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Anil Kapoor and Sanjay Dutt approached for Pagalpanti

After Abhishek Bachchan and John Abraham, we hear that the makers of the forthcoming Hindi film Pagalpanti have now approached Anil Kapoor and Sanjay Dutt to play important roles in it. The movie will be helmed by Anees Bazmee who is known for many successful comic-capers.

“It’s a question of dates and the actors’ availability. Ajay was supposed to do the role that John has stepped into. He and Anees have done several films together, including Hulchul (1995) and Pyaar To Hona Hi Tha (1998). But he had to back out because of date problems. Now, it remains to be seen if this film fits into Anil’s calendar or Sanju’s,” a trade source reveals.


Bazmee is also in news for working on the second instalment of the hit heist thriller Aankhen (2002). Buzz has it that Amitabh Bachchan, Sushant Singh Rajput and Vicky Kaushal are part of Aankhen 2 which is expected to roll in mid-2019.

Just like Aankhen 2, an official announcement on Pagalpanti and its cast is also awaited.

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5 mythological picks now streaming in the UK — must-watch

Why UK audiences are turning to Indian mythology — and the OTT releases driving the trend this year

Instagram/Netflix

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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