His focus remains firmly on his work and the commitments ahead. Choosing restraint and grace in moments like these has always been a conscious decision on his part, and he will continue to maintain the same stance.”

The Cine Costume Make-up Artiste and Hair Association was established in 1951 and has grown to a 7000-strong membership, including almost every kind of artiste who works in Bollywood. The union head, Sharad Shelar, aka Sharad dada, is a senior spot dada who has worked with every actor one can imagine. He explains why Singh backing out of a mega project like Don 3 hits all the technicians attached to the film.

“Usually when actors as big as Ranveer [Singh] back out of projects, the film is shelved in its entirety. So let’s say a technician would have worked on that film for three months — he now has to look for a job to compensate for the lost income. And jobs in the industry have become scarce anyway because such big-budget movies are not made often anymore.”

Shelar is angry about the non-cooperation directive issued by FWICE, and alleges that none of the unions under the federation were consulted before the call was taken. “There are 38 registered unions under FWICE, my union alone has 7000 people. None of these producers or guild members spoke to us even once before banning Ranveer. There are no big movies being made that employ technicians by the dozens, and now they are asking us not to pick up some work we might get here and there also? We do not have that luxury,” he says. 

“The situation now is so bad that workers are beating each other up to get work for the day. If I say I will take Rs 100, another worker says he will work for Rs 50,” he rues, “Paristhiti itki vait aahe ki technician ekamekana panas rupe saathi martaath (Things are so bad, we’re beating each other up over Rs 50 work).” Then there are veterans who are masters of their craft, who refuse to squabble over pennies and end up jobless, he adds.  

Shelar, who turned 71 this year, tells us that associations like theirs have helped artistes with funds in medical emergencies, post retirement and even during weddings. But producers are nowhere to be found during their time of need.

Shelar says that he recently visited a movie set in Goa and realized that hardly any of the technicians were members of federations. “So they will not fight for us when big production houses employ, say, just five out of 25 technicians from unions. Then they’ll turn around and say don’t work with so-and-so artiste?” he asks.

The problem with such non-cooperation directives is that the daily worker really suffers. Ranveer and the directors/production house will not have much of a dent in their income, or they might make up for the loss somewhere else. But the technician can’t do that.

At a time when the film industry is in such dire financial conditions, we must keep our egos aside and work together. I hope the producers and Ranveer come to an understanding soon and the already struggling industry doesn’t take this unnecessary hit. Also, Don sabh ko dekhni thi (We all were looking forward to watching the movie)!”  

The top rungs of the industry don’t really get how bad things are for the last rungs of the industry right now. They are struggling to eat, pay rent, buy essentials, and now this non-cooperation directive will hit them too. The movie producers and star will move on from this, but they’re completely detached from the reality of how it will impact everyone else.

- Aditya Kriplani, Actor, director-producer

Ashoke Pandit, the head of FWICE, says that the trend of artistes pulling out from projects has been going on for too long. He hopes that practice will end once they draft an SOP on the time frame within which an artiste can back out of a project in good faith.

“It’s not about going against Ranveer Singh; we have seen this trend happening too often. Last month, I had a case where an assistant director and four people in their team told the producer at the last minute — just before they were to board a flight to the shoot location — that they were dropping out of the production,” he says. 

“We are currently in talks with all four  producer bodies, The Indian Motion Picture Producers Association (IMPPA), Producers Guild of India and Western India Film Producers’ Association (WIFPA) Indian Film and TV Producers Council (IFTPC), and we are trying to bring in some guidelines that will ensure accountability of not just actors, but anyone including a producer commits to an actor but drops them at the very last minute,” says Pandit.

As of now, the industry does not have any official guidelines on this issue. The lack of regulation is hurting the industry at a time when it is barely hanging on by a thread. “In the case of Don 3, the shoot was to begin, workers were flying in, hotel rooms had been booked. When an actor commits to a project in good faith, the production house takes their word for it and covers these pre-production costs. Excel [Entertainment] spent Rs 45 crore on this,” he adds.

Hirani & Associates is a full-service law firm in Bandra, specializing in IP, Media & Entertainment, and litigation advisory. The firm serves top-tier clients, including leading production houses, A-list talent, and international music labels. Founder Lavin Hirani has over 15 years of experience in India’s media and entertainment sector and has had clients such as Shah Rukh Khan, Sunny Deol, and Rana Daggubati, as well as major studios and streaming platforms.

On the Ranveer Singh–Don 3 dispute, Hirani says cases of this kind are not new to the industry, but that the sequence of events matters. “From what I understand, the film was announced in 2023 and stayed largely dormant for a long stretch. After Dhurandhar released and performed strongly, Ranveer exited the project,” he says.

“We don’t know precisely what happened. There are reports of creative differences, and the timing is worth noting, coming soon after a commercially successful release,” he adds. 

On the FWICE directive itself, Hirani is careful to separate what it is from what it can do. “A non-cooperation directive is not legally binding, and it is not a ban,” he says. “In practice it can create pressure toward a settlement and complicate an actor’s future productions, but it carries no force of law,” he adds. 

He also clarifies how the matter reached FWICE. “Going by FWICE’s own account, the directive did not originate from a complaint by Excel Entertainment directly. The grievance was filed by Farhan Akhtar, the director of Don 3, before the Indian Film and Television Directors Association, which then forwarded it to FWICE. The producers cited pre-production losses.”

Hirani notes the dynamic can run the other way too. “There are also cases where producers drop actors once a bigger star becomes available, and little is said about the effect on the actor who is let go,” he says. “As a general industry pattern, you also see actors keep more than one producer waiting before committing. These tensions are not one-sided.” 

He draws a structural contrast with Hollywood. “There, producers cannot hire outside the guild, and the guild disciplines producers who refuse to sign union contracts. Here, a federation is disciplining the actor for leaving a film. That inversion is structurally unusual rather than standard practice,” he observes.

On what follows if an actor is said to have breached, Hirani is precise about the remedies. “People loosely call it ‘specific performance,’ but a court will generally not order specific performance of a personal-service contract — you cannot compel an actor to perform,” he says.

“Occasionally a court may grant a narrow negative injunction restraining the actor from taking up competing work for the term of the contract, but that is rarely granted and tightly limited. In most cases the producer’s realistic remedy is a claim for damages.” He expects one of two outcomes. “Either a settlement that closes the matter, or litigation that does not.”

