Tag: Karan Johar

Karan Johar’s Public Journey With Mental Health: An ‘Anxious’ Evolution

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“I was sweating, I didn’t even realise. He (Varun Dhawan) came to me, held my hand and asked ‘Are you okay?’ And my hands were shaking. I first thought it was a cardiac arrest. I went back home and I just went to my bed and I cried. I didn’t know why I was crying.”

After the very first episode of season 8 of filmmaker Karan Johar’s talk show Koffee With Karan was aired on 26 October, something unusual happened. Usually, after each season (or to be fair, each episode) social media trolls get to their job of hating Johar.

This time around though, along with the usual negativity, there was a sympathetic wave for the filmmaker. On the show, Johar had asked actor Deepika Padukone about her struggles with mental health and how Ranveer Singh helped her through it as a caregiver.

During the episode, he also opened up about his own brush with anxiety at the opening of the Nita Mukesh Ambani Cultural Centre just months before in March. But this wasn’t the first time the filmmaker acknowledged his mental health issues. 

Over the past few years, Johar has often used his stage, mic, and privilege to shed light on mental health and medication.

‘Like Oxygen From Your System Has Been Sucked Out’: When KJo First Talked About Anxiety

Back in 2015, when Padukone had first talked about her battle with depression, it gave space to others in the public domain to break their silence too.

Leading up to the release of his 2016 directorial feature Ae Dil Hai Mushkil, Johar told NDTV,

“There was a phase in my life when I was really depressed. I realised that I had some internal issues to deal with, which got built up to such point that it resulted in anxiety.”

Just a few months after this, in January 2017, when his autobiography An Unsuitable Boy was launched, it came with quite a few revelations. Johar had dedicated a whole chapter to what he called his “midlife angst.”

To Johar’s credit, it was nothing short of brave for a mainstream massy filmmaker to tell the world that he was on medication for anxiety.

Time and time again, the latest being on his show, Johar has emphasised that those struggling with mental health conditions should be provided access to professional resources and not given “simple solutions like “go for a drive!!! Meet friends!! Go for a holiday. Get a massage… (sic)”

And of course, in his classic storyteller style, he has also helped his readers visualise exactly what he was going through.

“You feel like the oxygen from your system has just been sucked out. You feel like you’re in Ladakh. You feel you need acclimitization. Your mind is running, your dreams are running. You dream, you wake up, you dream, you wake up. That’s anxiety.”

Karan Johar, in his book An Unsuitable Boy

Many Triggers, Much More Courage

Whenever Johar has talked about his mental health, he has very often delved into the specifics of his life, and revealed his potential triggers.

As a child, Johar was called “pansy,” for being more feminine than the boys his age. Recently, in a conversation with content platform Yuvaa’s Nikhil Taneja on the latter’s show Be A Man, Yaar, Johar had mentioned how he always wanted to ‘fit in, until he realised he couldn’t.’

That’s also a recurring theme through his book – how even though his family loved him unconditionally and was extremely supportive, he did grow up with insecurities.

The filmmaker, who is also famous for knowing how to take a joke on himself, has often said publicly that humour and self-depreciation, for him, are actually defense mechanisms. 

But what has majorly pushed the director to also speak up is the social media trolling he has faced since the beginning of the COVID-19 pandemic.

In 2020, when actor Sushant Singh Rajput died by suicide, there was a wave of anti-nepotism (in Bollywood) sentiment that surfaced online, with Johar being one of the primary targets.

The filmmaker, in the past year, revealed how much of a toll it took on not just him, but also his mother – who would see all kinds of negativity being spurned towards Johar on different media platforms. 

To the audience too, it was quite evident that Johar was down bad. On Taneja’s show, there was a segment where the team had curated compliments for Johar from social media users.

As the host fished out these compliments, it was a little sad to see the filmmaker be genuinely surprised that people were saying nice things about him – after so many years of only being trolled online.

All this also got a hold on Johar as the filmmaker admitted to growing more and more anxious leading up to the release of his 2023 feature Rocky Aur Rani Kii Prem Kahaani. 

Johar also told film journalist Anupama Chopra in an interview with Film Companion, 

“I have never been this stressed before a release. I think it’s a combination of the fact that it’s been a seven year gap (of directing) and also a certain anxiety that built over the last three years within me with a lot that happened on social media.”

There’s Still Criticism…

As a hardcore KJo fan (Dharma [Productions] is my only dharam), I have always believed that Johar knows how to balance the business of storytelling with the stories he wants to tell.

