After Naagzilla with Kartik Aaryan, Karan Johar sets up another creature universe with Rajkummar Rao

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Rajkummar Rao is on a roll, signing films left right and centre after the success of Stree 2. While Maalik is all set to release on July 12, we have exclusively learnt that Rajkummar Rao has signed a one of its kind creature film for Karan Johar to be directed by Sandeep Modi. Reliable sources confirm that the film will go on floors towards the end of 2025, with a start-to-finish schedule. "Rajkummar Rao has signed on for Karan Johar's next with director Sandeep Modi. It's a creature-based thriller, to be mounted on a big scale and the makers are looking to create a franchise out of the same," a source shared with Bollywood Hungama. The source further informed us that the film will go on floors around November 2025, and the director, Sandeep Modi, has already begun pre-production. “Rajkummar Rao has signed the film for an agreed sum of Rs. 12 crores, which is his biggest pay cheque to date. He is excited to partner with Karan Johar on the project,” the source added....
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Ziggy Stardust and the Spiders from Mars review Bowie bids farewell to an icon in legendary gig

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DA Pennebaker’s documentary offers moving moments and raw immediacy as the musician takes on his final performance as Ziggy Stardust

DA Pennebaker’s record of David Bowie’s final concert on the Ziggy Stardust tour at London’s Hammersmith Odeon in 1973 (Bowie is part of the reason we will never be reconciled to saying “Eventim Apollo”) is rereleased after a restoration. It was the legendary “all killer no filler” gig at which, in the presence of the Spiders from Mars – Mick Ronson (guitar), Trevor Bolder (bass), Mick Woodmansey (drums) – he retired his Ziggy Stardust persona, announcing to a stunned crowd that it was the last time he would ever play (as Ziggy).

The show itself, in which Bowie and band members appear starkly key-lit in darkness, with the crowd glimpsed briefly and almost stroboscopically, looks intriguingly intimate, like something at a much smaller club venue. The concert is straightforward and almost minimalist in its staging and Bowie’s cheeky theatrical genius and rackety exotica has something panto about it. Often, the piano and sax lines in Changes give the event a Vegas-residency feel, although no Vegas residency, even in 1973, would be so austerely presented. (Aladdin Sane is incidentally, along with “the Beatles”, a phrase which has transcended its own wordplay origins.)

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