Keerthy Suresh, Radhika Apte's Akka was edited, reshot to tone down violence
10:50 AM
As Akka drops today, sources say Keerthy Suresh-Radhika Apte’s gangster drama was on hold for two years as some parts were edited and reshot to tone down the violence
Upala KBR (MID-DAY; October 30, 2026)
An action series about a powerful female gangster running a matriarchal society with an iron fist — we’re all for it. As are Keerthy Suresh and Radhika Apte, who headline Akka that dropped on Netflix today. But not many know that writer-director Dharmaraj Shetty’s crime drama series, which wrapped its principal photography in 2024, had to wait two years to reach the audience. Why? We’ve heard that the show underwent several edits and reshoots to tone down the violence.
Set in the fictional city of Pernuru in the 1980s, the YRF Entertainment-produced Akka tells the story of Suresh’s Bhavani who rules the matriarchal society and faces an attack from Apte’s Rudra, an outsider. Action understandably is a big part of the narrative.
A source told mid-day, “Since the period crime drama revolved around badass, ruthless women, its visual treatment was gory initially. But after watching the rushes, the makers felt that the brutality could be toned down. So, some of the violent scenes and expletives were cut, some sequences were reshot to make it a well-rounded story rooted in emotions. Both YRF and Netflix are mindful of audience sensitivity and understand how much is too much when it comes to action. At the same time, they felt it was a powerful script. They decided to take the middle path to tell the story to viewers. They were also careful to not include action for the heck of it; the fights are justified in the gangster drama.”
There was another reason for the delay — the show’s grand scale. The source added, “Such a project involves several stages of creative development and production. Akka has been mounted on a grand scale.”
mid-day reached out to YRF Entertainment and Netflix India. Both didn’t respond till press time.
"It was not his time to go": Bollywood mourns Sanjay Gupta's sudden death
10:32 AM
Upala KBR, Priyanka Sharma (MID-DAY; November 1, 2026)
"It was not his time to go” was the sentiment echoed across the Hindi film industry following filmmaker Sanjay Gupta’s accidental death at his Mumbai residence. The 57-year-old filmmaker suffered a head injury after accidentally falling in his kitchen on Friday (October 30). Friends and collaborators remembered his spirited nature and passion for cinema.
Shabana Azmi, who co-produced the 2007 anthology Dus Kahaaniyan with Gupta and later acted in his Jazbaa (2015), said she could not believe she was speaking about him in the past tense. “On the sets, he gave a lot of freedom to his actors after giving them an outline of what he had in mind. He was positive, always enthusiastic, and a very good producer. Sanjay was always full of stories and a keen cineaste,” Azmi told mid-day.
Known for slick actioners featuring cool anti-heroes and thumping music, Gupta made his mark with Kaante (2002) and Musafir (2004). Producer Rangita Nandy, whose father Pritish Nandy co-produced Kaante, revealed that she and Gupta had recently discussed a sequel.
“Sanjay and we made an unforgettable film. Kaante, which remains a defining film — distinctive in its storytelling, stylish in its execution, and unforgettable for the way it brought together an exceptional cast and a gripping heist narrative. He was always keen to make a sequel. It’s unfortunate that that wish will remain a dream,” she said.
Writer and director Milap Zaveri, who co-wrote Kaante’s dialogues, remembered Gupta as his mentor. “He gave me Kaante at 21. Then resurrected my career again with Musafir, and Shootout At Wadala [2013]. He was my father. My teacher. I’m heartbroken.”
Gupta’s last directorial was The Miranda Brothers (2024). Its lead actor, Harshvardhan Rane, remembered his warmth and love for family. “He was all about loving his family and making films non-stop. During shoot, he often took Meezaan [Jafri] and me out to eat in Goa. I had never met a happier man on and off set. He had a huge heart, and I will miss him dearly,” Rane added.
Sanjay Gupta had written Kaabil 2; Hrithik Roshan and I liked it-Rakesh Roshan
10:31 AM
As told to Upala KBR (MID-DAY; November 1, 2026)
When I was abroad, Sanjay Gupta used to send recommendations to watch things on YouTube. He was a good friend and a very good soul. I never expected him to go so early in life. I enjoyed making Kaabil with him. When he narrated the script to Hrithik [Roshan] and me, I shook hands with him then and there and said we were going ahead with it.