Many of his films, like Kabhi Alvida Na Kehna and My Name Is Khan, have been ahead of their times. At the same time, he has also made films purely for business and to cater to what the audience wants when they go to see a Dharma film – a masala entertainer like I Hate Luv Storys and Yeh Jawaani Hai Deewani.

He has also been one of those rare filmmakers who has always talked about their feelings.

But with Johar taking the stage to talk about mental health, a similar criticism has come forward too.

Johar knows what his audience wants. 25 years ago, it was Kuch Kuch Hota Hai. Today, it may be mental health conversations that the GenZ wants.

But that said, opening up about mental health struggles in public is never easy – whether it’s Karan Johar, Deepika Padukone, or the person reading this piece.

With the World Health Organization estimating that mental health illnesses account for 15 percent of the global disease burden, every little conversation around stigma and seeking mental health support must be welcome.

In this context, doesn’t a filmmaker like Johar, who has taken very many opportunities to speak about mental health conditions, deserve more than just a wave of sympathy?

I cannot help but wonder if Johar deserves some acknowledgement or even appreciation for speaking out – and for invariably sparking more conversations.

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Love and progressiveness: Are Bollywood romances losing their verve?

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Ranveer Singh and Alia Bhatt in a still from ‘Rocky Aur Rani Kii Prem Kahaani’

Some of the releases in recent weeks suggest that mainstream Bollywood is in a self-reflective mood. Like the customary transformation scene in family dramas where the ageing generation gives in to the views of their kids after resisting change in the first half, Bollywood bigwigs seem eager to scrutinise the stereotypical tropes that once defined their point of view. They are questioning and scratching off entrenched patriarchy, casual everyday sexism, and gender and cultural biases that have blighted our society and cinema alike in the name of tradition and custom, but in the process, they are losing out on the verve and lilt that Hindi film romance once possessed.

Perhaps propelled by the ripples that some of the content on OTT platforms has created or spurred by the will to challenge their legacy, marquee banners are indulging in introspection. It is reflected in Rajshri Productions’ Uunchai in 2022, Nadiadwala Grandson Entertainment’s Satyaprem Ki Katha and Bawaal and Dharma Production’s JugJugg Jeeyo and Rocky Aur Rani Ki Prem Kahaani (RARKPK). Even Anurag Kashyap who promised a parallel universe to mainstream fluff got caught in this game of catching up with the youth with Almost Pyaar with DJ Mohabbat. So did Luv Ranjan when he mounted Tu Jhoothi Main Makkaar earlier this year.

A Punjabi and a Bengali family overcome their cultural differences and learn progressive lessons in ‘Rocky Aur Rani...’

A Punjabi and a Bengali family overcome their cultural differences and learn progressive lessons in ‘Rocky Aur Rani…’

Veil of change

In RARKPK, Johar has even tossed a low-hanging metaphor — swad wahi, soch nayi (same flavour, new philosophy). The experiment requires courage to get over the obstacles of experience and ego but a closer scrutiny suggests that the change is only cosmetic and the new philosophy demands a newer way of putting across the message. At present, it is a case of neither here nor there as the subversion remains adsorbed on the surface. The noble intentions behind these films often feel contrived as if the creators are chasing applause for their message, only to revert to the status quo for their trusted multiplex audience. This renders their efforts seem more pretentious than impactful. The romantic build-up in the movie RARKPK, between a Punjabi ‘heartthrob’ and a journalist from an intellectual Bengali family lacks the intensity that could be overlooked by the stagy but progressive second half. Cinema like all art is about intent and gaze and here it feels like the film pauses to pontificate like a generic television soap. We are having a dialogue on male insensitivity towards women by taking Ranveer Singh to a lingerie shop.  We are making the hero dance to ‘Dola Re Dola’ to join his prospective father-in-law, a Kathak exponent.

Also Read | Most Indian OTT anthologies are meh

The screenplay reads like a PowerPoint presentation against cancel culture and surprisingly, after all the fuss over making parents see the parallax in their world view, the girl makes peace with the father of the boy who comes across as a misogynist. Similarly, in JugJugg Jeeyo, the sexist attitude of the father played by Anil Kapoor goes unpunished. It is like pushing the envelope and then gingerly pulling it back lest it offend the audience who loved Kuch Kuch Hota Hai for promoting make-up as a must for girls and the notion that short dresses attract unwanted male attention. Essentially, in Bawaal, the Varun Dhawan and Jahnvi Kapoor-starrer is bloated out of proportion perhaps to match the scale of the producer’s image and the urge to reach out to an international audience. The film literally keeps requesting the audience to be open-minded to accept the bizarre idea of a couple learning to bury their differences when the teacher husband is schooled on the pain and sufferings of the Jews during the Second World War. Hindi cinema has sold even more bizarre concepts to the paying public in the past but in those films, the makers were not trying to be too clever by half.  

