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Remakes do not excite John Abraham

If there is one actor who has cleared the misconception that models cannot act, it has to be none other than John Abraham. After having a successful career in modelling, John made a transition to Bollywood with Pooja Bhatt’s musical hit Jism (2003) and has delivered a number of box-office hits over the years.

The actor is currently riding high on the success of his recent film Batla House (2019) which, despite facing a stiff competition from Akshay Kumar’s Mission Mangal (2019), set the box-office on fire and made a lot of moolah. Even as filmmakers have started looking at him as a ‘bankable star’, John says that his motivation lies in solid content.


“To me, being bankable is all about cutting the cloth according to its length, so that it (a film) can work for everyone,” says the actor, adding that since he cannot afford making big budgets films, “So, I focus on creating very strong content. And when I create that kind of content, no amount of money can match the guts that I have. You know, my ideas are usually bigger than my budgets (laughs).”

John adds that he will never follow the trend of remaking South Indian films. “After Kabir Singh’s success, I am sure there will be whole lot of flights that will go towards south India (laughs). But I don’t think I would follow that trend. I would rather do something different. In fact, the minute people ask me, ‘Why are you doing this (different) film?’, I know in my mind that I am going to do it,” the actor says in conclusion.

John Abraham has his plate full with a number of interesting projects. He will next be seen in filmmaker Anees Bazmee’s much-awaited comic-caper Pagalpanti, followed by Sanjay Gupta’s gangster drama Mumbai Saga. He also produces and stars in an action entertainer titled Attack. He will also headline Satyamev Jayate 2.

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

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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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