What will be the fate of Ranveer Singh’s movies in the pipeline? That was the big question in the Hindi film industry after the Federation of Western India Cine Employees (FWICE), on May 25, announced a non-cooperation directive against the actor in relation to producers Farhan Akhtar and Ritesh Sidhwani’s complaint that he had abruptly exited Don 3 and allegedly caused significant financial losses to the project. The directive is likely to affect Singh’s slate, which has the ambitious zombie thriller Pralay and Aditya Dhar’s next on Chandragupta Maurya.

Pralay, directed by Jai Mehta, is slated to roll in August. Trade insiders say that the film — produced by Singh’s Maa Kasam Films, Hansal Mehta’s True Story Films, and Birla Studios — will involve nearly 500 technicians and workers across departments including action, lighting, costumes, make-up, art direction, and spot staff. Considering 34 vendor associations fall under the FWICE, the non-cooperation directive threatens to disrupt the film’s schedules. mid-day contacted Hansal and Jai for a comment on the film’s probable delay, but they didn’t respond till press time.

A source from the production, however, told mid-day that the directive would do more harm than good. “In the Hindi film industry, where over 70 per cent of the daily wage earners are already out of work because not many films are being made, shouldn’t the FWICE allow them to work instead of taking opportunities away with this directive? As for Pralay, in the worst-case scenario, Ranveer can take the cast and crew, and shoot the movie anywhere in India. While the FWICE’s stand applies to all of its members, it cannot legally stop non-members from working. If Pralay is shot outside Mumbai, the makers may bypass the FWICE-affiliated workers by hiring local crew members belonging to other unions,” said the source.

Ashoke Pandit, chief advisor, FWICE, is confident that the directive issued is the right approach in light of the situation. That said, the cine body is open to a resolution between Singh and Don 3 makers. When mid-day reached out to him, Pandit said, “The FWICE directive is effective because our federation has 34 vendor associations under it. If they don’t have vendors, workers, and technicians, who will they shoot with? People underestimate the strength of the federation. The situation can only be resolved if everybody sits together and sorts it out amicably.”

Sources indicate that producers of Singh’s upcoming projects may approach the Competition Commission of India (CCI) against the FWICE’s directive. In a 2017 case filed by filmmaker Vipul A Shah, the CCI held that practices such as issuing non-cooperation directives, preventing producers from hiring non-members, stalling shoots, and restricting the supply of services amounted to anti-competitive conduct under the Competition Act. A producer associated with one of Singh’s upcoming films said, on condition of anonymity, “If this situation escalates further, producers may collectively approach the commission for intervention.”

Chandragupta Maurya project, to be directed by Aditya Dhar and backed by Jio Studios. He is said to be in talks with YRF head honcho Aditya Chopra for a film

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The Federation of Western India Cine Employees (FWICE) has issued a Non-Cooperation Directive (NCD) against actor Ranveer Singh following his alleged last-minute exit from Don 3. The move comes after filmmaker Farhan Akhtar (director and producer of Don 3, alongside producer Ritesh Sidhwani) approached the Indian Film & Television Directors’ Association (IFTDA) on April 2, after which the matter was referred to FWICE for intervention. The federation said it had taken serious cognizance of the matter while remaining open to an amicable resolution.

Addressing the media at a press conference on Monday, attended by President Birendra Nath Tiwari, Chief Advisor Ashoke Pandit, Honorary General Secretary Ashok Dubey and Treasurer Gangeshwarlal Shrivastav, the federation announced that none of its members or allied unions would work with the actor until the matter is resolved.

Detailing the sequence of events, Ashoke Pandit said, “As the head of IFTDA, I referred the matter to FWICE because it is a serious issue and involves significant financial stakes. We wanted all technician bodies/allied unions and associations to be involved because when a project stops, everyone is affected. The reason for Ranveer Singh’s exit was not disclosed, and we did not inquire into it because our primary concern was the timing of the withdrawal.”

Ashoke further revealed that the producers had already incurred substantial costs towards pre-production. “The production house has spent around Rs. 45 crore on pre-production. Ranveer signed a three-film deal with the producers and the entire recce of Don 3 was conducted in his presence. He was actively involved in script discussions, creative decisions, costume planning and other aspects of the project. He even shot the promo and remained part of discussions regarding the film after the release of Dhurandhar Part 1. Leaving a film three weeks before the shoot cannot be justified, irrespective of the reason.”

He continued, “Kal ko koi bada director film chhod de toh? That is the issue we want to address. It is not a question of a signing amount because paisa isne ek bhi nahi liya hai.”

According to Ashoke, the federation made multiple attempts to reach out to Ranveer before taking a decision.

He said, “As per protocol, we invited Ranveer three times to present his side, but did not receive any response. After we announced the press conference, we received a mail stating that the federation does not fall within the jurisdiction of this issue. Later, we received another email from his team expressing willingness to discuss the matter. We are open to discussions, but we want to meet him directly just as we met Farhan and Ritesh.”

On the producers’ demand, he added, “The aggrieved party is seeking compensation for the approximately Rs. 45 crore spent on pre-production. Their position is that it is okay if Ranveer is not doing the film, but the expenditure incurred on the project should be returned.”

Explaining the federation’s stand, Birendra Nath Tiwari said, “We have issued a non-cooperation directive against Ranveer. Ek message jaana chahiye industry ko ki agar koi superstar bhi hai woh kisi niyam se bada nahi hai. No member or federation associated with us will work with him until the matter is resolved. We are not saying he cannot work; we are only saying our members will not work with him for now. His team wrote to us stating that the federation does not have jurisdiction in the matter. Unko pata nahi federation bhi koi cheez hai. We are open to meeting Ranveer directly and not through any representative. Aap bhi hamaari industry ka hissa hain, aasmaan se nahi aaye hain. No superstar is above the rules of the industry.”

The directive extends to future projects as well. “We have discussed the matter with allied unions and taken a united stand. Spot boy se lekar bouncers tak kaam nahi karenge unke saath. Aaj jo Farhan ke saath hua hai woh kisi aur ke saath bhi ho sakta hai. We would react in a similar manner if a producer were to remove an actor or technician at the last minute. Once locations and production logistics are locked, one cannot step away from a project at the last minute. Responsibility is expected at every level,” he added.

Ashoke added, “The federation has no personal enmity against anyone. However, in the interest of the industry, we will not accept or overlook such disruptions. We stand committed to protecting those who keep the industry running and ensuring sustained job opportunities for technicians, workers and all crafts associated with filmmaking. The industry can only function collectively; it cannot be sustained individually. We must sit together and find solutions. We have celebrated Ranveer’s stardom, but accountability is equally important.”

Filmmaker Sanjay Gupta, however, criticized the move on X, writing, “When an A-list hero shoots, there are more than 300 workers working on sets. Ban him, and you are not stopping him, but depriving the workers of their livelihood. What sense does it even make (sic)???”