A still from ‘Bawaal’

A still from ‘Bawaal’

Bawaal is not the only one in recent times that could not hold on to its one-trick show. Aanand L Rai’s Atrangi Re, a quirky love triangle on mental health, also could not pass muster once the director showed his cards.

The premise of Bawaal could have worked if Varun was shown as a primary school teacher in the Uttar Pradesh village and the couple learnt from the sufferings of one of the episodes of the freedom movement. But, perhaps, the makers were keen on making a big splash. Director Nitesh Tiwari recently said that every film could be subjected to scrutiny when viewed through a magnifying glass. It is true but the details invariable come out when the director fails to hold suspension of disbelief even in the first viewing. Music plays an important role in the process but the big shots are borrowing from the past to sustain the love stories of today. Johar has to rework Madan Mohan’s 1966 composition Jhumka Gira Re to hook the audience of today.

Originality is definitely in short supply and cheating is also a difficult art to master.

In mainstream Hindi films, the audience investment has more to do with how emotions are woven and expressed. Physical intimacy alone can’t help you sail through as Aditya Chopra discovered with Befikre.

In Bawaal, while the lead actors fail to sell the premise, Manoj Pahwa is absolutely relatable as the father of the protagonist. Similarly, in RARKPK, while the chemistry between Ranveer and Alia could not seep through the bling, Dharmendra and Shabana Azmi could not stir latent emotions and Jaya Bachchan looked out of place, Tota Roy Chowdhury could still find his way into our hearts amidst the shrill atmosphere and shallow writing.

Recently, a veteran popular cinema enthusiast told a journalist that the love stories of today don’t have the aaramdayak dard (comfortable pain) that the cinema of yore used to provide. Take Hrishikesh Mukherjee’s Abhimaan or Basu Chatterjee’s Rajnigandha for instance. The films haven’t aged in 50 years. Their message is still relevant and the love story still provides goosebumps.

Screenwriters often say that society has changed and romance is no longer the same. But we have seen in Zara Hatke Zara Bachke and Satyaprem Ki Katha that if set, cooked, and cast well, Hindi film romance could still conjure up magic that could help in papering over the cracks in the screenplay. In the past, we have seen the likes of Prakash Mehra, Manmohan Desai, and Subhash Ghai fading away for they resisted change in their storytelling after a point. But it is also important to remember the popular fable where an ageing jackal accidentally falls into a vat of indigo dye while escaping an attack by wild dogs.

Also Read | Smriti Mundhra on ‘The Romantics’: I wanted to remind people of why we love cinema in a non-cynical way

Drenched in a blue hue, he presents himself as a new creature and finds a new lease of life in the cut throat ways of the jungle. However, he could not resist the urge to howl for long and one day when a heavy downpour washes off his blue coat, he gets exposed.

Watching some of the recent works of our top-notch film producers and directors gives one the sense that pushed by the OTT challenge they are deliberately falling into the vat to wear a new coat but finding it hard to keep away from the howl that defines them. The moral of the story is that one should be true to oneself.

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Rocky Aur Rani Kii Prem Kahaani Review: Ranveer Singh-Alia Bhatt Are Having Fun!

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Karan Johar returns to the director’s chair with Rocky Aur Rani Kii Prem Kahaani, a film that is a journey between “it’s all about loving your parents” and “the blood of the covenant is thicker than the water of the womb”. 

A strapping, brawny Rocky Randhawa (Ranveer Singh), endearing in his theatrics, is the heir apparent to his family’s confectionery, Dhanlakshmi Sweets; the eponym is his grandmother played by Jaya Bachchan. 

Adversely, Rani Chatterjee (Alia Bhatt) is a feisty news anchor who doesn’t answer to anyone; goes as far as to throw her earpiece out before an interview (nobody monitoring the many cameras trained on her notices). 

Alia Bhatt in a still from Rocky Aur Rani Kii Prem Kahaani.

The film, at the crux of it, positions the cultural differences between the Punjabi and Bengali families. The latter sticks to traditional and stifling patriarchal values and the former is more progressive and challenges those very norms in the way their family operates. 

