Niren Bhatt discusses the societal metaphors in Maddock Films' horror comedy universe
By Eastern EyeAug 24, 2024
THE Maddock Films horror comedy universe is known for highlighting societal issues, and in Stree 2, the latest addition, Sarkata serves as a representation of the flaws within patriarchy, according to writer Niren Bhatt.
Bhatt, who left a lucrative corporate career in 2007 to pursue a passion for screenwriting, is thrilled with the success of Stree 2, although he admits that the overwhelming response has been "a bit crazy."
"People have been eagerly anticipating this film for six years, but we didn't focus too much on the expectations," Bhatt said, referring to the highly awaited sequel to the 2018 hit Stree, which premiered on August 15 and is approaching the ₹500 crore (£45.1 million) mark globally.
Bhatt, who also penned other successful films in the franchise like Bhediya and Munjya, explained that each character in these films symbolises different societal themes.
"While some viewers feel there's too much humour and not enough horror, or vice versa, these aren't typical horror movies. Our ghosts are metaphors for societal flaws. Sarkata, for example, embodies the most twisted aspects of patriarchy," he noted.
He added that the character of Stree symbolises matriarchy rather than being a traditional witch, while Bhediya represents the protector of the forests.
"We've designed these characters to reflect real societal issues rather than supernatural phenomena," Bhatt told PTI in an interview.
While Stree revolved around a female ghost, who was wronged in her mortal life, its follow-up focuses on a headless villain called Sarkata with a connection to the eponymous character.
Directed by Amar Kaushik, the new film brings back the original star cast of Rajkummar Rao, Shraddha Kapoor, Abhishek Banerjee, Pankaj Tripathi, and Aparshakti Khurana.
Stree 2, which follows Sarkata abducting women with an independent voice, hits harder in the backdrop of the Kolkata alleged rape-murder and the Justice Hema Committee report on women's exploitation in Malayalam cinema.
Bhatt, who keeps his ear close to the ground, said it's unfortunate that these incidents have become a norm.
"This happens every day. It's just this one incident that has been highlighted by the media and we are so shaken about. I follow current trends very closely. You know this is happening, but you try to think about something else tomorrow because you also have a life to lead and you can't always think that you are living in such horrible times. But it all keeps playing in the back of our mind."
In one of the key scenes in Stree 2, Sarkata demolishes the statue of Stree, the guardian of Chanderi, to declare the beginning of his reign.
The writer, whose credits also include hit Gujarati films Bey Yaar, Wrong Side Raju, as well as TV shows Taarak Mehta Ka Ooltah Chashmah, said he wanted to recreate the 2003 incident in Baghdad where civilians and US forces destroyed a large statue of Saddam Hussein to mark the end of his rule in Iraq.
"It's a famous metaphor... Whenever there is a change of regime, the first thing they do is demolish the very symbols of the establishment. It was a similar situation in Bangladesh recently," he said referring to how protesters in Bangladesh destroyed a statue of founder Sheikh Mujibur after his daughter Sheikh Hasina resigned as prime minister and fled the country amid political unrest.
Not just politics, Bhatt's writing is filled with pop culture nostalgia too. Be it a hat-tip to Marvel supervillain Thanos in Bala or a reference to Bryan Cranston's "I am the danger" one-liner from Breaking Bad and Rasode Mein Kaun Tha meme from Saath Nibhana Saathiya in Bhediya.
"I love using pop culture references. The story and screenplay has to be there and I try the line that brings the reference has to go with the character and scene. It makes sense and it also makes those people laugh who get the reference."
Stree 2 is no different. There are hat-tips to Harry Potter, Star Wars, Mission: Impossible, Avengers, King Arthur, and even Sufi philosopher Rumi.
"I have many favourites but in Stree 2 the one I enjoyed the most was Sahi aur galat ke pare ek maidaan hai wahan milti hai woh," the writer said, referring to Rao's dialogue when his friends ask him where does he meet the mysterious woman he's in love with.
One can't forget Khurana singing Soft Chitty, the hilarious Indian version of Soft Kitty from The Big Bang Theory, and Bhatt, a fan of the American show, said he had fun sneaking that reference.
"Soft Kitty, Warm Kitty is an integral part of my life. I'm a big fan of the show. My whole family is crazy about it. Amar also loves it."
With over a week of its release, both 'ghosts' and cameos – by Akshay Kumar and Varun Dhawan as Bhediya – are out of the bag.
But Bhatt said he didn't write a key character with Kumar in mind. Kaushik, who is producing the superstar's upcoming film Sky Force, approached Kumar and he agreed.
