OTT releases in July: Not just Special Ops 2, these 4 films and series will blow your mind
So, what are we waiting for? Sit back and relax with a tub of popcorn and enjoy! The Hunt: The Rajiv Gandhi Assassination Case
Streaming from July 4 | SonyLIV
Director Nagesh Kukunoor dives deep into one of India's most haunting historical chapters with The Hunt . Based on journalist Anirudhya Mitra's book 90 Days , the series chronicles the meticulous planning and aftermath of former Prime Minister Rajiv Gandhi's assassination. Amit Sial headlines this gritty political drama that promises both intensity and insight. Special Ops: Season 2
Streaming from July 11 | Disney+ Hotstar
Neeraj Pandey's hit espionage thriller returns with more firepower. KK Menon reprises his role as the relentless intelligence officer Himmat Singh, alongside Karan Tacker. Expect pulse-pounding action, undercover missions, and geopolitical twists in this long-awaited sequel that aims to raise the stakes further. The Sandman: Season 2
Volume 1 drops July 3, Volume 2 on July 24 | Netflix
Neil Gaiman's eerie, otherworldly fantasy is back. With 11 new episodes divided into two volumes, The Sandman is set to expand its mythos and visual storytelling. Mystery and magic collide again in this darkly imaginative journey that fans won't want to pause. Full Volume – Vir Das Stand-up Special
Streaming from July 18 | Netflix
Fresh from his international tour, Vir Das returns with sharp punchlines, cultural commentary, and bold humour. Full Volume is packed with the comic's trademark wit and global observations that promise plenty of LOLs and a few thought-provoking moments too. Bonus Drops & Upcoming Releases
Beyond the big four, the OTT and theatrical pipeline is packed.
From Metro…In Dino (Anurag Basu's ensemble drama), Malik (Rajkummar Rao and Manushi Chhillar), Aankhon Ki Gustakhiyan (Vikrant Massey and Shanaya Kapoor), to Aap Jaisa Koi (Fatima Sana Shaikh and R. Madhavan), the screens will be sizzling.
Also on the radar: Kaalidhar Laapata (Abhishek Bachchan), Param Sundari (Sidharth Malhotra and Janhvi Kapoor), Son of Sardar 2 , Kingdom , and Akshardham: Operation Vajra Shakti .
Sandman Netflix, Amit Sial, KK Menon, Vir Das Full Volume, Indian political thriller, web series, July, fantasy series 2025
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Pink Villa
an hour ago
- Pink Villa
KPop Demon Hunters: BTS' Jungkook's Soda Pop cover earns BIG reaction from voice of Jinu, ‘Pointed out a mistake…'
KPop Demon Hunters is one of the most viral things to come out of 2025— we're looking at you, nine-toothed dolls— and anyone online would have caught a glimpse of the phenomenon by now. BTS have previously expressed their liking towards the movie, including impromptu covers and dance challenges. With 2 possible sequels and a live-action being eyed for the future of the story, it's unlikely that the connections would die down any time soon. It's no surprise that the stars behind the show have gotten utterly famous, and the man behind Jinu- not Ahn Hyo Seop - but the singer Andrew Choi, have gained a lot of fans. Reacting to Jungkook's cover of one of the songs in the Netflix film, he showered praise on the BTS member. KPop Demon Hunters star calls Jungkook a 'true vocalist' In a video shared by Straits Time Online, Andrew Choi, the 'The thing that I love about Jungkook is that he sings with such ease, which is a sign of a true vocalist. Jungkook's performance is 11 out of 10,' he said while reacting to a song cover of Soda Pop that the BTS member did casually during a livestream. Watching the video further, he noticed how a lyric error in the track was noticed by the K-pop star. 'Jungkook pointed out a mistake in the movie's OST Soda Pop. I didn't even notice it. No one seemed to have noticed it until Jungkook took a listen to it. So thank you, Jungkook, for that.' Moreover, another video showed the singer picking his own version of the Saja Boys lineup in real life. He started off with the BTS maknae Jungkook with his superstar power and all-rounder base, and then moved to another maknae from NCT, Mark, for his rapping skills. He continued by adding Cha Eun Woo for visuals, often believed to be the biggest inspiration for the character of Jinu, especially after his Free OST cover with Arden Cho, the voice actor for Rumi. Strong vocalists in the form of EXO's Baekyun or D.O. were his next pick, and adding to that DAY6's Young K, would form his version of the perfect demon group from the animated film.
