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India Today
5 days ago
- Entertainment
- India Today
5 powerful teen dramas that explore real struggles beyond high school
Are you a teenager, or a parent of one, in search of thought-provoking television? These five compelling shows are well worth adding to your are the days when teen dramas were limited to prom nights and fleeting high school romances. Today's series delve far deeper, confronting the very real challenges that young people face, from peer pressure and bullying to mental health struggles, parental expectations, identity, and 'Ginny & Georgia' to 'Adolescence', here are five teenage dramas that strike a powerful chord, and why they deserve your attention. Ginny & Georgia (Netflix) This sharp-witted drama addresses complex issues including depression, anxiety, self-harm, and the immense pressure teenagers face to keep up appearances. The show thoughtfully contrasts the clashing perspectives between parents and their children, while exploring the impact of generational it highlights the importance of therapy. Initially dismissed by Ginny's mother as 'useless', therapy ultimately becomes a vital part of their healing journey, reminding viewers that seeking help isn't a weakness, but a (Prime Video)'Euphoria' is an unflinching portrayal of teenage life at its most raw. The series tackles addiction, trauma, anxiety, gender identity, and depression also explores the damaging influence of social media, and the unrealistic expectations it sets, often leading to self-doubt and body image issues among teens. Visually striking and emotionally intense, Euphoria offers an unvarnished look at the challenges of adolescence Have I Ever (Netflix)In this coming-of-age comedy-drama, we follow Devi Vishwakumar, an Indian-American teenager navigating high school while coping with the grief of losing her of cultural identity, academic pressure, bullying, and racism are explored with both humour and sensitivity. The show thoughtfully reflects how balancing heritage with personal growth can be both empowering and isolating, particularly under the weight of parental and societal Society (Netflix) A gripping dystopian tale where a group of teenagers is mysteriously left to govern themselves after all the adults vanish. 'The Society' becomes a social experiment, exploring power dynamics, leadership, survival, and the breakdown of order. It challenges the idea that life without adults is easier, showing how complex and high-stakes decision-making can be when survival and morality are at (Netlfix)This emotionally resonant series highlights the mental health struggles many teenagers face, particularly in the age of social media. Feelings of inadequacy, anxiety, and low self-worth are sensitively portrayed. At its core, 'Adolescence' is a reminder of the vital role parents play. It emphasises the need for open, supportive communication, and the importance of simply being present during difficult times. For parents, it serves as both a reality check and a call to shows are more than just entertainment; they're a wake-up call. The issues they portray are real, urgent, and not taboo. Whether you're a teenager or a parent, it's crucial to recognise that seeking professional help can make a world of difference. Conversations about mental health, trauma, and identity should never be brushed aside; they should be met with empathy, awareness, and action.- Ends
Pink Villa
17-07-2025
- Entertainment
- Pink Villa
The Great Indian Kapil Show: Ajay Devgn mocks Kapil Sharma's drastic weight loss, video is a must-watch
The Great Indian Kapil Show Season 3 is on air, and audiences eagerly wait for Saturday as a new episode goes live. In the upcoming episode, Son of Sardaar 2 cast Ajay Devgn, Mrunal Thakur, and Ravi Kishan will grace the show. Their fun banter with Kapil Sharma and his team is sure to leave you rolling on the floor laughing. During this, Ajay also takes a dig at Kapil's drastic weight loss while throwing hilarious punch lines. Ajay Devgn unleashes his unfiltered avatar Netlfix uploaded a new promo of The Great Indian Kapil Show, offering fans a glimpse of the forthcoming episode. As the promo starts, Ajay Devgn, Mrunal Thakur and Ravi Kishan grace the stage. Kapil then reads a fan comment that says - Ajay has done many comedy films, but becomes serious on comedy shows. Watch The Great Indian Kapil Show's promo here- Ajay Devgn then quipped, "Jab mai voh filme karta hu, toh cheque mere naam pe bante hai, jab yaaha aata hu toh cheque tere naam pe bante hai (When I do those films, I get those cheques. When I come here, Kapil gets the cheques)." Further, Krushna Abhishek, Kiku Sharda, and Sunil Grover leave all in splits with their performances. Ajay Devgn takes a dig at Navjot Singh Sidhu's presence on the show. When Kapil says that Ravi touches his wife's feet before sleeping every night, Ajay jokes, "Aadmi jitna guilty hota utna pair chhuta hai (When a man is guilty he does touches the feet)." Ajay Devgn takes dig at Kapil Sharma's weight loss The Son of Sardaar 2 actor showcases his unfiltered side on the show, surprising everyone with his one-liners. Ajay doesn't spare Kapil Sharma either and says, "Sab weight loose karte hai, tune itna kar liya tere naak pe se bhi weight loose ho gaya (Everyone looses weight, you lost so much that even your nose has lost weight)." Ajay Devgn, Mrunal Thakur, and Ravi Kishan appeared on the show to promote their upcoming film, Son of Sardaar 2 which is slated to release in theatres on on July 25, 2025. Speaking of The Great Indian Kapil Show, the new episodes air every Saturday at 8 PM.
