Bollywood actress Kareena Kapoor Khan appears to have discovered a new fitness passion, as she recently gave fans a glimpse of her latest padel session on social media. The star humorously described her new interest by writing “Never say Never,” signaling what she called her entry into a fresh “padel era.”

The images, originally posted by her friend and celebrity yoga trainer Anshuka Parwani, showed Kareena enjoying time on a padel court, holding a racket and appearing full of energy after her workout. Later, Kareena reshared the moments on her own social media stories, adding playful captions along with emojis, including a red heart and laughter, reflecting her excitement about trying something new.

For the uninitiated, padel is a racket sport that combines elements of tennis and squash and is gaining popularity among fitness enthusiasts worldwide. Kareena’s latest interest adds another dimension to her already active and disciplined fitness routine.

The actress has long been known for her commitment to health and wellness. Over the years, she has regularly shared glimpses of her workouts, yoga sessions, and overall fitness lifestyle with her followers. Despite being regarded as one of Bollywood’s fittest celebrities, Kareena has also openly embraced her love for food. She has often mentioned in interviews that simple comfort meals like dal khichdi remain her favorite and that she enjoys it at any time of the day.

Kareena’s transformation and fitness journey have frequently made headlines, especially during her preparation for the 2008 film Tashan, where she became associated with the widely discussed “size-zero” trend in Bollywood. Reports suggest she reduced her weight to around 48 kg for the role. However, in later interviews, the actress clarified that she does not wish to return to that extreme phase and prefers a more balanced approach to health today.

On the professional front, Kareena Kapoor Khan has built a strong filmography with several blockbuster titles over the years, including Jab We Met, Kabhi Khushi Kabhie Gham, Chameli, Omkara, 3 Idiots, Bodyguard, Bajrangi Bhaijaan, Veere Di Wedding, Good Newwz, and Crew.

More recently, she appeared in The Buckingham Murders, directed by Hansal Mehta, where she received praise for her performance. She also featured in Singham Again, sharing screen space with a star-studded cast including Ajay Devgn, Deepika Padukone, Ranveer Singh, Akshay Kumar, and Tiger Shroff.

On the personal side, Kareena is married to actor Saif Ali Khan, and the couple has two sons, Taimur Ali Khan and Jehangir Ali Khan.

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Kiara Advani has shared a heartfelt glimpse into her life after embracing motherhood, describing it as a deeply transformative phase filled with emotional, physical, and lifestyle changes. The actress, who welcomed her daughter Saraayah with husband Sidharth Malhotra in July 2025, spoke about how her world has completely shifted since becoming a mother.

In a recent interview, Kiara reflected on how marriage itself brought a major adjustment in her life, but motherhood introduced an entirely new level of responsibility. She revealed that before marriage, she lived with her parents, and managing a household independently was unfamiliar territory. According to her, her husband Sidharth Malhotra, who had already been living on his own for years, helped her adapt to these changes and taught her many aspects of running a home. She described this phase as an important learning experience in her journey toward independence.

Kiara further explained that motherhood is often portrayed in an overly simplified way, while the reality is far more complex. She said that many women are not prepared for the emotional turbulence and sense of chaos that follows childbirth. At around seven-and-a-half months postpartum, she noted that hormonal changes, emotional shifts, and physical recovery all come together in a way that can feel overwhelming. She emphasized that every woman’s experience is different, but the emotional side of postpartum life is rarely discussed openly.

The actress also spoke about the pressure women face regarding body image after delivery. She pointed out the contrast in how society treats women during pregnancy and after childbirth, saying that while expectant mothers are often praised, they are later judged for physical changes once the baby is born. She highlighted the importance of supporting women during this sensitive phase instead of focusing on appearance.

Kiara also revisited one of her most memorable pregnancy moments—walking the Met Gala red carpet while seven months pregnant. She admitted that she initially hesitated due to the physical demands of the event but eventually decided to attend after encouragement from a close friend. She described the experience as deeply personal and meaningful, as she felt she was sharing the moment with her unborn daughter.

