‘Sitaare Zameen Par,’ starring Aamir Khan and Genelia D’Souza, has completed 11 days at the box office and, despite the release of new films, it is still maintaining a steady business at the box office. According to Sacnilk, the movie collected Rs. 3.75 crore on its second Monday (early estimates), taking it closer to the Rs. 130 crore mark.Sitaare Zameen Par Movie Review
‘Sitaare Zameen Par’ Box Office Update Day 11
After collecting almost Rs. 90 crore in its first week, the movie witnessed a significant growth in its second weekend. It minted over Rs. 30 crore, but then on the second Monday, i.e., day 11, there was a huge drop in the numbers. With a more than 70 percent drop, the movie collected Rs. 3.27 crore on its second Monday, taking the tally to Rs. 126.4 crore net in India across all languages.
Here’s how the film performed day-wise collection:
Which aspect of ‘Sitaare Zameen Par’ do you find most appealing?
Sitaare Zameen Par day 11 occupancy
The Aamir Khan starrer saw an overall occupancy of 14.36% in the Hindi language on Monday, June 30, 2025. The day began with moderate footfall, but the afternoon and evening shows saw a surge. Evening numbers were not bad as well, with a very slight dip in the percentage.Morning Shows: 10.69%Afternoon Shows: 14.08%Evening Shows: 16.76%Night Shows: 15.92%
Sitaare Zameen Par makes more than Maa on June 30, 2025
Kajol starrer ‘Maa’ made it to the box office on June 27, 2025. On Monday, i.e. its day 4 (June 30, 2025), the film collected only Rs 2.25 crore. ‘Sitaare Zameen Par’, despite the major drop, outperformed the horror thriller.
Aamir Khan believes the audience should accept all kinds of films
With ‘Sitaare Zameen Par’, Aamir Khan once again has brought the attention of the audience towards a very sensitive subject. He tugged at the hearts of the audience by presenting a story about kids with special needs. In an era where thrillers, high-octane dramas, and heist series are a rage, he brought something different to the table and believes that the audience should support all genres and different subjects with their heart open. “People love stories. All kinds of stories. If you only support action films, that’s all filmmakers will make. And then you will have to watch only action movies in theatres. If you like all types of films and want to watch all types of films, go to the theatres. Your support gives creators the freedom to tell diverse stories,” he said in an interview with Pinkvilla.He added that when audiences back unique stories, it gives the filmmaker the courage to bring stories that are closer to their hearts.
A girl views copies of hand-drawn posters of Chinese animated blockbuster “Ne Zha 2” at an exhibition held in Beijing, capital of China, April 19, 2025. (Xinhua/Li Xin)
After shattering virtually every box office record in Chinese film history, “Ne Zha 2” will conclude its theatrical run on the Chinese mainland by the end of Monday.
According to ticketing platform Maoyan, the animated phenomenon has grossed 15.44 billion yuan — or approximately 2.13 billion U.S. dollars — with 324 million admissions, making it the most-watched and highest-grossing film ever in China.
While the film’s domestic screenings draw to a close, its global rollout continues. Currently, its global box office sales total 15.91 billion yuan, or about 2.19 billion U.S. dollars, per Maoyan data.
The sequel to the 2019 hit “Ne Zha” has not only eclipsed its predecessor but also outperformed nearly every cinematic competitor — domestic or foreign — since its release on Jan. 29, during Chinese New Year.
“Ne Zha 2” now ranks among the five highest-grossing films of all time globally, along with “Avatar,” “Avengers: Endgame,” “Avatar: The Way of Water,” and “Titanic.” And it is the top-grossing animated feature in history, surpassing the likes of Pixar’s “Inside Out 2” and Disney’s 2019 remake of “The Lion King.”
Combining mythological storytelling with cutting-edge animation and emotional nuance, “Ne Zha 2” has become a cultural phenomenon in China and, increasingly, abroad. In a recent investor update, production company Enlight Media said a newly produced English-dubbed version is expected to arrive in North American theaters this summer, and the film has already been screened in over 30 countries and regions — primarily in its original Chinese audio with localized subtitles — including more than a dozen in Europe.
