SCOOP: Shah Rukh Khan and Siddharth Anand LOCK Christmas 2026 release for King; Announcement on the way

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After the historic success of Pathaan, Shah Rukh Khan and Siddharth Anand are reuniting for the second time on King. The film rides on a stellar star-cast with Shah Rukh Khan, Deepika Padukone, Anil Kapoor, Rani Mukerji, Abhishek Bachchan, Jaideep Ahlawat, Arshad Warsi, Suhana Khan and Abhay Verma among others. Over the last few days, there has been a historic buzz around the release date of this tentpole actioner. Bollywood Hungama is bringing to all the readers an exclusive scoop on King. Reliable sources have confirmed that Shah Rukh Khan and Siddharth Anand have locked a Christmas 2026 release for King. "The duo of SRK and Sid were brainstorming several options for their release, and the two in the forefront were - December 4 and December 25. After weighing all options, they have locked a Christmas 2026 release for their action packed entertainer." The source also informed us further that the film is skipping the iconic December 4 window due to Ramayana. "SRK and S...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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