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Entertainment The Amsterdam-origin festival will take place on Mar. 21, 2026, with Benja, Rooleh and Marlie also on the lineup Dutch duo ANOTR live at No Art Festival. Photo: No Art Festival The inaugural Indian edition of Amsterdam’s No Art Festival will bring in founders and musical duo ANOTR, plus electronic artists like Job Jobse, Isabella, Benja, Rooleh and Marlie for a day-long event on Mar. 21, 2026, at Bayview Lawns in Mumbai. The label and event platform – established in 2017 – arrives in Mumbai after traveling to cities such as Paris, London, Ibiza and Berlin over the years. They’ve been particularly known for their immersive event production value, something they promise to bring to Mumbai. A press release says, “Central to the Mumbai debut is The Canvas, the festival’s mainstage, designed as a ‘living painting’ that transforms throughout the day. Surrounded by mirrors, the structure integrates the audience into the artwork itself, making every attendee part of a dynamic, ever-changing masterpiece.” No Art’s upcoming India edition will also include Mirror Cubes, described as “glass light boxes utilize captivating reflections and dynamic lighting to immerse the audience in a sensory experience that blurs the line between artist and spectator.” The lineup marks the India debut for house music artists like ANOTR, Job Jobse, ISAbella, Rooleh and Marlie. DJ-producer Benja, for his part, last performed in India in August 2025 in Kolkata. ANOTR’s Jesse van der Heijden and Oguzhan Guney say in a statement, “For our first-ever edition in India, we wanted to bring the ‘No Art’ soul to a place that truly understands the power of rhythm and expression.” The festival’s founder duo regard Mumbai’s underground music circuit as one that’s teeming with “raw, unapologetic energy.” Their statement adds, “[It’s] a city that thrives on creative friction and soul. By merging architectural installations with the sound of the future with our India debut, we want to broaden minds and create a dialogue that lasts long after the music stops. We’re here to turn an unconventional space into a living memory, proving that when you strip everything else away, the art is all that remains.” Tickets for No Art 2026 Mumbai are now on sale via District, with the early bird backstage access pass priced at ₹9,999 and the premium access pass priced from ₹2,499. Get No Art 2026 Mumbai tickets here. Read More

Entertainment After the global success of ‘Bon Appétit, Your Majesty,’ the rising star is having his film debut with the long-awaited youth romance, ‘Everyday We Are’ Lee Chae-min. Photo: TVN, courtesy of Han Cinema. Lee Chae-min is hitting the big screen, a perfect next step for the rising Korean actor who’s been crushing it in every drama he’s done lately. After stepping in at the eleventh hour to lead the historical hit Bon Appétit, Your Majesty (2025)—which turned him into a global breakout star virtually overnight—he’s now ready for his film debut, Everyday We Are (also known as We Live Every Day), which is finally locked for a February 2026 theatrical release. The movie, originally filmed in 2021, sat on the shelf for years, now serving as a posthumous tribute to his co-star, the late actress Kim Sae-ron. Everyday We Are is a classic “friends-to-lovers” coming-of-age story based on a popular webtoon of the same name. Lee Chae-min plays Oh Ho-su, who runs the risk of ruining his friendship by suddenly confessing his feelings for his best friend Yeo-wool (Kim Sae-ron) just a day before they start high school. As expected, the situation quickly becomes complicated. Arriving in the same classroom the following day, they are forced to handle the awkward consequences of their fractured friendship alongside the bewildering excitement of first love. Joining them in this high school campus love story are Yuju (ex-Cherry Bullet) as the vivacious Ju-yeon and Ryu Ui-hyun as the basketball ace Kwon Ho-jae. What’s also intriguing about this film is that it connects the various versions of Lee Chae-min we’ve seen recently. He has been consistently taking on challenging roles. We saw him play a mysterious student in Hierarchy (2024), then transition to an intense, hot-headed tyrant king in Bon Appétit, Your Majesty, while also embracing the dark side of a villain in Cashero (2025). Now, playing Ho-su in this film, he’s adding the “boy-next-door” vulnerability to his growing repertoire—perhaps a “no-skip” portfolio, proving step-by-step that whether he’s wearing a king’s crown or a high school uniform, he’s got the acting skills to inhabit any character. And while the movie hits theaters soon, Lee is already eyeing his next. He’s currently circling a major new project, a K-drama remake of the hit Japanese novel, The Miracles of the Namiya General Store. It’s a fantasy mystery series about three thieves who take refuge in an old shop and realize they can exchange advice letters with people from decades past. The project may also feature Kim Hye-yoon as Lee’s co-star, with Moon Sang-min approached for a cameo appearance. Read More

