Stand-up comedian Zakir Khan has never been one to shy away from the complexities of human ego, but his recent appearance at the Screen Awards 2026 took his observations from the personal to the professional. In a set that balanced sharp wit with industry insight, Khan took a direct aim at the internal politics of the Hindi film industry, suggesting that the overwhelming success of Dhurandhar: The Revenge has left a trail of quiet resentment in its wake.
The commentary comes amidst a period of unprecedented financial triumph for the Aditya Dhar directorial. Since its release on March 19, the film has evolved from a cinematic event into a cultural phenomenon, shattering existing benchmarks for domestic earnings. According to industry reports, the film has turn into the first Bollywood production to cross Rs 1,000 crore net in India within 18 days of its release, a milestone that has fundamentally shifted the conversation around the potential of homegrown cinema.
Even as the public face of the industry has been one of celebration, Khan suggests the reality behind the curtain is far more complicated. During his routine, he pointed out the performative nature of celebrity endorsements, noting that social media praise often masks professional jealousy. When discussing the film’s reception, Khan remarked, “Kitne hi congratulatory post aap daal de, kitne hi story daalde, kitne hi interview mein aap bolde my favourite film, magar sach toh yeh hai ke ‘Dhurandhar’ se sabki jali toh hai,” translating to the idea that regardless of the public stories and interviews, the industry is deeply envious of the film’s success.
The ‘Smoke’ Between Bandra and Juhu
Khan’s roast reached its peak when he used a vivid geographic metaphor to describe the tension rippling through Mumbai’s elite creative circles. Referencing the film’s plot, which involves high-stakes action and explosions, he joked, “Bomb film mein foote lyari mein par dhuan udaa hai Bandra se Juhu mein.” By contrasting the fictional blasts in Lyari with the “smoke”—a colloquial term for jealousy—drifting between the affluent neighborhoods of Bandra and Juhu, Khan highlighted the disconnect between the film’s on-screen narrative and its off-screen impact on Bollywood’s power players.
This observation taps into a long-standing tension within the industry: the friction that arises when a single project disrupts the established hierarchy of stardom and commercial viability. Dhurandhar: The Revenge did not just surpass its predecessor, which debuted in December; it effectively rewrote the record books, leaving several previous blockbusters in its shadow.
A Divided Response: South vs. North
The perceived jealousy Khan referenced may be rooted in the timeline of the film’s critical reception. In the immediate aftermath of the release, a wave of appreciation arrived not from the heart of Bollywood, but from the South Indian film industry. Heavyweights such as SS Rajamouli, Mahesh Babu and Allu Arjun were among the first to publicly laud the film’s execution and scale.
This early disparity in praise sparked a digital firestorm, with netizens questioning why the film’s own peers in the Hindi industry remained silent while stars from other regions were quick to celebrate. While high-profile figures including Alia Bhatt, Karan Johar, Vicky Kaushal, and Anupam Kher eventually expressed their admiration for the performances and direction, the initial lag in endorsement provided the fuel for Khan’s roast.
Anatomy of a Box Office Juggernaut
The success of the film is not merely a result of star power, though the ensemble cast played a critical role. Led by Ranveer Singh, the film featured a robust supporting cast including R Madhavan, Arjun Rampal, Rakesh Bedi, and Sara Arjun. Under Aditya Dhar’s direction, the sequel managed to capture a rare intersection of critical acclaim and mass appeal, sparking an explosion of fan theories and memes that have kept the film trending on social media for weeks.
To understand the scale of the achievement, a look at the film’s trajectory reveals a steep climb that outpaced almost every contemporary release.
| Metric | Achievement | Timeline |
|---|---|---|
| Domestic Net Collection | Rs 1,000+ Crore | Day 18 |
| Release Date | March 19 | – |
| Comparative Performance | Surpassed Part 1 | – |
The film’s ability to penetrate different demographics—from the urban centers of Mumbai to the wider national audience—has made it a case study in modern distribution and storytelling. Although, as Zakir Khan pointed out, such singular dominance often comes with a social cost within the industry, where the “smoke” of competition can be as thick as the cinematic effects on screen.
As the industry moves toward the next awards cycle, the conversation around Dhurandhar: The Revenge is likely to shift from box office numbers to critical legacies. With the film having already set a recent gold standard for Bollywood’s earning potential, the next checkpoint will be the official announcement of its international award submissions and potential expansion into further franchise installments.
We want to hear from you. Do you think the “jealousy” Zakir Khan mentioned is a natural part of the creative industry, or is it a sign of a deeper rift in Bollywood? Share your thoughts in the comments below.
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