Priya Sreejith

Priya Sreejith

🎬
Known For
Indian Cinema
Actress

Career Stats

Total Movies 0
Debut Year N/A
Awards Won N/A
Box Office ₹0 Cr
🎬

Recent Movies

Kolahalam
Kolahalam
Jul 2025

Related News & Articles

Ramayana Part 1 Titled as Ramayana The Legend of the Prince in China Set for Global Release on November 6 Bollywood
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Ramayana Part 1 Titled as Ramayana The Legend of the Prince in China Set for Global Release on November 6

BY CHRISTA LINCY

The release strategy for Nitesh Tiwari’s much-discussed epic, Ramayana: Part 1, has taken an interesting turn as the makers prepare for a massive global rollout. In a departure from the usual practice of domestic-first releases, the international release date for the film has been fixated for November 6, 2026. Audiences in India will get to see the movie two days later, with the domestic launch scheduled for November 8, 2026. A major part of this international strategy involves a significant release in China. Sony Pictures, the studio handling the international distribution, recently revealed the official title for the film in China through their Weibo account. Titled Ramayana: The Legend of the Prince, the movie is being promoted by highlighting director Nitesh Tiwari's connection to Dangal. Since Dangal remains one of the most successful Indian films ever released in China, Sony is clearly using that established goodwill to build anticipation for this mythological project among Chinese moviegoers. (adsbygoogle = window.adsbygoogle || []).push({}) The core narrative follows the classic arc of the demon king Ravana causing chaos across the three realms, leading Lord Vishnu to descend in the incarnation of Rama to protect all beings.The film focuses on the fourteen-year exile, the abduction of Sita, and the subsequent battle that erupts between the vengeful king and the guardian deity. To elevate this grand narrative, the makers have brought on legendary composer Hans Zimmer to provide the score. The collaboration between Zimmer and Tiwari is one of the most analyzed aspects of the project, as fans are curious to see how a global soundscape fits an Indian epic. In terms of casting, the film features Ranbir Kapoor as Lord Rama and Sai Pallavi as Sita. The role of the formidable antagonist, Ravana, is played by Yash, whose involvement has been a major draw for the project. Other notable cast members include Sunny Deol as Hanuman and Ravi Dubey as Lakshman. This ensemble brings together stars from different regional industries, supporting the film's goal of being a truly pan-Indian and global event. (adsbygoogle = window.adsbygoogle || []).push({}) However, the journey toward the big screen has been met with a mixed reception following the initial glimpses of the film. While many viewers have praised the casting choices and the ambitious scale, there has been significant debate regarding the visual effects. Some fans have expressed concerns over the CGI quality, drawing unfavorable comparisons to previous mythological films that failed to deliver on the visual front. There is a visible divide between those who appreciate the modern, sleek aesthetic and those who feel that the digital work might take away from the traditional, grounded feel of the Ramayana story. Despite these varying opinions, the film remains one of the most expensive and ambitious projects ever attempted in Indian cinema. With Sony Pictures managing a massive global rollout and the weight of a legendary story behind it, Ramayana: Part 1 is positioned as a potential landmark release. The coming months will be crucial for the production team as they aim to build momentum for what is expected to be one of the biggest box office events of 2026.

Dulquer Salmaan Starrer I'm Game Moves to September 3 for a Much Larger Global and Pan India Release Mollywood
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Dulquer Salmaan Starrer I'm Game Moves to September 3 for a Much Larger Global and Pan India Release

BY CHRISTA LINCY

The wait for Dulquer Salmaan’s much-anticipated return to Malayalam cinema has just been extended by a few weeks. In an official announcement the makers of I'm Game have confirmed that the film will no longer arrive for the Onam season on August 20. Instead, the project is now scheduled for a massive worldwide release on September 3, 2026. While a delay might initially seem like a setback, the production team at Wayfarer Films has clarified that this move is part of a larger vision to ensure the film reaches the widest possible audience. By moving the release date, the team is gearing up for a simultaneous launch in five languages, including Malayalam, Tamil, Telugu, Hindi, and Kannada. This decision highlights the growing trend of Malayalam films aiming for a pan-Indian footprint, especially after the recent success of regional titles on a global scale. For a star like Dulquer Salmaan, who enjoys a significant following in the Telugu and Tamil markets, this wider release strategy makes perfect logical sense. The makers have emphasized that the game is simply getting bigger, allowing them to secure more screens and a better theatrical platform across different regions. (adsbygoogle = window.adsbygoogle || []).push({}) The project itself carries a lot of weight because of the creative minds involved. Director Nahas Hidayath, who delivered the high-octane blockbuster RDX, is leading the ship. His association with the legendary stunt directors Anbariv suggests that I'm Game will feature action sequences of a scale rarely seen in Mollywood. Known for their bone-crunching work in KGF and Vikram, Anbariv’s involvement is a clear indicator that this film is being mounted as a premium action-thriller. Adding to the technical prowess is Jakes Bejoy, who is handling the music and background score, which is always a key component in Nahas's films. In terms of the cast, the movie brings together an interesting mix of talent from various industries. Alongside Dulquer, the film features Antony Varghese, better known as Pepe, which adds a layer of raw energy to the proceedings. The inclusion of Tamil actor-director Mysskin and Kathir further strengthens its pan-Indian appeal. Other notable names in the ensemble include Kayadu Lohar, Vinay Forrt, and Samyuktha Viswanathan. This diverse lineup suggests that the story likely has multiple threads that traverse different geographical settings, making the multi-language release a necessity rather than just a choice. (adsbygoogle = window.adsbygoogle || []).push({}) From an analytical perspective, stepping out of the crowded Onam window of August 20 might actually work in the film's favor. While Onam is traditionally the biggest period for Malayalam cinema, it often leads to a heavy clash where even big films struggle for optimal screen counts. By picking September 3, I'm Game positions itself as a solo heavyweight, allowing it to dominate the box office without the immediate pressure of local competition.