At home, Kiara says her daughter has become the center of her universe. She humorously shared that their home now feels like it belongs to her child, with toys and baby items spread everywhere. She added that both she and Sidharth now prioritize spending time as a family, often choosing simple moments together over everything else.

Despite the challenges, Kiara described motherhood as a powerful and life-changing journey, one that continues to teach her patience, resilience, and emotional strength while reshaping her definition of home and happiness.

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Ranbir Kapoor has spoken in detail about how Nitesh Tiwari’s upcoming epic Ramayana has had a powerful influence on his personal growth, describing the project as far more than just a professional achievement. The actor, who portrays Lord Rama in the highly anticipated mythological film, said the experience has been “life-defining” and has reshaped his outlook on life, values, and responsibility.

In a recent conversation, Ranbir reflected on his journey while preparing for the role, explaining that he initially viewed the project with uncertainty. However, as he immersed himself in the story and character, his perspective began to shift. He shared that working on Ramayana helped him develop a deeper understanding of Lord Rama’s journey and teachings, which in turn influenced his own mindset and behavior.

According to Ranbir, the transformation extended beyond his professional life. He revealed that the role encouraged him to reassess his habits and adopt a more grounded value system. He noted that his approach toward life, including how he views loss, sacrifice, discipline, and righteousness, has changed significantly since beginning the project. He admitted that these changes were something he felt he needed at this stage in his life.

The actor also drew a strong connection between the film and his role as a father to his daughter, Raha. Ranbir and his wife, Alia Bhatt, welcomed their daughter in November 2022, and he believes that both fatherhood and Ramayana have influenced each other in meaningful ways. He described the timing as a fortunate coincidence, saying that his daughter inspired him to become a better person, while the film further reinforced that desire.

Ranbir explained that the two experiences together created a deeper sense of responsibility within him. He emphasized that becoming a father naturally brings change, but portraying Lord Rama strengthened his commitment to living with more awareness, patience, and emotional balance. He expressed that both his daughter and the film have been guiding forces in his personal evolution.

He also spoke about feeling grateful for being part of such a large-scale and culturally significant project. Ranbir said he considers it a blessing to work on a film that represents a major part of India’s cultural and historical storytelling, especially given the authenticity and vision behind its execution.

Directed by Nitesh Tiwari, Ramayana is being developed as a two-part cinematic saga and is among the most ambitious projects in Indian cinema. The film stars Ranbir Kapoor as Lord Rama, Sai Pallavi as Sita, and Yash as Ravana, with Ravi Dubey playing Lakshman. The first installment is slated for release just before Diwali 2026, while the second part is expected to arrive in theatres during Diwali 2027.

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Janhvi Kapoor is actively promoting her upcoming Telugu film Peddi, a sports action drama starring Ram Charan and directed by Buchi Babu Sana. As part of the film’s promotional activities, the actress recently spoke about her experiences working across different Indian film industries and shared her perspective on regional languages, including Malayalam.

During the interaction, Janhvi Kapoor addressed the possibility of working in Malayalam cinema. She explained that while she deeply respects the language and finds it beautiful and melodious, she does not see herself taking up a Malayalam-language project anytime soon. The actress revealed that she finds the language quite challenging to learn and pronounce, which makes it difficult for her to consider roles in that industry at the moment.

Although she has not acted in a direct Malayalam film so far, Janhvi does share a connection with Malayalam cinema. Her 2022 release Mili was a Hindi adaptation of the Malayalam thriller Helen. In addition, her recent work in Param Sundari allowed her to portray a character rooted in Malayali culture, further strengthening her association with the region’s cinematic influence.

The actress also spoke about her growing comfort with Telugu and Tamil languages. She mentioned that she feels more familiar with their phonetics and finds it easier to adapt while working in these industries. Having already gained positive recognition in Telugu cinema, Janhvi said she is enjoying her journey in South Indian films and is open to exploring Tamil cinema in the future as well.

At present, Janhvi Kapoor is focusing on expanding her presence in the South Indian film industry with carefully selected projects that allow her to experiment with diverse roles and storytelling styles. Her increasing popularity among Telugu audiences has further strengthened her position in the regional film space.