Indian Express
08-06-2025
- Entertainment
- Indian Express
After Anurag Kashyap, Vikramaditya Motwane, Kiran Rao speak out on tech control and OTT release norms: ‘Now it's statistics and algorithm'
Ace filmmakers like Anurag Kashyap, Vikramaditya Motwane, and Kiran Rao have zeroed in on what's wrong with the Hindi film industry today. Kashyap, who recently called out Netlfix CEO and has admitted that he's relocated to the South to work there, also reiterated the issues he's been voicing for months now. On lack of good producers 'I don't think there's a lack of stories, storytellers, filmmakers or courage. What's really lacking is a good producer and producers' love for films. There was a time when producers were proud of films, now it's statistics and algorithm. The moment studios and film companies have started going to the stock market, it's gone down,' said Kashyap. In the interview with The Quint, Anurag Kashyap quoted the example of producers like Rakesh Roshan who used to mortgage their homes to fund their films. He recalled an instance in 1987 when Rakesh and his entire family were nervously sitting inside a car during the premiere of his action drama Khudgarz, fearing that if the film doesn't work, they'd lose their home. 'Whenever people have liked my film, there was a good producer empowering me. And whenever my film didn't work, the same producer was pulling the strings because the money comes from somewhere else. That's suffocating. If the producer is ready to fight, then we can go to court, like we did with Udta Punjab,' added Kashyap. After Pahlaj Nihalani-led Central Board of Film Certification halted the release of Abhishek Chaubey's Udta Punjab in 2016 because of its depiction of the drug menace in Punjab, the producers — Anurag Kashyap and Vikramaditya Motwane-led Phantom Films and Ekta Kapoor's Balaji Motion Pictures — moved Bombay High Court to ensure a smooth release of the film in theatres. 'We need producers who are invested in the story and vision of the film. This is part of the changing landscape. The fact is that most of our entertainment is owned by tech companies, and not run by old-fashioned producers. There's a slight broadening of the gap between creative people and people who have the money,' said Motwane, pointing to tech giants like Netflix, Amazon, and Jio which own streaming services including Amazon Prime Video and Hotstar. 'In the right way, it should be: we know how to make the movies, you know how to run a corporation, we'll always make it work. Sometimes, there's a tendency of coldness in this approach. But in an industry like this, you need warmth, collective energy, and passion,' added Motwane. He lauded Dinesh Vijan of Maddock Films for putting his heart and soul into producing all his movies, but maintained 'not every producer or studio is like that.' On escalating marketing costs Kiran Rao pointed out that the entertainment market is so saturated now that it's extremely challenging to reach the audience organically. 'There's so much noise now that the cost of marketing, to getting to your audience, is so high that only big films can afford. Small films, that are great, can just not afford that,' said Rao. That's exactly why her, Vikramaditya Motwane, Anurag Kashyap, and Nikkhil Advani have come on board as executive producers of Karan Tejpal's crime thriller Stolen, starring Abhishek Bannerjee, which is now streaming on Amazon Prime Video. On the theatrical experience 'It takes a lot for someone to find the right show, the right timing, the ticket prices are sometimes prohibitive, and it's not convenient. Films are never playing long enough. By the time you've heard of it, the film's already gone or moved to another neighbourhood,' said Kiran Rao, adding, 'There has been a dearth of great cinema. It's sometimes because of this conundrum that the best films don't get there, the big films do.' Anurag Kashyap insisted the Hindi film industry should learn from its southern counterparts on how to cap ticket prices. But Rao pointed out the unique issue in Bollywood. 'Each of these films from the southern states have an institutional or government support. There are fewer producers who have an understanding. The Hindi film industry is quite gargantuan. We have no state technically because every other film has their own state language. We are na ghar ka na ghat ka (neither here nor there),' argued Rao. Vikramaditya Motwane criticized the moviegoing experience of today. 