Filmmaker Nitesh Tiwari has spoken about his approach to making the upcoming film Ramayana. The film stars Ranbir Kapoor, Sai Pallavi, and Yash in lead roles. In a recent interview, he explained how he is handling such a well known and sensitive subject.

He shared that there are more than 300 versions of Ramayana in India. However, for this film, the team has decided to follow the version written by Valmiki. According to him, certain rules need to be followed while telling such a story, and the team has been careful about where to stay true and where to make changes.

Talking about this, he said, “As a creator, you are very well aware of certain do’s and don’ts; you can’t go wrong. We have stuck to that. Wherever you are not supposed to take any creative leap, we have not taken any creative leap. But wherever you can take a leap of faith, we have gone ahead and done that. I myself am an avid follower of Ramayana. If I’m not hurting my own feelings, if I’m happy with the work which I’m doing, I’m pretty sure that a lot of the audience will agree with me.”

He also explained that while the film will present places like Ayodhya and Lanka in a new visual style, the main focus will remain on emotions. He said, “See at the heart, it’s always the emotions. Ramayana is the story about morals, about principles, about relationships, about people. And that’s what’s going to remain at the core. What the visual effects and what the spectacle is gonna do is going to make it look even more beautiful, even more presentable, even more engaging. So that the audience can see the same story they have seen in the past in a completely new light.”

The film is produced by Namit Malhotra under Prime Focus Studios along with DNEG and Yash’s Monster Mind Creations. It will be released in two parts during Diwali 2026 and 2027. The project is being made on a budget of ₹4000 crore and has already received mixed reactions after an early glimpse was released.

In the film trade, we often talk about stars, openings, numbers and pull. We measure actors by their last Friday and their next Friday. But every once in a while, something unusual happens. A film does not just work, it changes the way an actor is seen forever. It reaches a point where the audience stops separating the actor from the character. The name on the poster remains the same, but in people’s minds, it quietly gets replaced.

This is not about success alone. Plenty of films succeed. Plenty of actors deliver hits. This is about something deeper. It is about identity.

A very recent and relevant example of this shift can be seen with Ranveer Singh and Dhurandhar. Ranveer Singh has always been a performer with range and energy. From his debut to his big screen successes, he has built a strong and dependable career. But Dhurandhar seems to have done something different. The first part set the base and introduced a character that audiences connected with. The second part took that connection to another level altogether. The scale grew, the reach expanded and somewhere along the way, the character began to overshadow the actor. People were not just watching Ranveer Singh anymore. They were watching Dhurandhar.

A similar shift happened with Prabhas through Baahubali: The Beginning and Baahubali: The Conclusion. Prabhas was already a known and respected star in Telugu cinema. But Baahubali changed the scale of that stardom. The first part created curiosity and a world that people wanted to revisit. The second part turned that curiosity into emotion and into a nationwide event. After that, Prabhas was no longer just an actor. For many, he became Baahubali.

The same pattern can be seen with Yash in K.G.F: Chapter 1 and K.G.F: Chapter 2. Before KGF, Yash was a star within his industry. After it, he became Rocky Bhai across the country. The first film built the world. The second film made it larger than life.

With Allu Arjun in Pushpa: The Rise and Pushpa: The Rule, the shift is equally visible. The character’s attitude, dialogue and presence became so strong that it started defining the actor’s public image in a new way.

Hindi cinema has seen this earlier as well with Hrithik Roshan in Koi… Mil Gaya, Krrish and Krrish 3 where a character evolved into a long-standing identity.

Even globally, Keanu Reeves with John Wick and its sequels, and Robert Downey Jr. with Iron Man leading up to Avengers: Endgame show how powerful this phenomenon can be when it clicks.

What is common in all these cases is not just scale or box office. It is the journey from familiarity to ownership. The first part introduces the world and builds recall. The second part expands it to such an extent that the audience becomes emotionally invested. And somewhere along the way, the actor and the character stop being separate.

This is why such moments are rare. They cannot be designed easily. They happen when writing, casting and timing come together in the right way. When it works, it creates something far more valuable than a hit. It creates memory.

In an industry that runs on Friday numbers, these are the few instances that go beyond numbers. Because once a character settles into the audience’s mind, it does not leave easily. And when that happens, the actor is no longer just part of a successful film. He becomes part of something that stays.

There are stars, there are successful actors, and then there are personalities who refuse to fit into any definition. Feroz Khan belonged to that last category. He was not just part of Hindi cinema. He stood slightly outside it, watching it, challenging it, and eventually reshaping parts of it in his own image.

For many who grew up watching him, the first memory is not of a performance but of a presence. The way he walked, the way he spoke, the way he carried silence. There was a certain unbothered confidence about him that did not feel performed. It felt natural. And that is perhaps what made him different. He did not act like a star. He lived like one.

What makes his journey even more fascinating is that it did not begin with certainty. He did not arrive as a ready-made hero. He struggled, took on roles that did not fully define him, and spent years trying to find his space. But instead of waiting for the industry to shape him, he made a bold shift and decided to shape his own world. That is where the real Feroz Khan emerged.

Films like Qurbani, Jaanbaaz and later Dayavan were not just films, they were statements. They carried a certain visual richness, a musical soul, and an attitude that felt ahead of its time. He brought in a global flavour without losing the emotional connect that Indian audiences needed. You could see that he was not just making films, he was crafting a world that reflected his personality.