After signing for Don 3, Ranveer abruptly walked out in December 2025, only three weeks before the scheduled shooting of the film, leading to audited losses of approximately Rs. 45 crore for Excel Entertainment. The producers demanded reimbursement for these pre-production expenses. Following a failed mediation attempt, the dispute was elevated to the FWICE. Ranveer reportedly didn’t respond to three formal notices from the federation, with his team arguing that FWICE lacked jurisdiction over his contractual matters. Later, Ranveer’s team agreed to discuss the matter with the film body.

Soon after the Federation of Western India Cine Employees (FWICE) issued a Non-Cooperation Directive (NCD) against Ranveer Singh, the actor’s team issued a statement

“Ranveer Singh holds the highest regard for the film fraternity and for everyone associated with the Don franchise. Throughout the recent developments surrounding Don 3, he has consciously chosen to maintain silence, believing that professional discussions and personal equations are best handled with dignity, maturity and mutual respect. While several narratives and speculations have surfaced over time, Ranveer has never considered it necessary to respond publicly or contribute to conjecture. His focus remains firmly on his work and the commitments ahead.”

The statement further added, “He continues to hold deep respect and goodwill for all those involved and sincerely wishes the franchise continued success. Choosing restraint and grace in moments like these has always been a conscious decision on his part, and he will continue to maintain the same stance.”

Sunny Deol is in no mood to slow down after the strong start to 2026 with Border 2. In the first week of March, the senior actor kicked off his yet-untitled next, an action thriller produced by Farhan Akhtar and Ritesh Sidhwani, at Film City. Sources have told us that director Balaji Ganesh has almost wrapped the first schedule of the project, which also stars Jyotika and Vijay Varma.

Designed as an out-and-out action entertainer, it sees Deol play a cop. Apparently, the actor sports a distinct look — think a moustache and beard.

A source told mid-day, “Over the past three weeks, the unit has been shooting all across Mumbai. They began with an action sequence, featuring Sunny and Vijay, in Film City, where a huge set depicting a carnival was erected. Over the past fortnight, they shot at a bungalow in Bandra, then in a college near Churchgate, followed by a stint at Marol Police Camp in Andheri East.”

As soon as the director calls it a wrap on the first leg on March 30, filmmaker Nitesh Tiwari will come calling for Ramayana: Part 2. The source added, “Sunny wants to complete his portions of Hanuman by April-end. In May, he will resume his cop role in Goa.”

The film will reach the finish line by July.

Celebration is in the air for producers Shujaat Saudagar and Vikesh Bhutani, who along with Excel Entertainment, backed Boong that made history as the first Indian film to score a win at the British Academy of Film and Television Arts (BAFTA) Awards. They still remember director Lakshmipriya Devi’s first narration of the coming-of-age drama. A historic win in the Best Children’s and Family Film category wasn’t even on their minds; all they knew was that the story deserved to be told.

“The first time I heard the script, I had goosebumps. I knew Lakshmi needed to tell this story because it was so personal. It was also a peek into India,” Saudagar told mid-day, over a conference call.

But they knew that making Boong wouldn’t be easy, given that not many films are shot in Manipur. The project rolled in 2023, the unit unaware of the conflicts that would follow soon in the state.

“We brought some talent from Mumbai, who could bring an international quality to the production. We went on floors in 2023 and faced a lot of logistical issues. We shot over 45 odd days, spread over two months. A week after the shoot got over, the clashes started erupting,” recalled Bhutani.

The conflict that began in Manipur in May 2023 has continued since, leaving the state devastated, and its people displaced. In her acceptance speech at the BAFTA Awards, Devi called for peace in the state. Echoing her sentiment, Saudagar insisted that at such times, stories of innocence and resilience are a must. “There’s no dearth of hate in this world. The least we can do is use our craft and platform to spread love.”

‘Boong’ had a limited release in 2024. Now, with a BAFTA Award to its credit, the makers are keen to take the Manipuri film to a wider audience. “We are waiting for Lakshmipriya, Farhan [Akhtar] and Ritesh [Sidhwani] to return and discuss the next step. Our aim is to get a [streaming] platform,” said Saudagar.

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.

Sunny Deol’s yet-untitled next, which marks his maiden collaboration with Farhan Akhtar and Ritesh Sidhwani’s banner Excel Entertainment, was to go on floors in December 2025. mid-day has learnt that after a shift in its production timeline, the film — touted to be a big-budget action thriller — is set to roll in the first week of February. The leading man will report to the set on February 10.

A source close to the development revealed that the change was mutually agreed upon to accommodate the actor’s commitments in January.

The insider said, “Sunny is tied up with the promotional campaign of Border 2. Rather than rushing into the shoot, the makers felt it would be best to push the project and begin with complete focus.”

Prep on the film has begun, with director Balaji having planned a tightly scheduled shoot. “The first leg kicks off in Andheri, Mumbai. Sunny has allotted bulk dates, and the idea is to wrap the project by summer 2026,” added the source.

Mumbai: The India unit of Universal Music Group (UMG), world's largest music company, has acquired a 30% stake in Farhan Akhtar and Ritesh Sidhwani’s Bollywood production house Excel Entertainment at an enterprise valuation of Rs 2,400 crore, in one of the largest deals in the film entertainment business.

Under the agreement, Akhtar and Sidhwani will retain creative control, while UMG gains a foothold in the video business and strengthens its Bollywood music catalogue. Devraj Sanyal, Chairman and CEO of Universal Music India & South Asia and SVP of Strategy for Africa, Middle East and Asia, will join Excel Entertainment’s board.

The deal marks the third major M&A transaction in the Hindi film industry in recent times, following Adar Poonawalla’s Rs 1,000 crore investment for a 50% stake in Dharma Productions and Saregama’s Rs 325 crore investment in Sanjay Leela Bhansali’s Bhansali Productions.

The transaction highlights a renewed consolidation wave in the media and entertainment sector, as companies chase scale, capital and stronger IP portfolios amid shifting consumer behaviour. UMG becomes the second music label after Saregama to invest in a film production company, expanding its presence beyond music into filmed entertainment.

Ritesh Sidhwani and Farhan Akhtar, Founders of Excel Entertainment said, “India’s entertainment landscape continues to grow from strength to strength, and this is the perfect moment to build meaningful global collaborations. We’re excited to partner with UMG in what we believe will be a truly creative and transformative alliance—one that unlocks fresh opportunities for artists and repertoire across music, film, and emerging formats. Together, we aim to take culturally rooted stories to the world.”

