Bigg Boss Bangla Gets New Host? Sourav Ganguly Signs Rs 125 Cr Deal With Star Jalsha
In an interview with News18 Bangla, 'Dada' revealed he will now be part of a new show on Star Jalsha and has reportedly signed a four-year deal worth ₹125 crore with the channel.
According to the News18 report, he is set to host Bigg Boss Bangla, along with a brand new quiz show on the channel. Both shows are scheduled to go on air in July 2026. Reports also suggest that Bigg Boss Bangla will feature a revamped format like never before.
The cricketer expressed his excitement about this new role and said, 'I am very happy to be associated with Star Jalsha. We are starting a new chapter together, focusing on storytelling through innovative non-fiction programmes.'
He added, 'I have always believed in the power of connecting with people beyond cricket. This collaboration will allow me to achieve that by presenting new formats and real-life stories that will inspire and entertain.'
Sourav Ganguly's return to television has left fans buzzing with excitement. As shooting is slated to begin in July 2025, viewers are eagerly awaiting the return of their favourite captain to the small screen.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scroll.in
8 minutes ago
- Scroll.in
Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal
For years, political hostilities between India and Pakistan have disrupted entertainment exchange, but rarely have restrictions been as sweeping as those triggered by the Pahalgam fallout. The latest wave of bans targeted Pakistani shows on YouTube, blocked streaming access to cross-border dramas on Netflix and Amazon Prime, and even temporarily disabled Instagram accounts of Pakistani actors and peace activists. The clampdown came at a time when Pakistani dramas have been enjoying immense popularity across the border, on digital and social media. They have not just built massive fan bases there, but are also engaging with radical themes that, as Indian journalist Raksha Kumar points out, are missing from Indian television dramas, due to 'superfluous' research, lack of courage or financial constraints. One standout example is a three-part mini series that aired last August on the privately owned Hum TV, produced by veteran television pioneer Sultana Siddiqui. Each installment tells a stand-alone story. Each is bound by the shared theme of how far-right radicals terrorise individuals and the communities they inhabit at large and the limitations of the state to give justice or security to the victims. The final episode of Tan Man Neelo Neel (Body and Soul Covered in Bruises), the last in the trilogy, elicited emotion for audiences in both countries. The lead characters attacked by an angry mob were their parents' only children. They were young people whose dreams were cut short. The story ends with a chilling mosaic honouring real-life victims of 'blasphemy' mob violence like Mashal Khan, a university student in Mardan in 2017 and brothers Mughees and Muneeb Butt, in Sialkot in 2010. Mob violence Many others could have been included. The list is long and includes those who were victimised on the pretext of religion even if mob violence wasn't involved. The theme resonates wherever this phenomenon has occurred. Since she launched Hum TV in 2005, Sultana Siddiqui, now in her late 70s, has used the television channel as a platform for storytelling from a progressive bent of mind, offering a nuanced portrayal of Pakistani society through deeply grounded characters. This isn't the first time her storytelling has crossed borders. Zindagi Gulzar Hai (Life is Beautiful) in 2012 was a hit in India. The series shows a picture of Pakistan different from the narrative seen in the Indian context. Its popularity, fueled by social media, created a demand for Pakistani content in the Indian market. Its lead actor Fawad Khan, went on to become a Bollywood heartthrob, but was then banned in India along with other Pakistani artists following the 2016 Uri attack. The Pakistani film Maula Jatt that he stars in was due to be released in India, but that has been stalled too. The release of a Bollywood romance he stars in, Abir Gulaal, is now also in limbo due to renewed hostilities. Countering 'foreign' serials What catalysed Sultana Siddiqui to start Hum TV channel was a desire to create relevant content rooted in Pakistan. 'My son asked, 'Are you sure this will work? Indian channels are dominating ratings.' I told him, 'Give it two days – those ratings won't last',' she recalls. 'I was scared too. But when it happened, the entire atmosphere shifted. Not just in Pakistan, but anywhere Urdu is spoken.' She wanted to counter the dominance of 'foreign' serials, particularly Indian dramas known for their sensationalist aesthetics. 'Those vibrant colored walls, the dramatic music, and women cooking without a single stain on their clothes – it all used to bother me,' she says. The series are part of a long line of Hum TV productions that have challenged social norms, like Udaari (Soaring, on child sexual abuse) and Dar Si Jaati Hai Silah (Silah Gets a Bit Scared, on domestic violence). Speaking to Sapan News at her office in Karachi, Sultana Siddiqui recalled the backlash against Udaari (2016), which state-run regulators branded 'immoral ' and threatened to shut down. 'I asked them, 'What exactly do you gain by doing this?'' she recalled. Their reply? 'You get a lot of publicity'.' Public support But Siddiqui believes it wasn't just the regulators. 