Paresh Rawal claims OMG 2 was based on his original idea; says he walked away after script changes: “There was no need for a divine character”

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Paresh Rawal has claimed that the original idea behind OMG 2 came from him, adding that the film underwent significant changes after Akshay Kumar came on board. Speaking to Vickey Lalwani, the veteran actor also alleged that he did not receive credit for the story or concept despite being closely involved in its early development. Paresh Rawal recalls developing the original concept Rawal said he first approached filmmaker Amit Rai with the idea after watching Road to Sangam. He asserted, "I had approached Amit Rai, the director of Road to Sangam, and asked him if he was planning another film. I admire him a lot. I told him, 'I have an idea. Let's sit and write it.' I told him I wasn't a writer, but I could contribute ideas and help identify where we were going wrong because I understand screenplay to some extent." He went on to reveal, "The story was about a boy who gets caught masturbating, and a video of the incident goes viral, making his life miser...
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Dance Revolutionaries review – performers dance like nobody’s watching

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This two-part homage to dance greats Robert Cohan and Kenneth MacMillan captures the intimacy of live performance

Here is a two-part documentary that pays homage to dance greats Robert Cohan and Kenneth MacMillan. Directed by David Stewart, Dance Revolutionaries essentially presents two pieces performed by dancers from the Yorke Dance Project and the Royal Ballet, and with the noble intention of making modern dance immersive and accessible.

The first part, Portraits, is choreographed by Cohan (who died in 2021) and aims to “explore life’s private moments” in six solo performances created in collaboration with its cast. In theory, you’d think a dance film would fail to capture the intimacy of a live performance, but somehow Portraits accentuates it; the uninhibited passion of the dancers and lack of direct performance to the camera make it borderline voyeuristic. Each dance is set in a public but desolate place, from office buildings, and a seafront to a graffiti-scrawled tunnel, creating a sense of vulnerability and familiarity. You feel you are peeking in on an individual’s emotional turmoil that can only be expressed through dance, and it’s hard to look away.

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