&w=3840&q=100)
Netflix's 'The Royals' actress Bhumi Pednekar on bonding with her co-stars: 'We met each other for the first time when...'
Bhumi Pednekar stars as a sophisticated female entrepreneur, Sophia Shekhar, sharing the screen space with Sumukhi Suresh, Lisa Mishra, and Kavya Trehan, among others read more
Bhumi Pednekar and Ishaan Khatter starrer The Royals has landed on Netflix, and it is receiving rave reviews. During a recently held event, Bhumi opened up about forming a bond with female co-stars on the sets of the royal drama and shared how she connected to the theme.
Speaking about the bond she made with Lisa Mishra and Sumukhi Suresh, Bhumi shared, 'We met on the first day of the shoot. It was like an instant sisterhood we formed, which is also one of the underlined themes in the show, about how women just unknowingly understand each other's experiences and we just support each other, which was one of my most favourite themes.'
STORY CONTINUES BELOW THIS AD
Bhumi Pednekar stars as a sophisticated female entrepreneur, Sophia Shekhar, sharing the screen space with Sumukhi Suresh, Lisa Mishra, and Kavya Trehan, among others. Known for picking out-of-the-box roles, Bhumi maintained her graph of bringing something new to the table once again. As a businesswoman, she depicted business intellect, charm, ferocity, and sass. The audience is not only hailing her range as an actress but is also talking about how the role is tailor-made for her.
After leaving the audience mighty impressed with The Royals, Bhumi Pednekar will be seen in Daldal, a series wherein she plays a police officer in the Amazon Prime Video thriller.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
38 minutes ago
- Time of India
The Wrong Paris OTT Release Date: When and where to watch Miranda Cosgrove and Pierson Fodé's romantic comedy
The Wrong Paris OTT Release Date: Miranda Cosgrove is heading to Paris, or at least she thinks she is, in The Wrong Paris, a light-hearted romantic comedy that's all set to premiere on Netflix on September 12, 2025. But this isn't your typical love story set against the backdrop of the Eiffel Tower. Instead, it's about a girl who dreams of France and ends up in Texas. Yes, seriously. The Wrong Paris' plot overview The film follows Cosgrove's character, Dawn, a struggling artist desperate for a break and hoping to land a spot in a prestigious Parisian art program. When a reality TV dating show offers an all-expenses-paid trip to Paris as a prize, she signs up faster than you can say "bonjour." The catch? It turns out the producers meant Paris, Texas, not the City of Love in France. Dawn's hopes are dashed in a flash, and the whole thing feels like a bad prank. Her plan is simple: get eliminated and go home. But things get complicated when she meets Trey, played by the charming Pierson Fodé, the show's leading man who might just be worth sticking around for. The Wrong Paris' cast and crew The Wrong Paris is directed by Janeen Damian, who has previously worked on Netflix's Irish Wish, and written by Nicole Henrich. It's produced by romantic-comedy veteran Brad Krevoy through MPCA (Motion Picture Corporation of America). Cosgrove herself also serves as an executive producer. Production wrapped in late 2024, and everything points to a breezy, charming vibe. Alongside Cosgrove and Fodé, the cast features a bunch of familiar faces, including Madison Pettis, Madeleine Arthur, Frances Fisher, Yvonne Orji, Torrance Coombs, Hannah Stocking, and Emilija Baranac. Filming took place in Vancouver and Agassiz, British Columbia, standing in for the small-town Texan setting. If you're into feel-good movies that don't take themselves too seriously but still manage to tell a meaningful story, The Wrong Paris might just be your thing. Mark your calendar, September 12, on Netflix is when it all drops.
