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Babygirl film review: Nicole Kidman sparks a fiery blend of power, submission

Given the film’s focus on sex, strong performances are crucial. Dickinson successfully navigates a character whose combination of youthful awkwardness and bedroom confidence could have been challenging to portray.

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Nicole Kidman’s performance in her latest film, Babygirl, is engaging from the outset, but it feels distinctly like acting—at least, her character’s portrayal does. Kidman plays Romy Mathis, a New York CEO, who, during an opening scene, experiences an orgasm while having sex with her husband, Jacob (Antonio Banderas). However, as the film progresses, we come to realize that this initial experience was merely a façade.

The film sharpens the conversation surrounding opportunities for older women actors. Demi Moore may soon take home an Oscar for her poignant depiction of the struggles of middle age in The Substance, while Kidman finds herself in a prominent role that involves Botox, submissive fantasies, and sexual encounters that serve as pivotal plot points.

Babygirl tackles provocative themes, addressing the experiences of senior women in corporate environments, age-gap relationships, and S&M dynamics, all presented without a clear agenda. It playfully asks, “How inappropriate do you find this?” Next, we see Romy at her workplace, which focuses on automated parcel delivery. A group of interns has joined the team, one of whom, Samuel (Harris Dickinson), appears unfazed. Their exchanges carry tension; when Romy asks him to get her a coffee, he obliges but warns her against drinking it after lunch. This moment leaves Kidman momentarily stunned—Is it old-school sexism, a health tip from a blunt Gen Z, or a flirtation with hidden implications? Director Halina Reijn (of Bodies Bodies Bodies fame) skillfully captures the subtle undercurrents in their interactions.

Once the extramarital affairs begin, the power dynamics shift, with Samuel taking a more dominant role. One might think we’re entering another Fifty Shades of Grey territory, but the film presents these escapades with more real-world stakes and a touch of humor, acknowledging the absurdity of the situation. The film subtly questions its own narrative—Are we really engaging in this?

In its satirical take on corporate life, Babygirl occasionally holds back, but it certainly has its moments of directness. Romy’s casual reference to her upbringing in “communes and cults” suggests a mindset suited for sexual power games—or perhaps for certain styles of leadership. The question of “Who’s in charge?” continues to shift throughout the film, though one answer remains conspicuously obvious: Romy’s Midtown office is actually the headquarters for A24, the film’s studio backers.

Given the film’s focus on sex, strong performances are crucial. Dickinson successfully navigates a character whose combination of youthful awkwardness and bedroom confidence could have been challenging to portray.

However, Kidman’s nuanced interpretation brings depth to Reijn’s concepts. Interestingly, Babygirl contains much less nudity than one might anticipate, yet it remains provocative enough to prompt reflection on why actors like Kidman and Demi Moore find themselves regaining prominence in Hollywood. Is it liberating, or is there something more complex at play? Babygirl may leave this open to interpretation, but it’s clear that Reijn intended for the film to resonate, provoking thought and discussion long after the credits roll.

Entertainment

120 Bahadur box office day 1: Farhan Akhtar’s film starts slow with Rs 2.35 crore opening

Farhan Akhtar’s new release 120 Bahadur opened to Rs2.35 crore, while De De Pyaar De 2 continued its strong hold on day eight.

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Farhan Akhtar’s latest release 120 Bahadur hit theatres on November 21 but registered a dull opening on its first day, earning Rs 2.35 crore. In comparison, De De Pyaar De 2, which is now in its second week, continues to show stronger hold at the box office.

Slow start for 120 Bahadur on day one

The action-drama opened to modest numbers on Friday, collecting Rs2.35 crore on its first day. Despite pre-release buzz around Farhan Akhtar’s performance, the film has begun its run on the lower side.

De De Pyaar De 2 maintains its advantage

Meanwhile, De De Pyaar De 2 continues its steady run. On its eighth day, the film maintained an edge over 120 Bahadur in overall earnings, according to media. The strong hold of the Ajay Devgn-led sequel appears to have impacted the new release’s opening day business.

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Family Man 3 ending triggers online backlash despite strong reviews

The Family Man 3 has impressed viewers with its performances and storytelling, but its abrupt ending has sparked online criticism, leaving fans demanding closure.

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Fans of The Family Man 3 are celebrating the gripping new season, but a large section of viewers has taken to social media to criticise what they describe as an “abrupt” and “unsatisfying” ending. The latest season, which released on Amazon Prime Video on Friday, has drawn praise for its emotional depth and high-stakes storytelling, yet its final moments have left many feeling short-changed.

