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Taapsee Pannu to news channels: Thank you guys, you held the fort of entertainment long enough on our behalf

Indian news channels have been reporting a lot of unwanted things, and many Bollywood celebs were upset it. We won’t be wrong if we say that some news channels have become a source of entertainment for many viewers.

Well now, theatres in India are all set to reopen soon with an occupancy of 50 percent, so Taapsee Pannu decided to take a dig at the news channels. The actress tweeted, “Now that theatres are allowed to open with 50% occupancy its only fair to expect some ‘news’ channels to focus 50% more towards ‘real’ news. Thank you guys, you held the fort of entertainment long enough on our behalf. We can take over from here on. #SharingCaring.”


We must say that Taapsee has a great sense of humour.

Talking about her movies, the actress was last seen on the big screen in Anubhav Sinha’s Thappad. It was an amazing movie and Taapsee impressed one and all with her performance in it. She currently has movies like Haseen Dillruba, Shaabash Mithu, Rashmi Rocket, Loop Lapeta, and Anurag Kashyap’s next in her kitty.

A few days ago, there were reports that she will be seen opposite Shah Rukh Khan in Rajkumar Hirani’s next. However, the film has been not officially announced.

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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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