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Akshay, Kareena, Diljit and Kiara to star in Karan Johar’s next Good News

A couple of days ago, we had reported a story stating that superstar Akshay Kumar and Kareena Kapoor Khan were in talks with filmmaker Karan Johar to topline his next production venture. Today, the makers officially announced the project along with revealing its title.

Also starring Punjabi singer-actor Diljit Dosanjh and Kiara Advani in pivotal roles, Dharma Productions’ next is titled Good News. Last seen together in the Sabbir Khan-directed romcom Kambakkht Ishq (2009), Akshay Kumar and Kareena Kapoor Khan reteam after a massive gap of almost a decade.


Good News will be helmed by debutant Raj Mehta, who has previously assisted Karan Johar’s protégé Shashank Khaitan on such successful films as Humpty Sharma Ki Dulhania (2014) and Badrinath Ki Dulhania (2017).

According to reports, the movie is set to mount the shooting floor later this year. It will be co-produced by Dharma Productions in association with Akshay Kumar’s Cape Of Good Films.

Good News will roll into cinemas on July 19, 2019.

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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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