These ideological differences naturally affect the way Rocky and Rani behave. And yet somehow, these two poles-apart characters find each other and start a steamy situationship. 

Rocky’s family consists of his grandmother who is ever-brooding and seemingly runs the family and the business with an iron fist, his bitter and indignant father Tijori (Aamir Bashir), his demure but ambitious mother-sister duo (portrayed with ample heart by Kshitee Jog and Anjali Anand), and his grandfather who suffers from memory loss, longing for a fragment of the past (Dharmendra). 

A still from Rocky Aur Rani Kii Prem Kahaani.

Dhanlakshmi started and Tijori maintained a cycle of generational trauma that has affected every person who was born into or has married into the family. But Rani is not going to be just another cog in this horribly oiled machine. 

Rani’s family is on the other side of this progressive to not binary. Her mother (Churni Ganguly) is an English professor who speaks with an accent even unnecessary to the plot. She is said to be the family’s Shashi Tharoor (she doesn’t say GPS, she says ‘Global Positioning System’). I can’t even place if it’s a caricature of Bengalis or every literature professor to exist.

A still from Rocky Aur Rani Kii Prem Kahaani.

One of the film’s most endearing characters is Rani’s father (Tota Roy Chowdhury) who has left the grandeur of the stage in Kolkata to teach and perform Kathak in Delhi. It’s the film’s most nuanced portrayal of masculinity and it makes sense that this is the character who shows up for the brash Rocky.

Then there is Jamini, Rani’s grandmother played with an ethereal ease by Shabana Azmi. Both Chowdhury and Ganguly imbibe their characters with the honesty they require. 

Rocky is taught to expect everything to go the Randhawa way and Rani grew up knowing she never needs to take anything lying down. So when these two characters switch families (and circumstances), a web of teaching, learning, questioning, and introspection is imminent. 

The first half is frivolous and funny. The main focus is on two relationships, one being Rocky and Rani’s. Twitter was abuzz with theories about their chemistry but what do we see as chemistry? Is it the fact that the two look naturally great together? Is it that it’s easy to believe why they would find each other endearing? If yes, they have sizzling chemistry. 

Ranveer Singh and Alia Bhatt in a still from Rocky Aur Rani Kii Prem Kahaani.

It is not the chemistry of finding each other irresistible (they do). It is also the fact that chemistry can sometimes just be calm; it can rest in the efforts of remembering that your partner doesn’t like a certain colour or food, or that they frown a certain way when something is bothering them. Johar weaves this easy chemistry into the folds of his typical Bollywood story. 

Karan Johar fits in every bit of Bollywood he can get his hands on into Rocky Aur Rani Kii Prem Kahaani. Extravagant sets? Check. Lovers forced to separate because of family differences? Check. Past lovers reuniting with a (large) tinge of infidelity? Check. Song and dance? Elaborate monologues? Loud background music? One-liners? Check, check, check, check. 

Jaya Bachchan in a still from Rocky Aur Rani Kii Prem Kahaani.

Karan Johar’s unrealistic extravagance must have the support of style, a responsibility fulfilled by fashion designer Manish Malhotra and stylist Eka Lakhani. The Sabyasachi Angarakhas flow and swish in the air with aplomb and chiffon floats against a snowy landscape (despite Rani’s mismatched blouses). It is a reminder of why Bollywood cinema felt so easy to escape into. 

The Bollywood mass appeal is right there but at some point, you wonder if there should’ve been some balance. Maybe a little less. But the Johar directorial magic hits every frame of the screen.

He knows how to frame Jaya Bachchan’s scowl as threatening and comic just with a smart use of camera work (this credit, of course, is shared by the actor and the cameraperson). 

He brings his almost cheesy Bollywood-ness and mixes it with old Bollywood nostalgia dialed up to the maximum. Yes, it seems exaggerated. Yes, it makes little sense and is so overly melodramatic. I wish I was someone who had the strength to resist a character crooning ‘Abhi Na Jao Chhod Kar’ or ‘Aaj Mausam Bada Beimaan Hai’ but I don’t. 

Tota Roy Chowdhury in a still from Rocky Aur Rani Kii Prem Kahaani.

As Rocky, Ranveer is impossible to peel your eyes away from; he has an infectious energy that lends itself to the film’s demand of uproarious laughter from the audience. The way he throws around phrases like, ‘But obvio?’ and ‘Hello babes’ feels like second nature to him. And yet, when the film moves into its melodramatic and emotion-heavy second half, his performance is heartbreaking. 

