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‘Raees’ work of fiction, not based on any person: Shah Rukh Khan

Superstar Shah Rukh has debunked the reports claiming that his upcoming film “Raees” is based on underworld figure Abdul Latif’s life, saying the movie is “pure work of fiction”.

The 51-year-old actor along with the makers of the movie including Ritesh Sidhwani and Farhan Akhtar and director Rahul Dholakia has denied that the film has any resemblance to the life of Latif, who structured his empire around illicit liquor.


“In view of certain media reports that claim that the film ‘Raees’ is based on a real-life story and rumours to that effect being circulated, we take this opportunity to clarify that the Story of the film ‘Raees’ is a pure work of fiction, Not based on any person; living or dead.

“All those making such claims, will realise it themselves, once they see the film. It is an imagined crime thriller set against the backdrop of Gujarat,” the makers said in a statement.

The trailer of the movie which is scheduled to release on January 25 has garnered positive response and the team hopes the film will be liked much more.

“We are overwhelmed with the positive and encouraging response showered on the trailer of ‘Raees’ and we certainly hope that the pouring of love shall continue upon the release of the film as well.”

Shah Rukh is co-producing the film under his Red Chillies banner. “Raees” also stars Pakistani actress Mahira Khan and Nawazuddin Siddiqui.

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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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