Time of India
an hour ago
- Time of India
Ted Sarandos: Shah Rukh Khan is someone I know the most in India
Ted Sarandos In a candid and podcast appearance, Netflix co-CEO Ted Sarandos offered rare insight into the streamer's evolving philosophy around storytelling, technology, and the psychology of entertainment in an age of abundance. From Squid Game to Sanjay Leela Bhansali , and from AI to work-life balance, Sarandos unpacked the logic and emotion behind how Netflix makes its biggest bets. On his favourite creator from India and friendship with SRK, Ted Sarandos says,"Early on, when I first started coming to India, I met Shah Rukh Khan right away. He hosted a very nice little dinner for me, and we just hit it off immediately. I've come back since with my wife and we've had some really nice times together. We've also visited each other in Los Angeles when his son was in school, so we got to go out to dinner there too. Having dinner with Shah Rukh Khan in India is much different than having dinner with him in Los Angeles. But I would say he's probably someone I know the most here, and I really enjoy working with him. " Talking about Aryan Khan's debut, Ted said,'It (The Ba***ds of Bollywood) is very fun. I've watched the first two episodes so far. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Adidas Three Shorts With 60% Discount, Limited Stock Available Original Adidas Shop Now Undo It's very funny. I think people in India and people outside of India know nothing about the inner workings of Bollywood. So it's a really fun world. He's (Aryan Khan) a very good director.' The Psychology of Choice At the heart of Netflix's model is a fundamental understanding of audience behaviour. 'People really care about choice,' Sarandos said. 'They like how it makes them feel if they pick a movie and everyone loves it—it says a lot about them.' That emotional validation is baked into the algorithm, he added. 'The thing that we really value most is: when you push play, do you stay? It's a good indicator. The more we get the right choice in front of you, the longer you stay. ' On the Business of Content Even in a volatile landscape, Sarandos sees the content business as more dynamic and rewarding than ever. 'Producing content today will get you great returns because the delivery and monetisation models are evolving so rapidly.' What Makes a Story Travel Sarandos pointed to Squid Game as a watershed moment. 'The fact that Squid Game would be a global sensation, I think, is completely unpredictable. The Korean team who picked it knew it was going to be a big hit in Korea. They were right.' The show's global breakout reaffirmed a now-core principle for Netflix: hyperlocal stories resonate best when they are 'very, very good.' But Sarandos warned against diluting stories in the name of universal appeal: 'When you take a movie and get that guy from Squid Game, and then get SRK, and then you get Brad Pitt to put them in a movie together, and then you get this hodgepodge that no one recognizes and watches, it is familiar to nobody. So this idea of authentically local storytelling being the most globally valuable is unintuitive but totally true.' Next Big Disruption: AI, Not Distribution While the internet upended how stories were delivered, Sarandos believes the next real disruption lies in how they are made. 'It's gonna be tough to find one that's gonna be as big as the internet was a disruption to the entertainment [industry]. I think it's less likely to be in distribution and more about creativity. AI is certainly part of that, as is virtual production.' He emphasized that AI should be embraced, not feared. 'I'm not afraid of AI - and I hope creators aren't either… I actually think it's going to make great tools to tell stories even better and make it possible to make movies they couldn't before.' And yet, he was clear about its current limitations. 'What AI is doing today is like the antithesis of imagination. It's giving you the most predictable outcome based on these kinds of rough ideas you're giving it. ' Prompting, Not Replacing Sarandos rejected the notion that AI could one day eliminate human skill entirely. 'It's an interesting hypothetical but I don't know if that ever happens. I mean, the art of the prompt is also going to be a human skill.' The Future of Netflix Films Isn't Theatrical Despite some Netflix titles landing in cinemas, Sarandos was clear: 'We are not doing that. Some of our movies go to the theaters just as a tactical part of the release, but our business is the subscription entertainment business.' He added, 'If you see a movie in a big IMAX room, and it's the right movie, it's mind-blowing. I love that that still exists.' Why We Love True Crime Netflix has helped turn true crime into a global genre, and Sarandos offered a surprisingly simple explanation: 'People love true crime not because they're macabre, but because they're puzzle solvers. It taps into something deeply human - the desire to figure things out.' On Work-Life Balance (Or the Lack of It) Sarandos doesn't buy into the myth of perfect equilibrium. 