Salman Khan takes sarcastic dig at AR Murugadoss for saying he arrived at 8 PM on Sikandar sets: “Madharaasi is a bigger blockbuster”

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Actor Salman Khan, who’s currently hosting Bigg Boss 19, didn’t hold back as he addressed director AR Murugadoss’s recent comments accusing him of reporting late to the sets of their film Sikandar. The actor used the popular reality show’s Weekend Ka Vaar episode to respond with his trademark wit and characteristic candour. The Background: Murugadoss's Allegation Earlier, Sikandar director AR Murugadoss had told Valaipechu Voice that working with a major Bollywood star posed challenges. He claimed Salman would “arrive only by 8 PM,” forcing the crew to shoot even day scenes at night. Murugadoss described the schedule as chaotic, saying it affected child actors who had to film late into the night. Despite acknowledging his own creative shortcomings, the director hinted that the erratic timing contributed to the film’s underperformance. Salman’s Retort on Bigg Boss 19 Addressing the issue head-on during Bigg Boss 19, Salman responded to a question from comedian Ravi Gupta about film...
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Solo review – joyful yet heartbreaking story of drag artist consumed by toxic relationships

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Théodore Pellerin is outstanding as Simon, a performer navigating a bullying boyfriend and a distant mother in Sophie Dupuis’s sad and celebratory film

Théodore Pellerin is a star, and director Sophie Dupuis knows it. In their third film together, the rising Canadian actor is at once magnetic and utterly heartbreaking as Simon, a young gay artist honing a budding career as a drag queen. At night, he transforms into Glory Gore, a glittery vision dressed in exquisite costumes that have been lovingly designed by his sister Maude (Alice Moreault). Off stage, Simon is much less self-assured, despite his swagger. An unexpected visit from his absent mother Claire (Anne-Marie Cadieux), along with a toxic romance with fellow drag performer Olivier (Félix Maritaud), soon throw this sensitive soul into an emotional whirlpool.

Dupuis’s astute writing keenly conveys the paradox of falling for a narcissistic manipulator. At first glance Olivier is a perfect creative and life partner, but soon whittles down Simon’s self-esteem with jabs about the latter’s talent and looks. As the relationship grows more dysfunctional, Dupuis pushes Pellerin to the edge of the frame, a visual correlation of his isolation among his real-life and drag family. Pellerin, moreover, embodies the character’s turmoil with stunning physicality; his quivering gaze betrays a vulnerability that starkly contrasts with his larger-than-life stage persona – and yet, like a boiling frog, he also luxuriates in the attention of his cruel lover.

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