A man walks past a screen showing a poster of the Chinese animated film Ne Zha 2 before a preview screening at the BFI IMAX theater in London, Britain, on March 14, 2025. (Xinhua/Li Ying)
Yin Hong, vice chairman of the China Film Association, called the film “a milestone for Chinese animation,” saying that “it demonstrates the vitality of China’s creative industries, the enduring appeal of its cultural heritage, and the global potential of its storytelling.”
Indeed, what began as a retelling of a rebellious boy-god from Chinese mythology has blossomed into a contemporary saga that resonates across age groups and cultures. While rooted in ancient lore, the film explores modern themes such as destiny, social prejudice and identity, earning praise from both teenage fans seeking empowerment and older viewers drawn to its emotional catharsis.
“I believe that one day, new ideas, deeper meanings and new soul will emerge from the film, and the whole world will be able to appreciate it,” said director Yang Yu, also known as Jiaozi.
Technically, the film is a marvel, too. With nearly 2,000 special effects shots and the collaborative efforts of more than 130 animation studios, it draws a new high-water mark in Chinese animation.
At the 2025 Shanghai International Film Festival, Enlight Media chairman Wang Changtian estimated the film’s overseas box office would exceed 100 million U.S. dollars — a potential two-decade record for a Chinese film abroad.
Enlight Media has stated that merchandise related to “Ne Zha 2” now spans more than 30 categories and over 200 products, including blind boxes, plush toys, action figures, and more.
Girls take a selfie in front of a promotional display for the premiere of Chinese animated blockbuster “Ne Zha 2” in Riyadh, Saudi Arabia on June 25, 2025. (Xinhua/Luo Chen)
The film’s success has been a boon for China’s theatrical sector. Largely driven by “Ne Zha 2,” box office takings in the world’s second-largest film market during the 2025 Spring Festival period surged to an all-time high.
A cinema in Wangjing in Beijing’s Chaoyang District credited “Ne Zha 2” with generating 40 percent of its revenue over the past five months. “Without it, we might still be struggling to find our footing,” the theater, which opened in mid-January, said in a WeChat post on Sunday.
“Ne Zha 2” may have concluded its domestic run, but its international trajectory is continuing. A second wave of overseas distribution for the film’s English-language version is planned for the months ahead, though a specific release date has yet to be announced.
Meanwhile, anticipation is building up for a third installment in the movie series. In response to investor inquiries earlier this month, Enlight Media stated that “Ne Zha 3” will be held to even higher standards. “We will take great care to meet audience expectations,” the company said.
As China redefines its cultural presence on the world stage, “Ne Zha 2” stands as both a commercial juggernaut and a symbol of creative ambition. “It’s a miracle and a peak in Chinese cinema,” said Chen Xuguang, director of the Institute of Film, Television, and Theatre at Peking University. “A record that may remain unbroken for a long time.”
Ryan Gosling puts the “not” in “Astronaut” in the new trailer for “Project Hail Mary.”
The upcoming sci-fi film, based on Andy Weir‘s novel of the same name, stars Gosling as middle school teacher turned reluctant astronaut Ryland Grace, who’s tasked with saving humanity from the effects of a dimming sun. However, when he wakes up from a coma as the sole survivor aboard a spaceship, he must overcome his amnesia to remember where he is and why he was sent there.
“It’s an insanely ambitious story that’s massive in scope and it seemed really hard to make, and that’s kind of our bag,” Gosling said of “Project Hail Mary” at CinemaCon in April, where he debuted footage from the film, according to Variety. “This is why we go to the movies. And I’m not just saying it because I’m in it. I’m also saying it because I’m a producer on the film.”
The trailer, released Monday by Amazon MGM Studios, opens with Gosling startling awake on the spacecraft, his hair and beard uncharacteristically long. “I’m several light-years from my apartment,” he proclaims, “and I’m not an astronaut.”
It then jolts back in time to show Grace pre-launch as he learns from Eva Stratt (Sandra Hüller) that if he does not journey into space, everything on Earth will go extinct. According to Stratt, who heads the mission, Grace is the only scientist who might understand what is happening to the sun and surrounding stars.