In Peddi, Janhvi plays the role of Achiyamma. The film is set in Andhra Pradesh and revolves around a village-based sports drama where athletics becomes a unifying force for the community. Alongside Janhvi Kapoor and Ram Charan, the film features a strong ensemble cast including Shiva Rajkumar, Jagapathi Babu, Divyenndu, Ravi Kishan, and Boman Irani in significant roles.

The film is slated for release on June 4 and is already generating strong anticipation among fans due to its cast, storyline, and emotional sports-driven narrative.

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Alia Bhatt’s highly anticipated film

According to recent reports, Alpha is expected to break away from the traditional formula that has defined many of the earlier spy films. Rather than portraying a conventional hero who follows a clear moral path, Alia’s character is reportedly being developed as a far more complex and unpredictable figure. Sources indicate that she will play a highly skilled assassin who has spent her life being trained for deadly missions, making her fundamentally different from the spies who have led previous installments of the franchise.

The reported storyline suggests that the character will not fit the mold of a typical protagonist. Instead, she is expected to possess strong anti-hero qualities, operating according to her own beliefs and instincts rather than following established rules. This darker characterization has quickly become one of the most discussed aspects of the project, with fans eager to see how the film handles such a unique lead role.

Reports further claim that producer Aditya Chopra is taking a bold creative approach with Alpha. By introducing a female-led action spectacle centered around a morally complex assassin, the film is said to represent a significant shift in storytelling within the YRF Spy Universe. The move could provide the franchise with a fresh identity while offering audiences a different kind of action hero than they have seen before.

The narrative is also rumored to explore the journey of a woman raised to become a lethal weapon, allowing for a deeper and more layered character arc. This stands in contrast to the traditional spy characters portrayed in previous YRF projects, making Alpha one of the most distinctive entries in the franchise to date.

Alongside Alia Bhatt, the film features Sharvari in a prominent role. Bobby Deol is expected to portray the primary villain, while Anil Kapoor will also have a significant presence in the story. Directed by Shiv Rawail, Alpha continues to rank among the most eagerly awaited films from Yash Raj Films, with anticipation growing as more details emerge about its unique storyline and characters.

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Actor Yash has sparked excitement after sharing insights into his role in the upcoming film Ramayana during an international event. Speaking to media in Los Angeles, he discussed his approach to portraying Ravana, with his comments quickly gaining attention online.

Yash revealed that his focus is to present Ravana as a relatable and human character. He acknowledged the challenge of adapting a mythological figure for a global audience while balancing authenticity with wider appeal. By exploring Ravana’s emotional depth and layered personality, he aims to make the character more understandable beyond Indian audiences.

He also emphasised that the filmmakers are committed to preserving the cultural and spiritual essence of the story. Director Nitesh Tiwari and producer Namit Malhotra are ensuring that the narrative remains rooted in tradition while appealing to modern viewers. Yash described the role as both challenging and creatively fulfilling.

The film features Ranbir Kapoor as Lord Ram and Sai Pallavi as Sita. Yash noted that despite the build up to their rivalry, Ram and Ravana will not share screen space in the first part.

Expected to release during Diwali, Ramayana is shaping up as a grand project with global appeal and strong anticipation.

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Ayushmann Khurrana is set to return to the big screen with his upcoming comedy film Pati Patni Aur Woh Do, directed by Mudassar Aziz. The film also stars Sara Ali Khan, Rakul Preet Singh, and Wamiqa Gabbi, and has generated strong buzz after the makers officially announced its theatrical release date. The movie is scheduled to hit cinemas on May 15, 2026, raising excitement among fans awaiting this entertainer.

The announcement included a quirky poster that quickly grabbed attention online. It shows Ayushmann caught in a jungle net alongside a tiger, hinting at a chaotic and humorous storyline. The makers teased the plot with a playful caption, suggesting that the central character, Prajapati Pandey, lands in unexpected trouble, blending comedy with relationship drama.