Entertainment How Syd Barrett connected Greek mythology, Kenneth Grahame and music, the true modern-day Pan the Piper. Pink Floyd’s inaugural album, The Piper at the Gates of Dawn (released on Aug. 5, 1967) is one of the best psychedelic rock albums of all time. Released at the height of the psychedelic era, its sound is electric, eclectic and strange, an air of whimsy enveloping each track as the band seamlessly shifts from one to another. It’s an album you listen to from start to finish, without skipping a single song.   The Piper at the Gates of Dawn is also a perfect example of the coalescence of the arts, the entanglement of music, lyrics, prose and mythology packaged into one 42-minute, 11-track album. For this album, Syd Barrett, co-founder of Pink Floyd, found his inspiration between the pages of the beloved children’s book The Wind in the Willows from a little-known chapter where the Greek god Pan makes an appearance.  Statue of the Greek god Pan. Schwetzingen Palace, Baden-Wurttemberg,Germany© Horst Lieber “The line of the horizon was clear and hard against the sky, and in one particular quarter it showed black against a silvery climbing phosphorescence that grew and grew. At last, over the rim of the waiting earth the moon lifted with slow majesty till it swung clear of the horizon and rode off, free of moorings; and once more they began to see surfaces—meadows wide-spread, and quiet gardens, and the river itself from bank to bank, all softly disclosed, all washed clean of mystery and terror, all radiant again as by day, but with a difference that was tremendous. Their old haunts greeted them again in other raiment, as if they had slipped away and put on this pure new apparel and come quietly back, smiling as they shyly waited to see if they would be recognised again under it.”  Chapter 7, The Wind in the Willows, by Kenneth Grahame (1908)  The album itself is a blend of space rock progressing into psychedelic pop. “Astronomy Dominé” with Nick Mason’s stutter step frills, Peter Jenner on the megaphone calling out the names of the planets in monotone and delay effects created by Syd Barrett as he puts his guitar through a Binson echo machine. “Interstellar Overdrive” is the frontrunner for psychedelic instrumental rock improvisations mixing in dissonance and Baroque-esque chromaticism to create an unsettling sound. “Matilda Mother,” on the other hand, drops you off right back into your childhood, as your mother reads you a fairy tale. The subtle switch of Richard Wright’s organ solo from the Phrygian dominant scale to Mixolydian as the song fades out, encapsulating that feeling of nostalgia and innocence you experience only as a child. “Flaming” and “The Gnome” coming in with similar darkly whimsical tunes. The trippy, otherworldly effect was mainly due to Pink Floyd implementing a heavy reverb and echo effect thanks to Abbey Road Studios’ custom EMT 140 plates and Barrett recording his vocals in an isolation booth.  “Come on, you raver, you seer of visions Come on, you painter, you piper, you prisoner, and shine”  “Shine On You Crazy Diamond”, Pink Floyd, Wish You Were Here (1975)  Pink Floyd’s The Piper at the Gates of Dawn is also the only one which featured the group’s co-founder Syd Barrett. Back when Pink Floyd was called the Tea Set, Barrett was the one who spontaneously came up with the name Pink Floyd when the group realised the band playing right before them at a gig shared the same name.   Barrett studied at Cambridgeshire College of Arts and Technology before attending Camberwell Art College in London. There, he linked up with architecture students Roger Waters, Nick Mason and Richard Wright to form Pink Floyd.   He created his iconic mirrored-disc guitar by modifying his 1962 Fender Esquire. Barrette shrink-wrapped his Esquire in silver film and attached 15 reflective silver metal plates on the body. The result was that when the light reflected off the discs during shows, it created a psychedelic visual effect for the audience.  