Sanjay was a good technician and a capable director. He never did anything without asking me while filming Kaabil. After the shoot got over, I told him I couldn’t have made this film as well as he had. I never once had to go on the sets.
He discussed everything before we shot. I was going to give him my next film whenever I thought of making one. He had been sitting on two or three subjects for two years, but we could not lock any of them. He had written the script for Kaabil 2. Hrithik and I had heard the script and liked it. We were working on it when, all of a sudden, this happened.
Sanjay was the second director [after Anurag Basu] to work with our banner. He was a commercial director with sound technical knowledge, including shot-taking and lighting. When I saw the first copy of Kaabil, I told him, ‘You have far exceeded my imagination’.
He also sat with me on the third and fourth instalments of Krrish. We were close and practically met every day. He was an all-rounder in filmmaking. We would script together without any arguments, very calmly. If something was not good enough, he would come back with another idea, or I would. There was no ego between us. He would explain to actors what he wanted from them and [find a way] to extract what he envisioned.
Sanjay was attached to his team and was like family to everybody. Besides being a good director and technician, he was a very good human being, a good friend, family member, father and husband — rare qualities, but Sanjay had all of them.
Kaante director Sanjay Gupta, 57, injures head in fall at home, dies
10:17 AM
Nitasha Natu & Bella Jaisinghani (THE TIMES OF INDIA; November 1, 2026)
Mumbai: Well-known filmmaker Sanjay Gupta (57) passed away after allegedly suffering a fall and hitting his head in the kitchen at his Andheri West residence on Friday night.
He had carved a niche in the film industry by writing, producing or directing crime thrillers like Kaante, Shootout At Lokhandwala and Shootout At Wadala.
Zonal DCP Purushottam Karad said, “Around midnight, Gupta had a fall in his house in Versova after losing his balance. He suffered a head injury and bled profusely. The filmmaker’s wife, two children and a maid live in the house. But they were all asleep as it was late in the night. The incident came to light only on Saturday morning. He was pronounced dead at Cooper Hospital. His family has not expressed any suspicion or registered a complaint. The body has been sent for an autopsy. Versova police will record an accidental death case and probe further.”
Police confirmed that Gupta had a fall in the kitchen. They said the kitchen and bedroom were on different floors. The family’s statements have been recorded by investigators.
Gupta had celebrated his 57th birthday last week on October 23. The filmmaker had mastered the art of quick, pacy crime thrillers and gangland flicks by combining top stars like Sanjay Dutt and Amitabh Bachchan with lavish locations and slick production values. These movies earned him pride of place among the directors of the 1990s and 2000s.
Gupta began his career with Aatish in 1994 and went on to direct Jung, Kaante, Musafir, Zinda, Shootout At Wadala and Kaabil. Kaante, starring Amitabh Bachchan, Sanjay Dutt and Suniel Shetty, catapulted him to fame. He produced and co-wrote Shootout At Lokhandwala (2007).
The filmmaker had earlier suffered a serious accident while travelling from Pune to Mumbai, but later recovered.
On Saturday, the film fraternity expressed shock at his sudden death. His constant star Sanjay Dutt posted on X: “Gupts, my brother. I still cannot believe that you are gone. We have shared so much together, so many memories and so many years of friendship. You have always been family to me, and that will never change. I will miss you, our conversations and all the times we spent together. We were just discussing Kante 2 recently, I will make Kaante 2 your dream, in memory of you my brother, I will do everything for this dream of yours to come true.”
Filmmaker Milap Zaveri said he would dedicate his next picture to Gupta. Rakesh Roshan, Rohit and Ronit Roy, Farah Khan and Fardeen Khan attended the last rites. Meanwhile, Kajol, Suniel Shetty, Raveena Tandon and John Abraham paid tribute online.
Movie critic Taran Adarsh recalled, “Met him a few days ago at Mata ki Chowki at his residence.”
Gupta is survived by his wife Anuradha (Anu Lekhi) and two sons. Anuradha was the winner of Mrs World International 2024. The couple married when she was 22, later divorced, but remarried after six years. Gupta’s 15-year-old son Shivaansh made him proud when he recently summited Kalsubai Peak, the highest mountain peak in Maharashtra.