The film offers a fresh twist on the romantic comedy format by expanding the classic love triangle. Wamiqa Gabbi plays the wife, while Sara Ali Khan appears as the other woman, creating a layered narrative. Rakul Preet Singh also plays a key role, adding depth.

Produced by T Series and B R Studios and distributed by Zee Studios, the film marks Mudassar Aziz’s return after the earlier installment earned about $10 million globally.

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Filmmaker Boney Kapoor recently shared an emotional moment as his daughter Anshula Kapoor prepares to begin a new phase in her life with her upcoming wedding. Taking to social media, he posted a candid picture of Anshula, capturing a simple yet heartfelt moment that reflects his affection and pride as a father. The image shows her sitting at a café, enjoying a relaxed moment while clicking a picture of her dessert. Along with the post, Boney expressed his feelings in a light yet emotional tone, describing his daughter as becoming even sweeter as she approaches her wedding day.

Anshula Kapoor is set to marry her longtime partner, Rohan Thakkar. The couple has kept their relationship largely private, occasionally sharing glimpses of their journey together. Their wedding preparations have already begun, with traditional ceremonies marking the celebrations. Earlier, the family came together for the Gor Dhana ritual, a customary pre wedding function that holds cultural significance.

Adding to the excitement, Anshula recently celebrated her bachelorette trip in Seoul, South Korea, alongside her close friends and cousins. She shared moments from the trip on social media, reflecting joy and family bonds ahead as the wedding approaches with heartfelt memories and meaningful celebrations.

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Bhooth Bangla, starring Akshay Kumar, has delivered a strong opening at the box office, showing a sharp jump after its preview release. The film earned around $1.5 million on its first full day, marking a rise of nearly 250 percent from its preview earnings of about $0.4 million. This growth has pushed its total domestic gross to approximately $2.3 million, while worldwide collections have reached close to $2.9 million so far.

Despite this promising start, the opening performance presents a mixed comparison with Akshay Kumar’s recent films. While it stands as one of his strongest openings in recent years, it still does not surpass some of his earlier high-performing releases, placing it in the mid-range of his recent box office track record.

In the horror comedy space, the film faces tough competition from recent titles that set higher benchmarks with stronger openings. It is also competing with Dhurandhar 2, which continues to perform steadily in theatres.

Directed by Priyadarshan, the film reunites him with Akshay Kumar and features Wamiqa Gabbi, Tabu, Rajpal Yadav, and Jisshu Sengupta, blending horror and comedy with steady growth ahead.

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The extraordinary success of films like Dhurandhar 1 and Dhurandhar 2 has reignited an important debate within Indian cinema—not just about storytelling, but about hypocrisy in Bollywood’s review ecosystem and influencer culture.

Despite record-breaking global earnings—estimated at over $240 million for the franchise combined—these films have faced repeated accusations of being “propaganda.” Yet, when we examine Bollywood’s history, a deeper contradiction emerges.

For decades, films that portrayed narratives perceived as anti-Hindu or sympathetic to Pakistan were rarely subjected to the same level of scrutiny. They were often praised as “bold,” “progressive,” or “realistic.”

This raises a fundamental question:

Why are some narratives celebrated while others are questioned?

The Success of Dhurandhar vs the Reaction It Received

Both Dhurandhar 1 and Dhurandhar 2 achieved unprecedented commercial success. Packed theatres, strong overseas collections, and massive audience engagement demonstrated one clear fact:

Audiences connected deeply with these stories.

Yet, instead of celebrating this connection, sections of critics and influencers focused on labeling the films as “agenda-driven” or “propaganda.”

This reaction becomes even more puzzling when placed in historical context.

A Major Shift: The Rise of Nationalism and Patriotism in Bollywood

One of the most significant transformations in recent years is the shift in audience preference toward nationalism and patriotism.

For decades, Bollywood was dominated by romance, family drama, and escapist storytelling. Today, audiences are increasingly drawn to films that emphasize the following:

• National pride
• Cultural identity
• Historical legacy
• Real-life heroes

This shift reflects deeper societal changes.

