FACT CHECK: Paresh Rawal has NOT quit Hera Pheri 3 again; old Bollywood Hungama report from 2025 gets picked up as fresh news

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Exactly a year ago, Bollywood Hungama reported what was probably one of the biggest newsbreaks of 2025 – Paresh Rawal had quit Hera Pheri 3. It shocked the trade, the industry, fans and even the team of the film. A few days after this news broke, Akshay Kumar’s Cape of Good Films, the producer of Hera Pheri 3, sued Paresh Rawal for Rs. 25 crores. A couple of days later, Bollywood Hungama published another report stating that Paresh Rawal had returned the signing amount of Rs. 11 lakhs with 15% p.a. interest, along with some additional money for stepping away from the series. A few weeks later, Paresh Rawal and Akshay Kumar resolved the matter, and the former returned to the franchise. The issue was put to rest and had even become history. But now, amusingly, it is back in the news. On Saturday, reports started coming in that Paresh Rawal has once again quit Hera Pheri 3. Interestingly, these reports carried the same information that Bollywood Hungama had published exactly a year ago –...
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American Graffiti at 50: a classic hangout comedy with a surprising melancholy

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George Lucas’s 60s-set tale of California teens offers some freewheeling fun but also a lingering sadness

Ninety-nine times out of 100, the postscripts that get tucked in before the closing credits, telling us where the characters’ lives have gone from there, are totally unnecessary, especially in a fictional story where their fates are better left to the viewer’s imagination. But in George Lucas’s American Graffiti, which turns 50 this week, they are the most important part of the film, not least because two of the four characters don’t have much longer to live. We can feel that darkness lingering around the edges of Lucas’ dusk-till-dawn nostalgia piece about the last night of summer vacation in 1962 Modesto, California, even while its teenagers are getting into mostly light-hearted forms of trouble. This night has to end, and when the sun comes up, their entire world turns back into a pumpkin.

From the opening shot of Mel’s Drive-In, set to Bill Haley and His Comets’ Rock Around the Clock, American Graffiti seems to unfold inside a snow globe, an idealized past with invisible borders that separate it not only from the outside world, but from the future itself. It’s one of those films, like its spiritual successor Dazed and Confused, that has the quality of a hangout comedy, loose-limbed and goofily episodic, but laced with an air of melancholy that’s so subtle you miss it entirely. (That’s why the postscript is such a slap in the face.) It aches for a scene that had passed just a decade earlier, before the tumult of the Vietnam war and counter-culture, but must have seemed, even then, like ancient history.

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