Priyanka Chahar Choudhary confirmed as new Naagin! Ektaa R Kapoor unveils Naagin 7 lead on Bigg Boss 19 with Salman Khan

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The wait is finally over for Naagin fans! On the latest episode of Weekend Ka Vaar, television czarina Ektaa R Kapoor made a special appearance on Bigg Boss 19, joining host Salman Khan on stage — and with her came a major revelation that set the internet buzzing. Kapoor officially announced Naagin 7 and introduced the show’s new lead — Priyanka Chahar Choudhary. The announcement came as a delightful surprise for fans who had long been speculating about the next face of the fantasy franchise. Dressed in her Naagin avatar, Priyanka made a stunning entry on the Bigg Boss stage, performing a captivating act that marked her grand return to television. The actress, who rose to fame with Udaariyaan and became one of the most loved contestants on Bigg Boss 16, is now ready to embrace her most powerful role yet. Expressing her excitement, Priyanka shared that the role of Naagin has been a dream come true. She revealed that this opportunity was first hinted at during her stint in the Bigg Bos...
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The Monkey review – slapdash splatter comedy is a grating misfire

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Writer-director Osgood Perkins follows up horror hit Longlegs with a tiresome, juvenile adaptation of a Stephen King short story about an evil toy monkey

“Everybody dies and that’s fucked up” is the tagline and emo ethos of snarky Stephen King adaptation The Monkey, a film about the inescapable inevitability yet goofy silliness of death. The writer-director Osgood Perkins, who scored a hit with last year’s Longlegs, knows more about it than most. His father, the actor Anthony Perkins, died of Aids when Osgood was 18 and then his mother, the actor and model Berry Berenson, died in the September 11 attacks as a passenger on Flight 11. Perkins has found a way to work through something so unimaginably awful with a career as a horror film-maker, and his latest, focused on twins cursed by generational trauma is his most obviously personal film yet.

To his credit, Perkins has chosen not to wallow in the grim dirge associated with trauma and the horror genre. The original script for The Monkey had apparently delivered its central conceit – a toy monkey that brings death to those around it – with a straight face, something he found to be discordant, insisting a lighter, comedy-over-horror makeover. But the humour here is far too smug and nihilistic, similar to the grating can-you-believe-we’re-doing-this swagger of the Deadpool series, so happy with itself that it doesn’t really care if anyone else is smiling too. The film has a juvenile middle-finger-up attitude that confuses broad fuck-the-world misanthropy for actual edginess, annoying enough for a scene but close to insufferable for an entire movie. It’s also a tone that doesn’t really work for a King adaptation and when a flash of his earnestness does shine through, it’s uncomfortably out of place, providing more of a jolt than any of the ineffective death scenes which rely on brash and empty Looney Tunes violence. If the aim is numbing us to the shock of a violent death then perhaps the film succeeds but surely we shouldn’t be quite so bored by it too.

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