The trailer, which progresses through an intense montage set to Harry Styles’ “Sign of the Times,” teases Gosling’s signature humor. “I can’t even moonwalk!” the “Barbie” actor declares at one point. (Gosling portrayed moonwalker Neil Armstrong in another recent space movie, Damien Chazelle’s “First Man.”)
Everything leads up to Grace meeting an alien, who isn’t shown in full — but fans of the book know it plays an integral role in saving planet Earth and beyond.
The film, directed by Phil Lord and Christopher Miller, marks the second book-to-movie adaptation for Weir, whose novel “The Martian” became an Oscar-nominated 2015 blockbuster starring Matt Damon. An adaptation for his book “Artemis” is also in development with the same directing team.
Bollywood star Aamir Khan’s return to the big screen after a three-year hiatus has been far from ordinary. Sitaare Zameen Par (2025) which translates to “stars on Earth”, is the first major Bollywood production to feature a mostly neurodivergent cast.
A remake of the 2018 Spanish film Campeones, the story follows a mouthy, knuckle-headed basketball coach, Gulshan (Aamir Khan), who is put in charge of a team of players with intellectual disabilities.
The film slowly grows into itself, much like its characters, but ultimately delivers what the trailer promises: a heartwarming, humorous and uplifting celebration of our individual differences.
In an era of blockbuster spectacles, Aamir Khan Productions brings back a kind of Bollywood storytelling we haven’t seen in a while – something sincere, gentle and quietly revolutionary.
Who is Aamir Khan?
Aamir Khan was born in Mumbai in 1965, and started his acting career as a child actor in his uncle’s film Yaadon Ki Baaraat (1973).
Khan is now one of Bollywood’s most enduring and respected figures. He is one of the iconic “three Khans”, alongside Shah Rukh Khan and Salman Khan (the three are unrelated), who have dominated Indian cinema since the 1990s.
Film stars Aamir Khan, Salman Khan and Shah Rukh Khan are dubbed the ‘three Khans’ of Bollywood. AP
But unlike his Khan counterparts, Aamir Khan has carved a unique career path built on both commercial success and socially-driven storytelling.
He is known for championing social causes through cinema. In one 2015 article, media studies professor Vamsee Juluri referred to him as a “national conscience figure”.
Khan’s films don’t just entertain; they challenge norms and often spark national conversations on important issues.
From producing Lagaan: Once Upon a Time in India (2001), India’s Oscar-nominated colonial-era sports epic, to his directorial debut Taare Zameen Par (2007), a moving portrait of a child with dyslexia, Khan’s work often brings underrepresented stories to the mainstream.
Lagaan follows farmers from a small Indian village under British colonial rule. The British challenge the farmers to a game of cricket, in exchange for an exemption from paying the land tax (‘lagaan’). IMDb
His film PK (2014) challenges religious dogma. Meanwhile, Dangal (2016) is a boundary-pushing film based on real-life female wrestlers from rural India, and is also Bollywood’s highest-grossing film of all time.
Beyond the box office, Khan has hosted the TV show Satyamev Jayate (2012–14), which is also the national emblem of India, meaning “truth alone triumphs”.
This show tackles various topics considered taboo in Indian societies, including female feticide, domestic violence and caste discrimination. It has reached millions of households, and even ignited parliamentary debates.
Khan is also popular in other countries, including China, where his films 3 Idiots (2009), Dangal (2016) and Secret Superstar (2017) were massive hits that resonated with audiences for their universal themes.
In Dangal (2016), Mahavir (Aamir Khan) trains his two daughters in wrestling. IMDb
Sitaare Zameen Par marks his return following the commercial underperformance of Laal Singh Chaddha (2022), an Indian remake of Forrest Gump (1994).
Sitaare (stars) who make the film shine
Directed by R.S. Prasanna, Sitaare Zameen Par enjoyed a strong opening weekend at the box office.
It stars ten individuals with special needs as they prepare for a basketball tournament under the direction of their coach (Khan). This plot alone makes the film a significant entry to Indian cinema, which often ignores or misrepresents disability.
The neurodivergent stars of Sitaare Zameen Par are aged between 18 and 42. Aamir Khan Productions.