Barrett was a talented songwriter, as seen in Piper (where he was the sole writer on all the tracks except “Take Up Thy Stethoscope and Walk,” written by Waters, “Pow R. Toc H.” and “Interstellar Overdrive,” which all four members contributed to. His lyrical style and sound have an air of quaintness laced with psychedelics, evident even his solo albums The Madcap Laughs (1970) and Barrett (1970), probably due to the high amount of LSD he ingested. It was these mind-altering substances that ultimately altered his persona and shattered him completely. Among the many songs written about Barrett, “Shine On You Crazy Diamond” is the most heartfelt tribute.   In late 1967, as Barrett grew increasingly erratic, David Gilmour was asked to join Pink Floyd as a second guitarist to cover for the former while performing. In what would be Pink Floyd’s last practice session under Barrett, he kept changing arrangements of his new song “Have you got it yet?” every take, shortly after which his official exit was announced.   “As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before.”  Chapter 7, The Wind in the Willows, by Kenneth Grahame (1908)  The last the band saw of Barrett was in 1969. By then, he had become a recluse, withdrawing from the world at large. That is until June, 1975, when, as they were recording Wish You Were Here, at Abby Road Studios, (the very same studio where they recorded their debut), Barrett walked in as an unrecognizable apparition. In a strange twist of fate, it was right as they were doing the vocals for “Shine On You Crazy Diamond”. He mysteriously disappeared again into the ether, as though he was Pan the Piper himself. 

Entertainment Peter Claffey in ‘A Knight of Seven Kingdoms’ Steffan Hill/HBO If you tuned into HBO on the night of Jan. 18, or logged onto HBO Max soon after, you would have been greeted with the sight of a man digging a grave under a dark, gray sky. A trip of horses neigh uneasily as a storm rains down upon them. After lowering a body into the ground, the hulking figure with the shovel gives a eulogy. He’s a squire who goes by the name of Dunk, and he’s laying his former master to rest. This elderly knight wasn’t always the kindest, or the most sober of mentors. But given that he virtually raised the orphaned Dunk from boyhood, the young man still mourns his death. The next day, Dunk vows to continue on, in search of adventure. This strapping young lad fancies himself a “Ser,” the title held by the illustrious knights of the realm; the casual namedropping of King’s Landing and Lannisport confirms which particular universe you’re in. He’s heard tales of a tournament in nearby Ashford, where men with boundless bravery and sword skills can make a name for themselves. A recognizable theme — DUN du-du-du-duh Dun, DUH-du-da-du-daaa-DUN — begins playing over the scene. Dunk promises to make his late master proud. He strikes a heroic pose. The theme swells, getting louder… and louder.… … And then the music suddenly drops out and we smash-cut to a shot of Dunk shitting behind a tree. This isn’t a modest movement either. It’s an impressively large and quite violent amount of projectile defecating. Real scatological-geyser kinda stuff. Welcome to the new Game of Thrones spinoff. The origins of A Knight of the Seven Kingdoms go back almost as far as the original Song of Fire and Ice book series that gifted HBO with its biggest blockbuster-TV hit to date. But unless you were familiar with George R.R. Martin‘s “Tales of Dunk and Egg” novellas — the first of which, 1998’s The Hedge Knight, provides the source material for this six-episode prequel — or the way this side project interacts with the larger GoT storylines, you could be forgiven for wandering into this limited series without really knowing it was connected to the massive premium-cable juggernaut at all. Its marketing campaign was modest, especially compared to the rollout given to its sister show, House of the Dragon. (More on that one in a second.) The only dragon that shows up is made of wood and whatever the Westeros equivalent of papier-mâché is, controlled by puppeteers during a makeshift sideshow aimed at late-night drunkards. It does breathe fire, courtesy of primitive theatrical magic, but still. And the fact that Knight immediately subverts any sense of traditional Games of Thrones grandeur by interrupting its statement of purpose with a poop joke tells you everything you need to know about the show as a whole. The kind of epic spectacle normally associated with D.B. Weiss and David Benioff’s game-changing series is