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The Royals trailer: Bhumi Pednekar and Ishaan Khatter lead Netflix’s modern-day royal rom-com : Bollywood News – Bollywood Hungama

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The Royals trailer: Bhumi Pednekar and Ishaan Khatter lead Netflix’s modern-day royal rom-com : Bollywood News – Bollywood Hungama


Netflix is rolling out the red carpet for its latest original series The Royals, a quirky royal romantic comedy premiering on May 9, 2025. Created by Rangita Pritish Nandy and Ishita Pritish Nandy and produced by Pritish Nandy Communications, the show brings together the charm of Indian royalty with the sass of modern-day ambition.

The Royals trailer: Bhumi Pednekar and Ishaan Khatter lead Netflix’s modern-day royal rom-com

The Royals trailer: Bhumi Pednekar and Ishaan Khatter lead Netflix’s modern-day royal rom-com

Set in the grand yet crumbling city of Morpur, the story follows an unlikely partnership between a reluctant prince and a fiercely driven CEO. Ishaan Khatter stars as Aviraaj Singh, a polo-playing royal struggling to find purpose, while Bhumi Pednekar plays Sophia Kanmani Shekhar, a sharp and self-made CEO determined to turn Morpur’s aging haveli into a luxury B&B. What begins as a strategic business move quickly spirals into a whirlwind of romance, comedy and chaos. Sparks fly, egos clash, and old secrets come to light as the duo tries to reinvent the royal estate — and perhaps themselves in the process.

Speaking about her character, Bhumi Pednekar shared, “Playing Sophia felt like stepping into a world that’s both aspirational and deeply relatable. She’s fierce, ambitious, and emotionally honest — qualities I’ve always been drawn to. I’m glad I could collaborate with Netflix and Pritish Nandy Communications for The Royals and extremely grateful that they brought this series to life — I hope people have as much fun watching it as we did making it.”

Ishaan Khatter added, “To share the screen with such legendary and accomplished actors has been inspiring and a joy. This marks my second collaboration with Netflix globally and my first with Netflix India and it has been an adventure yet again. The Royals is a fresh, modern-day rom-com — zany, unpredictable, and packed with surprises. I can’t wait for audiences to dive into the world of Morpur and binge it all! There’s a lot of love, drama, humour — something for everyone. Maharaja Aviraaj is the most frustratingly charming character I’ve essayed and I hope the audience enjoys him as much as I enjoyed playing the role.”


Veteran actor Zeenat Aman, who also stars in the series, was unable to attend the trailer launch but shared her thoughts, “I find myself as passionate as ever about embracing new roles and opportunities. The Royals has been both refreshing and creatively fulfilling. Collaborating with vibrant young talents, brimming with energy and fresh perspectives, ensured that every moment on set was lively and engaging. I extend my heartfelt gratitude to Pritish Nandy Communications and Netflix for bringing this extraordinary tale of romance, and for including me in this project.”

Directed by Priyanka Ghose and Nupur Asthana, and written by Neha Veena Sharma, The Royals features a robust ensemble cast including Zeenat Aman, Sakshi Tanwar, Nora Fatehi, Dino Morea, Milind Soman, Chunky Panday, Vihaan Samat, Kavya Trehan, Sumukhi Suresh, Udit Arora, Lisa Mishra, and Luke Kenny.

The Royals promises a blend of glamour, humour, and heartfelt drama as it explores what happens when royal tradition meets modern ambition — and maybe even love. The series drops exclusively on Netflix on May 9.

Also Read: Netflix unveils poster for The Royals featuring Ishaan Khatter and Bhumi Pednekar, premiering May 9

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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes

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NATYA VRIKSHA’s World Dance Day festival features an impressive line-up of artistes


Curated by senior dancer Geeta Chandran, the 18th edition of NATYA VRIKSHA features dance performances, workshop and lecture.
| Photo Credit: Special Arrangement

NATYA VRIKSHA is all set to present the 18th edition of its special event, organised each year to mark World Dance Day. It is conceived and curated by senior Bharatanatyam dancer Geeta Chandran.

“World Dance Day is a moment to pause and celebrate what dance brings into our lives, not just technique or tradition, but emotion, truth and transformation. This festival is our offering to the art, and to the young dancers who will carry it forward,” says Geeta Chandran.

What sets this festival apart is its inclusive embrace of classical, contemporary and experimental dance forms. This year’s line-up includes performances by Bharatanatyam, Kathak, Kuchipudi and Odissi artistes.

Abhinaya Nagajothy will perform Kuchipudi.

Abhinaya Nagajothy will perform Kuchipudi.
| Photo Credit:
Special Arrangement

Each day, the festival opens with a workshop ‘Movement and Dance Aesthetics’, to be conducted by dancer and choreographer, Tanusree Shankar. Over the course of two days, there will be a witty theatrical retelling of an ancient story, scripted and performed by Ramaa Bharadvaj as well as a lecture by Ashok Vajpeyi on how dance, while rooted in the present, opens portals to imagination, memory and transcendence. There will also be performances by Madhura Bhrushundi (Bharatanatyam), Dheerendra Tiwari (Kathak), Abhinaya Nagajothy (Kuchipudi) and Shashwati Garai Ghosh (Odissi).