Despite early online trolling and negativity, the film depicts its neurodivergent characters not as victims, or “inspirations”, but simply as people with dreams, struggles and joy.
One line captures this beautifully: “Everyone sticks to their own normal. We each have our own normal.”
Aamir Khan, now 60, plays a key role in the film, but doesn’t dominate it. Instead, his younger co-stars shine. The result is a healing film that celebrates inclusion, while being full of joy and humanity.
Stories that matter
No film is perfect. But it’s hard to dislike a film made with so much compassion.
Bollywood as an industry has increasingly leaned into action-packed blockbusters, as well as nationalist and Hindu-centred narratives (such as in the 2022 film Brahmāstra).
While many of these offer thrills, few deliver the kind of emotional and social depth that once defined Hindi cinema’s global appeal. Much like Taare Zameen Par – a spiritual prequel to the new release – did 18 years ago, Sitaare Zameen Par invites the audience to slow down and reflect.
In Taare Zameen Par (2007), Khan plays a neurotypical teacher who helps a student with dyslexia. IMDb
It prompts neurotypical viewers to see people with Down’s syndrome as part of the same emotional universe as them – and to laugh with, not at them.
In an interview, Khan explains how the film goes further than just neurodivergent representation, to participation:
In [Taare Zameen Par], it’s the teacher, Nikumbh, a supposedly neuro-typical person, who helps the child with dyslexia. In this film, ten neuro-atypical people are helping the coach, Gulshan. I feel Sitare takes the discourse of the first film ten steps ahead, especially in our country where people need to be sensitised to the topic of neurodivergence.
Last week, India’s president, Droupadi Murmu, attended a special screening and met the cast. The visit sent a clear messsage: stories like this matter.
With Sitaare Zameen Par, Aamir Khan returns to what he does best: using film as both a mirror and message for Indian society. While it won’t change the world overnight, it will make viewers see the world, and each other, a little differently.
Santiago Yahuarcani’s Amazon is no longer the place he painted as a child. The rainforest scenes of parrots, anacondas and jaguars that he and his brothers used to sell to riverboat tourists for a dollar apiece have given way to visions of a landscape that is darker, more despoiled and more desperate than it was six decades ago.
However, as his first solo international exhibition – at the Whitworth in Manchester – will show, the old beauties and mysteries have not faded completely. His work is populated by shape-shifting spirits, mermaids waltzing with pink river dolphins, enormous pipe-smoking lizards and shamans who trap their adversaries in rum bottles, but they exist alongside depictions of the genocidal crimes of the past and the ecocidal crimes of the present. Oil refineries are consumed by fire, rubber trees weep tears of sap, forest spirits are displaced by drought, and memories of a century-old slaughter – replete with torn and branded flesh – echo through the forest and down the generations.
“When I was a child, there was a huge abundance of animals and fish in the Amazon,” says the 65-year-old Indigenous Peruvian painter, when we meet in Madrid, at a joint exhibition of work by him and his partner Nereyda López. “There was a lot of land to make into farmsteads and there were a lot of animals to hunt. But people have come and taken land – hectares of land, kilometres of land – and they’ve come for the wood and the gold, too.”
The artist and his family are all too aware of what happens when the Amazon attracts the greedy gaze of the outside world. Today, they are the last 12 members of the White Heron clan of the Uitoto nation still living in Peru. Just over a century ago, Yahuarcani’s grandfather, then 16, was forced from Colombia to Peru during the genocide that was waged against the Indigenous population of the Putumayo region during the rubber boom. The painter was five or six when he learned what had happened at La Chorrera rubber station.
“My grandfather would call us together at night and tell us about the era of rubber,” he says. “He told us how the bosses arrived with rifles and started to force the Indigenous people to collect the sap of trees for rubber. They demanded 50kg of sap from each person every two to three weeks. They gave them the materials they needed to get the sap and they gave them food, but not enough food.”
Anyone coming back with less than 50kg was punished. Some were thrown into a hole 15 metres deep. Others had an ear hacked off. “There was also a guy, my grandfather told me, who’d make everyone watch as he cut off a lump of your flesh with a knife. They wanted to scare people so they’d get their 50 kilos.”