'When one of my dramas performs exceptionally well, there are always two kinds of competitors – those who respond positively, and those who don't. I choose to rise above. But some out of sheer spite think, 'It's doing well, so let's bring it down,' and they write complaints.' Udaari received a record number of notices from the Pakistan Electronic Media Regulatory Authority, an indication of how much pushback such socially conscious shows can get. The subject matter, she was told, was too 'bold' to ignore. Her response: 'Look at the end – the rapist was caught and punished. The purpose of Udaari was to show that if you see your child disturbed, talk to them. Because often, it's the nearest person who abuses the child, someone they trust.' What sustained her was support from the public. 'That's where we drew our strength from, to fight the case legally,' Sultana Siddiqui says. 'Sorry, but we are not followers; we create and make others follow.' She admits having to self-censor many aspects of her productions. 'Of course, you can play it safe, but if you're intelligent, you should know what your purpose is.' While Pakistani television channels today enjoy far more freedom than under military regimes, it was Pakistan's last military dictator, General Pervez Musharraf, who in fact allowed private channels to start. 'Back then we mostly adapted novels into dramas, where the mother was the epitome of goodness,' she says. 'They were slow-paced and good in their own right, but their reach and impact were limited. The subjects were limited too – you couldn't tackle issues like child abuse… You couldn't even show a couple holding hands. That's not the case now.' In contrast, films get caught in layers of bureaucracy with those in different regulatory departments 'sending mixed signals – one says yes, the other says no'. The horrific cases of mob violence in Pakistan affected Siddiqui on a personal level, she said, leading her to create the Tan Man series as a response. 'I don't have the energy anymore to keep running around, directing projects,' she admits. 'But I saw something that shattered me. I just hope some change comes from it – something that makes me feel like I've done my part. If nothing else, at least it brings some awareness.' 'When I see things like this, I know it's already time for me to bow out,' she says. 'But before I do, I want to leave behind something meaningful." Alongside Tan Man Neelo Neel, which runs for 11 episodes, the trilogy features Mann Jogi with nine episodes and Nadaan with eight. The latter tackles the controversial practice of ' Halala Nikah ' and exposes how religious doctrine is exploited for personal political gain. The second installment, Nadaan, directed by filmmaker Mehreen Jabbar (Ramchand Pakistani, 2008), examines the scourge of drug addiction. The story shows how drug addicts pose threats to people around them; they resist the opening of rehabilitation centres that might weaken their grip, hiding behind performative piety to deflect scrutiny, and ultimately incite mob violence to protect their influence and preserve the toxic ecosystems they benefit from. Cross-border drama Sultana Siddiqui has always strongly favoured the inclusion of cross-border talent in Pakistani and Indian cultural productions. She has participated in various bilateral conferences and meetings, including those organised by Aman Ki Asha (Hope for Peace), a joint platform initiated in 2010 by the two biggest media groups of India and Pakistan. At the 2018 inaugural Pakistan International Film Festival, which Sultana Siddiqui hosted in Karachi, she invited prominent Indian industry figures as guests, including the team behind the blockbuster film Baahubali. But when she informally asked one of them, a veteran writer, to create content for Pakistani audiences, he politely declined, citing 'grave risks'. Sultana Siddiqui advocates for a more equitable exchange of cultural assets between India and Pakistan. She doesn't mind Indian productions hiring Pakistani writers but 'it should be a two-way street. For every writer they take, we should get one in return – maybe even agree on a percentage.' There are other kinds of risks involved in collaboration that may derail such efforts. There have been cases of storylines from Pakistan being picked up by Indian productions but then, 'things were added according to their own wishes.' State policy has also played its part. In 2016, Pakistan banned Indian dramas on its television channels, after India's unofficial curbs on Pakistani artists. The blackout, she notes, did give a short-term boom to homegrown content, but the real game-changer has been the rise of digital streaming platforms. Not all of Hum TV's projects have been free from critique. The 2019 television series Ehd-e-Wafa, a collaboration with the military's media wing, the Inter-Services Public Relations, drew criticism for glorifying the army and depicting other professions and state institutions unfairly. Earlier ISPR-sponsored shows like Alpha Bravo Charlie (1998) and Sunehre Din (1991) focused on military life without overt political messaging. Asked whether private channels should be subject to such influence, Sultana Siddiqui stresses that collaboration should involve professionals who understand the craft. The conversation with Sultana Siddiqui took place in Urdu and the quotes provided are approximate English translations.