Riteish Deshmukh, Paresh Rawal and Rajpal Yadav Reunite for Malamaal Weekly 2 with New Addition Elvish Yadav Bollywood
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Riteish Deshmukh, Paresh Rawal and Rajpal Yadav Reunite for Malamaal Weekly 2 with New Addition Elvish Yadav

BY CHRISTA LINCY

Fans of classic Bollywood comedies have a reason to celebrate as the much-anticipated sequel to the 2006 hit Malamaal Weekly is finally taking shape. According to an exclusive report by Bollywood Hungama, the project has secured its primary male leads, bringing back a beloved trio while adding a fresh face to the mix. The sequel aims to recapture the chaotic energy that made the original a favorite among audiences two decades ago. The core of the original film featured the impeccable comic timing of Paresh Rawal and Rajpal Yadav, and both veterans are now officially locked in to return. Joining them is Riteish Deshmukh, who is set to lead the film once again. While sources close to the production indicate that Riteish is currently fine-tuning the details and reading the final script before formalizing the paperwork, the verbal confirmation is already in place. In an interesting casting move, popular YouTuber and Bigg Boss OTT Season 2 winner Elvish Yadav has been brought on board as a principal cast member. This will mark his second venture into mainstream Bollywood, following his upcoming debut in an action project. (adsbygoogle = window.adsbygoogle || []).push({}) The female cast is equally impressive and adds significant star power to the ensemble. As previously revealed by Bollywood Hungama, the sequel will feature Parineeti Chopra, Raveena Tandon, and Shilpa Shirodkar in pivotal roles. This blend of seasoned actors and contemporary stars suggests that the makers are looking to appeal to a wide demographic, balancing nostalgia with modern-day popularity. On the creative side, the film will be helmed by Amit Joshi, who recently gained attention for co-directing the robotic rom-com Teri Baaton Mein Aisa Uljha Jiya. Joshi is currently in the process of polishing the script, with plans to start the production cycle by November 2026. While Malamaal Weekly 2 will offer a completely new storyline, it intends to stay true to the thematic roots of its predecessor. The narrative will once again focus on ordinary small-town residents caught in a web of poverty, greed, and the sudden prospect of wealth, leading to a classic comedy of errors. (adsbygoogle = window.adsbygoogle || []).push({}) The decision to revisit this franchise is backed by the impressive commercial legacy of the first film. Released in 2006, Malamaal Weekly was a definitive box office success, earning a superhit verdict from trade analysts. The movie collected a net total of approximately ₹26.70 Cr in India, with the total India gross reaching around ₹36.05 Cr. On the global stage, it performed quite well for its time, securing roughly ₹5.65 Cr from overseas markets and pushing its worldwide gross to a solid ₹41.70 Cr. Its simple yet effective premise of villagers fighting over a lottery ticket struck such a chord that it was eventually remade in several regional languages, including Telugu, Kannada, and Malayalam. Beyond its theatrical run, the film achieved a legendary status on television that few movies can boast of. For over a decade, channels like Set Max and Goldmines broadcasted the movie almost every week, turning it into a staple for Indian households. It consistently delivered massive TRP ratings for networks, eventually becoming one of the most-watched Hindi comedies on the small screen. This enduring television legacy, often compared to other cult classics like Sooryavansham and Nayak, ensured that the characters and their antics remained fresh in the public memory long after the film left the cinema halls. (adsbygoogle = window.adsbygoogle || []).push({}) The decision to revisit this franchise makes sense when looking at the legacy of the 2006 original. Directed by Priyadarshan, Malamaal Weekly was a significant box office success and saw itself remade in several regional languages including Telugu, Kannada, and Malayalam. Its simple yet effective premise of villagers fighting over a lottery ticket struck a chord with the masses. By retaining the comic spirit and the original lead trio, the sequel seems positioned to tap into that established goodwill while offering a fresh perspective for the current generation of cinema-goers.

DC Day 6 Box Office: Film Grosses ₹5.74 Cr as Kerala Surpasses Home Turf and Other States Stay Neck-to-Neck Kollywood
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DC Day 6 Box Office: Film Grosses ₹5.74 Cr as Kerala Surpasses Home Turf and Other States Stay Neck-to-Neck