"It was sheer madness. He did something we grew up watching him do in films like Hera Pheri and Khiladi. His trademark humour."
How did he come up with Tu Bhediya hai, Animal mat ban, a line with a clear reference to the controversial Ranbir Kapoor-starrer Animal?
The writer said he didn't; it was Banerjee's improvisation.
"He is a crazy guy, he can come up with anything at any time. Some random but very funny lines."
Love for Shah Rukh Khan is also a constant in Stree films and Bhatt said there's a "great temptation" to include such tributes in the script.
"Who doesn't love Shah Rukh Khan? This film has become such a huge hit, we hope we get to work with him some time soon."
With Stree 3, Bhediya 2, Munjya 2, and Thama (previously titled Vampires of Vijay Nagar), there is "more fun" to be had in the Maddock Films universe.
But Bhatt said he cannot reveal much at this point. (PTI)
Lauren Sánchez didn’t need a red carpet to mark her pre-wedding celebration, just a close circle of friends and the charm of Paris. Days before tying the knot with Jeff Bezos, the former TV anchor turned aviation entrepreneur spent a laid-back but lavish weekend in the French capital with a dozen women she calls her pillars of strength.
The guest list was anything but ordinary. Kim Kardashian, Kris Jenner, Katy Perry, Eva Longoria, and a few other familiar faces from business, entertainment, and media joined Sánchez for what looked like a celebration of sisterhood rather than a spectacle. Over the course of two days, the group dined at chic spots like Lafayette’s and cruised through the city on a private boat, all while keeping things relatively low-key by celebrity standards.
From clinking espresso martinis to dancing to Earth, Wind & Fire, the vibe was expensive, chill, and relaxed. The celebration wrapped with a surprise vanilla meringue cake and laughter under the Paris sky.
Sánchez shared heartfelt moments on Instagram, calling her friends “the women who’ve lifted me up and shaped my heart.” The photos, mostly in black and white, showed candid rooftop laughs and cosy robe moments, far from the polished party shots one might expect.
Inside Lauren Sánchez’s Paris bachelorette Instagram/laurenwsanchez
Her outfit choices, too, while expensive, leaned into romantic minimalism. A short white Oscar de la Renta dress with 3D florals and a vintage pink Chanel bag added soft glamour to the weekend.
Heartfelt moments and low-key glam defined Sánchez’s pre-wedding celebration in Paris Instagram/laurenwsanchez
Sánchez and Bezos, who went public in 2019, got engaged in 2023 on board his yacht Koru, where he proposed with a rare 20-carat pink diamond worth approximately £15 million (₹160 crore). Their wedding is expected in June on the coast of Venice, Italy, although they’ve been tight-lipped about the specifics. Italian officials have already reassured locals that the ceremony will not disrupt the city.
A candid moment with Sánchez and her closest friendsInstagram/laurenwsanchez
Beyond the headlines and designer outfits, Sánchez’s celebration in Paris was about a woman pausing to honour the relationships that helped her grow, before stepping into a new chapter as Mrs. Bezos.
Ever walked into a cinema, popcorn in hand, all hyped for a big new Hindi release – only to realise, halfway through, that you have seen the exact same story before, just in another language? That weird sense of déjà vu has become all too familiar for Bollywood audiences in recent years, with one remake after another. Many are based on South Indian hits.
From Vikram Vedha to Shehzada, Bholaa to Selfiee, Bollywood seems to be treating South Indian blockbusters like a catalogue to borrow from. But here is the problem – most of them did not work. Not just with critics, but at the box office too. Which raises the obvious question: if the originals were such big hits, why can’t the Hindi versions strike gold?
The numbers do not lie Let us look at the figures.
The Tamil film Vikram Vedha (2017) was made on a budget of £103,695 (₹11 million) and earned £5.66 million (₹600 million). It had strong writing, originality, and standout performances. The 2022 Hindi remake starring Hrithik Roshan and Saif Ali Khan, despite slick production, was a costly misfire.
Bholaa, a remake of Kaithi, leaned too heavily on visual effects and forgot the raw, gritty storytelling that made the original shine. Made for £8.8 million (₹1 billion), it only grossed £9.7 million (₹1.1 billion) worldwide. Compare that with Kaithi, made for £2.2 million (₹250 million), which earned over £9.3 million (₹1.05 billion) – without big stars or CGI. This pattern keeps repeating itself.
