Shah Rukh Khan and Kajol unveil DDLJ bronze statue in London’s Leicester Square

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Bollywood icons Shah Rukh Khan and Kajol marked a memorable moment on December 4, 2025, by unveiling a bronze statue of their legendary characters Raj and Simran from the 1995 classic Dilwale Dulhania Le Jayenge (DDLJ) at London’s famed Leicester Square. Despite cold, rainy weather, the pair captivated the gathered audience and media, recreating the film’s iconic pose with radiant smiles. Shah Rukh Khan looked sharp in a black suit, while Kajol radiated grace in a mint-green saree. The new bronze statue is the first ever dedicated to an Indian film at Leicester Square, placing DDLJ alongside global cinematic icons like those from Harry Potter, Mary Poppins, Paddington, Singin’ in the Rain, and heroic figures like Batman and Wonder Woman. The statue captures the film’s signature pose — a moment the duo lovingly recreated during the ceremony. Reflecting on the anniversary, Shah Rukh Khan said, “DDLJ was made with a pure heart. We wanted to tell a story about love — how it can bridge bar...
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The G review – Dale Dickey is gamechanging gangster granny out for vengeance

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Dickey is a revelation as a harder-than-nails woman exploited by the US’s legal guardian system in an otherwise overcooked thriller

The “G” in this low budget revenge thriller is 72-year-old Ann Hunter. That’s “G” as in “Granny”, a nickname given to her by her granddaughter. The joke is that Ann does not fit anyone’s stereotype of a granny. To call her hard-as-nails would be an understatement: nails can bend, but the G is harder, cold, mean and sarcastic. When she reaches for a bottle, dirty washing stacked up around the sink, no clean glass to hand, she pours her vodka neat into an empty yoghurt pot.

The G is played by character actor Dale Dickey, whose TV credits include Breaking Bad and My Name Is Earl. On film, she’s best known for a supporting part in Winter’s Bone, but I have to confess I didn’t recognise her. Having seen her in action here, I’m a convert. The G is heartless and unlikable, her battered face set in a permanent scowl – and yet Dickey conveys a woman shaped by her experience; there’s a backstory eventually about her childhood in Texas explaining the rage and anger. Her performance is a much-needed plus in a film that would otherwise lack a bit of substance.

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