conspicuously AWOL, by design; in a recent Hollywood Reporter cover story, Martin confessed that part of the appeal for his corporate overlords in adapting these stories was that they could do it for cheap. Massive battle sequences and “Red Wedding”-style set pieces come with hefty price tags, and while the novellas eventually bring some sound and fury to the table, they owe less to the War of the Roses and more to Chaucer’s bawdy Canterbury Tales. This show isn’t doing chapters in a saga. It’s crafting an offbeat, occasionally raucous buddy comedy over in the saga’s margins. Not that the duo doesn’t play a part in the overarching GoT history. The story takes place roughly a century before the events of the flagship series, and once Dunk (played by Peter Claffey) comes up with his knightly title on the spot — Ser Duncan the Tall — you may remember hearing that name mentioned a few times during the original series. He will eventually become a big deal in the Kingsguard. As for Egg (Dexter Sol Ansell), the bald “stable boy” who Dunk first meets when he rides into Ashford, and who eventually becomes the knight’s squire? It’s worth noting that his ova-centric handle is a nickname derived not from his hairless head but from his actual name, which will seem extremely familiar once it’s revealed in full around the series’ halfway point. Dexter Sol Ansell as Egg in A Knight of the Seven KingdomsSteffan Hill But A Knight of the Seven Kingdoms is, at its heart, a shaggy character study that emphasizes shambling alongside this unlikely twosome over whipping them through one battle after another, and it’s that element that makes it a far more satisfying watch than its fellow spinoff. HBO chased a number of potential ideas for post-Thrones shows, including one that would have followed Jon Snow’s further adventures. The one that got out of the starting gate first was House of the Dragon, which dipped into events 200 years prior to GoT and replicated the original’s mixture of scaly beasties, VFX-heavy set pieces, and palace intrigue rife with sex and violence. The ensemble cast featured a similar combo of established veterans (Paddy Considine, Rhys Ifans), fan-favorite actors (Matt Smith, Olivia Cooke), and freshly minted stars-in-the-making (Emma D’Arcy, Milly Alcock). And the show seemed to have taken all the wrong lessons from Thrones’ notorious car-wreck of a final season, and amplified them. There was a distinct feeling that the creators felt they could simply throw a lot of money, deep-cut mythology, and dragons at the screen, and people would lap it up. The only drama even remotely connected to it was happening offscreen. House has been renewed for a third season, which will be coming soon-ish to a TV screen near you, which could make A Knight of the Seven Kingdoms feel like nothing more than an IP stopgap. But what showrunner Ira Parker’s take on the Dunk and Egg novellas has done instead is render its sister spinoff more or less irrelevant. Like Andor, the critically praised Disney+ show that dropped a trenchant resistance thriller within the Star Wars universe, this scaled-down look at two peripheral characters proves that you don’t need to simply rinse and repeat the same old story, or give

Entertainment Eddie breaks down a powerful new Netflix documentary, Matter of Time, which combines solo concert footage with the story of his family’s charity work on behalf of kids with EB Celebrity charity efforts, however well-intentioned, don’t usually get anywhere close to solving problems for real. But Eddie and Jill Vedder‘s EB Research Partnership, in its 15th year of a sprint to cure a rare, devastating genetic skin disorder, is making actual progress towards its goal. When the Vedders launched their charity in 2010, there were zero treatments for epidermolysis bullosa, and just two clinical trials underway. Now, there are three FDA-approved therapies, which means new hope for parents and kids facing unimaginable suffering. “We’ve celebrated the progress, but the cure is what we’re after,” Eddie says, in a Zoom with Rolling Stone. “This is, scientifically, a solvable problem.” As chronicled in an award-winning new documentary about the Vedders’ quest, Matter of Time, which just hit Netflix, more than 40 clinical trials are currently underway for EB, and the Vedders’ charity has raised more than $80 million so far, funding 180 research projects. The film (directed by Matt Finlin, with a score by Broken Social Scene) is built around concert footage from Eddie’s 2023 solo shows at Seattle’s Benaroya Hall, with EB patients and their parents in attendance. The film also follows the daily struggles of families living with EB — hours of bandage-changing, bleach baths, constant anxiety. But at the center of the narrative is the pure, heart-shattering humanity of kids with the disease, who just want to play with their friends, hug their parents, and be able to look towards a future. “ It feels good to have this in the world,” Eddie says of the film. ”I think people can take a lot from it. Not just in regards to this community, but it’s just more information to know about our fellow man.”  