BY CHRISTA LINCY

As we approach the crucial Independence Day weekend, the box office remains abuzz with the performance of Lokesh Kanagaraj’s latest offering, DC. The film has maintained a remarkably steady trajectory since its release, proving that strong content continues to find its audience even on weekdays. After finishing its first six days in theaters, the movie is showing exactly why it is being hailed as a blockbuster, particularly in the Southern markets. On its sixth day, which was the first Wednesday of its theatrical run, DC earned a gross collection of ₹5.74 Cr in India across 4,715 shows. This takes the total India gross to a commendable ₹43.12 Cr. In terms of net earnings, the film brought in ₹5.00 Cr for the day, which is a minor 9.9 percent drop from the previous day's net of ₹5.55 Cr, bringing the total India net to ₹37.50 Cr so far. The film's international performance also remains steady, adding ₹1.00 Cr from overseas markets on Wednesday to reach an overseas total of ₹15.50 Cr. Consequently, the worldwide gross collection has reached a strong ₹58.62 Cr after 25,645 shows, showcasing its consistent appeal among the global audience. (adsbygoogle = window.adsbygoogle || []).push({}) The most fascinating part of this box office story is the state-wise performance, specifically how Kerala is leading the charge. In a surprising turn for a Tamil-origin film, Kerala has consistently outperformed the home territory of Tamil Nadu. On Day 6, Kerala recorded a gross of ₹1.94 Cr, while Tamil Nadu brought in ₹1.60 Cr. This trend has been visible since the fifth day, showing the massive pull Lokesh Kanagaraj has in the Kerala circuit. Meanwhile, the Andhra Pradesh and Telangana regions are not far behind, contributing ₹1.40 Cr on Wednesday, which is nearly equal to the performance in Tamil Nadu. Karnataka and the rest of India added ₹0.55 Cr and ₹0.25 Cr respectively to the daily total. However, the road ahead in Kerala looks quite competitive. As we enter the Independence Day weekend, a major clash for screens is unfolding at the Kerala box office. DC is fighting for space against Vismaya Mohanlal's Thudakkam, which is holding onto screens in its second week. At the same time, Suriya's Viswanath and Sons and Vishal's Magudam are also vying for prime shows and screens. This competition is intensified by the fact that theaters in Kerala have indicated they will stop showing earlier films by August 20 to make way for the big Onam releases. Despite this scramble for screens, DC remains a formidable player in the region. (adsbygoogle = window.adsbygoogle || []).push({}) When we break down the overall journey by language, the Tamil version remains the primary driver with a gross of ₹29.33 Cr and a net of ₹25.50 Cr. The Telugu version has also made a significant impact, netting ₹9.85 Cr from a gross of ₹11.27 Cr. The Hindi version has contributed a net of ₹2.15 Cr from a gross of ₹2.52 Cr. These numbers reflect a well-distributed interest across the different linguistic markets in India. Occupancy rates for the Tamil 2D version on Wednesday were quite encouraging, averaging at 32.65 percent nationwide. As is common with successful films, the momentum built up throughout the day, starting at 21.31 percent in the morning and jumping to a peak of 44.69 percent for night shows. Looking at the major regions, Kochi stood out with a phenomenal 65.5 percent overall occupancy, with night shows reaching a staggering 82.0 percent across 137 shows. Chennai maintained a solid 39.5 percent occupancy across 298 shows, while Bengaluru saw 20.3 percent occupancy for its 270 shows. (adsbygoogle = window.adsbygoogle || []).push({}) National cinema chains have also played their part in the film's consistent run. DC sold roughly 17,700 tickets across the major multiplexes, resulting in a gross of about ₹0.31 Cr. Breaking this down by chain, PVR led the way with nearly 11,000 tickets sold for a gross of approximately ₹0.20 Cr. Inox followed with about 4,000 tickets and a gross around ₹0.06 Cr, while Cinepolis contributed nearly 2,000 tickets with a gross of about ₹0.05 Cr. These multiplex figures complement the strong performance seen in single screens, especially in the Southern states. Digital booking trends on BookMyShow further highlight the movie's popularity. On Tuesday, the platform saw 142.79K tickets booked, followed by 121.77K tickets on Wednesday. This brings the total tickets booked on the platform to 1,123,500. Furthermore, the tracked gross footfalls for the Tamil 2D version, excluding blocked seats, have reached nearly 1.5 million. These are impressive numbers that showcase the film's wide reach.

Spider-Man Brand New Day Day 14: Marvel Blockbuster Grosses Rs. 7.69 Cr as India Gross Hits Over 523 Cr Milestone Hollywood
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Spider-Man Brand New Day Day 14: Marvel Blockbuster Grosses Rs. 7.69 Cr as India Gross Hits Over 523 Cr Milestone