Vishal Ramchandani, CEO, Excel Entertainment said: “This partnership with UMG marks a pivotal step in our journey to broaden creative opportunities and tell Indian stories with a global lens. With a shared vision for innovation and excellence, we aim to transform Excel into a creative global studio—one that brings clutter-breaking, original content to audiences across platforms and geographies.”

Adam Granite, UMG’s CEO of Africa, Middle East and Asia (AMEA), said: “Today’s announcement further strengthens UMG’s position in India, a dynamic and strategically important music market for the group globally. Original soundtracks remain at the heart of India’s fast-growing music market, with Indian listeners showing a growing desire to access more music in that genre. By investing in and partnering with Excel Entertainment, UMG will be uniquely positioned to contribute from the earliest stage to Excel’s future endeavours and throughout the creative process, providing huge benefits to both parties.”

Devraj Sanyal said: “Farhan and Ritesh have built an exceptionally impressive business, and we’re thrilled to be working with them on the next phase of their journey. The Indian film scene presents a hugely exciting opportunity for music and the music-led entertainment business, and Excel is the perfect partner for us to work with going forward”.

The investment and strategic partnership, he added, would help UMG deepen its presence in a high-potential recorded music market.

India is the world’s 15th-largest recorded music market by revenues, according to the latest IFPI data, with strong linkages between the country’s audio-visual and music sectors. The opportunity is further underpinned by more than 375 million OTT viewers and an estimated 650 million smartphone users.

Founded in 1999, Excel Entertainment has released more than 40 films and scripted series. Its breakout film Dil Chahta Hai set the tone for a slate that includes Lakshya, Don, Zindagi Na Milegi Dobara, Fukrey, Dil Dhadakne Do and Gully Boy.

The company was also among the earliest studios to embrace streaming, producing Amazon Prime Video’s first Indian original series Inside Edge, followed by titles such as Mirzapur, Made In Heaven, Dahaad and Netflix’s Dabba Cartel.

AZB & Partners acted as legal counsel to Universal Music Group. Ernst & Young and KPMG served as transaction advisors to Excel Entertainment and Universal Music Group, respectively. Morgan Stanley advised Excel Entertainment, while Khaitan & Co acted as its legal counsel.

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Mumbai: The Universal Music Group-Excel Entertainment deal could catalyse fresh foreign merger and acquisition interest in India's media and entertainment industry, with the Maharashtra government promoting Mumbai as a global hub to produce creative content, people familiar with the development said.

At least three similar transactions are currently under discussion, though details remain under wraps due to commercial sensitivities, said a top-ranked Maharashtra government official closely tracking the discussions, requesting anonymity.

Universal Music Group's India unit has agreed to acquire a 30% stake in Farhan Akhtar and Ritesh Sidhwani-promoted Excel Entertainment at an enterprise valuation of Rs. 2,400 crore, marking one of the largest deals in India's film and entertainment space.

The Maharashtra government was involved in facilitating the transaction.

The deal follows a series of consolidation moves in the sector, including Adar Poonawalla's acquisition of a 50% stake in Karan Johar's Dharma Productions for Rs. 1,000 crore in 2024, and Saregama's Rs. 325 crore investment in Sanjay Leela Bhansali's Bhansali Productions.

"The film industry is ripe for consolidation, and companies with strong IPs are likely to attract foreign investors," the official said. In the past, several Hollywood studios like Disney and Paramount either scaled back or exited the Indian market due to challenges around scale.

"Global companies today look for five things when choosing where to invest: talent, policy stability, respect for IP, speed of execution and a complete ecosystem. Mumbai and Maharashtra offer all five. That is why we are seeing sustained global interest across music, films, OTT, gaming, AVGC and the creators economy," Maharashtra CM Devendra Fadnavis said announcing the Excel-Universal deal.

UMG CEO for Africa, Middle East and Asia Adam Granite said the company will remain a minority investor in Excel Entertainment, while retaining a say in creative decisions, even as Sidhwani and Akhtar continue to exercise creative freedom.

In November, filmmaker Farhan Akhtar revealed that Don 3, which was announced in August 2023, would finally roll in 2026. But things seem to have changed dramatically in the past fortnight. Sources from Excel Entertainment have revealed to mid-day that Ranveer Singh has exited the action thriller, which would’ve marked his foray into the celebrated franchise. What caused the volte-face? A bunch of factors, we’re told, ranging from date issues to the actor’s commitment to Dhurandhar 2.

A source informed mid-day that the primary hurdle was Dhurandhar 2. “Given Dhurandhar’s wild success, filmmaker Aditya Dhar and everyone involved want to make the second part grander. For this, Ranveer will be required to shoot some additional portions in early 2026. After that is wrapped, the actor wants to turn his attention to Pralay, his zombie thriller with director Jai Mehta, as that remains a largely untapped genre in Hindi cinema. Talks about Don 3’s dates were going on for months. At some point, both the actor and the filmmaker needed clarity. The actor also indicated a hike in his remuneration after Dhurandhar’s success, which did not align with Don 3’s budget. The parting of ways was amicable, albeit inevitable,” said the source.

Talks of an exit apparently began early last week when Singh first met Akhtar. According to an internal communication shared with the team working on the film, which is in mid-day’s possession, this was followed by a formal meeting on December 19 that was attended by the actor, his management team, Akhtar, and producer Ritesh Sidhwani.

“Following the meeting, by Saturday, December 20, it was clear that the collaboration would not move forward. On December 22, Ritesh called for a meeting with all the department heads who were deep in pre-production. They were informed of Singh’s exit, and that the February shooting schedule was officially pushed.”

Now, the makers are looking for a male lead who can take the franchise, made popular over the decades by Amitabh Bachchan and Shah Rukh Khan, ahead. Kriti Sanon and Vikrant Massey had reportedly been signed on for the upcoming instalment. 

mid-day contacted Excel Entertainment and Singh. Both didn’t respond till press time.

After two years of delays at the negotiation table, Ashwiny Iyer Tiwari has finally kicked off her courtroom drama. The Amazon Prime Video film, originally set to star Kareena Kapoor Khan and Kiara Advani, will now be headlined by Sonakshi Sinha and Jyotika. While the team had planned to start the shoot in March, it only began last week in Malvani, Madh Island, and Vile Parle, where courtroom interiors have been recreated.

An insider revealed that the original plan with Kapoor and Advani didn’t materialise “because it didn’t align with [our] timelines and creative direction.”

“Early this year, after shelving the initial version, a fresh draft was locked. Sonakshi came on board after extensive look tests and readings. She brings a grounded intensity to the role that impressed the creative team.”