The Vedders learned about EB when Mikey Fullmer, a nephew of Jill’s childhood best friend, was diagnosed. “He was so fragile,” says Jill. “I had young kids that age, and it’s devastating. To think that if you squeeze them too hard, you would hurt them. Playing outside with them, it’s dangerous. You could really hurt them. There’s so many things that can go wrong. I just started to meet all sorts of families, and the bravery of the kids, and these parents — every day is a struggle. Just watching your child in pain, this kind of severe pain that we can’t even compare anything to, it’s heartbreaking. I wanted to help.” “We got a quick education,” says Eddie, “and we were meeting people in the community early on, which was really what got us. Their spirit was contagious. These kids have so much courage. None of us welcomes pain or hardship. But you could say that pain and hardship is where wisdom grows. These kids are wise beyond their years. And it has this subconscious effect of imparting on you all the things that we take for granted — how blessed we are to not have to face these kinds of difficulties on a daily basis, and wanting to do what you can to effect positive change for them.” EB patients born with the most severe forms of the disease lack Type VII collagen, the protein that keeps skin layers together, which means even minor friction causes hard-to-heal wounds. The disease attacks internal organs, too, from the esophagus to the intestines, and patients who survive into adulthood face a high chance of developing aggressive skin cancer.  “It’s quite a painful and in some ways diabolical condition,” says Eddie. “Especially when you consider that it affects not just the skin. It used to be called the most diabolical disease that no one’s ever heard of — that’s not the case now. That’s already one accomplishment that the EB community has met.” The Vedders didn’t originally intend to get involved as deeply as they did. “Because of Ed, people pay attention,” Jill says. “Small donations came in. We had little events. Then it just got to the point where the more money you can raise, and these scientists think they really can cure this — we just wanted to throw as much at them as we could. And I believe them. It’s happening.” Eddie compares it to his work on behalf of the West Memphis Three, who were convicted of murder on dubious evidence in the Nineties, and only released after many years of advocacy in 2011. ”When we got involved with the West Memphis Three, we figured we could raise some money and we could sort it out in a year or two, and it took 15 years of my involvement with other great people,” he says. “That’s this one, too. It’s taking some time. But you know that one of my favorite quotes is, ‘Why swim halfway across the English Channel and turn back?’”  He’s honed a pitch to potential big-dollar donors: “Of all the things you’ve accomplished, of all the large bank accounts you currently hold — wouldn’t curing a rare disease be something you’d like on your résumé?” Their charity operates on a “venture philanthropy” model: When research it funds leads to commercial treatments, EBRP receives a percentage of profits that it invests back into more studies. Angel donors cover all administrative costs, so 100 percent of donations go directly to research. “We run the foundation like a business,” says CEO Michael Hund. “That’s created sustainable philanthropy.”” The most recent success came in April 2025, with FDA approval of Zevaskyn, a cell-based gene therapy for the most severe form of the disease, built on Stanford research that EBRP helped fund. Dr. Jean Tang, a Stanford dermatologist who appears in the documentary, was among the researchers whose work led to the breakthrough, and Eddie was touched to learn she listened to Pearl Jam throughout medical school. “This actually makes you feel like you’ve made a contribution,” he says. Vedder’s performances in the film have a unique intensity, with the lyrics

