When Arijit Singh announced his decision to step away from playback singing earlier this year, it felt like a quiet storm passing through the music world. There was no drama, no grand farewell—just a simple note, almost like one of his songs, understated yet deeply emotional. For fans who have grown up with his voice stitched into their memories, it felt personal.
But now, in a message that feels both comforting and bittersweet, Arijit has reminded everyone that endings are rarely absolute. In a heartfelt note shared with his listeners, he expressed gratitude for the love he has received in what he called a “ruthless world.” At the same time, he revealed something that instantly reignited hope—his journey isn’t entirely over yet. There are still many songs left unfinished, and those songs will continue to find their way to listeners over the course of this year, possibly even beyond.
It’s a revelation that changes the tone of his “retirement.” Instead of a sudden silence, what lies ahead is a slow fading echo—new releases that carry the essence of what he has always been known for: emotion, depth, and an uncanny ability to make every listener feel seen. For fans, this means that the connection isn’t being cut off abruptly. Instead, it’s being extended, gently, song by song.
His note, however, wasn’t just about music. It carried a philosophical undertone—advice to step away from noise, to read, to meditate, to find peace. It felt like Arijit wasn’t just signing off from playback singing, but also urging people to reconnect with themselves in a world that rarely slows down. And then came the line that has stayed with everyone: “Who knows what lies ahead?”
That one sentence has sparked countless interpretations. Is it a hint at a possible return? Or simply an acknowledgment that life is unpredictable, even for someone who seems so certain about stepping back? Fans, of course, are holding on to hope. Because when an artist like Arijit leaves the door even slightly open, it’s hard not to imagine him walking back in someday.
Interestingly, his retirement announcement in January had already created waves across the industry. Even Aamir Khan personally visited him, urging him not to quit, especially while working on the title track of Ek Din, a film connected to his son. The moment, captured in a behind-the-scenes video, showed just how valued Arijit is—not just as a singer, but as an emotion that filmmakers rely on. Meanwhile, voices like Shreya Ghoshal stood in support of his decision, respecting the choice of an artist who has given so much over the years.
What makes this phase particularly intriguing is its in-between nature. Arijit Singh is neither fully present in the playback scene nor completely gone. He exists in this space where his past work continues to breathe, and his unfinished songs promise a future that hasn’t entirely closed.
And maybe that’s what makes it so poetic. Because if there’s one thing Arijit Singh has always done, it’s leave us with feelings that linger long after the music stops.
At 17, like many others trying to follow a “secure” path, he chose medicine. Enrolling in an MBBS program wasn’t just a career decision—it was also about living up to expectations, especially those shaped by family. But even while navigating textbooks and lectures, there was another side to him quietly growing stronger. He wrote poetry, stories, even drama—creative expressions that hinted at something deeper waiting to surface.
It didn’t take long for that internal conflict to become impossible to ignore.
Something didn’t align.
And that simple realization led to a much bigger question—who was he, really?
What followed wasn’t a sudden breakthrough, but a phase of exploration. Swapnil began trying different forms of expression, almost like searching for a language that felt truly his. Music came first. He picked up the guitar and flute, even played in a band. For a while, it seemed like this could be it. But slowly, doubt crept in. He felt he had started too late, that he might never reach the level he envisioned.
Writing, which had once felt natural, also began to feel limiting. Not because he didn’t love it—but because it didn’t fully capture everything he wanted to say.
And then, cinema happened.
During his college years, exposure to world cinema and a filmmaking workshop changed everything. It wasn’t just about watching films—it was about understanding them. Breaking them down. Feeling them differently.
For the first time, he found a medium that didn’t ask him to choose between his interests. Cinema allowed him to combine them all—music, writing, visuals, performance. It was collaborative, layered, and limitless.
It felt like home.
Like many filmmakers, his influences were shaped by what moved him. The raw honesty of Anurag Kashyap left a strong impression early on. He admired the craftsmanship of Vijay Anand and the storytelling brilliance of Salim–Javed, even before he consciously realized their impact.
Over time, his cinematic world expanded. Filmmakers like Mani Ratnam and Mahesh Bhatt added new layers to his understanding of storytelling.
Across regions and borders, inspiration continued to flow—from Lijo Jose Pellissery and Umesh Kulkarni to global masters like Bong Joon-ho, Akira Kurosawa, Park Chan-wook, and Martin Scorsese. He also holds Billy Wilder among his absolute favorites, alongside Woody Allen and Kathryn Bigelow.
Beyond cinema, literature shaped him just as deeply—especially the works of Haruki Murakami. But above everything else, Swapnil believes that life itself is the greatest teacher.
His approach to storytelling reflects that belief.
