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Akshaye Khanna signs a comic-caper

Talented Hindi film actor Akshaye Khanna, who has been doing a bunch of serious roles ever since he started his second inning in Bollywood, has reportedly signed on to play an important role in an upcoming out-and-out comic-caper.

To be directed by debutante Karan Kashyap, the untitled film will feature the actor in a never-seen-before avatar. Buzz also has it that apart from playing one of the lead characters, Khanna may also co-produce the film.


“Akshaye Khanna has a brilliant role in the film. He has impressed everyone with his performances with films like Mom (2017), Ittefaq (2017) and The Accidental Prime Minister (2019) on his comeback trail, and has picked up the film because he could not refuse the comic role. He has been staying away from comedy films because he did not want to do slapstick roles anymore. The director Karan Kashyap is also a debutant. In fact, Akshaye is so impressed with the film that he may also turn presenter of the film,” a trade source reveals to an Indian daily.

Meanwhile, Akshaye Khanna is presently busy shooting for his next film, titled Section 375: Marzi Ya Jabardasti, wherein he plays a lawyer. Directed by Ajay Behl, the movie also features Richa Chadha in an important role.

Its release date is yet to be announced.

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5 mythological picks now streaming in the UK — and why they’re worth watching

Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
  • UK viewers can access some titles now, though licensing varies.
  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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