Then came the time when the bosses decided to plant sugar cane, coffee and corn for the women to harvest. “These women worked with their babies on their backs,” says Yahuarcani. “One baby started to cry because of the heat of the sun. The overseers came and took the little boy from his mother’s back and threw him on the fire.”
When the inevitable uprising took place, the response was characteristically barbaric. Men, women and children were burned alive in a large house where they had sought refuge. Those who escaped the flames were shot. “My grandfather told me that, a month after the fire, thousands of butterflies of a kind never before seen in the Amazon began to sprout from the site,” says Yahuacari. “All different kinds of butterflies with all different kinds of colours. My grandfather told me they were the spirits of the victims, of the people who had been burned.”
Those atrocities are recounted in one painting – called The Stone-Hearted Man – that shows gangs of pale men in white hats and with pistols in their belts branding, decapitating and burning their way across a stretch of rainforest that has become a hell.All around them are the charred and broken bodies of Indigenous people.
A century later, the rainforest is once again besieged. “Today, Indigenous groups are having to fight back,” says Yahuarcani. “We have to fight to protect our vegetation, our trees and to reforest.” But the odds are not in their favour. While more and more outsiders are coming to the Amazon in search of land, timber, gold and oil, many of the region’s young people are abandoning their homes in search of education and employment. Respect for the rainforest is dwindling.
‘I show our myths, our problems’ … Yahuarcani. Photograph: Julia Moro, courtesy Crisis Gallery
Whenever they set out to hunt or fish, the Uitoto make an offering to the guardian of the forest animals: “He’s small and furry like a monkey and has the face of an 80-year-old person.” And, unlike the logging and mining corporations, they never take more than they need. “In the Amazon,” he says, “when we want to eat, we go to our supermarket – it’s in the mountains, in the jungle, where there are fish and fruits. You bring home what you need and you don’t destroy everything. God has said that man should not destroy nature, he should take care of it, because it is his home, too. You can’t destroy your own house.”
If the artist’s subject matter has changed over the years, his techniques have not. Yahuarcani has always created his works by applying paint prepared from pigments, seeds, leaves and roots, to large sheets of llanchama, a cloth made from the bark of the ojé tree. His works are often inspired by the hallucinations brought on by the ritual ingestion of tobacco, coca, ayahuasca and mushrooms – substances long used by the Indigenous peoples of the Amazon when in search of help, knowledge or revelation.
While getting llanchama requires the skills he learned from his bark-cutter grandfather, the use of hallucinogens harnesses and honours the cosmology, myths and traditions of Yahuarcani’s people as he strives to draw attention to the threats they and the forest face. Perhaps the greatest of those menaces is indifference. Yahuarcani’s home town of Pebas, which lies on a bend in the river as it meanders from north-east Peru towards Colombia, is as far removed as it could be from the artistic, political and media centres of the coastal capital, Lima. As a result, getting his work and its messages noticed has been a struggle.
Yahuarcani is polite but insistent as he reflects on the difficulties that he and other Indigenous artists – not least his son Rember – experience when it comes to visibility and exhibition space. “I use my work to show our myths,” he says. “How our culture used to be, how we came to have the problems we now have. But it’s been very tough because we were from the Amazon and we were Indigenous. We weren’t allowed to exhibit in the museums, or do the interviews, because we were always put to one side.” Artists from Lima “have always had more opportunities and more press”.
Part of the problem, he says, lies in Peru’s own view of its culture and history. “When we were in school, we were taught about the Incas. About how the Incas built Machu Picchu, and so on. But there was nothing about us or our history, and that’s been one of our complaints. Our stories aren’t in the textbooks.” Yet he is adamant that this is a history people need – and want – to know about. When he exhibited a picture of the Putumayo atrocities in Lima a decade ago, “the newspapers and the magazines were saying, ‘Look at this! Look at this!’ But the authorities were not at all interested.”