Ideas don’t arrive in a structured format. They come as fragments—a visual, a feeling, a line of dialogue, sometimes even a news report. His film Stolen was born from one such moment—a disturbing real-life incident where misinformation spread through WhatsApp led to mob lynching. But instead of simply recreating the event, he chose to explore the psychology behind it. Why do people behave the way they do in a crowd? What drives fear into violence?
That curiosity became the foundation of the film.
His process is meticulous but organic. A spark becomes a premise. A premise becomes a logline. That expands into a paragraph, and eventually a detailed treatment of 30 to 40 pages. Only then does the screenplay begin.
And even then, it’s just the beginning.
The first draft—often stretching between 100 to 150 pages—is far from final. For Swapnil, writing is rewriting. And in filmmaking, rewriting doesn’t stop on paper—it continues on set, and even in the editing room.
Collaboration plays a crucial role here, especially with actors. During Stolen, he remained closely involved throughout the shoot, constantly refining scenes. He values the way actors interpret moments, often catching nuances that might escape a writer or director too close to the material.
But like most independent filmmakers, the journey hasn’t been without challenges.
Reaching the right audience remains one of the biggest hurdles. While mainstream films like Pushpa: The Rise are built for mass appeal, independent cinema often struggles with distribution—both in theatres and on OTT platforms.
This is where film festivals become vital.
For Swapnil, they weren’t just platforms—they were gateways. Stolen connected with audiences far beyond India, resonating in countries like Italy, Germany, and China. Its premiere at the Venice Film Festival in 2023 marked a defining moment in his journey.
But what makes that milestone even more powerful is the journey behind it.
The film began in November 2019 and went through nearly 70 drafts before reaching its final form. Years of persistence, doubt, rewriting, and rebuilding—all leading to a story that finally found its audience.
At its core, Swapnil’s work is driven by connection.
He wants audiences to feel something—whether it’s laughter, discomfort, fear, or empathy. He sees himself as both an entertainer and a storyteller, someone who can engage while also making people think.
And he’s far from done exploring.
Currently, he’s venturing into horror and thriller genres, while also working on a deeply personal story about two societal misfits—another example of his instinct to explore the human condition from different angles.
On a personal level, the success of Stolen brought something beyond professional validation.
It brought emotional closure.
Walking away from medicine without industry backing wasn’t easy. But today, seeing his parents proud of the path he chose—that makes it all worth it.
Stories, for Swapnil, are not just a profession—they’re a way of life. He consumes them endlessly—books, films, poetry, graphic novels. There are days he watches three to four films back-to-back, simply because he wants to understand storytelling better.
And if you asked him which fictional world he’d step into?
It would be Breaking Bad—to experience life as Walter White.
Because at the end of the day, what fascinates him most isn’t just stories—it’s people. Their choices, their contradictions, their journeys.
And maybe that’s why, if given a superpower, he wouldn’t choose invisibility or flight.
He’d choose storytelling.
The power to move people. To persuade. To connect.
Because sometimes, the most powerful thing you can do… is tell a story well.
The final chapter of Eric Dane in Euphoria is not just another television milestone—it is a story of perseverance, passion, and an artist’s unwavering commitment to his craft even in the face of a life-altering diagnosis. Known for his portrayal of Cal Jacobs, Dane brought depth and discomfort in equal measure to a character that became one of the most talked-about elements of the series.
It has now been confirmed that Dane completed filming for Season 3 of the show before his passing on February 19, 2026, at the age of 53. His return to set in April 2025 came at a deeply personal moment, as it coincided with his public revelation that he had been diagnosed with amyotrophic lateral sclerosis (ALS), also known as Lou Gehrig’s disease. Despite the challenges that come with such a diagnosis, Dane chose to continue working, a decision that now lends profound emotional weight to his final performance.
As Cal Jacobs, the troubled father of Nate Jacobs, played by Jacob Elordi, Dane explored the complexities of a man living a double life. Cal’s character was marked by secrecy, internal conflict, and destructive coping mechanisms, including alcoholism and hidden relationships that often placed him at odds with himself and those around him. It was a role that required vulnerability and fearlessness, and Dane delivered both with striking authenticity.
In an earlier interview, Dane had hinted that the upcoming season would bring “a moment of truth and some sort of redemption” for Cal, suggesting a significant turning point in the character’s journey. That promise now carries even greater emotional resonance, as audiences prepare to watch what will be his final on-screen work.
Filming for Season 3 wrapped later in 2025, ensuring that Dane’s performance would remain an integral part of the show’s evolving narrative. The season is set to premiere on Hulu on April 12, and it is expected to draw significant attention not only for its storyline but also for the legacy it carries.
Dane’s passing followed what his family described as a rapid 10-month battle with ALS. In their statement, they shared that he spent his final days surrounded by loved ones and became an advocate for ALS awareness and research during his illness. His journey, both personal and professional, has since become a source of inspiration for many.