Examples of Nationalism and Patriotism in Bollywood

Several films have successfully captured this sentiment:

Military and Defense-Based Films

• Uri: The Surgical Strike
• Shershaah
• Border

Historical Narratives

• Tanhaji: The Unsung Warrior
• Kesari

Biographical Stories

• Sam Bahadur
• MS Dhoni: The Untold Story

Social Patriotism

• Pad Man

These films demonstrate that patriotism is not limited to war—it can also be expressed through social progress, innovation, and service to the nation.

Why This Shift Matters

India today is more globally connected and culturally confident than ever before. The younger generation is more aware of national issues and more engaged in discussions around identity and pride.

The global Indian diaspora also plays a role, seeking stronger cultural connection through cinema.

As a result, audiences are naturally gravitating toward stories that reflect the following:
who they are, where they come from, and what they stand for.

The Trigger: When Patriotism Becomes Controversial

The controversy surrounding Bollywood’s evolving narrative gained momentum following an incident involving actor Arjun Rampal. While accepting an award for his role in Dhurandhar, he concluded his speech with the phrase “Bharat Mata ki Jai.”

Traditionally considered a simple expression of patriotism, this statement quickly became politicized.

Commentators argued that such expressions—and the films associated with them—signaled a growing ideological shift in Bollywood.

What was once a natural articulation of national pride was reframed as a political statement.

This reaction raises an important question: why has patriotism itself become a subject of suspicion?

The answer lies not in the phrase itself, but in the broader context of a changing cinematic landscape—one where narratives of nationalism, identity, and historical reflection are gaining prominence.

Bollywood’s Past: Selective Sensitivity

Bollywood has never been apolitical. It has always reflected the mood, ideology, and narratives of its time. However, the reaction to different kinds of narratives has not been consistent.

Films Perceived as Sympathetic to Pakistan

Several Bollywood films have portrayed Pakistan or Pakistani characters in a sympathetic or humanized manner—often emphasizing shared culture and emotional bonds.

Examples include:

• Veer-Zaara – A cross-border love story portraying Pakistan in a deeply emotional and positive light
• Raazi—While patriotic, it also humanized Pakistani characters and their perspectives
• Bajrangi Bhaijaan – Highlighted compassion across borders, showing Pakistan in a humane and empathetic way

These films were widely appreciated, celebrated internationally, and rarely labeled as propaganda.

In fact, they were praised for:

• Promoting peace
• Encouraging cross-cultural understanding
• Humanizing the “other side”

There was little outrage, no widespread labeling, and no ideological scrutiny.

Films Criticized as “Anti-Hindu” by Sections of Audience

There have also been films that faced criticism from certain sections of society for allegedly portraying Hindu traditions, beliefs, or institutions in a negative or satirical light.

Examples often cited in public discourse include:

• PK—Questioned organized religion, with many viewers feeling Hindu practices were disproportionately targeted
• Oh My God! – Challenged religious institutions and commercialization of faith
• Haider – Focused on Kashmir with a narrative some felt leaned heavily against Indian state forces

Despite controversies, these films were largely defended by critics and influencers as:

• “Thought-provoking”
• “Courageous”
• “Necessary conversations”

Again, the dominant narrative was one of appreciation—not dismissal.

The Silence of the Past

What makes the current outrage particularly striking is the relative silence that preceded it.

For decades, Bollywood produced films that leaned toward certain narratives—some of which romanticized Pakistan, minimized complex geopolitical realities, or overlooked aspects of Hindu experiences.

Yet during this period, there was little to no widespread criticism from the same voices that are now raising concerns.

There were no major debates about ideological imbalance, no accusations of propaganda, and no warnings about cultural distortion.

This contrast highlights a critical inconsistency: outrage appears to depend not on the presence of bias, but on the direction of that bias.

The Forgotten History of Real Control

Perhaps the most significant gap in today’s discourse is the lack of acknowledgment of Bollywood’s historical relationship with political power.

In earlier decades, political influence on artistic expression was far more direct—and often coercive. Artists faced censorship, imprisonment, and bans for dissenting views.

Ironically, those warning about alleged political influence today remain largely silent about a period when state control over the film industry was far more direct and coercive.