'I go to theatres because I love the movies, but I hate the movie-watching experience. You're walking into a theatre that's sterile, there's no character. There are 30 minutes of advertising, smoking disclaimers, and then there are 15 minutes of advertisements during the interval, with someone asking you to advertise more. I get so angry when I see that! Then you exit through the bum of the place. It's only the love for the movies which is pushing me to go to a theatre,' confessed the filmmaker. On streaming vs theatres 'We've become used to watching films at home, especially after this eight-week thing has become a standard, which I don't think it should,' said Motwane, referring to the minimum eight-week gap between theatrical release and streaming premiere. He lauded Aamir Khan for trying to stretch that gap further by announcing that his next film, RS Prasanna's coming-of-age movie Sitaare Zameen Par, will only release in cinemas on June 20. Motwane also pointed out that historically, Hollywood filmmaker Christopher Nolan has also benefitted from the same strategy. But both him and Rao claimed that if the trailer is exciting enough, the audience would choose theatres over streaming. 'I've always felt streaming and theatres are absolutely not mutually exclusive. You should be able to release a film in the cinemas and on streaming on the same date,' said Rao. Also Read — Stolen: The rare Hindi movie that isn't afraid to insult its own audience, and you know what, we deserve it 'It's so complex. There are so many moving parts in a film. It's easy to put the blame on only exhibition and distribution. But honestly, we're part of an art form that also needs to be a business. And that's a tricky space to create within. You also need an ecosystem around you where your films can fly,' she added.
Forbes
02-05-2025
- Entertainment
- Forbes
The 7 Best New Movies On Netflix In May 2025
A new month means there's a flesh slate of films to choose from on Netlfix, and May is no exception. This month offers dozens of new movie options, from coming-of-age tales about kids skateboarding in the 1990s to on-the-road crime dramas about families piecing themselves back together to zombie thrillers about the everyman's ability to become a hero. These are just three of the many, many great movies you can now access on Netflix. So where should you start? Hopefully, I can help. Below are seven movies I believe stand out from the fresh crop of films now available on Netflix. For each film, I'll detail the plot, link a trailer and offer reasons for why you should watch it. Then at the bottom of the article, you can find a full list of every single new film available on Netflix in May 2025. I'm so excited about Jonah Hill's upcoming black comedy starring Keanu Reeves, Outcome, which Hill is directing. To date, he's only directed two movies, and both of them are fantastic - the first, Stutz, is an incisive, vulnerable documentary about the benefits of therapy - but the second film, the only narrative feature Hill has directed to date, is the reason I believe Outcome will be one for the books. Mid90s is set in 1996 Los Angeles, where 13-year-old Stevie (played by Sunny Suljic) lives with his abusive older brother Ian (Lucas Hedges) and their single mother Dabney (Katherine Waterston). Desperate to break free from his home life, Stevie assimilates into the rebellious world of skateboard culture and indulges in substance abuse and life-threatening behavior. Hill's directorial eye, which employed Super 16mm film in a 4:3 aspect ratio in order to evoke the look and feel of 1990s home videos, reveals a unique approach - he meticulously recreates the raw energy and camaraderie of the era's skateboarding scene, breathing life into the setting, allowing this coming-of-age tale to pulsate with life as Stevie tumbles down a potentially dark path in his search to belong. Up until Trainwreck, Judd Apatow had trod familiar territory. Don't get me wrong: his movies were great - The 40-Year-Old Virgin is an incredible directorial debut, Funny People is one of those rare sad comedies that totally works, and I still laugh myself silly while watching Knocked Up. But Trainwreck, which was written by Amy Schumer, filters Apatow's loose structure and emotionally grounded approach through a new voice. This romantic comedy stars Schumer as Amy Townsend, a raging alcoholic who uses partying and vices to shield herself from any sort of deep, meaningful relationship. Taught from a young age that a loving marriage isn't