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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Streaming: The Substance and the best body horror for Halloween

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Coralie Fargeat’s gruesome body horror satire on ageing, poised for a Halloween streaming release, is a welcome female take on a genre that preys on our deepest fears

The surprise success of Terrifier 3 in cinemas this month – with stories of underage viewers buying tickets to family fare and sneaking into the low-budget gorefest instead – underlines a constant in the mutable horror genre: people will never lose their morbid fascination with the worst possible things that can happen to our bodies. Or the worst impossible things, which is where body horror cinema comes in: the terror of our natural anatomical order becoming, well, unnaturally disordered.

French film-maker Coralie Fargeat, meanwhile, plays on our fear of natural and unnatural bodily deterioration in her swaggering, supersized horror-comedy The Substance (Mubi), a satire on Hollywood ageism that is as broad as a dual carriageway but has enough blunt-force impact to have kept divided audiences talking since its cinema release last month. It cannily makes its streaming debuton 31 October, conveniently sorting out many a Halloween movie night. I found the film overlong and conceptually thin, but there’s gusto in Demi Moore and Margaret Qualley’s dual performances as chemically warring inhabitants of one has-been star’s body, and in its extravagantly disgusting vision of just how far the ageing process can be simultaneously reversed, accelerated and contorted.

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