This is a man who knows there’s always been something wrong with the lessons he has been taught growing up but nobody ever taught him what. He is torn between what he sees as himself and what his family wants him to be. 

Alia pulls no punches in playing Rani, when she’s spouting her lessons on Feminism 101 or trying to find a way to get a word in while talking to her golden-retriever boyfriend. 

Alia Bhatt and Shabana Azmi in a still from Rocky Aur Rani Kii Prem Kahaani.

The film does make attempts at being more than it can be. There is a commentary on patriarchy, on misogyny, on cancel culture even. But all of them, except maybe the former, lack any nuance. It’s all monologues followed by angry looks and while it does get the point home, the point in itself is shallow.

Even the commentary on cancel culture comes so close to actually getting it but it doesn’t. 

‘Must we cancel all people instead of giving them a chance to learn’ is a very nuanced subject that delves into matters of privilege, of understanding, and of opportunity amongst all things. A confused monologue really cannot and does not cover it. 

This brings us to the actual screenplay. An actual story is sacrificed at the altar of drama. The characters outside of Rocky and Rani do not get their due. They yell their backstories and problems at the faces of their family but the actual emotional heft of these sermons is absent. Dhanlakshmi gets the shortest end of the stick. 

Even with the mandate that this is not a film rooted in realism and shouldn’t be seen that way, there are parts of the film that still seem too unnatural. At points, I found myself checking if I was laughing with the film or at it.  

Ranveer Singh in a still from Rocky Aur Rani Kii Prem Kahaani.

Rocky Aur Rani Kii Prem Kahaani doesn’t have anything new to speak of; it doesn’t really have a proper, clear message. It is the spectacle the film mounts that makes it and the fact that the cast seems to have given their everything to make the screenplay work.

And maybe that is one of the true feats of acting? To elevate a film beyond even its own means. And of everyone, Ranveer Singh does it best here.

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Kritika Kamra, Dhairya Karwa and Raghav Juyal to headline Karan Johar and Guneet Monga’s Gyaarah Gyaarah, Indian adaptation of Korean drama Signal for ZEE5 : Bollywood News – Bollywood Hungama

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Another Korean drama is getting an Indian remake. Following the news of JioCinema working on Suspicious Partner adaptation, Karan Johar’s Dharmatic Entertainment and Guneet Monga’s Sikhya Entertainment are joining hands for the upcoming procedural drama Gyaarah Gyaaraah. The series is a Hindi adaptation of the Korean drama Signal, which originally starred Kim Hye Soo, Lee Je Hoon and Cho Jin Woong. In the Indian adaptation, Kritika Kamra, Raghav Juyal and Dhairya Karwa have been roped in for the lead roles.

Kritika Kamra, Dhairya Karwa and Raghav Juyal to headline Karan Johar and Guneet Monga’s Gyaarah Gyaarah, Indian adaptation of Korean drama Signal for ZEE5

Jointly produced by Oscar-Winning producer Guneet Monga and Achin Jain (Sikhya Entertainment) and celebrated stalwart producer Karan Johar and Apoorva Mehta (Dharmatic Entertainment), Gyaarah Gyaarah is an investigative fantasy drama series starring Kritika Kamra, Dhairya Karwa and Raghav Juyal in pivotal roles. This is the first time that ZEE5, Dharmatic Entertainment and Sikhya Entertainment are coming together for an original web series.

Directed by Umesh Bist (of Pagglait fame) and co-written by Puja Banerjee and Sunjoy Shekhar, Gyaarah Gyaarah spans across three decades and timelines – 1990, 2001 and 2016 – and blends mysticism, science, and mystery to give you an edge of the seat experience.

Manish Kalra, Chief Business Officer at ZEE5 India said, “We are delighted to partner with the two prominent content powerhouses, Sikhya Entertainment and Dharmatic Entertainment for ‘Gyaarah Gyaarah’. As a consumer-first brand, the focus has always been on pushing the envelope of creative storytelling, improvise and innovate with plots, and bringing stories that shall entice our viewers. Guneet and Karan are both leaders in their creative spaces, who have come together with a supremely talented star cast to create magic on-screen with this series. We are happy to partner in this first-of-a-kind collaboration with this unique show that we hope audiences will enjoy”.