I’ll never match a film’s marketing budget and I’ve made peace with that-Shalmali Kholgade
10:00 AM
Debarati S Sen (MUMBAI MIRROR; October 30, 2026)
Singer Shalmali Kholgade, known for hits such as Balam Pichkari, Lat Lag Gayee, Daaru Desi, Pareshaan and Baby Ko Bass Pasand Hai, is exploring a more personal side of her artistry through independent music. While she remains grateful for the songs that have become part of people’s celebrations, she says going indie gives her the freedom to be heard on her own terms.
“Playback taught me so much, and I’m proud of every song I’ve done. You understand the character, the scene and what the composer and director need, and then you give your voice to that story. With my own music, the story starts with me,” she says, adding that she is involved in everything from lyrics to visuals. “I don’t see indie as moving away from Bollywood; film music gave me my audience, and I’d happily sing a great film song if the right one came along.”
She confesses, that she is, "genuinely grateful for my songs", and adds, "Balam Pichkari is played every Holi and Baby Ko Bass Pasand Hai still gets people dancing at weddings. To be part of people’s celebrations like that is a gift and I’d never want to distance myself from it. People often think of me as the voice of high-energy, fun party songs but that’s only one part of who I am. I grew up training in classical music and I love softer, more reflective songs just as much.”
For Shalmali, independent music is also about creative control and ownership. “Agency isn’t something anyone hands you; it comes from owning your work,” she says, expressing the hope that more women will write, produce and take charge of their careers.
Acknowledging that she cannot match a film’s marketing budget, the singer says she is learning to reach audiences differently. “I don’t think I’ll ever match a film’s marketing budget and I’ve made peace with that. What I can do is be smarter and more personal about how the music reaches people. The other thing I’ve realized is that a song doesn’t have to live only on streaming platforms. As a multidisciplinary artist, I’m very interested in building worlds around my music, whether that’s through fashion, a new craft or collaborations that genuinely share my values."
Production houses, new-age businesses sign licensing deals to cash in on stars' popularity
9:52 AM
Rajesh N Naidu (THE ECONOMIC TIMES; October 30, 2026)
Mumbai: Production houses such as Balaji Telefilms and Alphonso Studios, and media advisory firms such as Auraska Ventures focused on new-age businesses are inking licensing pacts with film and television personalities in a bid to unlock monetization opportunities around their personal brands.
Looking to diversify their investments, these studios and advisory firms are starting to treat talent as IP, with actors such as Kushal Tandon, Tejasswi Prakash and Surbhi Chandna, as well as a few A-list stars bound by non-disclosure agreements being part of such deals, according to company executives.
Media experts highlighted that as the lines between digital and traditional media blur, an actor's value increasingly extends beyond on-screen performances to their public persona, gestures, opinions and personal choices, creating new monetization opportunities. "We saw a clear void for television actors," said Nitin Burman, chief revenue officer, Balaji Telefilms.
"It was natural for us to build a platform that gives these artists a place in the digital space." "As AI gains more popularity, it is important for artists to have their voice and digital image licensed in a structured and protected manner," he said. "Our role is to create the right opportunities and the right framework for them."
ET has reviewed one such agreement containing terms of a talent licensing deal. Such agreements, typically valid for three to five years, allow companies to license, sub-license and distribute a talent's content to third-party platforms during the contract period, law firms said. Studios such as Alphonso Studios are building digital wallets of talent, bringing artists together on a platform to facilitate licensing deals. Alphonso has created a digital twin wallet that will feature more than 200 artists.
"We are going to have licensing deals with over 200 artists," said a spokesperson for Alphonso Studios. "This will be a consent-based digital representation across films, series, advertising and live events. We are developing 11 hybrid-format devotional feature films which will have artists' digital twin avatars in them."
Law firms said talent across films, television and other formats is increasingly being viewed as intellectual property that can be licensed and monetized.
"In an increasingly digital economy, a celebrity's name and other distinctive attributes are capable of being licensed and monetized," said Priyanka Sinha, co-founder and partner at law firm A&P Partners.
"Talent has, in effect, become a new class of intellectual property. Production houses and other entities are increasingly drawn to the talent licensing model because it offers additional revenue compared with conventional content production."
A recent instance of how a celebrity's statement can be turned into IP is actor Ravi Kishan's "Pehchaan. Money follows my brother, money follows" line on a podcast, which was turned into a song by leading music label T-Series.
"Imagine if a firm had a licensing agreement with actor Ravi Kishan," said Neeraj Joshi, a film marketing and strategy consultant. "They could have monetized this statement in so many ways."
