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The Great Indian Kapil Show season 3 on OTT: Check release date, cast, first celebrity guest and more

The Great Indian Kapil Show season 3 on OTT: Check release date, cast, first celebrity guest and more

Mint3 days ago

The Great Indian Kapil Show season 3 on OTT: Comedian, actor Kapil Sharma and his team are all set to return with Season 3 of The Great Indian Kapil Show. The hit comedy talk show which previously won hearts, will be back on Netflix.
The Great Indian Kapil Show season 3 will premiere new episodes on June 21, 2025. Their post read: 'Hassi hogi out of control 'cuz Kapil and gang are back once more. Ab har Funnyvaar, badhega humara parivaar with the new season of The Great Indian Kapil Show, streaming from 21 June, only on Netflix!'
The upcoming season will be the return of the OG cast, including Kapil Sharma, Sunil Grover, Kiku Sharda, Krushna Abhishek, and Archana Puran Singh. As they reunite to deliver their signature comic timing and chemistry in the show, this time Navjot Singh Sidhu and Archana Puran Singh will also reunite to bring their daily dose of comedy.
In addition to their signature comedy acts, games, and celebrity interactions, this season will introduce a new twist. This time, the show will invite fans to take the stage and display their quirky, unconventional talents, adding a lively and engaging element to the show's format.
The show hosts a range of celebrities, including Bollywood and sports stars like Aamir Khan, Diljit Dosanjh, Ed Sheeran, Rohit Sharma, Shreyas Iyer and more.
The new season will open with Bollywood superstar Salman Khan as the first guest on the show. Recently Netflix confirmed the news with a photo of Kapil and Salman.
'Swag se karenge iss season ka kickstart, with none other than SIKANDAR. Watch The Great Indian Kapil Show Season 3, out 21 June, 8 PM, every Saturday, only on Netflix,' said the caption.
Reports also claim Rishabh Pant, Gautam Gambhir, Yuzvendra Chahal and Abhishek Sharma are also going to appear on the show as guests.
Talking about season 3, Kapil Sharma previously said, "Coming back for another season on Netflix truly feels like coming home to family -- and this time, the family's only getting bigger. Every season, we've brought together an exciting mix of guests from all walks of life to keep the laughs rolling and the energy fresh. We have aimed at showcasing diverse conversations about careers, life choices, family, love, and used comedy as the medium to reach everyone."
Dropping hints about the upcoming season, he also added, "This time, in season 3 apart from our interactions and amazing guests, Netflix and The Great Indian Kapil Show are doing something extra special. As a thank you for the incredible love we've received, we're turning the spotlight on our superfans. Their stories, their quirks, their talent -- they never fail to amaze us. Toh is baar socha kyu na apne fans ko show ka ek bohot hi mazzeddar hissa bana de. Hume to ab 192 countries ne dekh liya... ab aapko milwate hain humare superfans se (So this time, we thought -- why not make our fans a truly fun part of the show? After all, we've now been watched in 192 countries... now it's time to introduce you to our superfans!)!"

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Aamir Khan's son Junaid pushed by Salman Khan's security? Video from Sitaare Zameen Par screening sparks debate
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Aamir Khan's son Junaid pushed by Salman Khan's security? Video from Sitaare Zameen Par screening sparks debate

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Streaming gives indie musicians a boost
Streaming gives indie musicians a boost

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Streaming gives indie musicians a boost