Selfiee, based on Malayalam hit Driving Licence, flopped. Shehzada tried to replicate the success of Ala Vaikunthapurramuloo and failed miserably. Sarfira, based on Soorarai Pottru, came and went without impact. Even Baby John (a version of Theri) and Deva (inspired by Mumbai Police) could not turn strong originals into Hindi box office hits.
Ajay Devgn in Bholaa
Star power is not enough These numbers paint a clear picture: the remakes are not connecting. But what about star power? Salman Khan, Akshay Kumar, Shahid Kapoor, Hrithik Roshan, Kartik Aaryan – surely such big names should guarantee success? Unfortunately, it is not that simple anymore.
Audiences are smarter now. Thanks to streaming platforms, dubbed versions and social media buzz, many have already seen the originals – or at least know the storyline. So when the Hindi version arrives, it often feels stale.
Hrithik Roshan in Vikram Vedha
What is missing from the remakes? Successful films rely on many elements – chemistry between the leads, emotional tone, pacing – things you cannot script or transplant.
Take Vinnaithaandi Varuvaayaa. The chemistry between Silambarasan TR and Trisha felt electric, rooted in the film’s deeply emotional story of unrequited love. The Hindi remake Ekk Deewana Tha, with Prateik Babbar and Amy Jackson, lacked that connection.
Okkadu had raw energy, with Mahesh Babu anchoring the emotional weight. Ghilli, its Tamil counterpart, had similar intensity with Vijay’s charismatic presence and high-octane action. But the Hindi version Tevar lacked the same punch and raw emotion.
Similarly, Theri worked because of Vijay’s stardom, Atlee’s direction, and its emotionally driven story. Baby John has not captured that same feeling.
Mahesh Babu in Okkadu
Audiences want originality Here is the real kicker – audiences are not rejecting South Indian cinema. In fact, they are embracing it. Baahubali 2, the Pushpa and KGF franchises, RRR, Kantara – all became massive pan-India hits. The appetite for regional content is real.
What people are rejecting is lazy filmmaking – the idea that simply changing the language, inflating the budget, and casting a big Bollywood name is enough.
What works today is originality. Films like 12th Fail and Article 15 resonated because they told new stories. Even blockbusters like Pathaan and Jawan succeeded by playing to their own strengths – not copying someone else’s.
RRR
A call for change So what should Bollywood do? The answer is simple: focus on originality.
Stop leaning on South Indian remakes. Start backing fresh, innovative stories that speak to today’s diverse audience. The success of South Indian films lies in their ability to connect emotionally, to create real characters and tell untold stories. Bollywood needs to find that magic again.
In the end, remakes may seem like a safe bet – but they are not always the solution. Why settle for déjà vu when you can create something unforgettable?
The audience has evolved. Maybe now, it is time the industry asked itself: has it?X: @GeorgeViews
Keep ReadingShow less
Ananya Panday gets candid about body shaming on Lilly Singh’s podcast
Ananya Panday is no stranger to the spotlight, but she’s also tired of being stuck under a microscope. In a recent chat with Lilly Singh on her podcast Shame Less, the actor spoke honestly about the constant criticism of her body and the double standards women face in the film industry.
Ananya recalled the early days of her career when, at 18, she was mocked for being too thin. Terms like “chicken legs” and “matchstick” were thrown at her regularly. “They said I had no boobs, no butt, like a flat-screen,” she shared. Fast forward a few years, and as her body naturally changed, new rumours popped up, but this time accusing her of undergoing cosmetic surgery. “Now they say I’ve had my butt done. You can never win,” she said.
What hits harder for Ananya is that this scrutiny often comes from other women. “The harshest comments I get are from women. I rarely see this happening to male actors,” she said, pointing out the gender gap in how public figures are judged.
But Ananya doesn’t shy away from taking responsibility either. She admitted that Bollywood films, including some of her own, have pushed unrealistic beauty ideals. “We’ve shown women waking up with perfect hair and makeup. That’s not real life. I’ve been part of that narrative, and I’m trying to be more aware of it now,” she said. Off camera, she tries to keep things real, reminding her followers that what they see on screen isn’t always the truth.
This honesty is, in fact, a shift in Ananya’s journey, from someone who once felt pressured to fit in, to an actor willing to question the norms she’s grown up with. Her recent work also reflects that change. From light-hearted romances to more grounded roles like her turn as a lawyer in Kesari: Chapter 2, Ananya is clearly making deliberate choices.
Women in the public eye are constantly judged, but it’s time to break that cycle. “If I talk about it, maybe one other girl will feel less alone,” she said. That, perhaps, is the quiet power behind her loudest statement yet.