BY CHRISTA LINCY

Spider-Man has always held a special place in the hearts of Indian cinema-goers, and the latest outing, Spider-Man: Brand New Day, is proving why this franchise remains a dominant force at the box office. After a high-octane start, the film has now entered its second week, showing the kind of steady performance that characterizes a long-term blockbuster. As we look at the numbers for the second Wednesday, the buzz remains healthy even as the initial frenzy begins to settle into a consistent theatrical run. On its fourteenth day, the film brought in a net collection of ₹6.45 Cr across India. To give you some context, this is a 24.1 percent drop from the previous day's collection of ₹8.50 Cr. While a dip is expected as we head deeper into the weekdays, the film managed to maintain a respectable presence across 12,602 shows nationwide. This latest addition brings the total India net collection to a massive ₹438.00 Cr, with the total India gross collections standing at ₹523.64 Cr so far. These figures place the movie in an elite bracket of Hollywood releases in the country. (adsbygoogle = window.adsbygoogle || []).push({}) Looking at the language-wise breakdown for Day 14, the English version continues to lead the pack with ₹3.25 Cr. The Hindi market is not far behind, contributing ₹2.75 Cr. Regional markets like Tamil and Telugu added ₹0.30 Cr and ₹0.15 Cr respectively. If we take a step back and look at the overall journey, the English version has netted ₹239.25 Cr to date, while the Hindi version has crossed the ₹150 Cr mark, currently sitting at ₹158.40 Cr. Other regional versions, including Tamil at ₹23.25 Cr, Telugu at ₹16.30 Cr, Malayalam at ₹0.48 Cr, and Kannada at ₹0.32 Cr, have also played their parts in building this grand total. Occupancy rates provide an interesting look into how fans are choosing to experience this web-slinging adventure. For the English 3D version, the overall occupancy for the day was 13.83 percent. Interestingly, the numbers grew steadily as the day progressed, starting at 9.22 percent in the morning and peaking at 16.56 percent during the night shows. In terms of regional performance for English 3D, Bengaluru stood out with a 15.8 percent overall occupancy, followed by Mumbai at 9.5 percent and both Hyderabad and the National Capital Region at 8.3 percent. Pune recorded a lower occupancy of 7.8 percent for the same format. (adsbygoogle = window.adsbygoogle || []).push({}) The Hindi 3D version saw an overall occupancy of 10.58 percent on its fourteenth day. Similar to the English format, the evening and night shows were the most popular, recording 12.33 percent and 11.75 percent respectively. In major Hindi-speaking regions, Kolkata led the way with a 12.8 percent occupancy, while Mumbai followed closely at 12.0 percent. The National Capital Region showed a 9.8 percent occupancy, and Ahmedabad reported 8.3 percent. These figures suggest that the 3D experience remains a preferred choice for the audience, especially during prime time hours. The role of national cinema chains in this success story is clearly visible through the daily advance booking figures. Across the major circuits, the movie saw approximately 51,000 tickets sold for the day, contributing nearly ₹1.7 Cr to the total earnings. When we break this down using rounded figures, PVR emerged as the primary contributor with roughly 28,000 tickets resulting in a gross of about ₹1.0 Cr. Inox followed with a solid performance of nearly 17,000 tickets and a gross around ₹0.5 Cr, while Cinepolis added its share with approximately 6,000 tickets and a gross of roughly ₹0.2 Cr. (adsbygoogle = window.adsbygoogle || []).push({}) On BookMyShow, the movie saw 135.66K tickets booked on the second Tuesday. While this dropped to 100K tickets on the second Wednesday, the cumulative total of tickets booked on the platform has reached a staggering 8,583,070. This volume of online transactions highlights the continued interest among the urban audience to catch the movie on the big screen. Spider-Man: Brand New Day is performing exceptionally well in North America. According to data from Venky Box Office, the film earned $20M on Tuesday, which brings its total North American collection to a massive $691M. This international momentum mirrors the trend we see in India, where the film has moved past being just a hit to becoming a significant cultural event of the year.

Superstar Rajinikanth's Jailer 2 Reportedly Locks Biggest Post-Theatrical OTT Deal For Tamil Cinema With Amazon Prime Video Kollywood
11.8K views

Superstar Rajinikanth's Jailer 2 Reportedly Locks Biggest Post-Theatrical OTT Deal For Tamil Cinema With Amazon Prime Video

BY SUNIT JANGIR

Chennai, August 13 - Superstar Rajinikanth's much-awaited Jailer 2 has reportedly achieved a massive milestone even before its theatrical release, with the film reportedly locked in the biggest post-theatrical OTT deal in Tamil cinema. The Nelson Dilipkumar directorial, one of the most anticipated Tamil films, has reportedly been acquired by Amazon Prime Video for a staggering 160 crore. If the reported figure is accurate, the Rajinikanth starrer has established a new record for a Tamil film's post-theatrical streaming rights, underlining the enormous value attached to the superstar and the Jailer franchise. Amazon Prime Video is also not new to the franchise, having acquired the digital rights to the first Jailer, which became a major blockbuster following its theatrical release in 2023. (adsbygoogle = window.adsbygoogle || []).push({}) The sequel is expected to take the franchise on a much bigger scale, with Rajinikanth returning as Muthuvel Pandian and Nelson once again handling the direction. The reported OTT deal comes at a crucial stage for Jailer 2, which has already completed its shoot, with the makers already conforming October 15 release date. Produced by Sun Pictures, Jailer 2 also stars Ramya Krishnan, Yogi Babu, Mirnaa, and Rithvik, reprising their roles from the predecessor, with S. J. Suryah, Mithun Chakraborty, Vidya Balan, Suraj Venjaramoodu, Anna Rajan and Jatin Sarna joining the cast in key roles, while Bollywood star Hrithik Roshan plays a crucial cameo.

10 WWE Superstars Who Were Never Truly Pushed — And Could Have Been Megastars Wrestling
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10 WWE Superstars Who Were Never Truly Pushed — And Could Have Been Megastars