Viewers disappointed with the “sudden” conclusion

Soon after the release, frustrated fans began sharing their reactions online. One viewer wrote that the season “ends so abruptly it feels like the makers simply packed up and went home,” calling the lack of closure “exhausting”. Another comment read, “#TheFamilyMan3… ahh ending entra. Fully disappointed.”

Some tried to strike a balanced tone, acknowledging the well-crafted emotional arc and a comic cameo stretch that offered relief. However, the overall complaint remained the same — that the season cuts off just when the tension reaches its peak. “Why make us watch the entire season if the makers plan to keep the best part hanging for the next one?” a user questioned.

Still, many fans have labelled the show “engaging” and applauded the team for delivering another compelling chapter.

Season 3: Srikant caught between personal turmoil and a national crisis

The new season places Srikant Tiwari (Manoj Bajpayee) in one of the most complicated phases of his life. His relationship with Suchitra (Priyamani) appears strained, marked by distance and unspoken tension. Even as his home life falters, a series of coordinated blasts in the Northeast within 48 hours threatens a major peace initiative led by Prime Minister Basu (Seema Biswas).

Srikant and his senior officer Gautam Kulkarni (Dalip Tahil) travel to Nagaland to salvage Project Sahakar, relying on regional leader David Khuzou (Sunil Thapa) to bring warring sides to agreement. But the fragile situation collapses after a deadly ambush by drug kingpin Rukma (Jaideep Ahlawat), leaving David and Kulkarni dead. Srikant survives but soon becomes a suspect as investigators scrutinise how he was the only one aware of the convoy’s route.

Meanwhile in Mumbai, Suchitra faces her own crisis after the government bans 69 Chinese apps, including her platform ShrinkMe, sparking online targeting that impacts her family.

With an arrest warrant issued against him, Srikant chooses to escape with his family, setting off a tense chase as he tries to prove his innocence. Each twist raises new questions — who planned the ambush, and why is Srikant being framed?

Final reactions

While audiences largely appreciated the writing, performances and momentum, the widespread sentiment remains that the season’s final act lacked the closure fans expected. Many now hope the next instalment arrives sooner and concludes the arc that Season 3 left unresolved.

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Entertainment

Satish Shah, beloved Sarabhai vs Sarabhai actor, passes away at 74 in Mumbai due to kidney failure

Veteran actor Satish Shah, celebrated for his iconic comic roles in Sarabhai vs Sarabhai and Jaane Bhi Do Yaaro, passed away in Mumbai at the age of 74 due to kidney failure.

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Satish Shah

Veteran Bollywood actor Satish Shah, best known for his memorable comic roles in films and television, passed away on Saturday in Mumbai. He was 74.

Filmmaker Confirms The News

Confirming the tragic news, filmmaker Ashoke Pandit expressed grief over the actor’s demise, saying that Shah died around 2:30 pm following kidney failure. His condition reportedly worsened at home before being rushed to the hospital, where he could not be revived. His cremation is expected to take place later today.

“It’s a very big loss for the industry. I have worked with him on many projects,” said the filmmaker, recalling that he learned about Shah’s death shortly after attending adman Piyush Pandey’s last rites.

A Legacy Of Laughter

Born on June 25, 1951, in Bombay (now Mumbai), Satish Shah hailed from a Kutchi Gujarati family. His career began in 1978 with Arvind Desai Ki Ajeeb Dastaan, but it was his portrayal of Municipal Commissioner D’Mello in the 1983 satire Jaane Bhi Do Yaaro that brought him widespread recognition.

Over a remarkable film career spanning decades, Shah appeared in more than 250 movies, including Hum Saath Saath Hain (1999), Kal Ho Naa Ho (2003), Mujhse Shaadi Karogi (2004), and Om Shanti Om (2007).

Television Stardom

Shah also left a lasting impact on Indian television. His 1984 sitcom Yeh Jo Hai Zindagi became iconic, where he played a new character in each of its 55 episodes. His role as Indravadhan Sarabhai in Sarabhai vs Sarabhai (2004), opposite Ratna Pathak Shah, remains one of the most loved comic portrayals in Indian TV history.

He also starred in Filmy Chakkar (1995) and later judged comedy-based reality shows such as Comedy Circus, continuing his association with humour and entertainment.

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