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'At the end of season one, we had a Prahlad Tipanya bhajan that we ended the show on," he continues. 'So, the various influences and eclectic sounds that exist in India and beyond are all at our disposal, because we're no longer sticking to the idea of how a Bollywood song is supposed to sound." Moko Koza. Image via the artist's Facebook page For young musicians and composers, this means that there's suddenly a whole new way to get your music heard by a huge, diverse audience. Thanks to services like Shazam and Tunefind, someone can hear a track on a Netflix show and find the artist on Spotify, even before the track stops playing on-screen. 'When I independently released my first song in 2024, I was so excited when it hit 100,000 streams in 24 hours," says Ruuh, one half of sibling composer duo Ruuh & Joh, whose credits include songs for Mismatched and Call Me Bae. 'And now we have a song on The Royals called Tu Tu Hai Wahi and we're doing an average of 100,000 streams every day. That's crazy." For indie musicians, this attention can also translate to more ears for their non-soundtrack music, as new fans dig into their older work. Koza noticed a significant spike in his overall streaming numbers soon after his song was used in Paatal Lok. Ankur Tewari—a well-known music supervisor, musician and co-founder of Tiger Baby Records—says that after two of his songs with his band The Ghalat Family were used in Netflix series Kota Factory, he was discovered by a whole new fanbase. 'My indie stuff is definitely more weird and out there, but I think my background score work is a great entry point for new people to come into my world," adds composer and singer Tarana Marwah, who makes sci-fi inspired electronic music as Komorebi, and has created music for Netflix shows Made in Heaven and Dabba Cartel. 'I've even started using (the name) Komorebi for my OTT work, because I feel I can marry these two identities. After all, it's all coming from the same creative source." For Tewari, the most important—and perhaps most subtle—change brought about by the OTT boom is changing attitudes towards the use of previously recorded music (or sync). Unlike in Western film and television, where sync has long been the norm, Bollywood has traditionally hired composers to create film music as work-for-hire, where the studio or production house owns all the rights to the soundtrack. Each big production house or studio will farm the work out to a small group of preferred composers or music directors, who deliver the music in exchange for a lump-sum payment. Now that's changing, albeit slowly. 'It's been a norm in the music industry to own rights to songs that you'll probably never even use again, because that's just the way things were done," says Tewari. 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Image via the artist's Facebook page 'We're deeply invested in nurturing the broader ecosystem through initiatives like our music supervision workshop in collaboration with Berklee College of Music and Academy Award–winner John Warhurst, and a music supervision workshop in the south," says Monika Shergill, vice-president of content at Netflix India. 'These efforts have helped deepen and diversify our musical culture, creating sustainable pathways for emerging artists with access to resources, collaborators, and global exposure." A thoughtful, well-placed sync can catapult a little-known act to stardom, or breathe new life into an old classic. Take, for example, Kate Bush's 1985 song Running up that Hill, which saw a 9,900% uptick in US Spotify streams after being featured in an episode of Netflix's Stranger Things, reaching No.3 on the Billboard Hot 100 chart 37 years after its release. 'I've placed songs that had a 100 views on YouTube that, after sync, suddenly had hundreds of thousands or even millions of views," says Alick Sethi, a Hungary-based music supervisor who works with emerging markets, and most recently worked on the soundtrack and score for Netflix documentary Yo Yo Honey Singh: Famous. 'Especially for independent musicians, it can be really helpful, leading to tours, distribution deals or even labels signing them up." But Sethi warns that India still has a long way to go before it has a truly mature sync ecosystem. Production houses working on OTT content still prefer to commission new music rather than license songs, because they have pre-existing relationships with composers. Legacy labels jealously guard their intellectual property, quoting outrageous sums for the right to use their music in a new show or movie. And then there's just the inertia of 'this is how things are done." Things are moving in the right direction though, and stakeholders like Tewari and Sethi are optimistic that the pieces of the puzzle are coming together. Music publishers are increasingly getting more organised in how they pitch music for sync to production houses and music supervisors. Organisations like the IPRS are working to make the collection of royalties and licensing income easier and more streamlined. Gaurav Dagaonkar, CEO and co-founder of music licensing marketplace Hoopr, expects the sync market for Indian independent artists to triple in the next two years. The sync revolution won't happen overnight—but it's gaining steam. With growing support from platforms, publishers and tech-savvy musicians, India's OTT landscape is slowly enabling a new paradigm for music in film and television—one that values experimentation, collaboration, and creator ownership as much as catchy hooks and ticket-selling hits. If it all goes well, the next Kate Bush moment might not come from the West, but from a remote studio in Kohima, or a bedroom producer in Bhopal. Bhanuj Kappal is a Mumbai-based writer. Also read: How music discovery became predictable Topics You May Be Interested In

Vir Das reveals he lost his voice two months before shooting for his new special Vir Das: Fool Volume
Vir Das reveals he lost his voice two months before shooting for his new special Vir Das: Fool Volume

Mint

timean hour ago

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Vir Das reveals he lost his voice two months before shooting for his new special Vir Das: Fool Volume

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