BY JITU JANGIR

WWE has had no shortage of talented Superstars who had the charisma, athletic ability and in-ring skills to become major names, only for their careers to stall before reaching the main-event level. From Mr. Kennedy and Shelton Benjamin to Carlito and Paul London, these wrestlers showed flashes of genuine star potential but never received the sustained push needed to turn them into household names. This list looks back at 10 WWE Superstars whose careers had the ingredients for something much bigger. We will examine when they arrived in WWE, how they were introduced, the opportunities they received, the moments when they appeared destined for a major breakthrough, and why they ultimately failed to become consistent main-event stars. 10. D’Lo Brown D’Lo Brown entered WWE during the Attitude Era and initially became part of the Nation of Domination. He made his televised WWF debut in 1997 and quickly became one of the more recognizable members of the group. Brown eventually developed a character of his own, complete with his trademark head shake, chest protector and energetic wrestling style. He also became a two-time European Champion, with WWE’s own title history showing multiple reigns between 1998 and 1999. His athleticism was particularly impressive for his size, and he could work with both high-flyers and larger opponents. He was also involved in some of the most important factions and storylines of the Attitude Era. The problem was that WWE never consistently treated Brown as a potential top-level singles star. He remained an important supporting player rather than someone positioned alongside The Rock, Stone Cold Steve Austin, Triple H or The Undertaker. 9. Paul London Paul London was one of WWE's most naturally gifted high-flyers of the 2000s. He signed with WWE in 2003 and made his television debut on SmackDown against Brock Lesnar. London quickly established himself as an exciting performer in the Cruiserweight division before moving into the tag-team scene. He won the WWE Tag Team Championship with Billy Kidman in 2004 and later formed a highly successful partnership with Brian Kendrick. London and Kendrick defeated MNM at Judgment Day 2006 to win the WWE Tag Team Championship. Their reign eventually lasted 333 days, which WWE's title history records as the longest reign in the championship's history at that time. Despite that success, London was rarely presented as a potential singles main-eventer. WWE had an opportunity to turn him into a major high-flying babyface, but that opportunity never fully materialized. 8. Chris Masters Chris Masters arrived in WWE in early 2005 with almost everything WWE traditionally looked for in a potential star: an imposing physique, a memorable nickname, a simple character and a devastating finishing move. WWE's own profile notes that the 6-foot-4, 265-pound "Masterpiece" quickly attracted attention after debuting on Raw and became famous for his Master Lock Challenge. Masters even entered the Elimination Chamber for the WWE Championship during his first year with the company, demonstrating just how highly WWE initially viewed him. The Master Lock Challenge was one of the strongest concepts WWE had for a mid-2000s heel. Masters could walk into an arena, challenge anyone to escape his hold and immediately create a reason for fans to care. But the momentum didn't last. Instead of becoming a dominant monster heel who could eventually challenge for a world championship, Masters gradually became another name on the roster. 7. Shelton Benjamin Shelton Benjamin arrived in WWE as part of the highly respected duo with Charlie Haas. The pair won tag-team gold and quickly established themselves as one of the company's best young athletic teams. WWE's title history records their multiple World Tag Team Championship reigns beginning in 2003. Benjamin's singles career eventually produced some spectacular moments. His athletic ability was obvious, particularly in his famous matches against Shawn Michaels and other top stars. He also became a two-time Intercontinental Champion. The problem was that WWE often presented Benjamin as an excellent wrestler rather than as a potential superstar. 6. Carlito Carlito may have one of the strongest cases on this list because WWE initially appeared to have enormous confidence in him. He made his SmackDown debut in 2004 and immediately defeated John Cena for the United States Championship. He later won the Intercontinental Championship on his Raw debut against Shelton Benjamin. Carlito also had something many technically gifted wrestlers lacked: natural charisma. His "I spit in the face of people who don't want to be cool" character was simple, memorable and easy for fans to understand. He won multiple championships during his original WWE run, including the United States, Intercontinental and Tag Team Championships. He eventually left WWE in 2010 and returned to the company in 2023, although his later run was largely used in a supporting/comedic role. The frustrating part is that Carlito looked like someone who could have occupied the upper-middle card for years and potentially moved into the world-title picture. Instead, the company never made the long-term commitment necessary to turn him into a true main-event attraction. 5. John Morrison John Morrison had perhaps one of the most complete packages of any wrestler on this list. He originally entered WWE after winning Tough Enough in 2002 and eventually became Johnny Nitro. His partnership with Joey Mercury and Melina created the successful MNM act before Morrison developed into a singles performer. After becoming John Morrison, he captured the ECW Championship and later became a major part of WWE programming alongside The Miz. WWE itself documented the beginning of his "Morrison era" after he reinvented his character. His parkour-inspired movement, athletic entrances and spectacular offense made him one of WWE's most visually impressive wrestlers. Yet despite winning the Intercontinental and Tag Team Championships and becoming ECW Champion, Morrison never won WWE's top world championship during his original run. 4. MVP MVP arrived in WWE with a character that immediately stood out. He made his first SmackDown appearance on August 4, 2006, portraying the arrogant, flashy "Ballin'" superstar. WWE's own biography notes that the company gave him a major contract and positioned him as one of the brand's most intriguing new arrivals. MVP backed up the talk in the ring. Within less than a year, he became United States Champion, and he later won the WWE Tag Team Championship with Matt Hardy. WWE even presented him as someone with the potential to become a future World Champion. His feud and partnership with Matt Hardy were among the highlights of SmackDown during that period. MVP had charisma, a distinctive character, excellent mic skills and enough in-ring ability to work with top stars. Yet WWE never fully pulled the trigger on him as a world-title-level performer. Considering how over his character became, MVP is one of the clearest examples of a wrestler who appeared destined for a much bigger role but never quite received it. 3. Ricochet Ricochet built his reputation on the independent circuit and in New Japan Pro-Wrestling as one of the most innovative high-flyers in the world before signing with WWE and debuting on NXT in 2018, later moving to the main roster in 2019. His arrival came with genuine buzz — WWE even teased a mystery "One" storyline to build anticipation before his reveal. Once on the main roster, however, Ricochet was largely kept in the midcard, frequently used to elevate other performers rather than being elevated himself. His athleticism remained undeniable, but a sustained run at the top of a WWE card never came his way. 2. Zack Ryder Zack Ryder is one of the rare cases of a WWE Superstar who essentially pushed himself. After joining the main roster in the mid-2000s, Ryder found himself stuck in lower-card roles for years until he launched his own YouTube series, "Z! True Long Island Story," around 2011 — building a grassroots fanbase almost entirely outside of WWE's own programming. That fan-driven momentum eventually forced WWE's hand, leading to an Internet Championship run and a surprise Intercontinental Championship win at WrestleMania 32 in 2016. But each time Ryder gained traction, WWE pulled back shortly after, treating his pushes as brief experiments rather than long-term investments — leaving one of wrestling's most fan-beloved underdogs without the sustained spotlight his popularity suggested he'd earned. 1. Mr. Kennedy If there is one wrestler who arguably came closest to becoming a major WWE superstar before his momentum disappeared, it is Mr. Kennedy. Kennedy debuted in WWE in 2005 and quickly developed one of the most recognizable characters on the roster. His microphone work, entrance and "Kennedy... Kennedy!" catchphrase immediately separated him from the rest of the pack. WWE gave him major opportunities early in his career, including a Money in the Bank victory at WrestleMania 23. He was planning to hold the contract until WrestleMania 24 and challenge for the WWE Championship. That alone shows how seriously WWE was considering him. But his planned rise was derailed when he lost the Money in the Bank contract to Edge after defending it on Raw. WWE's own history notes that Kennedy remains the only Money in the Bank contract holder who never successfully cashed in. He also suffered injuries and experienced repeated changes in direction. Instead of becoming a consistent main-event heel, Kennedy's WWE run faded and he departed the company in 2009. For a wrestler with his character, microphone ability and natural presence, his WWE career ended far below the level many fans expected.