The entertainment industry continues to mourn his loss, with tributes pouring in from colleagues and fans alike. Among them was a heartfelt message from Jessica Capshaw, his former co-star from Grey’s Anatomy, reflecting the deep impact he had on those he worked with.
As audiences await the release of Euphoria Season 3, Eric Dane’s performance stands as more than just a continuation of a story—it becomes a lasting testament to resilience, artistry, and the enduring power of storytelling.
Global pop icon Jackson Wang has unveiled the theme song “Tian Xia Guo Ke” for the upcoming wuxia epic Blades of the Guardians, creating an immediate buzz among fans and film enthusiasts alike. Released ahead of the Spring Festival, the track has quickly gained traction, not just for its musical appeal but for how seamlessly it captures the essence of the film’s world.
Written by director and screenwriter Yu Baimei along with lyricist Gan Shijia, and composed by Tang Hanxiao, the song blends sweeping orchestral arrangements with modern production elements. Jackson Wang’s vocals carry a sense of urgency and emotion, echoing themes of freedom, संघर्ष, and the wandering spirit central to martial arts storytelling. The composition reflects a balance between traditional wuxia aesthetics and contemporary global soundscapes, making it both culturally rooted and widely accessible.
The film itself stands out as one of the most ambitious wuxia productions of the year, bringing together multiple generations of martial arts stars including Wu Jing, Nicholas Tse, and Jet Li under the direction of legendary action choreographer Yuen Woo-ping. Adapted from Xu Xianzhe’s popular comic series, the narrative follows Daoma, a fugitive tasked with escorting another wanted man across dangerous terrain to Chang’an, drawing multiple factions into a high-stakes conflict.
Set against the expansive deserts of northwestern China, the film’s visual storytelling is amplified by the tone established in its music. The accompanying music video offers glimpses into this world—warriors in motion, intense combat sequences, shifting alliances, and moments of emotional vulnerability—all underscored by the song’s dramatic progression.
For Jackson Wang, the release is particularly significant as it marks a rare Chinese-language track in his discography. Known for his global musical style that blends Eastern and Western influences, this project highlights his versatility and his continued effort to connect with diverse audiences. It also aligns with his broader artistic direction, as he has previously expressed interest in exploring more Mandarin-language music alongside his international projects.
With its combination of star power, storytelling depth, and musical impact, Blades of the Guardians positions itself as a major cinematic event for the Spring Festival season. The theme song not only enhances anticipation for the film but also stands strong as an independent piece of art, resonating with listeners beyond the screen.
The Cinephile Film Club of the Entertainment Society of Goa is set to offer audiences a rare and immersive cinematic experience on Thursday, 19 February, at 6.30 pm, with a special screening of Nosferatu at Maquinez Palace Theatre, Panjim.
Directed by the legendary F. W. Murnau, Nosferatu remains one of the most influential works in the history of cinema. Released in 1922, the silent horror classic is a defining example of German Expressionism, celebrated for its haunting visuals, dramatic shadows, and deeply atmospheric storytelling. Though an unofficial adaptation of Dracula by Bram Stoker, the film carved its own identity, becoming a cornerstone of horror cinema.
Over the past century, there have been numerous reinterpretations of the Dracula legend across film industries worldwide. Yet Murnau’s Nosferatu endures as a cinematic landmark — not because it relies on dialogue or sound effects, but because it demonstrates the power of pure visual storytelling. The chilling silhouette of Count Orlok ascending a staircase remains one of the most iconic images in film history.
What makes this screening truly special is the live musical accompaniment. In the early 20th century, silent films were rarely screened in silence. Pianists and small ensembles would perform live, interpreting the film’s emotional landscape in real time. This Thursday’s screening aims to recreate that tradition.
The live score will be performed by cellist Martin Melendez, who studied music in Cuba, alongside accomplished pianist Guy Hershberg, who will perform on piano and synthesizer. The duo will improvise throughout the screening, responding intuitively to the shifting moods of the film — from quiet dread to stark beauty. Because the music is improvised, each performance becomes unique, ensuring that this is a one-of-a-kind experience.
Live accompaniment transforms the act of viewing into something communal and immediate. The musicians do not merely support the film; they engage in a dialogue with it, heightening tension, amplifying emotion, and occasionally allowing silence itself to resonate.
Through curated screenings such as this, the Cinephile Film Club continues its commitment to bringing meaningful cinema to audiences across Goa — extending beyond the festival circuit and fostering year-round film appreciation.
For film lovers, music enthusiasts, and anyone curious about cinema’s origins, this screening offers an opportunity to rediscover how movies once felt: intimate, experimental, and alive.
Screening Details: 📅 19 February ⏰ 6.30 pm 📍 Maquinez Palace Theatre, Panjim 🎟 Tickets available at the venue on a first-come, first-served basis.