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.

Shashwati Garai Ghosh will perform on April 27, 7.45 p.m.
| Photo Credit:
Special Arrangement

Another key highlight is the conferment of the sixth NATYA VRIKSHA Lifetime Achievement Award to SPIC MACAY and its founder Kiran Seth, in recognition of their tireless efforts in preserving and promoting India’s cultural heritage amongst youth. “This honour is not mine alone — it belongs to every student who has sat in awe before an artiste, to every volunteer who has given their time to SPIC MACAY, and to every institution that believes in the power of the arts to shape minds and lives,” said Kiran Seth.

The World Dance Day Festival 2025 will take place on 26th and 27th April at India International Centre, New Delhi.

The festival line-up

April 26, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: Lecture: “Dancing Away” by Ashok Vajpeyi; 6:30 p.m: Young Dancers Festival – Madhura Bhrushundi (Bharatanatyam) and 7.45 p.m.: Dheerendra Tiwari (Kathak). 

April 27, 9.30 a.m.: ‘Movement and Dance Aesthetics’ workshop by Tanusree Shankar. 4.15 p.m.: ‘Avatarana – The Story of  Natya’, scripted and performed by Ramaa Bharadvaj; 6:30 p.m.: Young Dancers Festival featuring Abhinaya  Nagajothy (Kuchipudi) and 7.45 p.m.: Shashwati Garai Ghosh (Odissi).



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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama

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Prasanna Venkatraman curated an interesting list of songs dedicated to Rama


Prasanna Venkatraman.
| Photo Credit: RAVINDRAN R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition ‘Rama Nama Payasake’ with a pallavi that reads like a divine recipe: “To the payasam of Rama’s name, add the sugar called Krishna, and mix the ghee of Vittala’s name — and savour it”.

Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert’s theme — ‘Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity’ — to present a melange of delectable music at R.R. Sabha’s Kamakoti Hall.

Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar’s ‘Pavanatmaja’ (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. ‘Maakelara vicharamu’ in Ravichandrika served as an ideal gateway to Rama’s world, with Tyagaraja’s sentiment — “What is there for me to worry about with you around?” — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.

Evocative rendition

Prasanna’s delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. ‘Rama nama payasake’ in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.

Dikshitar’s ‘Sriramam ravikulabdhi somam’ in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.

“Emani pogadudhura’ in Veeravasantham, in which Tyagaraja wonders aloud, “How shall I extol you, Srirama?”, was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa’s ‘Emayya rama’ in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna’s rendition was imbued with the raga’s characteristic gamakas and grandeur.

The regal aura of Atana came to the fore in Prasanna’s precursor to ‘Ela nee dayaraadhu’. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 

Prasanna Venkatraman with Poongulam Subramaniam (mridangam), and M. Vijay (violin). 
| Photo Credit:
Ravindran_R

Good teamwork

The main raga of the evening was Saveri and the composition Tyagaraja’s ‘Rama Baana’, which celebrates the prowess of the divine archery that felled Ravana. Prasanna’s alapana unfurled with the raga’s natural ebb and flow, offering hints of the kriti in store. Vijay’s version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening ‘Bhamakasapadu’. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.

A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter’s ‘Rama Nataka Keerthanas’ offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.

The concluding section comprised ‘Rama mantrava japiso’ in Jonpuri by Purandara Dasar, ‘Vaidehi sahitam’ a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar’s coronation kriti ‘Mamava pattabhirama’, and Tyagaraja’s ‘Ramachandra nee daya’ in Surutti.



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Kyrgyz filmmaker Dastan Zhapar on his first independent work Deal at the Border

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Kyrgyz filmmaker Dastan Zhapar on his first independent work Deal at the Border


Shankar M K

Kyrgyz filmmaker Dastan Zhapar’s work is a profound meditation on his society’s shifting relationship with the past and the evolving landscape of Kyrgyzstan’s traditions. At the heart of his cinematic exploration is death, through which he examines societal ruptures and continuities, and reimagines a future.

Kyrgyz society, like other societies previously part of the Soviet Union, has had to deal with three traditions — pre-Soviet, Soviet socialist, and contemporary.

Dastan made A Father’s Will in 2016 and Road to Eden in 2020, both in collaboration with fellow filmmaker Bakyt Mukul. A Father’s Will won the Golden Zenith at the 40th Montreal World Film Festival. Deal at the Border, screened at the recent Bangalore International Film Festival, is Zhapar’s first independent work.

While A Father’s Will was about how reviving an old death ritual helped pacify people defrauded by a man now deceased, Road to Eden reflected on the loss of meaning caused by material compulsions of modern life. With Deal at the Border, Dastan turns to even darker realities — modern slavery and human rights issues. Death here becomes a moment of moral reckoning.

