Balle Balle Radio™ Entertainment Desk

A new-releases roundup shows Netflix added 109 titles to its US library this week—95 movies and 14 series—with "The Gentlemen" Season 2 and "Smile 2" as the primary highlights.

The large number follows Netflix’s typical rhythm of a major first-of-the-month release window on September 1, supplemented by additional licensed titles throughout the week. The source separately detailed 68 September 1 arrivals, indicating that most of this week’s total comprises licensed back-catalog rather than original content.

Guy Ritchie’s "The Gentlemen" returns with Eddie Horniman (Theo James) deepening his control of the aristocratic weed operation he took over in season one. The show is described in the roundup as continuing the first season’s mix of crime, comedy and rapid-fire dialogue, with a four-star review from the outlet accompanying its return.

The 2024 Paramount thriller "Smile 2" centers on a global pop sensation (Naomi Scott) who experiences terrifying, unexplained phenomena during her world tour connected to the malevolent force from the original film. It’s one of several recent Paramount titles the roundup says are landing on Netflix this month.

Also new is "Untold: Raygun – Breaking Badly," a documentary entry in Netflix’s "Untold" sports series examining Rachael Gunn, the Australian breakdancer known as Raygun whose performance at the 2024 Paris Olympics became a global viral moment. The film is described as covering both the internet backlash Gunn faced and the competitive mechanics of breaking itself.

The rest of the week’s additions lean heavily on older licensed catalog: the original "Jaws" franchise, all six "Resident Evil" films, a run of 1980s and ’90s comedies including "Big Daddy" and "Liar Liar," and prestige titles like "Phantom Thread" and "The Deer Hunter." Several international originals also arrived, including the Hindi-language film "Gandhari" and the Spanish-language documentary "Fito Páez: El mundo cabe en una canción."

Netflix has not said whether the pace of licensed-catalog acquisitions will continue at this scale into October; the roundup covers only titles added through September 5.

Public Opinion

Critical reception for "The Gentlemen" Season 2 emphasizes Guy Ritchie’s signature style translating effectively to the streamer. Reviewers describe the season as "surprisingly great," highlighting how the drama has "upped the ante" with its sophomore installment. The show’s blend of crime, comedy, and rapid-fire dialogue continues to resonate, with critics noting the characters’ deeper embeddedness in their criminal world and praising the mix of boxing, fixed fights, and non-linear storytelling as quintessentially Ritchie. One assessment captures the tone succinctly: the characters are "irritating, stupid and extremely funny." Overall, the season is positioned as a genuine streaming must-watch that delivers on engagement and entertainment value.

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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Balle Balle Radio™ Entertainment Desk

Taapsee Pannu’s new Netflix thriller arrives tangled in an authorship dispute and a familiar subject — raising uncomfortable questions about originality, power and who gets believed when a lone writer accuses a global platform of taking their story.

A film about a mother fighting to reclaim what was taken from her has itself become the centre of a dispute about theft.

Gandhari, the Taapsee Pannu-led thriller now streaming on Netflix, tells the story of a parent whose child goes missing after their train stops at a station during a family trip — a premise that pulls her into the world of child trafficking. But before most viewers pressed play, the film was already generating a different kind of attention. A writer has alleged that the story bears an unmistakable resemblance to a script they pitched to Netflix nearly two years earlier, and that the platform proceeded with a similar narrative under a different name, credited to writer Kanika Dhillon. The claim reportedly names Netflix’s leadership, including co-CEO Ted Sarandos, though the specifics of any formal legal action remain unclear from public reporting so far.

This is worth stating plainly: an individual writer accusing a multinational streaming company of appropriating their pitch is not, by itself, proof of wrongdoing. Studios often develop multiple projects with overlapping premises — child trafficking, missing children and reluctant-parent-turned-vigilante narratives are hardly unclaimed territory in Indian cinema. Pink, Mardaani, and the recently released Awara Guddu have all mined similar ground. Coincidence in premise is not the same as theft of expression, and pitch meetings are notoriously difficult to litigate precisely because ideas move faster than paperwork.