India Today
8 minutes ago
- India Today
Saiyaara box office Day 8: Mohit Suri film continues strong run, earns Rs 190 crore
After a stellar opening week, 'Saiyaara', featuring debutants Ahaan Pandey and Aneet Padda, maintained its impressive momentum with a steady second Friday at the Indian box office. The film has earned Rs 190 crore in eight to Sacnilk, the film earned an impressive Rs 18 crore on its second Friday, bringing its total India net collection to an estimated Rs 190.75 recording its lowest numbers so far, the film still climbed to the top of the list of highest-grossing Bollywood movies at the Indian box office. It even surpassed Akshay Kumar's 'Housefull 5' (Rs 183 crore) and Ajay Devgn's Raid 2 (Rs 173 crore) in lifetime collections. Watch the trailer here: 'Saiyaara' that struck a deep chord with the audience, is not set to enter the Rs 200 crore club on its second Saturday, becoming only the second Bollywood release of 2025 to hit this milestone after Vicky Kaushal's 'Chhaava'.With no major Hindi release this weekend, the romantic drama is expected to continue its dream run into the second weekend. This dream run is expected to continue for Saiyaara till at least August 1, before the release of 'Dhadak 2'.'Saiyaara' is a romance-drama about Krish Kapoor (Ahaan Panday), a budding musician, and Vaani Batra (Aneet Padda), a shy writer. Through their relationship, the film explores love, loss, and film is currently running successfully in theatres.- EndsTrending Reel
Time of India
16 minutes ago
- Time of India
Krish Jagarlamudi on 'Hari Hara Veera Mallu' exit; says ‘No Rift' with Pawan Kalyan; ready to work with him again
(Picture Courtesy: Facebook) Director Krish Jagarlamudi has finally spoken about his much-speculated exit from 'Hari Hara Veera Mallu' (HHVM), the historical action drama that starred Tollywood icon Pawan Kalyan . The filmmaker, who initially wrote and directed the ambitious project, remained silent for a long time after stepping away from the film midway. As reported by 123 Telugu, Krish addressed the rumours and firmly denied any rift or creative differences with Pawan Kalyan. He emphasized that he is open and ready to collaborate with the actor again in the future. Shared credits and a respectful silence After Krish left the project, AM Jyothi Krishna — the son of producer A.M. Rathnam — took over and completed the film. On the matter of shared credits for HHVM's direction, Krish said, 'the actual reason will be out very soon,' hinting at further clarity down the line. 01:36 Hari Hara Veera Mallu | Song - Evaradi Evaradi Despite the behind-the-scenes reshuffle, Pawan Kalyan continued to acknowledge and praise Krish during pre-release promotions, especially highlighting the strength of the story, which Krish had originally conceptualized. The mutual respect has left fans hopeful for a future project involving both the actor and the filmmaker. A filmmaker's heartfelt farewell to his vision Before HHVM's release, Krish had taken to social media with an emotional note about the film. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villa Prices in Dubai Might Be Lower Than You Think! Villa for sale in Dubai | Search Ads Learn More Undo 'Now… Hari Hara Veera Mallu walks into the world. Not quietly.. but with purpose.. with the weight of history and passion behind every frame,' he wrote. Expressing his admiration for Pawan Kalyan, he said, 'There's a fire in him that no camera can fully capture… a kind of power that comes from purpose. His ever-burning spirit is what breathed life into HHVM. He gave it its spine, its soul, and its storm.' Krish also lauded A.M. Ratnam, calling him 'the architect behind some of Indian cinema's grand experiences' and credited both the actor and producer as the true forces behind HHVM. Ending his note, Krish called the film 'one of my most passionate battles' and a culmination of 'years of fire and faith.' Meanwhile, the Pawan Kalyan starrer is getting mostly mixed reviews from the audiences.