Produced by Farhan Akhtar and Ritesh Sidhwani’s Excel Entertainment and Harman Baweja’s Baweja Studios, the yet-untitled film revolves around a legal battle rooted in social justice and personal trauma. The source further informed that Sinha plays a fierce lawyer.

“The script is gritty and is not your typical courtroom drama. The legal arguments have emotional backstories, and both female leads have equal weight. Jyotika starts filming by mid-June, and their courtroom scenes are expected to be the highlight of the film.”

The film is expected to wrap up principal photography by year-end.

Yudhra might be Siddhant Chaturvedi’s sixth film in his eight-year career, but it was the first one he signed after his big-screen debut with Gully Boy (2019). Producers Farhan Akhtar and Ritesh Sidhwani had zeroed in on him for Ravi Udyawar’s directorial venture, but with the development taking long, the actor made a request to the makers.

“They were still working on the script. Meanwhile, I was offered Bunty Aur Babli 2 [2021] and Gehraiyaan [2022]. So, I told Ritesh sir, ‘You need some time to prep. For an action film, the actor needs equity. Since the responsibility on me is huge, let me go out and get some equity,’” he recalls.

By the time the actor was ready to face the camera for Yudhra, which also stars Malavika Mohanan, the pandemic delayed the project. It, however, didn’t stop Chaturvedi’s prep.

“I knew the weight of responsibility on me. I was also scared. Because of the pandemic, the industry’s commerce went upside down. In such a scenario, any other producer would’ve backed out because it’s all about the returns. But Farhan sir, Ritesh sir and Ravi sir had immense faith in me and the script.”

For this, he remains grateful to the makers. Akhtar and Sidhwani showed gumption as they backed a relatively new actor like him, just as they had in Inside Edge, Gully Boy and Kho Gaye Hum Kahan (2023).

“When the market is so volatile, they could think, ‘We are making this film with this new boy. What if it doesn’t open [well] at the box office?’ It takes guts [to bet on new talent]. That’s why Farhan sir and Ritesh sir are game changers.”

While he made his debut with a supporting role in Gully Boy, Chaturvedi has quickly graduated to lead roles. In the pipeline, he has Sanjay Leela Bhansali’s yet-untitled production, and a Karan Johar film co-starring Triptii Dimri.

“My dreams were always big, to be a Hindi film hero. At the same time, I am attached to my craft and won’t do things for the heck of it. There were films that I could have done, but I always need gravitas in the story.”

In that pursuit, the actor has turned down some movies, including Brahmāstra: Part One—Shiva (2022). His criteria while choosing projects are simple. He explains, “There should be substance. I need to control my craft, the rest is not in my control.”

There has been much anticipation around Rakeysh Omprakash Mehra’s Karna, and for good reason. The mythological drama, which will offer a retelling of the Mahabharata from Karna’s point of view, is among the most ambitious projects in recent times. Suriya is tipped to lead the magnum opus, with Nayanthara said to portray Draupadi.

While director Mehra and novelist Anand Neelakantan locked the script, the team did extensive pre-production, including look tests over the past few months. But now, one hears that the makers have decided to put the project on pause, given the current box-office lull and market instability.

A source reveals, “Karna is a passion project for producers Farhan Akhtar and Ritesh Sidhwani. The makers realised that the making cost was going north of Rs. 500 crore; it could go higher with the VFX involved. Given how important the movie is to them, they don’t wish to cut corners. So, for now, they have put it on hold. Instead, they have taken a call to greenlight five small-size films and explore Karna at a later stage when the industry’s economic health improves.”

However, another insider closely involved with the project says that it is merely delayed. The source tells us, “It is slightly delayed because the locations and the leads have yet to be locked. Nevertheless, it will roll by the year-end.”

At the end of Madgaon Express, director Kunal Kemmu hinted at a sequel. That was enough to pique curiosity among audiences who lapped up the buddy comedy starring Avinash Tiwary, Pratik Gandhi and Divyenndu. If the love and acclaim that the film has received is any indication, its second instalment will have takers among the audience. So, is a sequel in the offing?

Tiwary says, “We have discussed [the possibility of a sequel]. Kunal once mentioned that he had thought of an idea, but he said Ritesh [Sidhwani, producer] would tell us if we’ll do it or not. Now, Ritesh is saying, ‘Kunal will tell us whether he has written the script or not.’ But I know the intention was there. The audience’s reaction [is great]. I hope this love keeps growing and we have a chance to come back with a sequel,” he says.

Up next, Tiwary has the Prime Video film, The Mehta Boys, which marks Boman Irani’s directorial debut. The actor has bagged another project, one that he describes as his “biggest film” yet. The role has him excited and scared in equal measure.

“It’s one of the most difficult parts, physically and mentally, and I am petrified about how I’ll deal with it. It’s the biggest project that I have been a part of. I’m not in a position to reveal the project, although I want to shout from the rooftop,” he smiles.

Seeing oneself on the big screen is a feeling like no other. The last time Avinash Tiwary experienced it was in Laila Majnu (2018). It has taken him six years to replicate that feeling. But the wait has been worth it as his latest film, Madgaon Express, is being lapped up by the audience for its humour.

“When you are aspiring to be an actor, you only see yourself on the big screen. The fact that I got this opportunity six years down the line and it has been so well-received makes me so happy. I have got a lot of love and respect for my work, but the joy that people walked out with is something I’ve never experienced in my career,” smiles the actor.

In Kunal Kemmu’s directorial debut, Tiwary joins Divyenndu and Pratik Gandhi to tell the story of three friends whose dream trip to Goa becomes a nightmare. Comedy can be a tricky genre, but the actor says the entire team rallied behind Kemmu’s vision.

“When we did a narration session with Kunal, we fell off our chairs. But I also thought that Kunal is such a good performer that he can make any material funny. So, I insisted on reading the script. I was laughing even while reading it. That made me believe in the film’s potential. While we were performing, we weren’t sure if the jokes were landing or not. But we relied on Kunal, who had such clarity.”

Tiwary’s filmography has been populated with intense offerings like Bulbbul (2020), Khakee: The Bihar Chapter (2022) and Bambai Meri Jaan (2023). The out-and-out comedy felt liberating, he admits. 

“My idea has been to do different kinds of genres. I was happy that Kunal and Ritesh [Sidhwani, producer] were able to see my versatility and present me an opportunity where I could go and enjoy myself. It was liberating to do this. Until Madgaon Express happened, I was doing shows that needed me to breathe those characters every day. With Madgaon Express, my character was closer to how I am in real life. It’s always the case—people who do intense parts are considered serious actors. I haven’t cared much about labels because nobody wanted to put even the label of an actor on me. But I’ve been acting for so many years. Now, I want to do more light-hearted films.”