In 1949, lyricist Majrooh Sultanpuri was imprisoned for writing a poem critical of Nehru. He refused to apologize and spent nearly two years in jail. This was not censorship through criticism—it was censorship through incarceration.

Actor Balraj Sahni faced surveillance and harassment for his political beliefs. Theater legend Utpal Dutt was jailed for staging a play that depicted the Royal Indian Navy mutiny—an event central to India’s freedom struggle.

During the Emergency (1975–77), the control became even more explicit. Singer Kishore Kumar had his songs banned from All India Radio because he refused to perform at a government event. This was not a subtle influence—it was outright punishment.

These are not isolated incidents. They represent a pattern where political power directly shaped artistic expression, often through fear and coercion.

Compared to that history, today’s environment—where criticism unfolds through debate rather than suppression—represents a far more open landscape.

The “Secular Consensus” and Its Limits

For decades, Bollywood operated within what many describe as a “secular consensus.”

While the term suggests inclusivity, in practice it often meant adherence to certain narrative boundaries.

Stories that highlighted Hindu experiences, historical grievances, or sensitive political issues were often softened, avoided, or framed cautiously.

Over time, this created an unwritten rulebook.

Today, that rulebook is being challenged.

The Collapse of Narrative Monopolies

The most significant change in Bollywood today is not the emergence of political cinema—it has always existed.

What has changed is the distribution of narrative control.

The industry is no longer dominated by a single ideological framework.

New filmmakers, new platforms, and new audiences are contributing to a more diverse storytelling ecosystem.

What some critics interpret as a takeover is, in reality, a diversification.

A New Era of Audience-Driven Cinema

The success of films rooted in nationalism, history, and identity reflects a broader cultural shift.

Audiences are increasingly drawn to stories that resonate with their lived experiences and evolving sense of identity.

This trend is not imposed—it is organic.

The power has shifted from gatekeepers to viewers.

Market Demand vs. Political Narrative

Cinema, at its core, is driven by audience response. Films succeed because they resonate—not because they are “ordered” into popularity. The success of films like The Kashmir Files reflects a growing appetite among audiences for stories rooted in history, identity, and national consciousness.

To attribute this shift solely to government influence is to deny agency to millions of viewers. It also ignores a basic principle of the entertainment industry: audiences evolve. Preferences change. Narratives shift.

The decline of certain stars or genres, including the long dominance of actors like Shah Rukh Khan, Salman Khan, and Aamir Khan, is not evidence of ideological bias—it is a natural progression influenced by age, changing tastes, and storytelling formats.

To frame audience choices as political statements is both reductive and misleading.

A. R. Rahman’s Comment and the Larger Debate

The recent comment by A. R. Rahman describing parts of the film industry as becoming “communal” adds another layer to this discussion.

While his remark sparked debate, it also highlights the growing perception that cinema is increasingly being viewed through the lens of identity and ideology.

However, the success of films like Dhurandhar suggests a different reality:

Audiences are not as divided as the discourse suggests.

They respond to emotion, storytelling, and relatability—not just ideology.

The Spy Movie Double Standard

By definition, all mainstream spy and action films show one perspective from the hero’s side. The audience experiences events through them.

And yes, Pakistan’s spy films cast India as the villain. One of their biggest blockbusters, Waar (2013), revolves around Indian agents planning a terror attack in Pakistan. They go as far as depicting extremist Taliban outfits being secretly funded by India. To their audience, that’s a gripping thriller.

In the West, James Bond has spent more than sixty years saving the world for the British Crown, mostly through impossible stunts and a fair bit of old-school sexism. Mission Impossible’s Ethan Hunt regularly presents the CIA as the thin line between civilisation and chaos. Do we label Top Gun: Maverick as U.S.it. military propaganda in popular discourse? No, the reviews mostly admire the cinematography and enjoy the adrenaline rush in these films. So why deny Dhurandhar the same courtesy?

The Double Standard Becomes Clear

Now compare this with the reaction to films like Dhurandhar 1 and Dhurandhar 2.