'There's never really balance. Nobody has that, people are perpetually way out of balance.' He recalled once hearing: 'They'd be more embarrassed to fail in business than to fail in their marriage. That's not me—but I know a lot of people for whom that's true.' His takeaway? 'It's an exercise in futility to try to chase it.' Most Memorable Project in India? Heeramandi Of all the Netflix productions in India, Sarandos singled out Sanjay Leela Bhansali's Heeramandi. 'He came in with this very big vision. Honestly, it almost felt like a dare—like he was saying, 'I dare you to make this; it's so big.'' What struck Sarandos was Bhansali's old-world method. 'He built these enormous, practical sets that we shot on. There was something beautifully old fashioned about every element of the production… I was so proud of him. To me, Heeramandi is a true reflection of India's deep, enduring love for cinema.' It's about being able to have a little more daring about not being afraid to fail. Sarandos credits Netflix's creative culture with empowering bold, sometimes risky decisions. 'It's about being able to have a little more daring about not being afraid to fail.' He added, 'The culture kind of instills that in us… not being stuck in 'this thing didn't work 10 years ago, so I'm never gonna do that again.'' He cited the Duffer Brothers' pitch for Stranger Things as a perfect example. 'They made one small movie for Warner Brothers… And so we're giving them this enormous budget to make this enormous show. And when you watch this little tiny movie… we said, Oh, wow. If they can make this on that little, tiny budget, we got this.' 'I don't believe there's any conflict between getting the best person for the job and having a diverse workforce' 'We make stories for 700 million people around the world. We need the people who are picking them, making them, and promoting them to be a lot like the audience they're serving,' Sarandos said. 'I don't believe there's any conflict between getting the best person for the job and having a diverse workforce.' Sarandos framed the move to acquire such shows as part of Netflix's long-held personalization strategy. 'We're not doing those shows instead of doing other shows. We're doing them in addition to everything else… We're broadening the offering.' What's Working in India: Ted said,"From Japanese anime to all kinds of different things that you would not expect would work very well in India, work very well. The audience here is very hungry for diverse storytelling from around the world. They love Bollywood, they love South Indian action movies for sure, but they are far more adventurous as viewers than I expected' Talking about capturing young audiences, he said,'I haven't given up on youth attention spans. When Squid Game drops, they'll stop everything and watch it in two days.. I think we have got to entertain them. We have to be more entertaining than dead scrolling' Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
&w=3840&q=100)
First Post
an hour ago
- First Post
Netflix's Ted Sarandos on Saif Ali Khan and Nawazuddin Siddiqui's 'Sacred Games': 'We were introducing something...'
'I thought this is going to be great,' Sarandos said. 'People in India love movies. This is a TV show that feels as big as a movie - it has movie stars.' read more In a wide-ranging conversation with Nikhil Kamath, Netflix Co-CEO Ted Sarandos looked back on the platform's early creative choices in India - particularly Sacred Games, its very first Indian original. 'I thought this is going to be great,' Sarandos said. 'People in India love movies. This is a TV show that feels as big as a movie - it has movie stars.' But Sacred Games turned out to be more than just a hit show. It marked a paradigm shift in how long-form entertainment could be consumed in India. Sarandos noted, 'It was very, very novel, but I didn't realize that we were going to be introducing a brand new kind of entertainment to a country the size of India.' STORY CONTINUES BELOW THIS AD At the time, India's television landscape was largely defined by sports, talk shows, and family dramas - very different from the cinematic format Netflix was offering. 'There was nothing else like it,' he reflected, highlighting the difference between existing formats and the kind of 'cinema-infused television' Netflix was producing globally. Sarandos also touched upon the timing of the show's launch: 'If I did it all over again, would I have done Sacred Games a couple of years later, maybe.' But rather than viewing it as premature, the comments frame Sacred Games as a bold, foundational move - one that helped define the tone and ambition for streaming content in India. Its early arrival set the stage for a market that was just beginning to evolve. He also acknowledged the broader learning curve: 'Early on, it took us a couple of years to get the product-market fit right including payment systems and all those things.' Yet, even then, the bet on India was clear. 'We knew that India was going to be a slower journey… but it's a great prize at the end of the day.' That long-term view is now paying off. 'Right now, you can see how fast Indian households are adopting fixed broadband, big-screen TV is growing - the addressable market in India is exploding in the next couple of years. So it's exciting.'