realistic, she lives a commitment-free life - that is until she unexpectedly falls for Aaron (Bill Hader), who challenges her long-held beliefs. The signature sharp wit of Schumer's comedy bring a fresh perspective to rom-coms as it forces Amy to confront her fears and reconsider her lifestyle choices. To boot, the film features great performances from the likes of Brie Larson, Tilda Swinton, John Cena and LeBron James, who all offer hilarious characters that brim with personality and add to the story. Steven Spielberg's career is filled with absolute gems, from Jaws to Close Encounters of the Third Kind to, most recently, The Fabelmans, which feature all the classic signatures of the director's approach - he uses the camera, via long takes and elegant tracking shots, to convey the story; he is a master of blocking and composition as he maximizes dramatic tension; he has complete control of a film's tone, shifting between between suspense, sentimentality, horror and humor with ease. But the very beginning of his career is punctuated by two films that showcased the baby stages of such later mastery. The first, Duel, was a tense thriller about a man being chased by a semi-truck, while the second took a microscope to society's fascination with media sensationalism. That film, The Sugarland Express, starts with the character Lou Jean (Goldie Hawn), who convinces her husband Clovis (William Atherton) to escape from prison and help her retrieve their son before he is placed into foster care. During the journey, they take a police officer hostage, leading to a slow-moving and growing caravan of police cars, news vans and onlookers as they run from the law. For fans of Spielberg's development as a master director, this film is a fascinating watch. There aren't many movies I feel I can watch with my mother. But when Crazy, Stupid, Love. hit theaters back in 2011, I knew it was a safe pick - and little did I know it would be such a rollicking good time, not only for its ability to balance awkward, true-to-life comedy with heartfelt drama, but, more than anything, for bringing together Ryan Gosling and Emma Stone for their first on-screen appearance together. This unpretentious rom-com employs an ensemble cast of characters, starting first and foremost with Cal (Steve Carell), who is heartbroken when his wife Emily (Julianne Moore) asks for a divorce. Heartbroken and adrift, Cal's life turns around when a suave bachelor named Jacob (Gosling) takes him under his wing to teach him the art of seduction. As Cal reinvents himself, Jacob unexpectedly falls for Hannah (Stone) and must question his lifestyle choices as he deepens his relationship with her. What separates this film directed by Glenn Ficarra and John Requa from other rom-coms is its willingness to take heartbreak and uncertainty seriously - the film doesn't pretend that love is simple or that people always know what they're doing, and instead leans into the confusion and messiness of connection. Few directors have afforded themselves the ability to comment upon aging quite like Clint Eastwood, a 94-year-old individual who has directed over 40 films date, who delivered yet another film, Juror #2, in 2024. While Unforgiven had served as his most significant film on the subject of growing old for many years, a new film took the helm in 2018: The Mule. Eastwood also stars in the film as the Korean War veteran Earl, a horticulturist who, after years of selfishness and career obsession, has alienated all the important people in his life. When his flower business collapses, Earl stumbles into work as a mule, transporting cocaine across the country for a Mexican cartel. While the film features cartel meetings and DEA investigations, its pacing unfolds in a slow, deliberate manner characteristic of Eastwood's late-age approach, more interested in Earl's long drives and quiet reckonings than shootouts or suspense. At its core, The Mule is a film about someone trying peace with their life before it's too late, a theme you can't help but feel is important to an artist almost in his 90s. Eastwood directs with the sparse, unflashy style he's known for, favoring long takes, simple blocking and natural lighting for his slowly unfolding story. The film also stars Bradley Cooper, Michael Peña and Laurence Fishburne as DEA agents who slowly chase Earl down. My curmudgeonly gripe with many modern films is they spend too much time telling instead of showing - they often resort to exposition-laden plots that