• When a film promotes cross-border empathy → it is praised
• When a film questions religious structures → it is called bold
• But when a film emphasizes national security or strong patriotism → it is labeled propaganda

This is where the perception of hypocrisy arises.

The issue is not that criticism exists—criticism is essential for any art form.

The issue is that: Criticism is not applied equally.

The Role of Influencers in Amplifying Bias

In today’s digital era, influencers play a major role in shaping public opinion.

However, instead of offering balanced perspectives, many influencers:

• Echo dominant narratives
• Avoid controversial positions
• Align with trends to maximize engagement

When films like Dhurandhar 2 release, influencer reactions often become polarized:

• Extreme praise from one side
• Immediate dismissal from another

Very few attempt nuanced analysis.

This creates an environment where: Narratives are amplified, not examined.

The “Propaganda” Label: A Selective Tool

The term “propaganda” has become central to this debate.

But its usage raises important questions:

• Why are some films labeled propaganda while others are not?
• Who decides what qualifies as propaganda?
• Is it based on content—or on agreement with the content?

Every film, by its nature, reflects a perspective.

• A love story reflects a belief in romance
• A social drama reflects a viewpoint on society
• A political film reflects an ideological stance

If that is the case, then labeling only certain films as propaganda reveals more about the reviewer than the film.

The “Propaganda” Label: A Selective Tool

The term “propaganda” has become central to this debate.

But its usage raises important questions:

• Why are some films labeled propaganda while others are not?
• Who decides what qualifies as propaganda?
• Is it based on content—or on agreement with the content?

If that is the case, then labeling only certain films as propaganda reveals more about the reviewer than the film.

Audience vs Critics: A Growing Divide

One of the most significant developments in recent years is the growing gap between critics and audiences.

Despite criticism:

• Dhurandhar 1 became a massive global success
• Dhurandhar 2 broke records within days

This indicates that audiences are:

• Thinking independently
• Trusting their own judgment
• No longer relying solely on critics or influencers

In many cases, controversy has even helped films, drawing more viewers curious to form their own opinions.

Industry Silence: The Quiet Hypocrisy

Another dimension of this issue is the selective silence within Bollywood itself.

When certain films are released:

• Celebrities openly praise them
• Social media is filled with endorsements

But when films like Dhurandhar face controversy:

• Many remain silent
• Few take clear positions

This selective engagement reflects:

• Fear of backlash
• Industry dynamics
• The risk of being associated with “controversial” narratives

But silence, too, is a form of response.

The Real Issue Is Not the Film—It Is the Reaction

The debate around Dhurandhar 1 and Dhurandhar 2 is not just about cinema. It is about fairness.

When some narratives are celebrated and others are dismissed,
when some films are defended and others are labeled,
when criticism is selective rather than consistent—

Hypocrisy becomes inevitable.

The audience, however, has delivered its verdict.

With over $240 million in global box office success, the Dhurandhar franchise has proven that: Stories that resonate will find their audience—regardless of labels.

And perhaps that is the most important lesson for Bollywood today:

Cinema does not belong to critics, influencers, or ideologies.
It belongs to the people.

And the people are watching—carefully.

The Way Forward: Consistency and Credibility

If Bollywood is to maintain credibility, it must address this inconsistency.

Critics and influencers must:

• Apply the same standards to afilms.lms
• Separate personal bias from professional evaluation
• Encourage diverse storytelling rather than discouraging it

Because cinema thrives on diversity—not uniformity.

About the Author:

Raj Shah Software by profession, Indian culture enthusiast, ardent promoter of hinduism, and a cancer survivor, Raj Shah is a managing editor of Desh-Videsh Magazine and co-founder of Desh Videsh Media Group. Promoting the rich culture and heritage of India and Hinduism has been his motto ever since he arrived in the US in 1969.

He has been instrumental in starting and promoting several community organizations such as the Indian Religious and Cultural Center and International Hindu University. Raj has written two books on Hinduism titled Chronology of Hinduism and Understanding Hinduism. He has also written several children books focusing on Hindu culture and religion.