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.

Ranveer Singh’s Dhurandhar: The Revenge has reportedly overtaken the lifetime India net collection of Ranbir Kapoor’s Animal within just six days of release, marking a major box office milestone.

According to Sacnilk, the film has earned about $575.72 crore in India net during its opening week. This equals approximately $68–70 million. Its India gross stands at around $687.49 crore, which converts to roughly $82–83 million.

In comparison, Animal had achieved a worldwide gross of about $915 crore, or approximately $110–112 million, with its India gross contributing around $79–80 million and overseas earnings about $30–31 million.

Dhurandhar 2 has already surpassed Animal’s lifetime India net collection in record time and continues to show strong momentum in overseas markets, where it has reportedly earned over $30 million.

At its current pace, the film is projected to cross the $120 million global mark, placing it among the highest-grossing Indian films globally.

Directed by Aditya Dhar, the film stars Ranveer Singh alongside R. Madhavan, Arjun Rampal, Sanjay Dutt, and others, and continues its strong theatrical run across India and international markets.

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Actor Neha Dhupia has dismissed speculation that she will appear in the reality show Traitor 2, instead hinting at a separate upcoming project titled Double Date through a cryptic social media post.

Taking to Instagram Stories, Neha humorously clarified that she is neither part of “Traitor” nor playing an “innocent,” adding that she is currently occupied with “Double Date,” which she described as “coming soon.” The post immediately sparked curiosity among fans due to its playful tone and timing.

In recent days, Neha Dhupia and her husband Angad Bedi have been seen spending time with several well-known celebrity couples, including Tejasswi Prakash and Karan Kundrra, as well as Rakul Preet Singh and Jackky Bhagnani. These appearances, often referred to as “double dates,” have further fueled speculation about a possible themed project.

A source close to the development suggested that Neha’s post was a deliberate and lighthearted way to address ongoing rumours while also building intrigue around a project she has been quietly working on. The source added that the repeated appearances with celebrity couples are part of a planned narrative meant to generate buzz.

On the professional front, Neha was recently seen in the Netflix series Single Papa, which also features Manoj Pahwa, Kunal Kemmu, Dayanand Shetty, Prajakta Koli, and Ayesha Raza Mishra. The show follows the humorous chaos in the life of a man who unexpectedly decides to adopt a child after his divorce, leading to comedic family situations. The series has reportedly been renewed for a second season.

Neha Dhupia, who began her acting career with the Telugu film Ninne Istapaddanu and made her Hindi debut in Qayamat: City Under Threat (2003), has since appeared in several notable films including Kyaa Kool Hai Hum, Singh Is Kinng, De Dana Dan, Tumhari Sulu, and A Thursday.

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Comedian Bharti Singh has revealed a lighthearted personal memory, sharing that she and her sister were once big admirers of actor Karan Kundrra during their college days.

In a vlog on her YouTube channel, Bharti recalled how they would eagerly watch Karan Kundrra on MTV shows and were captivated by his screen presence. She described him as a charming “angry young man” figure on television, which made him particularly popular with them at the time.

Bharti also shared a humorous anecdote about her sister’s enthusiasm, saying she would even leave household chores unfinished just to catch him on TV whenever he appeared.

Interestingly, Bharti Singh and Karan Kundrra are now working together on the show Celebrity Laughter Chefs, where their on-screen camaraderie has been well received by audiences.

Karan Kundrra began his television career with Kitani Mohabbat Hai in 2009, which became a major success and established him as a well-known face in Indian television. He later appeared in several shows across genres, including Gumrah: End of Innocence, Yeh Kahan Aa Gaye Hum, and Dil Hi Toh Hai.

He also participated in Bigg Boss 15, where he gained significant popularity and formed a relationship with actress Tejasswi Prakash, with whom he has been in a long-term relationship since. Currently, he is hosting MTV’s Splitsvilla alongside Sunny Leone.

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In a post on his blog, the veteran actor expressed that the value of charity lies in the relief it brings to those in need, rather than in public discussion or recognition. He explained that once help is given, it should not be repeatedly spoken about, as the focus should remain on the benefit received by the person in need rather than on the giver’s actions.

Amitabh Bachchan noted that discussing charitable acts often shifts attention toward self-praise, which, according to him, diminishes the true purpose of giving. He stressed that the essence of donation is meaningful only when it improves someone else’s life, and that such acts are best left unpublicized.

The actor further added that while many people may choose to talk about their charitable contributions, he personally believes in keeping such actions private and intends to continue following this principle.

His message reflects a long-standing philosophy of humility and selfless service, reinforcing the idea that genuine charity is measured by impact rather than acknowledgment.

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Bollywood actor Alia Bhatt has spoken about facing recent challenges with focus, revealing that she has been dealing with attention-related difficulties linked to ADHD. In a social media post, she described the past few weeks as “a bit challenging” when it comes to maintaining focus in her daily routine.

Alia shared the update while reflecting on a recent birthday celebration organised by her close friends. She posted pictures from a padel session arranged as part of her post-birthday festivities, expressing gratitude for the gesture and the support of her friends.

In her post, she mentioned that despite the difficulties in staying focused, the experience of spending time with friends brought her joy and positivity. She also highlighted the importance of having a strong support system and appreciated her friends for making time to celebrate with her in an active and engaging way.

Alia has previously spoken about her experiences with ADHD and has acknowledged that maintaining focus can sometimes be difficult, especially given her demanding professional schedule. Over time, she has been open about mental health topics, including within her family, where her sister Shaheen Bhatt has also been vocal about her struggles with depression, helping raise awareness around emotional well-being.

On the professional front, Alia Bhatt continues to be one of Bollywood’s leading actors, known for films such as Highway, Dear Zindagi, and Gangubai Kathiawadi. She is currently preparing for upcoming projects including Alpha and Love and War.

In her personal life, Alia married actor Ranbir Kapoor in 2023 and welcomed their daughter Raha the same year. Outside of films, she has also developed a strong interest in fitness, particularly padel, which she frequently plays and shares updates about on social media.

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