Made In Heaven, that’s wrapped two seasons on Prime Video—surely, you’ve seen it already—is an episodic series. In the sense that ensemble characters and stories change, with each episode, while the leads remain the same.

That is, Tara (Sobhita Dhulipala) and Karan (Arjun Mathur), who are BFFs/soulmates, single, sharing life together—also business and creative partners, at a wedding planning firm. Which involves stressful planning and production, some scripting, and creativity, too. Not very different from filmmaking itself.

It’s only while watching the show’s second season that it occurred to me—hey, these two protagonists could be inspired by the life of the screenwriting plus producer duo, Reema Kagti, Zoya Akhtar, who are behind the show themselves; no?

“No. Well, work-wise, yes. But not [so much] socially,” Zoya argues, when I bring this up. Although Reema concedes, “When we were discussing [the show, with co-writer], Alankrita [Shrivastava], this did come up—if we have set the people on ourselves. Definitely the friendship, where they are also kinda soulmates. Not that Zoya and I are soulmates.”

They are “professional soulmates,” they concur. So, the social lives are largely separate? “We do have the same gang, when we hang out. But let’s just put it this way: Zoya is extremely social. I’m absolutely anti-social,” Reema laughs. 

The two have remained friends and colleagues for over two-and-half decades. Starting out as assistant directors (ADs) on Kaizad Gustad’s Bombay Boys (1998). And with a combined filmography of over 10 films/shows as credited writers on the screen, since. 

Yet, while we know enough about Zoya’s background, famously daughter of writers Javed Akhtar and Honey Irani—we barely know anything about Reema. 

I’ve scoured the Internet, before meeting them. It hasn’t helped much. Most of her video interviews online are with Zoya. Reema’s calmingly chilled, securely quiet. Which sufficiently explains the “anti-social” self-description, doesn’t it?

Reema says she grew up in Assam. Went to a boarding school, Loreto Convent, in Shillong, Meghalaya: “Back then, there were hardly any good schools in Assam, so it was common for parents to send their kids off to boarding schools. Unlike in bigger cities, where only the naughty kids got sent!”

She was admittedly a naughty kid, though: “I used to make my parents’ lives hell. But they were supportive.” Not as much for her filmmaking ambitions, initially. 

“I think my father had this very 1980s, ’90s notion of Bollywood. He was very disappointed [with my career choice]. It’s only when I got him to watch Lagaan, that I was an AD on, that he said, okay—if this is the kind of films you want to make.”

Reema’s father was an engineer at an oil company, before leasing out a 350-acre land to farm, “four hours’ drive from China”. The umbilical cord with her home-state remains.

“You can’t really outgrow your roots. My cook is Assamese. I eat Assamese food. My family is back in Assam.” Reema had moved to Bombay for college, at Sophia, and thereafter a course in social communications at the media school, Sophia Polytechnic.

“At some point, I bumped into Zoya. We liked the same kinda films, had a lotta common ground, we began writing small stuff together” she trails off. 

To be more precise, this was during the auditions for Bombay Boys (1998), where Reema was already an AD. Zoya had dropped in for the same position. 

Zoya had been an AD on Dev Benegal’s Split Wide Open (1999), after returning from a diploma in filmmaking from New York University (NYU). She had assisted in the costume department on Mira Nair’s Kama Sutra (1996), before NYU.

“Only, the director, Kaizad, was keen to test Zoya for Tara Deshpande’s part in Bombay Boys,” Reema recalls. She was staffing the audition. Right after which, Zoya told Reema, “I’m the world’s worst actor!” Reema replied, “Listen, I don’t think you’re getting this job either!” Well, she got the job she wanted.

Which was as a freelance AD, the rotating culture of which only spawned in Bollywood in the late ’90s, early ’00s: “We were moving into a phase of sync-sound on the sets, shoots getting wrapped in a single schedule. To pull that off, you needed a more structured system. Unlike before, when films would take years to finish, and everyone just hung around in offices—there would be 12 ADs, and everybody did everything,” Zoya says.

Reema had earlier worked on Rajat Kapoor’s directorial debut, Private Detective: Two Plus Two Plus One (1997): “That was my film school. I got to dabble in all departments of filmmaking.” But there was one thing both Zoya and her were clear about—they were not going to assist only one person, throughout, which was, at the time, the common practice.

Zoya says, “I don’t know how we had the guts to take that call. Back then, ADs were associated with particular filmmakers, or even production houses, when it came to advertising. There was a ‘chhaap’ [creative trademark] of that director, that remained with you, even once you left them and went your own way.”

Sensing a trap, neither wished to mirror particular mentors. Writing and directing their own movie was the end-goal, anyway. They got to work on multiple sets, when they did; and wrote their own scripts, when they didn’t. It was around this time they decided to script a short film together. 

Zoya remembers, “We almost killed each other—let’s do this, let’s not do that, etc. Later, I wrote Luck By Chance (2009). Reema started writing Honeymoon Travels Pvt Ltd (2007). We gave our scripts to each other for feedback. She finished the portions I got stuck at. Likewise, me with Honeymoon. While we hadn’t credited each other, we were on each other’s films. Because this worked out so well—plugging holes in either script—after that, we just wrote together. Talaash (2012) was the first script we developed [as a team], from scratch.” Zindagi Na Milegi Dobara (ZNMD, 2011), arguably the finest Bollywood entertainer in the ’10s decade, was their second.

It’s not like the creative bickering, if you may, has stopped, or receded. Zoya admits, “People around have just got used to it in our office.” 

Reema laughs, “This one time [producer] Ritesh [Sidhwani] told us, you should just not work with each other anymore. During ZNMD, [Zoya’s mom] Honey aunty got a call from the neighbours—something is going on in your house; please, it’s really scary, people are shouting!”

The art of their conflict management is pretty simple, though: “Show up at work. If we are writing, it’s 10 am. No muse is gonna come. If nothing is happening, we just do other things, watch movies, just chat, gossip… Also, you should never be afraid of scrapping what you’ve done, and starting all over again,” Zoya says.

With Reema, it’s even simpler: “If you’re stuck with an idea, and neither is able to resolve it, let it stay—move on to other things. Later, you return to those ideas, and the better argument, once it stays with you, eventually wins. It works well, if you have the story first.” They’re sure of the story’s end, beforehand; working themselves backwards. 

In terms of agreeing to disagree, between them, the one who’s directing the film, gets the final say: “Otherwise, we will never stop arguing.” 

