Who are the first guests on The Great Indian Kapil Show season 3? Find out here
The Great Indian Kapil Show season 3: Season 3 of The Great Indian Kapil Show is highly anticipated and ready to delight fans once more with its amazing blend of comedy, celebrity appearances, and more. As the excitement around the new season grows, everyone's wondering who will be the first to appear on Kapil Sharma's show. If you're eager to find out who kicks off the season, you're in the right place, let's get started!
The Great Indian Kapil Show season 3 first guests
As per Siasat, the premiere episode will feature the star-studded cast of the upcoming film Metro In Dino. Fans can look forward to appearances by Sara Ali Khan, Aditya Roy Kapur, Ali Fazal, Konkona Sen Sharma, Fatima Sana Shaikh, Anupam Kher, and Neena Gupta.
The Great Indian Kapil Show season 3 release date
The Great Indian Kapil Show Season 3 will start from 21st June 2025. Joining Kapil on this laughter-filled ride are his comedy partners Sunil Grover, Kiku Sharda, and Krushna Abhishek. Archana Puran Singh will also return to her iconic chair.
What's new in The Great Indian Kapil Show season 3?
This season, Netflix is giving superfans from around the world a chance to shine by showcasing their talents on The Great Indian Kapil Show stage. In a groundbreaking twist, Season 3 will welcome the most extraordinary fans of Netflix and the show to step into the spotlight and display their one-of-a-kind skills.
Kapil Sharma, in a statement shared by Netflix, revealed that Season 3 of The Great Indian Kapil Show will offer more than just celebrity interactions and comedy. He mentioned that, as a gesture of gratitude for the immense love the show has received, the new season will turn the spotlight on its superfans, giving them a chance to be part of something truly special.
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Time of India
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Somewhere in the second half of the Kala Kendra's nritya-natakam on Karna's life, just after the scene where he donates his kavach and kundal to Indra, I caught myself zoning out. I was sitting in the Kamani Auditorium (Delhi), surrounded by rows of earnest culture aficionados, retirees, visibly bored schoolchildren, and those select few who were more absorbed in making reels than enjoying the performance. The stage glowed with molten amber, Karna's silhouette frozen in a moment of tragic generosity, the mridangam beating low, and the echoes of Manohar Singh's baritone voice-over still resonating. And yet, my mind drifted. A strange thought sneaked in: What on earth was I doing here? Not 'here' as in physically present (I can account for that), but 'here' as in still doing this. Still attending long, meandering theatre performances in a time of short-form everything. What am I trying to prove, or preserve? Is this hobby of mine, watching theatre, some quiet, performative nostalgia designed to feel slightly superior to the Netflix binge crowd (to which I too belong, incidentally)? Or just plain angst dressed up as a pretentious cultural flex? The doubt passed, as such thoughts do. The dancer moved again, and Karna's dilemma bled back into mine. Later, walking out into the golden haze of Mandi House, I realised that what I experienced was not just momentary self-doubt. It was a lingering suspicion that hobbies, of any kind, are quietly dying in India. And with them, something more intangible – our capacity for leisure without utility, and joy without transaction. Traditional Indian hobbies such as numismatics, philately, collecting old books and memorabilia, ham radio, amateur birdwatching, chalk art, painting, and classical music appreciation are increasingly the preserve of people stuck in a 'those were the days' time warp. The spaces they once occupied in middle-class life are now filled with the hypnotic glow of smartphones and the curated dopamine rush engendered by social media. This loss is deeper than mere rose-tinted nostalgia. Hobbies, at their best, anchor us to time. They reintroduce the value of patience and help cultivate deep attention. They also refine our aesthetic temperament, what the ancients used to call rasa-bodha. In essence, they are un-monetizable joys, for you cannot 'scale' a stamp collection or 'leverage' your knowledge of the difference between the Indian bulbul and Indian pitta. Perhaps this is one of the reasons for their fading away. For the post-liberalisation generations raised on the urgency of cracking competitive exams and continuously upgrading skill-sets, hobbies came to be seen as frivolous distractions unless they impressed the job interviewer or led to a CV boost. Parents, too, changed. Where once a child who practised the violin after school was indulged as 'creative', today he or she is nudged toward robotics classes or extra tuitions. This is the industrialisation of childhood. Time not monetised is wasted, and effort without an audience is vanity. Meanwhile, the idea of the hobby itself has been subtly co-opted by platforms. Reading is often reduced to performative lists on Goodreads. Even music, formerly a slow courtship between the listener and the raga, is now consumed through remixes of bhopali and malkauns. And to be honest, I have been guilty of this too. There was but a gentle rebellion in pursuing hobbies. They resisted the fallacy of outcomes. You did not indulge in amateur astronomy to become a better executive, nor did you read old editions of Reader's Digest to improve your CGPA. You did it because something in you stirred when you did that activity. But our modern, digital culture demands metrics: followers, shares, views, virality. 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