Sunny Deol and Rajkumar Santoshi Revive Batwara 1947 After a Sixteen Year Battle Against Industry Skepticism Bollywood
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Sunny Deol and Rajkumar Santoshi Revive Batwara 1947 After a Sixteen Year Battle Against Industry Skepticism

BY CHRISTA LINCY

Batwara 1947 is scheduled to arrive in theaters on August 14, 2026, ending a professional hiatus between Sunny Deol and Rajkumar Santoshi that dates back to the mid-nineties. While the duo was once the most formidable force in Hindi cinema with classics like Ghayal and Damini, the journey of this specific project has been a difficult one, spanning roughly 16 years of development hell and industry skepticism. The 16-year timeline began around 2010 when the duo first attempted to pitch Batwara 1947 to major studios. At that time, both the actor and the director were navigating a difficult phase in their careers, marked by several box-office disappointments. This led to a harsh industry perception where the pairing was labeled as not saleable. Financiers were hesitant to back a veteran team that had not delivered a major commercial success in years, and the project was effectively shelved as no big banner was willing to take the risk. (adsbygoogle = window.adsbygoogle || []).push({}) A significant hurdle was the nature of the script itself. While producers were pressuring Sunny Deol to stick to loud, mass-market action films, Batwara 1947 was envisioned as a realistic period drama based on a celebrated play about the emotional trauma of the Partition. Studios viewed a serious, art-house leaning narrative as a massive financial risk, especially when the lead star was struggling with his theatrical pull. For over a decade, the project remained stagnant because the market demanded a version of Sunny Deol that didn't align with the director's grounded vision. The actor's filmography during this 16-year period reflected this struggle. Projects like Singh Saab the Great and his own directorial effort Ghayal Once Again underperformed at the box office. Later films like Poster Boys and Blank were also commercially disappointing, further fueling the narrative that his era as a bankable lead was fading. Without a major hit to his name, the ambitious Batwara 1947 appeared to be a lost cause, existing only in trade discussions rather than active production. (adsbygoogle = window.adsbygoogle || []).push({}) The trajectory shifted entirely with the massive success of Gadar 2, which proved there was still a huge, loyal audience for the veteran actor. This turnaround was further solidified earlier this year with the release of Border 2, which also performed exceptionally well at the box office. These consecutive hits restored his position as a bankable superstar, providing the necessary commercial momentum to revive Batwara 1947 after years of stagnation. Recognizing this renewed market demand, Aamir Khan stepped in under his banner to finance the project, finally allowing the director the creative independence to pursue a realistic and serious tone without the pressure of typical commercial tropes. Batwara 1947 faces a direct clash with Awarapan 2, which is currently leading the race in terms of advance bookings. While the competitor has secured a stronger start with initial ticket sales, the Sunny Deol starrer is positioned as a grounded, realistic drama that might take a bit longer to find its full momentum. Since the film avoids the loud tropes of a typical commercial entertainer, it will be solely dependent on positive word of mouth to prove its worth and draw in the larger family audience over the holiday weekend. (adsbygoogle = window.adsbygoogle || []).push({}) With Aamir Khan backing the project, the production scale was elevated without compromising the artistic integrity of the story. This allowed for a realistic recreation of the 1947 landscape and a cast that prioritized performance over mass appeal, including the return of Preity Zinta. The film is now a reality because a historic box-office turnaround revived a script that had been rejected for over a decade.

WWE SmackDown Aug. 7 Viewership Climbs to 1.47 Million As Post-SummerSlam Fallout Grabs Fans Wrestling
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WWE SmackDown Aug. 7 Viewership Climbs to 1.47 Million As Post-SummerSlam Fallout Grabs Fans

BY JITU JANGIR

WWE SmackDown's August 7 episode on USA Network drew 1.470 million viewers, up from 1.379 million the previous week, with the 18-49 demo rating also rising to 0.35 from 0.31, per Wrestlenomics. The bump lines up with a stacked post-SummerSlam show from the Xfinity Mobile Arena in Philadelphia. The episode opened with a tribute to Dory Funk Jr. following his passing, before Cody Rhodes called out Randy Orton, only to be interrupted by CM Punk, who said he didn't know about Orton's return. Kevin Owens confronted Undisputed WWE Champion CM Punk, setting up tension for the title picture, while Owens and Sami Zayn also had a heated backstage argument after Zayn expressed frustration that Owens' return had cost him a title opportunity. In the ring, Baron Corbin retained the United States Championship against Trick Williams in a SummerSlam rematch, and Fallon Henley and Lainey Reid of Fatal Influence retained the Women's Tag Team Championship in a champions-vs-champions match against Chelsea Green and Tiffany Stratton. The night's biggest surprise came in the main event, where returning star Alexa Bliss and debuting Tatum Paxley showed up to help Charlotte Flair defeat Jade Cargill. Backstage, Carmelo Hayes attacked Baron Corbin and challenged him for the U.S. Title next week. That mix of returns, title defenses, and championship-picture drama appears to have helped push the show's numbers up week-over-week.