For instance, in the Netflix original, The Archies (2023), Reema wasn’t convinced about the placement of a song that would break the narrative: “But once I saw the way Zoya had outdone herself with the visualization, I knew she was right. It is my favourite song.”

In terms of success stories among screenwriting pairs, none beat Salim-Javed in Bollywood still. As in, script starring Salim Khan and Javed Akhtar, in the opening credits. The latter, of course, being Zoya’s father.

Only lately has Javed begun to decode how the partnership worked, having kept mum, since it broke up at the turn of the ’70s decade. 

It’s clear now that Salim was the scenarist and the plot-guy, while Javed was the man of words. For instance, as Javed has mentioned before, the greatest twist in Chandra Barot’s Don (1978)—the fake don reveals, inside the jail, that he’s not the real one. 

Wherein, the cops don’t believe him still. But his consiglieres, for inmates, instantly do. The dilemma worsening for the protagonist—he’s stuck between both lots, who’re gonna kill him, regardless. Now, that was Salim’s idea!

But, say, the Don’s line, “Mujhe do tarah ki ladkiyan pasand nahi aati. Ek woh, jo mere pass aane mein bahut der lagayein. Aur ek woh jo bahut jaldi aa jayein. (I don’t like women who take too long or too little time to attract).” Now, that’s decidedly Javed!

It’d be great to hear Zoya-Reema similarly break down their own scripts. Firstly, Zoya exclaims, “This comparison is freaking me out. Nothing of the sort [of Salim-Javed] had happened before, or will happen again. They were 22 blockbusters down. Let’s not put us in the same sentence!”

“[That said], our strengths are very different. We talk, talk, talk. We align on themes, characters, story, and what the film is about. Then, Reema is very strong and succinct with structure and screenplay. She gets to the point. I tend to soak.”

Reema couldn’t agree more, “The editing! You give Zoya a 100-page script, she’ll send you back 120 pages. I’m, like—what have you edited, you’ve added! But she’s better at nuances, layering, characters. And dialogues, of course.”

“Zoya feels all my characters sound like me! But she can be lazy. Zoya will refuse to write the first draft of the screenplay, once the events have been fleshed out. So, on the dialogues, I just make everyone sound like me. Because I know she will fix it!”

Zoya adds, “I get lazy, yes, but once Reema does the barebones, I take it, and juice it. I write the dialogues in English. If you want to shoot the film in English, the screenplay is completely ready.”

“Then, it goes to one of my family members—brother, Farhan (ZNMD, Dil Dhadakne Do, The Archies); father, Javed (Luck By Chance), or Vijay Mourya (Gully Boy)… They know what I want, putting it into the syntax that works best in Hindi.” 

The Archies, in that sense, for the way the audiences would have watched it globally, is closest to the original screenplay with English dialogues then? “The person subtitling might approach it differently, but the English draft is the template for it,” Reema says.

While writing, per se, is a solitary job—it’s in the parleys between each other, bringing out personal experiences and influences—that the Zoya-Reema script essentially comes together.

I ask Zoya to quote examples, where there’s fully Reema in a script, that she’s directed. She points to Alia Bhatt’s part in Gully Boy (2019): “Safeena was the character, from Dharavi, in a script, that Reema had written for her movie. That film didn’t happen. But I fell in love with her. I asked her if I can just take Safeena. Yeah, why not! We supplanted and then adapted her to fit into the world of Gully Boy.” 

For something more specific, in terms of moments, Zoya cites, “The scene in ZNMD, with Laila (Katrina Kaif) chasing Arjun (Hrithik Roshan) down on the bike, and kissing him! The point of the film was to follow your dreams; live in the now. Reema said Laila needed to do something [to capture that essence]. She can’t just say it. Let’s have her kissing him outside, and let her leave!”

This ready-to-film screenplay cooked between partners is also how Salim-Javed operated, staying within the realm of screenwriting still—a reason some ’70s directors fell off the crevice, once Salim-Javed were unable to send them bound scripts any longer. 

For Zoya-Reema, it’s merely the end of a process: “A big hurrah moment,” as Zoya puts it. The actual movie can’t film itself. How’re they different as directors from thereon, I ask Reema, who has, thus far, directed Honeymoon, Talaash, Gold (2018), two seasons of Made In Heaven, the series, Dahaad, and the feature, Supermen Of Malegaon, that’s on its way. 

She says, “Zoya visually references a lot. I tend to arrive at the visual world, after recce-ing [locations].” Zoya agrees, “It is, after all, a visual medium. I like to find a visual tone, seeing the film from before, and start recce-ing it, accordingly; to lift it off the page.” 

Zoya, evidently, has her clear list of dos and don’ts as well. For instance, she was certain before the filming of Gully Boy, set in the slums, that there will be none of Bombay’s tarpaulin-blue throughout the film: “I just don’t like the colour.” 

Likewise, with The Archies, the setting would be dreamy, hence, visually, story-book like: “full framing, wide-lensing, classical shots, like 1950s-60s photography.” With Dil Dhadakne Do: “mainly mid-shots and long shots, because the picture is from the POV of Pluto, the family dog.”

Besides screenwriting and direction, there’s the graduating aspect to their creative careers, which is as producing partners. Gully Boy was the first film with Zoya-Reema’s film company, Tiger Baby. 

The name, by the way comes from “the nickname that Anurag [Kashyap] and all” gave Zoya: “It’s my spirit animal!” Left to Reema, the company would’ve been called Balls of a Brass Monkey: “Zoya is like, don’t be ridiculous! Also, Tiger Baby is fierce and feminine. It has a nice ring to it.”

Even as producers, the two couldn’t be as complimentarily separate from each other. As Zoya deciphers, “I’m the one meeting with the actors, Reema doesn’t wanna go anywhere. She’s better with budgets, and numbers. But both of us are into mentoring scripts. She’s better at creative packaging and producing. I handle the Tiger Baby social media.” Reema sighs, “I can barely do mine.” 

An upcoming production of Tiger Baby is a documentary on Salim-Javed. 

If you were to strain yourself to find connecting dots, if not a larger link, between each of Zoya-Reema scripts, it might be the fact of alternating worlds, perhaps. 

Say, in the OTT space, their two releases in 2023 were Made In Heaven S02, and Dahaad (both on Prime Video). One is set around the blingy world of posh, New Delhi weddings. 

The other is a police-procedural in the rugged terrains of Rajasthan, following missing women, and a serial killer on the loose.

Likewise, with films, The Archies, on Netflix—with “idealism for its point”, in the near-perfect, imaginary world, mimicking the American comic book, in 1960s India—comes after Gully Boy, that went deep into Mumbai’s underclasses. Which, in turn, came after Dil Dhadakne Do, dealing with importantly familial, but First World issues.