New Indian Express
an hour ago
- New Indian Express
Nasser: I have a very special relationship with SS Rajamouli
There's a calculated calmness that draws you in when a prolific legend like Nasser talks. His words flow with an ease of someone who listens more but also carries the wisdom of years. In this exclusive conversation with Cinema Express about SonyLIV's Mayasabha: Rise of the Titans, his upcoming original Telugu series directed by Deva Katta and premiering on SonyLIV on August 7, Nasser talks with a quiet conviction in his voice. Firstly on whether the veteran actor is a part of SS Rajamouli's SSMB29, he (laughs) and reveals, "I was involved in an initial serious discussion about preparing actors. I am not a part of the film yet. But he may call me anytime. And I have a very special relationship with Rajamouli. We know each other from his first film. I appreciate him because he never talks to anybody about anything other than cinema. And when Rajamouli narrates a scene, that is like a story by itself."
The Print
an hour ago
- The Print
Stranded in the desert of pop culture
The rise of science and technology has transformed the way we live and the way we engage with culture. Entertainment is now just a click away. From curated Spotify playlists and YouTube shorts to Netflix recommendations, we are constantly surrounded by algorithm-driven choices that fit neatly into our fast-paced lives. We've taken convenience for granted, and in doing so, culture — once rooted in tradition, lived experiences, and community memory — has been reduced to surface-level aesthetics. Your Turn is a unique section from ThePrint featuring points of view from its subscribers. If you are a subscriber, have a point of view, please send it to us. If not, do subscribe here: Tradition today is increasingly absent from daily life. Songs at weddings, once filled with meaning and memory, have become just another background track. The dhol and algoza have been replaced by speakers and DJs blaring Bollywood remixes. Even the role of music has shifted; no longer a medium of storytelling or shared emotion, it is now about volume, beats, and engagement. Loud, fast, westernised rhythms dominate. Entertainment is customisable, quick, and disposable — a reflection of the broader consumerist culture we inhabit. The Manganiyar community of western Rajasthan stands as a poignant example of this shift. A Muslim folk group known for their innate talent for music, the Manganiyars once held a place of honour in Rajput courts. Their songs echoed through grand events, royal gatherings, and crowning ceremonies. Their music was not entertainment; it was legacy, memory, emotion, and devotion. But today, that legacy stands diluted and is struggling to survive. Once royal performers, the Manganiyars are now mostly reduced to singing for tourists in desert camps and hotels. While a handful of Rajput families still call upon them for special occasions such as childbirths, weddings, and religious festivals, the regular patronage that sustained their dignity and livelihood has shrunk drastically. The transformation is stark and painful. Worse than the loss of income is the loss of dignity. Some Manganiyar families now survive by working under MGNREGA as daily wage labourers. For a community whose identity was once steeped in art, being forced to dig roads to make ends meet is not just an economic blow but a deep cultural wound. Yet, despite this erasure, the community remains determined. Children are still taught the ragas, rhythms, and instruments of their ancestors. They sit with their elders, learning not from apps but through oral tradition. Their art is a gift, one they want to pass on, regardless of how the market values it. They refuse to 'sell out' or remix their music to suit the tastes of modern audiences. They resist commercialization, even when it costs them everything. And it does cost them. There are almost no buyers for pure, authentic Manganiyar music anymore. The generation that grew up on Bollywood dance numbers, EDM beats, and viral remixes no longer connects with the slow, emotive storytelling of folk. The little space that remains for folk performances is in tourist camps, where even there, the Manganiyars are now asked to perform filmy songs, sometimes molding their music to include item numbers just to hold the crowd's attention. This is not just the story of a community. It reflects a broader cultural shift. Rising pop culture and Western influence, along with fast, urban lifestyles, have altered our tastes. We are a generation of quick fixes — fast food, short videos, 30-second songs. Traditional art and cultural engagements are now confined to occasional stage shows, often repackaged as 'experiences' for tourists. Art is no longer about connection or emotion; it's about clicks, likes, and views. People have not only lost touch with their roots — they no longer desire to reconnect with them. The authenticity of cultural expression is dying quietly, replaced by hyper-produced imitations that are easier to digest. If this trend continues, future generations will inherit a remix of culture — a distorted version, passed off as heritage, stripped of context, ritual, and depth. They will call it folk, but it will be far from it. The price of convenience is not just economic. It is existential. When a culture is reduced to aesthetics and tradition becomes a performative act, we lose more than music or memory. We lose identity. The Manganiyars still sing, in fading corners of Rajasthan, in quiet ceremonies, and in their homes. They sing not for fame or fortune, but because their art is their inheritance. But for how long can they hold on? And when they are gone, what will remain — a remix? Bio: Mahima Duggal is a researcher and pursuing her PhD at the Department of Political Science, Panjab University, Chandigarh. She focuses on tourism and sustainable tourism practices through field-based studies in Jaisalmer. These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.