Nimisha Pandey, Chief Content Officer – Hindi Originals, ZEE5 said, “The power of storytelling lies in its ability to transport us to different worlds, entertain us, move us and inspire us. We aim to deliver these experiences to our audiences and elevate their entertainment viewing. We are excited to announce our upcoming show ‘Gyaarah Gyaarah’, which will take you on a journey through time in an intriguing way. This show beautifully blends genres to create an immersive story for the viewers. We are delighted to mark the beginning of our association with the Oscar-Award winner Guneet Monga’s Sikhya Entertainment and celebrated storyteller Karan Johar’s Dharmatic Entertainment. It has been truly wonderful collaborating with Director Umesh Bist and his team on this very special show. Through ‘Gyaarah Gyaarah’, we aim to expand the realm of storytelling on OTT, and we hope this unique investigative drama will captivate the hearts and minds of our audiences”.

Karan Johar, Founder and Managing Director at Dharmatic Entertainment said, “We are extremely excited to collaborate with Sikhya Entertainment and ZEE5 for a unique investigative drama. As a filmmaker, I have always believed in the power of storytelling to inspire, entertain, and challenge audiences. With this alliance, we have the opportunity to bring together our shared passion for creating innovative content and telling stories that resonate with people from all walks of life. This partnership represents a unique blend of storytellers that have always supported diverse and unconventional stories, and I can’t wait to see what we will create together”.

Guneet Monga Kapoor, Producer and Founder, of Sikhya Entertainment said, “Partnering with Karan and Apoorva from Dharmatic Entertainment, alongside ZEE5 has been a delight. ‘Gyaarah Gyaarah’ is one of our most exciting ventures, and we’re so lucky to be foraying into a new space and genre. We’re also reuniting with Pagglait Director, Umesh Bist, with whom we fully trust in telling this unforgettable story and leaving the audiences with intrigue and wonder”.

Apoorva Mehta, CEO and Managing Director at Dharmatic Entertainment said, “At Dharmatic, we are striving to find the most like-minded partners and for this story, Sikhya and ZEE5 were the perfect partners for us. We are constantly evolving with changing times to bring forth the best of stories and talents to the fore. And ‘Gyaarah Gyaraah’ and its entire team is a step forward in that direction”.

Producer Achin Jain of Sikhya Entertainment said, “We are so thrilled to present a show that revolves around the unique concept of time. ‘Gyaarah Gyaarah’ has been one of our most intriguing and passionate ventures among the many significant stories that Sikhya has told in the last 15 years of its inception. Director Umesh Bist’s genius mind will take us through three decades of thrilling moments. Here’s a story that we hope will keep you hooked and entertained with a blend of mysticism and science”.

Director Umesh Bist said, “I am happy to be a part of this team of dedicated storytellers who have an unflinching passion for good cinema. ‘Gyaarah Gyaarah’ has a lot going for it in terms of the backing of the best producers, a network like ZEE5 to ensure good global reach, a powerful ensemble of young and dynamic actors and passionate writers and a talented crew. We hope to entertain many with this series”.

The K-drama is one of the most critically acclaimed drams of all time. As per Asian Wiki, Signal narrates the story of “Park Hae Yeong, who was a student in elementary school at the time, who saw a young girl being abducted on her way home from school fifteen years ago. The girl was discovered dead a few days later, but the authorities were unable to identify the killer. Hae Yeong eventually developed a distrust for the police. Hae Yeong is currently a police officer and criminal profiler after fifteen years. He comes across a walkie-talkie one day, which enables him to communicate with Detective Lee Jae Han who is in the past. Afterwards, in an effort to investigate unsolved crimes, police officers Cha So Hyun, Hae Yeong, and Jae Han set out on a voyage.”

The criminal case depicted in Signal is reportedly inspired by a true incident which occurred in South Korea’s Hwaseong, Gyeonggi Province over the course of 1986 – 1991. Reports had stated that 10 women were allegedly raped and murdered within the 2 km radius of the province with victims ranging from a 13-year-old school girl to a 71-year-old grandmother.

ALSO READ: First poster of Ranveer Singh – Alia Bhatt starrer Rocky Aur Rani Ki Prem Kahani to be launched on Karan Johar’s birthday

Tags : Cho Jin Woong, Dhairya Karwa, Dharmatic Entertainment, Guneet Monga, Gyaarah Gyaarah, K-Drama, K-Dramas, Karan Johar, Kim Hye Soo, Korean Drama, Korean Dramas, Kritika Kamra, Lee Je Hoon, OTT, OTT Platform, Raghav Juyal, Signal, Sikhya Entertainment, Zee5

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