27122025-LSTL-01.qxd 12/27/2025 12:08 AM Page 1 c m y b MAYHEM TO RE-RELEASE Kapil Sharma’s Kis Kisko Pyaar Karoon 2 is set for a theatrical re-release in January 2026. Despite limited screens during its initial run, the comedy sequel delighted audiences with its situational humour and light-hearted chaos. Fans can once again enjoy Kapil juggling four marriages in this entertainer. TRIBUNE Office-quake Life Dhurandhar crossed ~1,000 cr at the worldwide box office in 21 days, driven by a strong domestic and overseas run. On Christmas Day, it earned ~28.60 cr net in India, taking its total in India to ~668.80 cr. LUDHIANA | SATURDAY | 27 DECEMBER 2025 From breakout performances to bold choices, a defining year for newcomers Yathesht Pratiraj Phool I F there’s one thing 2025 quietly proved, it’s this: Bollywood debuts aren’t what they used to be. Gone are the days when a big surname and a glossy launch were enough to seal the deal. This year, newcomers — many of them star kids, yes — had to hold attention, not just grab it. And surprisingly, several did. AHAAN PANDEY When romance still works Romantic heroes aren’t extinct—Ahaan Pandey proved that with Saiyaara. There’s something about his screen presence that feels approachable. Not polished to perfection, but warm, earnest, and emotionally open. Younger viewers, especially, latched on fast. The Class of 2025 Daayra Filming has wrapped on Daayra, the upcoming investigative crime thriller directed by acclaimed filmmaker Meghna Gulzar and starring Kareena Kapoor Khan and Prithviraj Sukumaran. Jointly produced by Junglee Pictures and Pen Studios, the film has now moved into post-production and is slated for a theatrical release in 2026. Described as a gripping investigative drama, Daayra examines how a single diabolical act can set off equal and opposing reactions, splintering opinions across society. The film avoids easy conclusions, instead prompting reflection and debate through morally complex ANEET PADDA The quiet surprise While Saiyaara introduced a heartthrob, it also gave us Aneet Padda, arguably the film’s emotional anchor. She didn’t arrive with massive hype or constant headlines, yet her performance lingered. That’s rare. Her acting felt lived-in — no extra frills, no dramatic exaggeration. Sometimes, she simply reacted, listened, paused. Those pauses mattered. In a debut year filled with noise, Aneet stood out by keeping things grounded. Honestly, that restraint might become her biggest strength. RASHA THADANI Confidence, camera, action Then came Rasha Thadani — and she came in loud. Her dance number Uui Amma from Azaad exploded online. But beyond the moves and glamour, there was confidence. The kind that says, “I know the camera’s watching and I’m fine with that.” Her expressive style and fearless energy made her debut hard to ignore. Sure, the buzz started with the dance, but it stayed because she looked comfortable owning the frame. That comfort usually takes years. Rasha seemed to find it early. situations that linger beyond the narrative. Gulzar brings her trademark sensitivity and narrative precision to the project, shaping a story designed to be both intellectually engaging and emotionally resonant. The film is anchored by nuanced performances from Kapoor Khan and Sukumaran, supported by a strong ensemble cast that adds depth and gravitas to its layered world. Daayra marks Gulzar’s third collaboration with Junglee Pictures, following the critically acclaimed Talvar and Raazi, continuing a creative partnership known for socially resonant, conversation-starting cinema. Voice between worlds Palestinian actor and director Mohammad Bakri, whose career spanned decades across Arab and international cinema, has died aged 72, according to media reports. He passed away on December 24 in Israel after suffering from heart problems. Born in northern Israel, Bakri rose to international prominence with Beyond the Walls (1984), a searing prison drama that earned an Academy Award nomination for Best Foreign Language Film. He later became known to global audiences through television roles, including as the fictional Vice President of Afghanistan in Showtime’s Homeland, where his unpredictable performance unsettled Claire Danes’ CIA agent Carrie Mathison. — ANI When music took centre stage Indian singing reality shows were once unforgiving arenas where musical excellence alone determined survival. Today, says Bollywood playback singer Abhijeet Ghoshal, they are increasingly shaped by market demands, emotional narratives and popularity metrics rather than pure talent. Ghoshal, winner of 11 seasons of the iconic television show Sa Re Ga Ma Pa, recently reflected on how dramatically the format has changed over the years, arguing the soul of such competitions has been