Yahuarcani has been buoyed by the enthusiastic reaction to the Madrid show – even if it has meant braving the heat and chaos of the Spanish summer. He hopes the Manchester exhibition will be equally well received. But the recognition has been as hard won as it has been belated. Time is running out and, as one of his recent works plainly shows, the Amazon is changing rapidly and irrevocably. Painted earlier this year, Optic Fibre in the Depths of the Amazon River is a riotous, funny and faintly disturbing picture that shows dolphins, frogs, fish and turtles clutching mobile phones as technology reaches ever farther into the rainforest. One or two of the smarter fish are ringing their friends to let them know where the fishers are gathered so they can avoid them.
The current cycle of expansion, encroachment and exploitation appears unstoppable. And if the forest goes then so does a branch of the Uitoto, their way of life, and their half-forgotten history. “I hope Peru will do something about these issues,” says Yahuarcani. “That there will be a book of these stories so young people can learn what happened to their grandparents. Today, we are the only family of the White Heron clan. There are no more. When we disappear, the White Heron ends.”
Susan Sarandon is to make her UK theatre debut alongside Andrea Riseborough, when the pair portray the same woman at different ages, in Tracy Letts’ drama Mary Page Marlowe.
The play will be staged this autumn at the Old Vic in London by Matthew Warchus, in his final season as artistic director. Several actors portray the title character, which is described as a “time-jumping mosaic” spanning 70 years in the life of an accountant and mother of two in Ohio.
It marks a high-profile return to the stage for Sarandon, who made her Broadway debut in 1972 in An Evening with Richard Nixon and … by Gore Vidal before her breakout film role in The Rocky Horror Picture Show. By the time she was next on Broadway, in Exit the King in 2009, she was a household name and five-time Oscar nominee (who won for Dead Man Walking). Sarandon said: “I’m so honoured to be asked to be in a play during Matthew Warchus’s final season at the Old Vic,” adding that she was “terrified but excited”.
Riseborough, similarly better known as a film star, has not acted on stage for 15 years. Her last major London role was in Ivanov opposite Kenneth Branagh at the Donmar Warehouse in 2008. She recently appeared in Warchus’s screen version of Matilda the Musical. Riseborough said: “It’s an honour to be taking on the role of Mary – amongst others – in Tracy Letts’ poignant play, alongside the extraordinary Susan Sarandon. I’m so very grateful to be working with Matthew again and thrilled to finally work at the Old Vic, a beautiful space.”
Warchus called Letts “one of America’s greatest living writers” and said the play would be staged in-the-round – as will all the productions in his final season. Mary Page Marlowe will run from 23 September to 1 November.
Letts is best known for his Pulitzer winner August: Osage County, which was directed by Anna D Shapiro in a Chicago Steppenwolf production that played at London’s National Theatre in 2008. Shapiro directed the premiere of Mary Page Marlowe for the Steppenwolf theatre in 2016. In his review, the New York Times critic Charles Isherwood wrote: “Some may find the play’s form frustrating; I found it beautiful and affecting, like flipping through a friend’s photo album in no particular order, finding some faces familiar, others unexpected. And then you come upon someone entirely unknown – who obviously meant much to your friend – and you realize, with a pang of sadness, that your knowledge of even those closest to you will always be fragmentary and incomplete.”
This will be the play’s UK premiere. Letts said: “From my first experiences as a playwright here 30 years ago, to the run of August: Osage County at the National, London is an integral part of my development as an artist. I’m deeply gratified to have Mary Page Marlowe at the Old Vic, directed by Matthew, featuring these remarkable actresses. A genuine thrill.”
Warchus will step down from the Old Vic in September next year, when he will be succeeded by Rupert Goold, who in turn will be replaced in the top job at the Almeida theatre by Dominic Cooke.
As Liam and Noel Gallagher get set to return to stage this summer, BBC Sounds explores the lasting impact of one of Britian’s most iconic bands in a brand-new ten-part series, Mad For Oasis.
Made by BBC Local teams at BBC Radio Manchester, and hosted by Noel’s daughter, Anais, Mad For Oasis tells the stories of their music through the eyes of the superfans.
We hear from the Oxford-based artist Paul Fellows, who first saw the band more than 20 years ago, and the experience left a lasting impression. His deep love for Oasis inspired him to create artwork dedicated to the band – work that has since helped raise funds for Great Ormond Street Hospital. It’s a cause close to his heart, as the hospital once cared for his ill son.
