EXCLUSIVE: Shakti Shalini goes on floors in January 2026; Amar Kaushik explains how Aneet Padda came on board, “We saw Saiyaara and knew that she perfectly…”

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Before the audience sat down to watch the grand Diwali release, Thamma, they were treated to a 60-second-long announcement promo for Shakti Shalini. The film earlier starred Kiara Advani and there were reports that Aneet Padda of Saiyaara (2025) fame has replaced the former. The announcement teaser confirmed the speculations and also revealed that the next film of the Maddock Horror Comedy Universe will be out on December 24, 2026. In an exclusive interview with Bollywood Hungama, Amar Kaushik, the mentor of the universe and also the producer of Munjya (2024) and Thamma, opened up about this film. Earlier, the plan was to bring 2 more films of Maddock Horror Comedy Universe, namely Bhediya 2 and Chamunda, in cinemas in 2026. When asked if the plan remains or will Shakti Shalini be the sole release of the universe next year, Amar Kaushik said, “There might be just one film (from the universe in 2026). We feel that there should not be an overdose and we should not give too many films in...
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Regretting You review – sudsy Colleen Hoover adaptation is no It Ends with Us

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The second big screen take on one of the hugely successful author’s trauma dramas is a bland misfire and wastes Girls actor Allison Williams in the lead

It’s hard to remember now, nearly a year into the legal and reputational slugfest that is Justin Baldoni v Blake Lively, that It Ends With Us, the film at the heart of so much litigious mudslinging – predominantly and relentlessly, it should be noted, by Baldoni’s legal team – was a Hollywood success story.

The first big-screen adaptation of bestselling author Colleen Hoover, an initially self-published romance writer catapulted by BookTok to cult-figure status under the mononym CoHo, successfully elevated what many have dismissed as trauma porn fetishizing abuse into glossy, but effective and emotionally mature, adult theatrical fare. Lively, a Taylor Swift-adjacent style icon (to some) who excels at warm-hearted melodrama, was the perfect anchor for a film targeting what celebrity gossip columnist Elaine Lui termed the “minivan majority” (exurban/suburban, white, middle-class women); the film grossed $350m, against a $25m budget, making it one of the biggest hits of the summer.

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