Priyanka Chahar Choudhary confirmed as new Naagin! Ektaa R Kapoor unveils Naagin 7 lead on Bigg Boss 19 with Salman Khan

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The wait is finally over for Naagin fans! On the latest episode of Weekend Ka Vaar, television czarina Ektaa R Kapoor made a special appearance on Bigg Boss 19, joining host Salman Khan on stage — and with her came a major revelation that set the internet buzzing. Kapoor officially announced Naagin 7 and introduced the show’s new lead — Priyanka Chahar Choudhary. The announcement came as a delightful surprise for fans who had long been speculating about the next face of the fantasy franchise. Dressed in her Naagin avatar, Priyanka made a stunning entry on the Bigg Boss stage, performing a captivating act that marked her grand return to television. The actress, who rose to fame with Udaariyaan and became one of the most loved contestants on Bigg Boss 16, is now ready to embrace her most powerful role yet. Expressing her excitement, Priyanka shared that the role of Naagin has been a dream come true. She revealed that this opportunity was first hinted at during her stint in the Bigg Bos...
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‘Older straight men hated my films with a vengeance’: how 90s queer film-makers shook up cinema

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From trans lives to celebrations of drag, queer film pulled no punches as it hit screens in the 90s with a DIY bravura that transformed the movie industry

Queer film exploded like a glitter cannon in the 1990s, sending sparkling product raining down in every direction. Trans lives hit the screen in Orlando and Boys Don’t Cry, alongside dynamic bulletins from the Black queer experience (The Watermelon Woman, Young Soul Rebels, Chocolate Babies). We had jubilant celebrations of drag with Paris Is Burning and The Adventures of Priscilla, Queen of the Desert, provocations from New Queer Cinema in the shape of Poison, Swoon and Edward II; there were auteurist masterpieces (Beau Travail, Happy Together) and timeless coming-out stories (Beautiful Thing, Show Me Love). The Wachowski sisters, Lisa Cholodenko, François Ozon and Bruce LaBruce all made their debuts; Pedro Almodóvar and Gus Van Sant went stratospheric. Benefiting from a surge in the fortunes of independent cinema, and a defined focus for anger brought about by Aids activism, queer film was a commercial force for the first time.

The decade can in one sense be reduced to a tale of two kisses. First came the smooch that never was, in the 1993 Oscar-winner Philadelphia, the first Hollywood movie about Aids after nearly a decade of independent ones such as Buddies, Parting Glances and Longtime Companion (each of which was made by a director who later died of complications from the disease). Despite Tom Hanks and Antonio Banderas in Philadelphia playing lovers in a long-term relationship, their public displays of affection are restricted to a single slow dance at a party. Compare this to Dakan (Destiny), a raw love story between male high-school friends, which was shot four years later in the west African country of Guinea. In the opening scene, two young men are making out in a convertible. There is no coy buildup or timid flirtation: these lovers are already snogging with a ferocity that makes the face-huggers from Alien look diffident.

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