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Bhushan Kumar inks a two-film deal with Gippy Grewal

Days after announcing a six-film deal with Bollywood star John Abraham and filmmaker Nikkhil Advani, T-Series head Bhushan Kumar today confirmed that he has signed a deal with Punjabi superstar Gippy Grewal for two Punjabi movies.

Both the films will be produced under the banners of T-Series Films and Grewal’s Humble Motion Pictures. Interestingly, Bhushan is also co-producing the Punjabi remake of Rohit Shetty’s action cop drama Singham (2011) with Panorama Studios, presented by Ajay Devgn.


“We have had a great relationship with Gippy for many years, having worked him on many songs. We look forward to collaborating with him on the two Punjabi films. I am sure it’s going to be a great ride,” Bhushan Kumar said in a statement.

Apart from co-producing, Gippy Grewal will also headline the cast of both the films, while the search for the female leads is still on. The first movie is expected to begin production in February 2019. It will be helmed by Baljit Singh Deo. The second film will hit the shooting floor in April, 2019, under the direction of Smeep Kang.

Grewal points out that associating with a big production house like T-Series helps to mount a film on a big scale. “We’ve made films such as Manje Bistre (2017), directed by Baljit Singh Deo and Carry On Jatta (2012), directed by Smeep Kanga in the past. Our production house is no. 1 in Punjab. We are collaborating with both directors once again and are hopeful that these two films will also become big hits in Punjab. With our new partnership with T-Series, we will be able to release these two films now on a big scale. I would like to thank Bhushanji who made this possible.”

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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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