MEGA EXCLUSIVE: Raveena Tandon and Parineeti Chopra join the cast of Malamaal Weekly 2

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Bollywood Hungama was the first one to confirm in February 2026 that Malamaal Weekly 2 is in the works. Two months later, in April 2026, we revealed that Amit Joshi of Teri Baaton Mein Aisa Uljha Jiya (2024) fame has been signed to direct the comic caper. We now bring you another exciting piece of news from this upcoming project. Bollywood Hungama has exclusively learned that two talented actresses, Raveena Tandon and Parineeti Chopra, have joined the cast of Malamaal Weekly 2. A source told Bollywood Hungama, "Both the actresses are perfect as per the requirement of the script. Hence, the makers were really keen to have them on board. Thankfully, both Raveena Tandon and Parineeti Chopra loved the script and their respective characters. They readily signed the film." The source continued, "Both actresses are talented and have great comic timing. Raveena has proved her worth with the numerous comedies she has starred in during the 1990s and early 2000s, as well as the re...
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Golda review – lifeless Meir biopic hides Helen Mirren’s talent in a cloud of cigarette smoke

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As a drama about the Yom Kippur war, this film is bafflingly dull. As a portrait of Golda Meir, Israel’s prime minister at the time, it’s even worse

Helen Mirren’s latexed and enhanced portrayal of Golda Meir, Israel’s “Iron Lady” prime minister during the 1973 Yom Kippur war, has been overtaken by a debate about “Jewface” casting because Mirren is not Jewish – addressing why Jews are casually excluded from the otherwise fiercely policed sensibilities about authenticity and identity on screen. (Would they get a white actor, for example, to black up as President Anwar Sadat?) It’s a valid and important question, but not exactly the problem in this stately, stuffy and at times almost comatose TV-movie-type drama about tension in Israel’s corridors of power as the Yom Kippur war exploded and the country faced off against Egypt, Syria and Jordan in a battle for its very existence.

Mirren, normally such a sparkling performer, is lumbered with a grey wig, false nose and jowls, with occasional headscarf and handbag, making her look as if she is playing the Queen doing an impression of Richard Nixon. This Golda Meir impassively chainsmokes her way through wooden potted-history dialogue scenes with her military top brass, while everyone blows cigarette smoke at each other; occasionally she takes a break to lie prostrate on a hospital bed, stoically smoking and dying of cancer. Is she going to die? Why not? The film is flatlining.

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