Entertainment Updated on :  11 Feb 2026, 7:40 pm Another new filmmaker is stepping into Tollywood, and this time it is Gopi Atchara with Hey Bhagawan. Suhas and Shivani Nagaram play the lead pair, while VK Naresh appears in a key role. “I was born and brought up in Vijayawada and worked for three years in a company before entering films,” says Gopi. Interestingly, he began his career in the Kannada film industry. “I worked under Kannada director S Narayan before moving to Telugu cinema.” Revealing that Gopi has known Suhas since their college days, he says, “Suhas was my junior in college. I have been associated with him since Colour Photo.” Interestingly, when he wrote Hey Bhagawan, Suhas was his obvious choice for the lead. “Shivani is also known to us, so we brought her on board as the female lead.” Talking about the film, Gopi described it as a complete entertainer. In the trailer and teasers, the makers have not revealed the exact nature of the profession of Naresh’s character. The story revolves around Suhas’ character wanting to take over his father’s business. When asked whether Naresh plays a sperm donor, Gopi confirms, “Yes, that is the business shown in the film.” He acknowledges that earlier films dealing with similar themes — like Naruda Donoruda and a few others — did not perform well at the box office. “But our film is completely different. We have treated the subject in a purely entertaining way. The father-son bond and their emotions form the core of the story,” he explains. In fact, Gopi watched all of Suhas’ previous films before writing the script. “Though we didn’t reveal Naresh’s profession in the promotional material, it is disclosed at the very beginning of the film,” he says, adding that the story will present Suhas in a new light. “Audiences have a certain image of Suhas, but this role will break those expectations. He will entertain throughout the film.” Admitting that such subjects can be risky, Gopi points out that the team did wonder about the audience’s response. “But we are confident because we have handled it in a fun way without going into topics like fertility or other sensitive issues,” he clarifies. Speaking about casting Naresh, Gopi said he always felt the senior actor was perfect for the role. In recent films, there have been satires referencing Naresh’s personal life. “But in our film, I felt he was ideal to play Suhas’ father. He can handle both classy and mass roles and takes everything positively,” he says. When asked about his inspiration behind Hey Bhagawan, Gopi replies, “There is no specific inspiration. I wanted to tell something new and different.” He added that he enjoys blending entertainment with emotion. “I like feel-good dramas with strong emotional elements.” Explaining the core theme, Gopi notes that while most films focus on mother sentiment, Hey Bhagawan highlights the father-son relationship freshly. “The film will connect with everyone,” he says. Gopi reveals that the title initially faced objections from the Censor Board. “They asked why we chose the title. When I explained the context, they were satisfied,” he says, adding, “In our daily lives, we often say ‘Hey Bhagawan!’ in surprise or frustration. The characters in the film go through similar moments, so the title fits perfectly.” “We haven’t touched upon any controversial issues. From the beginning till the pre-climax, the audience will keep laughing. It’s a complete comedy entertainer with an emotional touch towards the end. The story begins right from the first scene,” he shares. Hey Bhagawan is produced by Narender Reddy and is set to release on February 20. “The producer earlier made a Kannada film, and this is his first Telugu project. He supported us throughout and never compromised on quality,” Gopi concludes. Read More

Entertainment Suhas is playing the lead in the upcoming film Hey Bhagawan. Directed by debutant Gopi Atchera, the film is set to hit the screens on February 20. Shivani Nagaram plays the female lead opposite Suhas.The duo earlier starred together in Ambajipeta Marriage Band. Produced by Surendra Reddy, the makers are planning to unveil the trailer on Thursday. In a fun twist, they have titled the event ‘Not a Trailer Event’. Sai Durgha Tej is attending as the chief guest and unveil the trailer. Over the past two years, Suhas has acted in Prasanna Vadanam, Janaka Ayithe Ganaka, Uppu Kappurambu, Oh Bhama Ayyo Rama, and a few others. Read More