Keep ReadingShow less
Angelina Jolie stuns in a strapless nude gown on the Cannes 2025 red carpet
After a long break from the Cannes spotlight, Angelina Jolie stepped back onto the red carpet, quietly commanding attention without theatrics. It’s been nearly 14 years since she last appeared at the French film festival, but her recent appearance shows she never really left the scene, she just chose when to re-enter it.
At the premiere of Ari Aster’s Eddington during the 78th Cannes Film Festival, Jolie arrived in a strapless white and silver gown designed by Brunello Cucinelli, a label she often turns to for its classy, minimalist elegance. The look was elevated with diamond accessories from Chopard, adding just enough sparkle without overwhelming her understated style.
Jolie keeps it classic in Brunello Cucinelli with Chopard diamonds for Eddington premiereGetty Images
The nude-toned dress was detailed with subtle embroidery and featured a structured A-line silhouette. Its fitted bustier, square neckline, and flowing hem were all about clean lines and classic femininity: nothing flashy, just well-crafted. Her choice of accessories followed the same theme: a pear-shaped diamond pendant, teardrop earrings, and a striking ring.
Her hair was styled in soft waves, parted to the side, and her makeup was balanced with wine-toned nails, muted smoky eyes, a soft pink lip, and feathered brows that framed her face.
The actress makes a graceful return to Cannes after 14 years awayGetty Images
Jolie took on the role of Trophée Chopard godmother this year, an honour that involves presenting an award to two emerging talents in cinema: Marie Colomb and Finn Bennett. The award celebrates the future of film, and Jolie’s presence felt fitting. Over the years, stars like Julia Roberts, Cate Blanchett, and Charlize Theron have taken on this role, and Jolie now joins that distinguished list.
For the Trophée Chopard dinner, Jolie wore a simple one-sleeved gown with a slit, paired with ankle-strap heels and silver earrings. She kept her makeup light and her hair down, opting for ease over excess.
Angelina Jolie interacting with fans Getty Images
Though she’s been away from the Cannes red carpet, Jolie hasn’t been out of sight. Her recent film Maria, based on opera legend Maria Callas, kept her on the awards circuit earlier this year. She also made headlines as a producer of the Broadway musical The Outsiders, which went on to win big at the 2024 Tony Awards.
Jolie keeps her style effortless for Cannes 2025Getty Images
Angelina Jolie’s Cannes appearance was a glorious comeback. But more than that, it was a quiet reminder of who she is: a woman of style, substance, and selective presence.
The buzz around King, Shah Rukh Khan’s upcoming action-thriller, just got bigger. Rani Mukerji is officially part of the film, stepping in for a role that’s brief but deeply important. Shooting begins on 20 May in Mumbai, with an international schedule to follow.
King is being helmed by Siddharth Anand, the director behind Pathaan and War. This film will not only mark SRK’s return to a high-action role, where he plays an assassin, but also introduces his daughter, Suhana Khan, to the big screen. The cast includes Deepika Padukone, Abhishek Bachchan, Anil Kapoor, Jackie Shroff, Arshad Warsi, Jaideep Ahlawat, and Abhay Verma, making it one of the biggest star-studded projects in recent memory.
The iconic duo returns to the screen after more than a decadeGetty Images
Rani Mukerji joins the cast in a special cameo as Suhana Khan’s mother. While she’s expected to shoot for just five days, her role is far from minor. Insiders say her character is central to the story’s emotional arc and serves as a turning point in the larger action narrative.
This is also Rani and Shah Rukh’s reunion after more than a decade. The two have a long list of hits together, from the iconic Kuch Kuch Hota Hai to Kabhi Khushi Kabhie Gham, and their on-screen chemistry is considered the gold standard. Their scenes in King are expected to tap into that nostalgia while adding a fresh layer to the story.
Sources say it didn’t take long for Rani to say yes. The part, though short, left a strong impression on her. “She heard the story and agreed instantly. It’s a powerful role that holds the emotional thread of the film,” one source shared.
Rani Mukerji will join Shah Rukh Khan for the much-awaited KingGetty Images
Interestingly, earlier buzz suggested that Deepika Padukone might play Suhana’s mother in the film, but the final decision went to Rani. This change seems to have added an extra edge to the film’s casting.
Currently in pre-production, King is aiming for a release sometime between October and December 2026. With a cast this strong and a fresh mix of family, action, and suspense, the film is shaping up to be a major event not just for Shah Rukh fans, but for Bollywood itself.