Paul said: “Oasis have had a massive influence on my life. If someone came up to me in the field of Knebworth and said in 25 years’ time, you’re going to meet him on stage and raise money for a great cause, I would never have believed it!”.
Karen from New Ross, in Ireland has been a devoted Oasis fan since day one. Their music has been a constant companion through both her teenage years and adult life. She recalls how one song in particular became the bridge that helped her reconnect with her mother, who had dementia. She said: “An Oasis song helped me connect with my mother in a way I never thought I’d be able to again. Happy or sad, it will always be a massive part of me”.
Host of the series Anais Gallagher said: “Obviously, Oasis have always been a big part of my life. But to have the opportunity to hear these incredible stories from people about how their music has impacted their lives, has been amazing. I’m thrilled to be a part of it.”
The artwork for this series was specially commissioned, it was created by Manchester Artist and Oasis fan Stanley Chow who said: “I’m thrilled to have to been asked to work on the series cover. I had so much fun researching the illustration. It’s a lovely thing to be part of!”
Chris Burns, Head of Local Audio Commissioning said: “Whether it’s your favourite band reuniting, your football team winning, or losing, our BBC teams live and breathe the rollercoaster of local life with our audiences. BBC Radio Manchester really gets to the heart of how this local band made its mark upon ordinary people’s lives and is told fantastically through Anais.”
Mad For Oasis is a BBC Local production for BBC Sounds and will be available on BBC Sounds on Tuesday 1 July 2025.
A giant killer doll, among other motifs of Squid Game, were part of a parade celebrating the show’s final season
Warning: This article contains spoilers.
Millions of fans are bidding farewell to Squid Game, the Emmy award-winning TV series that has topped Netflix’s charts and become a symbol of South Korea’s ascendance in Hollywood.
The fictional show follows cash-strapped players as they battle it out in a series of traditional Korean children’s games – with a gory twist, as losers are killed in every round.
Squid Game has sucked in viewers since 2021 with its candy-coloured sets and bleak messages about capitalism and humanity. And with its third and final season released last Friday, fans across the world are returning to reality.
Some South Koreans, however, have found themselves reflecting on the society that inspired the dystopian series.
“I feel like Squid Game 3 revealed the true feelings and raw inner thoughts of Korean people,” reads one YouTube comment under a clip from season three.
“It reflected reality so well like how in real life, at work, it’s just full of ruthless people ready to crush you. This show nailed it.”
Relatable struggles
Squid Game was born against the backdrop of cut-throat competition and widening inequality in South Korean society – where people are too stressed to have children and a university placement exam is seen as the defining moment of a person’s life.
The diverse characters of the show – which include a salaryman, a migrant factory worker and a cryptocurrency scammer – are drawn from figures many South Koreans would find familiar.
The backstory of protagonist Seong Gi-hun, a car factory worker who was laid off and later went on strike, was also inspired by a real-life event: a 2009 strike at the SsangYong Motor factory, where workers clashed with riot police over widespread layoffs. It’s remembered today asone of the country’s largest labour confrontations.
“The drama may be fictional, but it feels more realistic than reality itself,” Jeong Cheol Sang, a film enthusiast, wrote in his review of Squid Game’s final season.
“Precarious labour, youth unemployment, broken families – these aren’t just plot devices, but the very struggles we face every day.”
Getty Images
Squid Game has become a symbol of K-drama’s prowess on the global stage
Those darker messages seemed to be brushed to the side on Saturday night, as a massive parade celebrated the release of the blockbuster’s final season. A giant killer doll and dozens of faceless guards in tracksuits – among other motifs of the deadly games – marched down central Seoul to much fanfare.
For South Korea’s leaders, Squid Game has become a symbol of K-drama’s success on the global stage. It is also part of a string of successes – along with K-pop act BTS and Oscar-winning film Parasite – on which newly elected president Lee Jae Myung wants to capitalise as he sets his sights on exporting K-culture far and wide.
There are signs the Squid Game hype may even go further: the show’s final scene, where Cate Blanchett plays a Korean game with a man in a Los Angeles alley, has fuelled rumours of an American spinoff.