Zoya-Reema obviously don’t see it this way: “We just follow the world our characters live in. It’s about being authentic to the world you’re trying to create,” Reema says. 

Zoya adds, “We are avid readers and movie watchers, fans of various kinds of filmmakers, not fixated on a genre. For instance, I’m actively looking for something in the big crime/underworld space. It’s exciting to be scared [trying new things]. I’ll be bored waking up for work, otherwise.”

The ideas, of course, can come from anywhere, Reema argues: “Supermen Of Malegaon was a documentary. Gully Boy came from a music video. With ZNMD, it was road trips taken [by us]. We’d also gone on a Europe tour, with Zoya and a bunch of friends. Zoya just wanted to follow around three boys, no hair/make-up, for ZNMD. Of course, it didn’t end up that way.”

One of those inspiring trips was when Reema, a “broke AD”, was in Goa, having spent all her money, with none left for a bus-ticket back to Bombay. She hitched “a car-ride with the sister of a friend. Throughout, [the host was] cautious of a plastic bag in the backseat, because it had an expensive vase, or something. We named that bag, Priscilla.” 

This is how Bagwati in ZNMD came into the scene. Only, Reema hadn’t even heard of a Birkin: “What’s that Berk, Berk, whatever. When Zoya told me about it—I’m like, why would someone pay lakhs for a bag? I wanted [the motif] to be something breakable in the film. Zoya’s the director. I had to go with her!”

With ZNMD, Zoya says she was looking at a low-budget, easy-peasy production, given she had just got off a huge ensemble cast debut, Luck by Chance. 

Which was about an actor getting a shoe-in to showbiz. The Archies, in that sense, is her coming full circle, since the film launched seven debutants. If she was to make Luck by Chance, how different would it be, a decade-and-half later, give how much entertainment as an industry itself has changed since?

“If I have to revisit, rewrite, I don’t know what [Luck By Chance] will be. But, thematically, it’ll still be about success, and failure. That’s what the film is about—how do you define success, and failure? Is your self-worth determining both? The rest is backdrop.”

A widely shared clip online, from Luck By Chance, is superstar Shah Rukh Khan’s (SRK) cameo in it, where he gives life’s lessons to the lead character (Farhan Akhtar). Given The Archies marked the acting debut of SRK’s daughter, Suhana, I wonder if Zoya ever got SRK over to the set, for a Chak De India type pep-talk, to a full team of debutants? “No. That is supposed to be my job!”

That pep-talk in Luck By Chance was essentially about never leaving behind those who’ve known you from before success/stardom—when it appears that you’ve probably moved ahead. Zoya says, “Shah Rukh, as a person, typifies that.” In terms of rallying the OG troops around her, so does she.

Zoya sorta admits, “I do like working with the same crew. Because they’re great at their job. There is trust, and a sync of aesthetics. Which is not to say I won’t work with someone new.

“Suzanne [Caplan Merwanji] was the set-decorator, when I was a production assistant, on Kama Sutra. [Editor] Anand Subaya and I went to school together; [costume designer] Arjun Bhasin, [hair stylist] Avan Contractor… So many around me have been friends since teens and tweens.”

“There’s Ritesh [Sidhwani], Farhan… Also, then, I enjoy going to work. I work a lot. I don’t want life passing me by, while I’m isolated, working 13-14 hours, a day. The friends are there.”

Friendships also being a recurring theme in Zoya-Reema scripts, if you casually glean through them. They could claim a friend-verse of their own. Starting out, Zoya-Reema worked as ADs on Farhan’s Dil Chahta Hai (DCH, 2001). Both believe Farhan, their former boss, to be the more methodical director, sharp with his final edits, even while on set. 

Together, with DCH, and ZNMD, Netflix placed three hoardings in Mumbai, before the film Kho Gaye Hum Kahan (KGHK) dropped on the platform—terming them movies that defined friendship for their respective decades. I kinda agree.

Tiger Baby’s KGHK, directed by debutant Arjun Varain Singh, is probably the only Zoya-Reema script that neither has filmed. It peeks into the life of GenZ, through three buddies (Ananya Panday, Adarsh Gourav, Siddhant Chaturvedi), who also somewhat embark on a professional partnership together. 

This is not a love triangle. It’s about friends, who are also family. They are not seeking healthy romance, but fulfilling companionship.

You sense that mental intimacy with the male-female leads over two seasons of Made In Heaven as well. I reckon, that’s the future of relationships. Zoya-Reema get that. Better than others.

Karna is among the most enigmatic characters of the Mahabharata, with every reader interpreting his moral stance and actions in their own way. It isn’t surprising then that filmmaker Rakeysh Omprakash Mehra found a compelling story in the tragic hero’s journey. Over the past few months, there has been much chatter about the director’s ambitious project, Karna—as much for its grand scale as for the fact that it will mark Suriya’s Hindi cinema debut. Now, mythological fiction novelist Anand Neelakantan, who is serving as a writer on the project along with Mehra, reveals that the period drama is ready to roll early next year.

Neelakantan’s previous books Ajaya: Roll Of The Dice and Ajaya: Rise Of Kali told us the story of the Kauravas from Duryodhana’s point of view, while Asura: Tale of the Vanquished examined the Ramayana from Ravana’s perspective. He says that Karna will be made in the same vein.

“We are talking about [the events] as they happened in the epic Mahabharata, from Karna’s point of view. In Telugu and Tamil cinema, classics have been made on this character, with Sivaji Ganesan and NTR playing the leads. But this will be the first time in Hindi cinema that a movie is being made on Karna. I cannot reveal much as the makers are yet to announce it officially. The big-budget movie will be made in five languages, including Hindi, Tamil and Telugu,” shares the author, whose latest novel is Mahi: The Elephant Who Flew Over The Blue Mountains.

Earlier, Shahid Kapoor was to play Karna, the Sun God and princess Kunti’s child, who became Duryodhana’s close friend and fought against the Pandavas in the Kurukshetra war. However, things did not work out and Tamil star Suriya came on board the mythological drama that will trace the King of Anga’s glory, betrayal, conflict and his lost love.

“The movie is expected to start from next year,” adds Neelakantan, who recently wrote the ZEE5 series, Taj: Divided by Blood. We hear Nayanthara—who recently made a splash in Bollywood with Jawan—has been approached to play the female lead.    

Producers Farhan Akhtar and Ritesh Sidhwani are said to be making the pan-India film in two parts. Suriya is expected to kick off the shoot of the first instalment after he wraps up director Sudha Kongara’s yet-untitled next.