are more concerned with what is happening as opposed to who it is happening to and why it is happening and how it helps us understand this existence. That's why I love Past Lives, a film that finds meaning in what isn't said - a film that is built around the awkward pauses, the fleeting glances, the almost-confessions that pervade life - it's a film that resists dramatic confrontations in favor of gentle realizations, that our biggest emotional breakthroughs don't always come through heightened catharsis, but quiet acceptance. This wonderfully meditative romance movie produced by A24 follows Nora (Greta Lee), a Korean immigrant and playwright living in New York who reconnects with Hae Sung (Teo Yoo), a childhood friend from Seoul she hasn't seen in 24 years. While conversing as they drift through the city, Nora becomes torn between her past, which she explores through Hae Sung, and her present, represented by her boyfriend Arthur (John Magaro), as she unknowingly looks into her future. Celine Song's directorial debut is one for the ages as she navigates the story with an extraordinary sense of patience and control, allowing the audience to observe rather than intrude, creating a sense of intimacy and emotional restraint rarely seen in modern film. This list has been filled with quieter, down-to-earth movies about love and loss and reflection. But this last film, while filled with interesting ideas and lively characters, takes us down a decidedly different path - one filled with high-speed chases and big-budget spectacle and, well, zombies. Directed by Yeon Sang-ho, Train to Busan centers on Seok-woo (Gong Yoo), a cold, emotionally distant father who boards the train with his young daughter, Su-an (Kim Su-an), to visit her mother in Busan. But as the train quickly descends after being overtaken by a rapidly spreading infection, his priorities are challenged and his arc becomes the emotional spine of the film, transforming him from an aloof, calculating individual into one that is compassionate and heroic. The zombies, fast, vicious, and terrifying in groups, come to reflect Seok-woo's journey, serving as a metaphor for societal decay and the spread of dehumanizing behavior - in effect, the film critiques corporate greed, class divisions, and the erosion of empathy, asking not just how we survive, but who we become in order to do so - Seok-woo serves as the anchor for this harrowing examination of the human condition. (If you're interested, the film's sequel, Peninsula, is also on Netflix.)
Buzz Feed
11-04-2025
- Entertainment
- Buzz Feed
Bill Hader Revealed The Reason He Was Once Fired On The Spot From A Movie Theater, And People Think It's Both 'Petty' And 'Completely Valid'
Recently, Bill Hader appeared on Netflix's Everybody's Live With John Mulaney, where he recalled a hilarious story about getting fired from a previous job. See, long before he was a world-famous comedian and actor, Bill actually worked at a movie theater. He ended up getting fired for spoiling the ending of a super iconic film to a group of girls — and his reasoning is cracking people up. 'I got fired from a movie theater for ruining the end of Titanic,' he recalled. 'I was working in a movie theater, and Titanic hadn't come out yet, and a sorority had bought out the movie theater and they were in the doorway.' 'I was going, 'Hey, guys. Can you guys move?' They were making fun of me. They said I looked like Charles Manson. Which I kinda did. I had a little bowtie on and a cummerbund, and I was like, 'Hey guys, please move.' And they were like, 'No,'' he shared. Netlfix And so, Bill decided that he was going to share the ending of Titanic with the girls who made fun of him. Spoilers ahead. 'So when they went in, as I tore the tickets, I was like, 'Enjoy the movie. The boat sinks at the end. Leo dies,'' he said. 'And they were like, 'No, he doesn't.' I go, 'Yeah, you think he's asleep. But he's frozen.' And that showed them.' 'The [manager] came down smiling, and he was like, 'Hey, Bill. I have to fire you.' He loved it. Couldn't look me in the eye, though,' he concluded. Bill's retelling of the story has since garnered a heap of attention online, with several people agreeing that they feel he was 'completely valid' for spoiling the Titanic ending. 'This is the best pettiest revenge I've ever seen,' one person wrote. 'This is completely valid honestly,' said another. 'I love him for this,' a third user added, while someone else said: 'He really did nothing wrong, IMO.'