The series ended on an “open-ended” note, Lee Jung-jae, the star of the series, told the BBC. “So it poses a lot of questions to the audience. I hope people will talk about those questions, ponder upon themselves about the questions and try to find an answer.”
What can fans expect from Squid Game series three?
Mixed reactions
In the show’s later seasons, viewers follow Gi-hun’s quest to bring down the eponymous games, which are packaged as entertainment for a group of wealthy VIPs.
But his rebellion fails, and by the end Gi-hun is forced to sacrifice himself to save another player’s baby – an ending that has polarised viewers.
Some argued that Gi-hun’s actions did not square with the dark portrait of reality that showrunners had developed – one that had so well captured the ruthless elements of human nature.
“The characters’ excessive altruism was disturbing – almost to the point of seeming unhinged,” reads a comment on popular South Korean discussion site Nate Pann. “It felt like a fake, performative kind of kindness, prioritising strangers over their own families for no real reason.”
But others said Gi-hun’s death was in line with the show’s commitment to uncomfortable truths.
“This perfectly describes humanity and the message of the show,” another commented on YouTube.
“As much as we wanted to see Gi-Hun win, kill the frontman and the VIPs, and stop the games once and for all before riding off into the sunset, that’s just not the world we live in and it’s certainly not the one that Gi-Hun lived in.”
Hwang Dong-hyuk, the show’s creator, told reporters on Monday that he understood the “mixed reaction” to the final season.
“In season one there were no expectations, so the shock and freshness worked. But by seasons two and three, expectations were sky high, and that makes all the difference,” Hwang said on Monday.
“Game fans wanted more games, others wanted deeper messages, and some were more invested in the characters. Everyone expected something different.”
For some, at least, Gi-hun’s final choice offered a hopeful reflection of reality: that even in times of adversity, kindness can prevail.
“That paradox – of cruelty and warmth coexisting – is what made the finale so moving,” said Mr Jeong,the film blogger. “Watching the Squid Game made me reflect on myself. As someone who has worked in education and counselling, I’ve questioned whether kindness can really change anything.”
“That’s why I stayed with this story. That’s why I call this ending beautiful.”
The streaming giant announced Monday that it “is teaming up with NASA to bring space a little closer to home” by streaming live launches into subscribers’ homes later this summer.
The move continues Netflix’s voyage into live streaming content, which has proved to be successful so far. Millions tuned in to Netflix on Christmas Day for a livestream of NFL games, as well as a halftime show concert headlined by Beyoncé. Even though it was plagued by reports of problems with the video quality, a boxing match between Mike Tyson and Jake Paul streamed on Netflix in November was viewed in 60 million households. Netflix also dived into the talk show realm this year with “Everybody’s Live With John Mulaney.”
Now, Netflix thinks “the next giant leap for humankind might just start with you pressing play,” according to an article on its editorial site, Tudum.
NASA+, which launched in 2023 as a way for the public to get easier access to space content, is already free on NASA’s app and NASA.gov. But the space agency is hoping that it can tap in some of Netflix’s 700 million+ subscribers and generate even more interest in space exploration.
“Audiences now will have another option to stream rocket launches, astronaut spacewalks, mission coverage, and breathtaking live views of Earth from the International Space Station,” the space agency said in its news release.
The goal, NASA’s news release stated, is “to bring the excitement of the agency’s discoveries, inventions, and space exploration to people, wherever they are.”
“The National Aeronautics and Space Act of 1958 calls on us to share our story of space exploration with the broadest possible audience,” Rebecca Sirmons, general manager of NASA+ at the agency’s headquarters in Washington, said in a statement. “Together, we’re committed to a Golden Age of Innovation and Exploration — inspiring new generations — right from the comfort of their couch or in the palm of their hand from their phone.”
Netflix is also capitalizing on a broader interest in space — 2025 has been a big year for space exploration so far, as NBC News reported. In April, many tuned in as pop artist Katy Perry and five other celebrities launched into space on a short flight aboard Blue Origin’s New Shepard rocket and capsule.
NASA+ live feeds will live on the Netflix’s platform alongside series, according to Tudum. Detailed schedules are expected to be shared closer to launch day, the platform said.