But his journey was never smooth. There were phases when his films did not work, when the industry moved in a different direction, when newer stars took over the space. Yet, there was something about him that never seemed shaken. He did not chase validation. He did not reinvent himself to fit trends. He remained who he was, and that quiet stubbornness became his identity.

There are many stories about him being difficult, about him being uncompromising. But perhaps what people saw as difficult was simply a man who knew his worth and refused to dilute it. In an industry where compromise is often the norm, he chose clarity. He chose to stand firm, even if it meant standing alone.

And then comes the part of his life that leaves a deeper impact than any of his films. During the shooting of Welcome, he was already battling a serious illness. Very few people on set knew the extent of what he was going through. He continued to work, continued to deliver his performance with the same flair, the same energy. There was no visible sign of weakness. It was as if he had decided that his struggle would remain his own, not something to be displayed.

That quiet strength defines him as much as his cinema does.

In his final phase, he chose to step away from the noise of the city. He returned to his farmhouse near Bangalore, closer to a life that was more personal, more real. It is said that in those last days, he spent time with close friends like Dharmendra and Vinod Khanna, bonds that went far beyond the screen. There was emotion, there was silence, there was an understanding that does not need words. For a man who always appeared larger than life, these moments revealed a quieter, deeply human side.

When he passed away, it did not feel like just the loss of an actor. It felt like the end of a certain attitude, a certain way of being. Feroz Khan was not just remembered for his films, but for the feeling he left behind. A feeling of awe, of individuality, of someone who refused to be ordinary.

Even today, when we speak of style, of confidence, of owning who you are without apology, his name comes up without effort. Because long before it became fashionable, he had already lived that life.

And that is why he stays. Not just in his films, not just in memories, but in the very idea of what it means to truly stand apart.

Veteran actor Saurabh Shukla is set to share screen space once again with Shah Rukh Khan in the upcoming film King, directed by Siddharth Anand. The two actors had earlier worked together in the film Baadshah, which later became popular among audiences.

In a recent interview, Saurabh Shukla spoke about his experience of knowing Shah Rukh Khan over the years. He described him as intelligent and someone with a strong understanding of business. Talking about their early days, he said, “I worked with him in Baadshah. He was a rising star then. At that time, I didn’t meet him much; we interacted only briefly. Over the years, I have met Shah Rukh at different times in different ways. Shah Rukh is definitely a very good businessman, his business sense is excellent. Otherwise, it is not possible to create such an empire and hold it single-handedly. Of course, now there is an army of people, but he has created that army himself. He has great support from his family, all of that is there.”

Saurabh also spoke about Shah Rukh Khan’s behaviour with people. He said that even though he is a big star, he does not make others feel his status. According to him, Shah Rukh gives full attention when he talks to someone, which makes the other person feel important. He added, “If Shah Rukh is talking to you, you will feel that you are the most important person because he will be 100% present with you and will talk to you. That is rare. I really envy him that quality is something I don’t have. When I talk, some people like what I say, but I end up talking mostly about myself what I think what I feel. But Shah Rukh listens to your views as well, and that is what SRK is for you.”

Saurabh Shukla also shared his thoughts on Shah Rukh Khan as a father. In the film, Shah Rukh will be seen working with his daughter Suhana Khan for the first time. Speaking about this, he said, “He is not possessive or overly protective. Of course, a father will be protective, but he is wonderful. On set, he was like a colleague, like a co actor with Suhana. He was rehearsing and suggesting things like any co actor would.”

The film also features Deepika Padukone, Abhishek Bachchan, Arshad Warsi, Raghav Juyal, Abhay Verma, and Rani Mukerji. It is scheduled to release on 24th December 2026.

Singer Kailash Kher has recently become popular on social media for reasons beyond his music. Clips of his unique expressions and comments on daily conversations have gone viral, turning him into a meme favourite. One of the most talked about clips includes his “haha hehe huhu zuzu” moment, along with his opinions on modern ways of speaking.

Many of his videos focus on simple everyday habits like greetings and casual conversations. These clips have been widely shared online and have also led to discussions among people. Reacting to the memes, Kailash Kher explained the idea behind his statements and clarified that his intention is not to make fun of anyone.

In an interview, he spoke about one of his remarks that gained attention. He said, “My point was asking people ‘How are you’ is such a waste of time. Kitna bekar lagta hai. The other person, too, like a parrot, is forced to say ‘I’m fine.’ According to our culture, we greet people, saying pranam or namaskar and end it there. It’s all frivolous conversation and has to be called out.”

Kailash Kher believes that many commonly used phrases do not carry real meaning. According to him, greetings like “how are you” are often said without genuine interest, which is why he questions their use. He also shared that his thoughts are influenced by traditional Indian ways of communication.

At the same time, he understands why his videos are turned into memes. He said, “Being a spiritual person, at times my expressions come across more serious than intended, and memers pick those bits.”

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Despite becoming a regular subject of online jokes, Kailash Kher said he has learned to take it positively. He added, “Half the world has turned into lakeer ka fakeer, leading mundane lives. There are very few who are self-aware. But I’ve learnt to laugh along and enjoy with people on the internet.”

Kailash Kher is known for his distinct singing style, especially in Sufi music. Some of his well known songs include Teri Deewani, Saiyyan, and Allah Ke Bande.

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