Entertainment Updated on :  11 Feb 2026, 7:28 pm Faria Abdullah seems to be on a signing spree. The actor is currently busy with multiple Telugu projects and is steadily building momentum in her career. After the success of Mathu Vadalara 2, the sequel to the earlier hit Mathu Vadalara, Faria has been gaining attention for her varied choices. Her recent film Gurram Paapi Reddy also turned out to be a success, with her performance receiving appreciation. Meanwhile, the trailer of Bhagavanthudu was recently unveiled, showcasing her in a raw, village-girl role. She is also paired opposite Tharun Bhascker in Gayapadda Simham, and the teaser was released a few days ago. In that film, Faria plays a vlogger — yet another role that stands apart from her previous characters. Now, she has signed yet another project, which will be officially launched on February 18. In this new film, she will star opposite Satyadev. Producer Narendra Reddy confirmed the development, saying, “Yes, we have roped in Faria Abdullah as the female lead opposite Satyadev in our new film, which will be launched on February 18.” Speaking about the project, the producer revealed that the story revolves around two friends, with Viva Harsha playing an important role. Narendra Reddy’s debut production venture, Hey Bhagawan, starring Suhas and Sivani Nagaram, is set for release on February 20. With that film ready for release, he is now gearing up to launch his second project with Satyadev. With multiple films in hand and a range of diverse roles, Faria Abdullah is clearly on a roll. While last year saw only Gurram Paapi Reddy hitting the screens, this year looks much busier for the actress. If all goes as planned, several of her films are expected to release this year, showcasing her in completely contrasting roles. Read More

Entertainment Rounding out the core cast is Cat Hardy (Li Jun Li), a nightclub singer who serves as the city’s star attraction. Though she comes across as someone only looking out for number one, the show suggests her true motives as far more layered, making her a wild card in Reilly’s dark new world. Nicolas Cage stars as a cynical detective in 1930’s New York who is harbouring a massive secret. Haunted by his past and a recent loss, he has to step up as the city’s only superhero, even as his own life as a private eyes falls apart. Featuring the formidable entire cast includes, Academy Award-winning actor Nicolas Cage, Emmy Award-winning actor Lamorne Morris, Li Jun Li, Karen Rodriguez, and Brendan Gleeson. Alongside a guest cast by Lukas Haas, Cameron Britton, Cary Christopher, Michael Kostroff, Scott MacArthur, Joe Massingil, Whitney Rice, Amanda Schull, Andrew Caldwell, Amy Aquino, Andrew Robinson, and Kai Caster. The series is set to premiere across the globe in 2026. ‘Cat’ (Li Jun Li) in a scene from Spider-Noir The Spider (Nicolas Cage) in a scene from Spider-Noir Read More

Entertainment Nikhil Siddhartha from Swayambhu Updated on :  11 Feb 2026, 7:19 pm Nikhil Siddhartha is gearing up for a comeback with Swayambhu, a magnum opus set against a historical backdrop with a strong mythological undercurrent. Directed and written by Bharat Krishnamachari, the film is produced by Bhushan and Sreekar, with producer Tagore Madhu presenting it. With the teaser now unveiled, the makers have kickstarted promotions on a grand note. The teaser opens with the powerful mythology of the Sengol — the sacred sceptre believed to have been gifted to Lord Ram by Lord Shiva. The narrative hints that even this divine symbol faced exile, triggering bloody wars to reclaim it. Set in 985 AD, the film blends elements of Indian history and mythology, promising a visually rich and emotionally intense drama. Director Bharat Krishnamachari expressed gratitude to Tagore Madhu for believing in the story from the beginning. “Then Nikhil came on board and his dedication to the film has been fantastic,” he said. The director also praised cinematographer Senthil Kumar, calling him the backbone of the project. Music for the film is composed by Ravi Basrur. The team had initially planned to release the film on February 13, but due to technical reasons and extended post-production work, the release has now been pushed to April. “Perfection is very important these days. The post-production requires more time, which led to the delay,” said Nikhil, addressing the postponement. “We may be arriving a little late, but we want to present it in the best possible way,” he added. In the teaser, Nikhil appears in one of his most ferocious avatars, transforming into a battle-hardened warrior. Samyuktha is also seen in a powerful warrior role, while Nabha Natesh makes a striking appearance in a strong character. Read More