WWE Legend Says He Nearly Fought Vince McMahon After Brutal 'Man Up' Comment Wrestling
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WWE Legend Says He Nearly Fought Vince McMahon After Brutal 'Man Up' Comment

BY JITU JANGIR

The Undertaker has revealed that he nearly got into a physical fight with Vince McMahon after the former WWE Chairman told him to “man up” during a difficult period in his personal life. Speaking on his Six Feet Under podcast, The Undertaker recalled visiting McMahon's office toward the end of his WWE career. He was only working a few times a year at the time and had been dealing with several issues outside of wrestling. The Undertaker said he went to McMahon simply to say hello and began opening up about what he was going through. However, McMahon responded with some blunt advice. “He looks at me, and it was as straight a face as it could be, he goes, ‘You know what, Mark? I really think you need to quit feeling sorry for yourself.’” The Undertaker said McMahon then added, “Yeah, you're feeling sorry for yourself. Man up.” The comment immediately angered The Undertaker, who felt he was speaking to McMahon as a friend rather than as his boss. “There was a sense of rage that come over me at that moment, like, man I thought me and you are friends,” The Undertaker recalled. The WWE Hall of Famer then warned McMahon that the conversation could have turned physical. “I did tell him, I was like, ‘You know, if you were anybody else, anybody else, we'd probably be fighting right now. No one talks to me like that. You don't talk to me like that.’” McMahon, however, refused to back down. “Well, damn it, somebody needs to,” McMahon replied. The Undertaker eventually walked away from the conversation, but after calming down, he realized McMahon had actually given him the reality check he needed. “It kind of dawns on me after I calmed down, like, you know what? Get your shit together, handle your business,” he said. The two eventually laughed about the incident, with The Undertaker later admitting to McMahon that he still wished he had fought him but agreed that McMahon had been right. Looking back, The Undertaker said McMahon knew when he needed tough love and when he needed support. “He knew when I needed a foot in the ass, or, you know, whether I needed a hug,” The Undertaker said. “He was always pretty much right on all of that stuff.”

WWE Legend Reveals Vince McMahon Once Admitted He Was Wrong About Major Punjabi Prison Match Spot Wrestling
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WWE Legend Reveals Vince McMahon Once Admitted He Was Wrong About Major Punjabi Prison Match Spot

BY JITU JANGIR

The Undertaker has revealed that Vince McMahon once admitted he was wrong about a major creative decision involving the first-ever Punjabi Prison Match. The Punjabi Prison Match made its WWE debut at The Great American Bash 2006, where The Undertaker was originally scheduled to face The Great Khali. However, Big Show replaced Khali in the match after an angle involving the two giants led to WWE changing the bout. Undertaker ultimately defeated Big Show after escaping the massive bamboo structure. Twenty years after the match, The Undertaker recalled the creative disagreement he had with McMahon while discussing the bout on his Six Feet Under podcast. According to the WWE Hall of Famer, McMahon had a specific idea for how Undertaker would escape the structure, while he believed there was a much better option. “It was originally supposed to be with Khali. Khali had something going on and they had to put Big Show in the match,” Undertaker explained. He then detailed the disagreement over the finish. “Vince had this idea about, he wanted us to go through the gate or something while we were fighting, and that's how I would get out of the cage,” Undertaker said. The Deadman had another idea in mind. Rather than escaping through one of the doors, he wanted to create a spectacular visual by jumping from the inner structure to the outer cage. “I had the idea that I wanted to jump from the inner cage to the outer cage and get out that way. I thought, man, that'll be such a cool visual. I said, ‘They won't expect it. It'll look amazing.’” However, McMahon ultimately rejected Undertaker's idea and insisted that the match be performed according to his original plan. Undertaker admitted that he eventually stopped arguing with McMahon, although he made his feelings about the decision very clear. “I don't want to hear anything else about it. This is the way we're gonna do it,” McMahon told him, according to Undertaker. “Fine. It's gonna suck, and when it sucks, it's gonna be on you,” Undertaker recalled telling McMahon. After the match took place, Undertaker felt the finish had failed to deliver the impact he had envisioned. He said the moment was essentially “whomp, whomp, whomp, whomp,” describing how flat he believed the spot had come across. But Undertaker didn't need to remind McMahon that he had disagreed with the decision. According to Undertaker, McMahon eventually acknowledged it himself. “I go back and I just looked at him. I didn't have to say a word,” Undertaker recalled. “He knew and he goes, almost under his breath, he goes, ‘Eh, yeah, I think you were right on that cage spot.’” Undertaker said McMahon immediately walked away after making the admission. For the WWE legend, the moment was particularly significant because of how rarely McMahon acknowledged being wrong. “But that was such a victory for me to actually have him admit that he was wrong on something. Didn't happen very often,” Undertaker said. The Undertaker also explained that the story was not an isolated example of creative disagreements between the two. Despite working together for roughly three decades, he said their visions for WWE's product and business were sometimes “polar opposites.” The Punjabi Prison Match itself became one of WWE's most unusual match concepts. The original structure featured two bamboo enclosures, with competitors required to escape both structures to win. The Undertaker ultimately became the first winner of the stipulation at The Great American Bash 2006. The match was later used twice more in WWE, with Batista facing The Great Khali in 2007 and Randy Orton facing Jinder Mahal in 2017. However, for Undertaker, the lasting memory of the original Punjabi Prison Match appears to be less about the unusual stipulation itself and more about the rare occasion when he finally heard Vince McMahon admit that his creative idea had been the better one.