But the imbalance in the fight itself is what deserves attention, regardless of who is right. An individual writer taking on a company the size of Netflix faces a structural disadvantage that has nothing to do with the merits of their claim — limited resources, limited visibility, and a legal system that favours whoever can outlast the process. Whether or not this specific allegation holds up, the broader vulnerability it exposes is real and recurring across the industry.

An Old Subject, A Familiar Shape

Set aside the dispute for a moment and the film itself lands as competent, unremarkable genre work — the kind of one-time watch that fills a Friday night without asking much of the viewer afterward. Child trafficking as a subject has been revisited often enough in Hindi cinema that a new entry needs a genuinely distinct angle to justify itself, and Gandhari’s angle is mostly in its title rather than its plot mechanics.

The mythological reference is deliberate. Gandhari, in the Mahabharata, is the queen who blindfolds herself in solidarity with her blind husband and later curses an empire out of grief for her hundred sons. Borrowing that name for a contemporary mother driven to extraordinary lengths by the disappearance of her child is a reasonable creative instinct — it signals maternal ferocity and moral weight before the story even begins. Whether the film earns that mythological framing through its execution is a separate question, and on that front the film plays it fairly straightforward: a family vacation, a train stopover, a child who vanishes, a mother whose search widens once she realises the police see her daughter’s case as one among many identical ones involving other missing children.

That widening — from personal loss to a broader crusade against trafficking networks — is the film’s most interesting structural choice, even if it isn’t a new one. Pannu’s character deciding that saving her own daughter isn’t enough, that she has to go after the systemic problem, gives the film its emotional spine. It’s a familiar arc for this genre, but it’s handled with enough sincerity to keep the film watchable rather than tedious.

What The Film Actually Delivers

For audiences who follow Pannu specifically for morally driven, women-led thrillers — a lane she has occupied since Pink and Mulk — Gandhari sits comfortably within expectations rather than expanding them. It won’t disappoint that audience, but it won’t surprise them either. Viewers expecting a genre reinvention, something the title’s mythological ambition might suggest, are likelier to come away feeling the film undersells its own premise. The gap here isn’t really a failure of craft; it’s a mismatch between how boldly the title positions the story and how conventionally the story actually unfolds.

Studio Perspective

The more revealing story here isn’t really about whether Gandhari is a good film. It’s about what happens when a serious authorship dispute breaks around a title just as it’s trying to find an audience.

Netflix, or any major studio, absolutely can independently arrive at a similar premise to something once pitched and passed on — that’s an ordinary hazard of an industry that receives thousands of pitches covering a finite number of dramatic situations. But the writer’s allegation, unverified as it currently stands, taps into something audiences and industry watchers already suspect about how power operates in entertainment: that a platform’s word tends to carry more institutional weight than an individual’s, regardless of the facts, simply because of the size of the legal and PR apparatus behind it.

That imbalance is worth naming even while withholding judgment on the specific claim. The instinct to dismiss a lone writer’s grievance because "these things happen" in a competitive industry is exactly the instinct that lets genuine cases of appropriation go unexamined. Equally, the instinct to assume a streaming giant is guilty simply because it’s large and the accuser is not, would be its own kind of unfairness. Neither instinct serves the truth. What the situation calls for is scrutiny, not assumption — and a platform for the writer’s account to be heard rather than quietly absorbed into the churn of another Friday content release.

There’s also a quieter irony sitting underneath all of this: a film about a mother demanding accountability for children who go unheard is itself now wrapped inside a dispute about a smaller voice trying to be heard against a larger, more powerful entity. Whether or not that irony was intended, it’s hard to miss once you notice it.

Gandhari will likely come and go as most mid-tier OTT thrillers do — watched, mildly enjoyed, rarely rewatched. The dispute trailing it may end up mattering more than the film itself, not because of its outcome, but because of what it reveals about how fragile the position of an individual creator remains, even in an industry that increasingly claims to value original voices.

— Studio CarryOnHarry Editorial Desk

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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