Beyond the prospect of relatively stable returns, the long-term monetization potential of talent-led IP is a key draw for investors.
"Personality rights and digital avatars of film celebrities have become valuable commodities," said Vishal Mahajan, founder and CEO at Auraska Ventures, a firm focused on alternative and new-age businesses.
(Crisp) Movie Review: MEETHE MEIN KYA HAI by FENIL SETA
10:17 PM
Meethe Mein Kya Hai has been released on Netflix today without much buzz and awareness. The trailer is weak but the film turns out to be a neat little surprise. The jokes land very well, especially in the first hour. The bond shared by the protagonist with his 13-year-old neighbour is endearing. It's just 119 minutes long and doesn't bore for a second. The joys, sorrows, conflicts, and desires all seem straight out of life. The issue arises when writer-director Radhika Bansal steps away from realism in some scenes. Whenever she does that, the film falters. A few subplots are added for the heck of it, while some developments are just childish. The music is another weak point. Ritwik Bhowmik suits the part to a T. Rohini Hattangady is adorable, and only an actor of her calibre could have pulled off this role. Shivika Rishi (Meera) is the surprise package of the film. Ayesha Raza is slightly over-the-top, as required by her character. Vikram Bakshi (Karam) stands out; others also do fine. All in all, Meethe Mein Kya Hai deserves a watch.
My rating - *** out of 5!
My rating - *** out of 5!
(Crisp) Movie Review: NAKHREWAALII by FENIL SETA
9:34 PM
Nakhrewaalii rests on a promising premise, but the jokes don't land as intended. It's in the second half that the film actually gets funny. But this is also the point where the film looks too similar to Dream Girl. Moreover, the change in the character's heart doesn't look believable. Hence, what works in the end are some funny moments and one crucial emotional scene in the pre-climax. The performances are also fine. Ansh Duggal tries his best to deliver an authentic performance, both as Sumit and Sumita, though the writing lets him down. Pragati Srivastava makes a confident debut. Aayushi Verma (Mihika) is lovely in a supporting role. Gopal Datt, Akash Makhija (Jagat Singh aka Jhaadi) and Kumud Mishra are dependable. Rana Pratap Singh (Sushil Tiwari) is aptly cast. All in all, Nakhrewaalii is disappointing.
My rating - ** out of 5!
My rating - ** out of 5!
Fenil's Bollywood Talk # 958
9:56 PM
UDTA TEER HAS DECENT TREND BUT…
Last week’s big release, Udta Teer, was expected to open at Rs. 2-3 crores. That was the indication even in the morning on the day of release. However, collections jumped well in the second half of the day. On Day 1, the film collected Rs. 4 crores. On Saturday, it showed a huge jump, earning Rs. 7.15 crores while on Monday, it collected Rs. 8 crores.
Usually, films on Monday collect 50% of Friday’s collections. Hence, Udta Teer was expected to collect Rs. 2 crores or less on its fourth day. But it held well and earned Rs. 3 crores. Its four-day collections are Rs. 22.15 crores and it’ll end the week with Rs. 29-30 crores.
It has an open run in Week 2 as there’s barely any competition. However, it’ll have a shortened week as the gigantic Ramayana releases next Thursday, November 5. The best-case scenario for the film will be to have a lifetime of Rs. 40-42 crores. Ayushmann Khurrana and Sara Ali Khan’s last film, Pati Pati Patni Aur Woh Do, released earlier this year and was also a comedy and had earned around Rs. 49-50 crores. Udta Teer ideally should have gone past this figure. However, that won’t happen. Pati Pati Patni Aur Woh Do also had an advantage as it had minimal competition. Udta Teer, meanwhile, will face competition from India’s biggest film.
At one point, Ayushmann Khurrana’s films used to at least open well and sadly those days are a distant memory. In the pre-pandemic era, Udta Teer’s first-day collections would have been Rs. 7-8 crores or even more.
Last week’s big release, Udta Teer, was expected to open at Rs. 2-3 crores. That was the indication even in the morning on the day of release. However, collections jumped well in the second half of the day. On Day 1, the film collected Rs. 4 crores. On Saturday, it showed a huge jump, earning Rs. 7.15 crores while on Monday, it collected Rs. 8 crores.