As an amorphous repository of attitudes, practices, and relational hierarchies, a tradition never truly dies. In Dastan’s films, two traditions reside within the present — struggling for attention and validation. The resonances of this exploration are impossible to miss in India, bogged down by a similar contest between putative traditions.

Kyrgyz filmmaker Dastan Zhapar
| Photo Credit:
Special Arrangement

In an exclusive, Dastan shares his thoughts on the many issues of idea, ideology and creative expression. Excerpts:


Why is it that you question some traditions and try to restore respect for others?

It is true that I am questioning some traditions, but I am not seeking to restore respect for others. Things emerge in the process of scripting and filming. They beg to be projected on the screen and I am persuaded by this kind of insight.


Death and how people respond to it seems to be a common theme in all your films.

That is right. However, it was not by conscious design — it turned out that way. Death occupied centrestage and spliced three of my films into an unintended trilogy. However, the ideas I am now working on are about survival and the desire for freedom.

A Father’s Will plays out an aspect of the Kyrgyz attitude to death. People at a burial desire closure. They want to accept and forgive. Also, they like to ask what kind of a person the deceased was as a prelude to restoring dignity to the dead. These rituals serve to unite people, especially family, in times of sorrow.

Kyrgyz filmmaker Dastan Zhapar during a shoot

Kyrgyz filmmaker Dastan Zhapar during a shoot
| Photo Credit:
Special Arrangement


Why is the yurt (a portable, circular dwelling, traditionally used by nomadic people in Central Asia) so important?

The Kyrgyz had a nomadic, mobile way of life. The yurt naturally became home and a symbol of family stability. It also represents the strength of the national collective, serving a material function and as a spiritual metaphor.

A Father’s Will turns out to be based on a book written by a character in The Road to Eden

When Bakyt Mukul and I wrote the script for A Father’s Will, we thought it would be nice to have a literary work associated with the film’s story. When we were scripting for The Road to Eden, and came up with the image of the sick writer Sapar, we thought he could write, for example, a book titled The Father’s Testament referring to our previous film. In this way, we would have an imaginary author for an imaginary book on which our first film had been based. In this fashion, we were able to thematically unite the two films. The stories take place in the same universe, same ethical ecosystem.

Kyrgyz filmmaker Dastan Zhapar

Kyrgyz filmmaker Dastan Zhapar
| Photo Credit:
Special Arrangement


What is your next film about?

I am actively working on three ideas. One is the story of guards at the border of Kyrgyzstan and Tajikistan. Another is about modern slavery.


Why is slavery a subtext of Deal at the Border?

Slavery has been on my mind for a long time as I have been personally affected by it. My brother Aktan was enslaved in a neighbouring country with our uncle. Luckily, they managed to escape. The script was written by Aktan and I.

While writing the script, I studied modern slavery. I learnt that Kyrgyzstan ranks first among Central Asian countries whose citizens are enslaved abroad, mostly in Kazakhstan, Russia, Turkey and the UAE. According to the International Labour Organisation, more than 50 million people are currently enslaved worldwide and 70% of them are women. These statistics are horrifying. We must bring this to the notice of viewers everywhere.

Kyrgyz filmmaker Dastan Zhapar during a shoot

Kyrgyz filmmaker Dastan Zhapar during a shoot
| Photo Credit:
Special Arrangement


From what sources do you draw inspiration from?

Definitely from the Kyrgyz epic of Manas. It is a poem with more than 1,50,000 verses. It is about the legendary past of many nations of Central Asia, including the Mongol, Kitai, and Altai.

Newspaper reports often provide a starting point for an episode. I am also inspired by themes other directors explore. The most important thing is to select the right theme or story. The story must resonate in you. It must refer to some piece of today’s reality or to a possible state of affairs in the future.

I prefer to make films about the rural and remote regions, though cities have their stories too. I ride the bus and observe people as they travel and converse. I can learn much about their troubles and what makes them happy. I dig into real life material so I can use them in my films.


What are your thoughts on Indian cinema?

I am in awe of Indian films screened at international film festivals — they deal with serious issues in interesting ways. I would like to be involved in a joint venture with India sometime in the future. The first Kyrgyz feature film was made in 1958, by which time Indian cinema was already in bloom.

Kyrgyz filmmaker Dastan Zhapar during a shoot

Kyrgyz filmmaker Dastan Zhapar during a shoot
| Photo Credit:
Special Arrangement


Are you responding to any particular filmmaking tradition?

I like the image of Duishen, the teacher created by Kyrgyz author Chingiz Aitmatov in his novel First Teacher that was later made into a film. Duishen brings knowledge and knowledge is light, pulling millions of people out of the darkness of ignorance. Duishen had a fanatic faith in a bright future ushered in by literacy and education. Eventually that is what led mankind to seemingly impossible things such as space exploration. I believe such people are in short supply in our crazy world today.



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