diluted. SHANAYA KAPOOR Substance over safety You know what? Shanaya Kapoor didn’t take the obvious route. Instead of a breezy, forgettable debut, she stepped into Aankhon Ki Gustakhiyan with a role that demanded emotional control and quiet intensity. Her portrayal of Saba wasn’t loud or flashy — it was measured, almost restrained. And that worked. Critics noticed her screen presence and sincerity, especially in scenes that relied more on silence than dialogue. It felt like she trusted the material, and the audience trusted her back. Add to that the buzz around the teaser of her upcoming thriller Tu Ya Main and it’s clear Shanaya’s playing a long game. Slow build, steady choices, real promise. Playback singer Abhijeet Ghoshal on how Indian singing reality shows shifted from musical rigour to market spectacle Recalling his time on Sa Re Ga Ma Pa, Ghoshal described a gruelling, music-first environment that left little room for comfort. “We had to shoot three episodes in a single day. That meant singing around 12 songs in one day and hardly three of those were our own choice,” he said. “The rest were decided based on the next contestant and mostly by the judges.” Often, contestants were required to sing the antara of a song chosen by another participant. Preparation time was minimal. “We would get only 20 to 25 minutes to learn three completely new songs and then shoot everything the same day,” he said. approach felt refreshing, like a slow-burning playlist you return to unexpectedly. IBRAHIM ALI KHAN: The closely watched first step Few debuts came with as much anticipation as Ibrahim Ali Khan’s. With Nadaaniyan and Sarzameen, expectations were high, reactions mixed, con- versations endless. What worked? His ease in front of the camera. What didn’t always land? The uneven material. But here’s the thing — 2025 felt less like a verdict and more like a first chapter. ARYAN KHAN Changing the script And then there’s Aryan Khan, who didn’t act at all. Instead, The Bads of Bollywood showcased his dark humour, sharp writing and a clear creative voice. By choosing storytelling over stardom, he quietly redefined what a “debut” can mean. No red-carpet heroics. Just content that sparked discussion. (With inputs from Dharam Pal) c m y b Perfectionist judges What set the competition apart, Ghoshal noted, was the calibre of the judges and the standards they upheld. “Naushad Saheb, Khayyam Saheb, Pt Shivkumar Sharma, Rashid Khan, Gopi Nayyar, even Vishal Bhardwaj — their expectations were so high you had to give your “Earlier music shows were actually about music. A good singer would advance on merit,” he said. “Now it is about whose mother is sick, whose family is struggling, whose tragedy is bigger.” Summing up the transformation, he added: “Earlier everything was music-driven. Now it is market-driven.” Dangerous confidence trap Beyond format changes, Ghoshal warned of the psychological risks posed to young contestants. “Another very dangerous trend is when people casually say, ‘Arre, according to me he sang very well,’” he said. “That poor kid from a small town hears this and thinks, ‘ Wow, I am better than great singers.’” Relentless musical boot camp VEER PAHARIYA Less noise, more control While many debutants leaned into visibility, Veer Pahariya went the other way. His entry via Sky Force was disciplined, controlled, almost understated. Playing an Indian Air Force officer isn’t easy — you can’t fake authority or physicality. Veer didn’t try to overshadow the film. He blended into it. And strangely enough, that made people notice. In a year full of high-energy debuts, his grounded It’s a wrap for Still evolving absolute best,” he said. “That was the real test of a singer.” Advancement was strictly merit-based, with little tolerance for mediocrity. From riyaaz to ratings According to Ghoshal, the structure of today’s singing reality shows reflects a fundamental shift in priorities. “Now things are different. Amazing talent still comes, but contestants only have to sing one song a week,” he said. “Publicity and popularity elements are much bigger.” He pointed to the growing emphasis on emotional backstories. “In every other episode, you will see a contestant saying, ‘My mother works as a maid,’ ‘My father pulls a rickshaw,’ ‘My parents polish shoes,’ and so on,” he said. “The stories feel repetitive and the audience can sense something is off.” Emotion over excellence Ghoshal believes the balance has tilted away from music. Despite his criticism, Ghoshal remains active on the music circuit, performing across the country and blending devotional music with Bollywood melodies. He recently won the Clef Music Award for Damroo Bajaye and his self-written and composed Khatu Shyam bhajans are set to be released soon on T-Series.