WWE SmackDown Predictions & Match Card August 14, 2026: Preview, Start Time, Location Wrestling
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WWE SmackDown Predictions & Match Card August 14, 2026: Preview, Start Time, Location

BY JITU JANGIR

This week's episode of Friday Night SmackDown will take place on Friday, August 14, 2026, live from TD Garden in Boston, Massachusetts. WWE has stacked the show with three championship matches, putting the United States Championship, Women's United States Championship, and WWE Tag Team Championship on the line. The show is scheduled to begin at 8:00 PM ET in the United States on USA Network, while international viewers in most regions can watch SmackDown live on Netflix. WWE's official schedule confirms the Boston date and 8:00 PM ET start time. Baron Corbin (c) vs. Carmelo Hayes — WWE United States Championship Baron Corbin will make his second defense of the WWE United States Championship when he puts the title on the line against Carmelo Hayes in Boston. Corbin captured the championship from Trick Williams at SummerSlam and then retained it against Williams on the August 7 episode of SmackDown. After Corbin's latest victory, WWE moved quickly to announce Hayes as his next challenger. The matchup also carries an interesting hometown dynamic, as Hayes is from the Boston area and will have the crowd firmly behind him. Tiffany Stratton (c) vs. Jacy Jayne — WWE Women's United States Championship Tiffany Stratton will defend the WWE Women's United States Championship against Jacy Jayne after the two became increasingly involved in a dispute surrounding the Women's Tag Team Championship. On the August 7 episode of SmackDown, Fatal Influence interrupted Chelsea Green's celebration and Jayne made it clear that she wanted Stratton's title. Stratton subsequently offered Jayne a championship opportunity, turning the confrontation into an official title match for Boston. R-Truth & Damian Priest (c) vs. War Raiders vs. The MFT — WWE Tag Team Championship Triple Threat R-Truth and Damian Priest will defend the WWE Tag Team Championship in a three-way battle against the War Raiders and The MFT. The match continues a storyline that began when Priest and Truth accepted a challenge from the War Raiders. The two teams previously competed in a champion-versus-champion situation involving the WWE and AAA Tag Team Championships, and the rivalry has now developed into a three-team title fight. The addition of The MFT makes this particularly dangerous for the champions because Truth and Priest do not have to be pinned for their reign to end. War Raiders bring a major size and power advantage, while The MFT adds another unpredictable element to the contest. Cody Rhodes and Randy Orton Face Off — Predicted Cody Rhodes and Randy Orton are both advertised for the Boston show, and another confrontation between the former friends looks highly likely. Orton shocked Rhodes at SummerSlam by interfering in his Undisputed WWE Championship match against CM Punk, costing Rhodes the opportunity to regain the championship. On the August 7 SmackDown, Rhodes confronted Orton, while Orton made it clear that his actions were deliberate and that he intends to prevent Rhodes from becoming champion again. WWE's official SmackDown highlights also featured the escalating Rhodes-Orton storyline. With both men advertised for Boston, WWE has an obvious opportunity to continue building the rivalry. A physical confrontation, a challenge for a future singles match, or an extended promo segment would all make sense. Given the history between the two former allies, this feud has the potential to become one of SmackDown's central stories following SummerSlam. CM Punk and Kevin Owens Continue Their Rivalry — Predicted CM Punk and Kevin Owens are also expected to remain at the center of SmackDown following their explosive confrontation in Philadelphia. Owens returned at SummerSlam and became the No. 1 contender to Punk's Undisputed WWE Championship. On the following SmackDown, the two exchanged heated words and nearly came to blows before officials intervened. Owens has already made it clear that he wants his championship opportunity, and the match has since been scheduled for the August 21 episode of SmackDown in Toronto. That makes Boston an important stop on the road to their championship match. WWE could use the episode for another face-to-face confrontation, a contract-signing segment, or a situation where one man attempts to gain a psychological advantage over the other. Since the actual title match is scheduled for the following week's SmackDown, the Boston show should be used to raise the stakes rather than give away the final physical confrontation too early. How To Watch WWE SmackDown, August 14, 2026 Fans in the United States can watch WWE SmackDown live on USA Network at 8:00 PM ET / 7:00 PM CT / 5:00 PM PT on Friday, August 14. WWE's official viewing guide confirms that SmackDown remains on USA Network in the United States, while Netflix carries the weekly show live in most international markets. For viewers in India, SmackDown will begin at 5:30 AM IST on Saturday, August 15, with the show available on Netflix. The international broadcast schedule lists the August 14 Boston episode at 12:00 AM GMT, 2:00 AM CET, 5:30 AM IST and 10:00 AM AEST. UK viewers can watch at 1:00 AM BST on Saturday, while viewers in Central Europe can tune in at 2:00 AM CEST. Australian viewers will get the show at approximately 10:00 AM AEST on Saturday. In most of these international markets, SmackDown is available live through Netflix.