Usually, films on Monday collect 50% of Friday’s collections. Hence, Udta Teer was expected to collect Rs. 2 crores or less on its fourth day. But it held well and earned Rs. 3 crores. Its four-day collections are Rs. 22.15 crores and it’ll end the week with Rs. 29-30 crores.
It has an open run in Week 2 as there’s barely any competition. However, it’ll have a shortened week as the gigantic Ramayana releases next Thursday, November 5. The best-case scenario for the film will be to have a lifetime of Rs. 40-42 crores. Ayushmann Khurrana and Sara Ali Khan’s last film, Pati Pati Patni Aur Woh Do, released earlier this year and was also a comedy and had earned around Rs. 49-50 crores. Udta Teer ideally should have gone past this figure. However, that won’t happen. Pati Pati Patni Aur Woh Do also had an advantage as it had minimal competition. Udta Teer, meanwhile, will face competition from India’s biggest film.
At one point, Ayushmann Khurrana’s films used to at least open well and sadly those days are a distant memory. In the pre-pandemic era, Udta Teer’s first-day collections would have been Rs. 7-8 crores or even more.
Bela Bajaria’s season finale: Desi content queen exits Netflix
11:11 AM
Chidanand Rajghattatnn (THE TIMES OF INDIA; October 21, 2026)
TOI Correspondent from Washington: Bela Bajaria's rise from her family's car-wash business to the top of Netflix was a classic immigrant success story. As chief content officer at the streaming giant, she knew how to keep millions of viewers eating up hours binge-watching. Keeping her own job, it turns out, was a series she couldn't renew.
Word in the industry is that Netflix has shown the door to the desi content queen, who oversaw an annual budget of close to $ 20 billion and turned the streaming platform into a global television powerhouse. The exit comes as Netflix faces mounting pressure to deliver bigger hits and keep viewers hooked. She is being replaced by former Disney and Fox executive Peter Rice in a shake-up that comes amid layoffs affecting about 1,000 employees, or 6% of Netflix's workforce.
Netflix has officially described Bajaria's departure as a leadership change, rather than announcing a dismissal, but the timing suggests that its bosses want a reset. Audience engagement has slowed, the company has struggled to reproduce the cultural impact of some of its biggest hits, and investors are scrutinising how effectively its vast content spending translates into viewing.
Netflix boss Ted Sarandos, who once credited Bajaria with transforming its global content operation, has indicated that the company wants to take its programming slate to the next level, particularly in the US and Canada. According to a report in the WSJ, he has been complaining internally for months that Americans are spending less time watching Netflix and the service was short on new hit shows.
Bajaria's own journey has been remarkable and worthy of a show. Born in London in 1970 to Indian parents, she moved to the US as a child and worked in her family's car-wash business before entering television as an assistant at CBS in 1996. She rose through CBS and NBCUniversal, eventually becoming president of Universal Television -- the first Indian to head a major studio -- where she oversaw productions including Brooklyn Nine-Nine, The Mindy Project and Unbreakable Kimmy Schmidt.
She joined Netflix in 2016, initially handling licensing, co-productions and unscripted programming, before becoming head of global television in 2020 and chief content officer in January 2023. Her tenure coincided with global hits including Squid Game, Bridgerton, Beef, Adolescence, Lupin, Cobra Kai, KPop Demon Hunters, and Frankenstein, alongside reality programming and Netflix's expansion into live events and sports.
For India, her contribution went beyond having a desi face in Hollywood's executive suite. She championed the idea that distinctly local stories could travel globally, helping expand Netflix's Indian-language ambitions. Indian Matchmaking generated worldwide discussion, while Delhi Crime, Mismatched and films such as Amar Singh Chamkila helped diversify the platform's Indian offering. Heeramandi: The Diamond Bazaar, Sanjay Leela Bhansali's lavish period drama, became a major international showcase, entering Netflix's non-English television top 10 in 43 countries during its first week.
Yet her record was not unquestioned, with some critics panning her for “vanity linked projects” involving British royalty, and MAGA types finding her too “woke.” Netflix’ 2026 Primetime Emmy haul also fell sharply from the previous year, adding to questions about its creative momentum.
Bajaria has not announced her future plans, but her legacy is likely to rest on whether the global content model she helped build can keep delivering distinctive local stories with worldwide appeal -- and whether Netflix can turn that reach into sustained engagement.
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