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Addressing The Peddi Controversy to Dating Advice: 4 Things Janhvi Kapoor Said on KWK That We Loved

noreply@blogger.com (News portal) — Thu, 29 Oct 2026 10:48:30 +0000

The latest episode of Koffee With Karan Season 9 featured Janhvi Kapoor and Varun Dhawan, with Arjun Kapoor making a surprise appearance. The episode aired on Wednesday evening and has already sparked conversations online, with clips from the show gaining traction on social media.

Fans are enjoying the camaraderie between the three actors and their candid conversations about their personal and professional lives. Janhvi, in particular, addressed the backlash surrounding her film Peddi, offered some cheeky dating advice and opened up about her relationship with Shikhar Pahariya.

Janhvi Kapoor addresses the Peddi controversy

Janhvi Kapoor finally addressed the controversy surrounding her portrayal in Peddi, the sports drama starring Ram Charan and directed by Buchi Babu Sana. The film faced criticism from a section of viewers over the sexualised portrayal of her character, Achiyamma, with several people questioning the way she was presented on screen. Speaking about the backlash on Koffee With Karan, Janhvi admitted that she could have done more to raise her concerns during the filmmaking process. She said the controversy continued to weigh on her conscience because of the negative impact such portrayals could have on society, particularly on women.

Janhvi Kapoor says Peddi is a shame she will always carry. https://t.co/qWLtbOB3Mh
— ðâ¬ (@AB_THE_BOSS) October 29, 2026

“Could I have done more? Could I have been more vigilant? Could I have made a bigger scene? A hundred per cent, yes. Was it problematic? Was it extreme objectification? Did it even propagate sexual assault narratively? Yes,” she said.

Janhvi also spoke about the challenges of navigating a film set where actors are expected to follow the director's instructions. Acknowledging her own privilege, she said she should have used her position to speak up more forcefully. She added that she hoped the experience would make filmmakers think twice before presenting a female lead in a similar manner.

Janhvi Kapoor's dating advice to Veer Pahariya

Janhvi had a cheeky response ready when Karan Johar asked her to give dating advice to Veer Pahariya, the brother of her boyfriend, Shikhar Pahariya. “Never take her to a concert,” she replied.

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The remark quickly caught attention because of the controversy involving Veer and his former girlfriend, Tara Sutaria. In December 2025, Tara joined singer AP Dhillon on stage during his Mumbai concert. A video of the performance showed the singer hugging her and kissing her on the cheek, while Veer's reaction to the moment also circulated online. Veer and Tara reportedly parted ways in January 2026.

Janhvi Kapoor tells Vedang Raina to stop overthinking

During the rapid-fire round, Karan asked Janhvi what dating advice she would give Vedang Raina, who was previously dating her younger sister, Khushi Kapoor. “Maybe stop overthinking,” Janhvi replied.

No Filter Janhvi Kapoor ð¿ðð¤£ Karan - what dating advice for you give the following, Vedang Raina Janhvi - stop overthinking Karan - Khushi Kapoor Janhvi - i don't think she needs advices, she's good Karan Johar - Veer Pahariya Janhvi - never take her to a concert ð https://t.co/rXORZI86tv
— Filmy_Duniya (@ayaanpanda1) October 28, 2026

Varun was quick to join the conversation with a reference to Vedang's film Main Vaapas Aaunga. Janhvi immediately shut down the suggestion, making for another playful moment between the co-stars.

Vedang and Khushi were linked after working together in Zoya Akhtar's The Archies. The two had also addressed dating speculation in earlier interviews, while Janhvi had previously spoken warmly about Vedang on the show.

Janhvi Kapoor confirms her relationship with Shikhar Pahariya and shares her marriage plans

Janhvi also opened up about her relationship with Shikhar Pahariya. When Karan asked about her relationship, she explained that she had often wondered why celebrities felt the need to keep their personal lives under wraps. She said she no longer wanted to keep tiptoeing around the subject.

The actor also spoke about Shikhar's support following the death of her mother, Sridevi, in 2018. At the time, Shikhar was studying in London. Janhvi recalled that he took time away from his studies and returned to Mumbai, later moving to a friend's house in Juhu so he could be nearby in case she needed him. She said she learnt about the extent of his efforts only later.

When Karan asked about marriage, Janhvi was clear that she was not planning to get married immediately. “Not for another two to three years for sure,” she said.

She also reflected on how the two had managed their relationship through their respective breakups with other people, adding that they were good at navigating those experiences together.

Also Read: Janhvi Kapoor Reveals How Shikhar Pahariya Supported Her After Sridevi’s Death

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Photos: Hrithik Roshan Shares A Wholesome Wish For Sussanne Khan

noreply@blogger.com (News portal) — Wed, 28 Oct 2026 18:48:31 +0000

Hrithik Roshan and Sussanne Khan married back in 2000. As all good things must end, their bond lasted for 14 years, their marriage ending in divorce in November 2014. They, however, remained amicable and actively co-parent their two sons, Hrehaan and Hridhaan. Hrehaan Roshan also recently released his first independent single, The Heavenly Place, just a few weeks back.

Sussanne Khan celebrated her birthday on October 26. Just two days after, on October 28, Hrithik Roshan took to his social to share a beautiful wish, along with sweet photos of her and their family.

He captioned, “This wish comes belated but from the bottom of my heart nevertheless. Happy, happy Birthday Sussanne. My wish for you is that this year brings you all the love, warmth, joy and magic that you so beautifully and freely give to the people around you. I am so proud of the life you have lived… and the person you have grown into. Truly, Mom's spirit lives on in you. You are the best mama to Ray and ridz… You are amazing, like Dad says, “Amazing is what amazing does!” You do amazing things. More power to you…”

You can see the photos below:

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Karan Johar Marks 10 Years of Ae Dil Hai Mushkil Says He Would Tell The Story The Same Way Today

noreply@blogger.com (News portal) — Wed, 28 Oct 2026 10:48:39 +0000

Karan Johar penned a heartfelt note as his film Ae Dil Hai Mushkil completed 10 years since its release. Reflecting on the romantic drama, the filmmaker described it as a deeply personal story shaped by his own experiences of love, longing and heartbreak.

Sharing glimpses from the film, Karan wrote, “Ae dil hai mushkil… will always be a personal story to me… a cumulation of many pieces of my pursuits of love and longing and perhaps also many of my own heartbreaks … at possibly one of the most vulnerable moments of my life I realised that one sided love did not need remorse or sympathy … it didn’t warrant pain or empathy… all it needed was deep and intense understanding that the power of love is so much larger than the reciprocation of the same…”

He continued, “You don’t need to have someone love you back to empower yourself - the feeling itself is so awakening and so so powerful!”

The filmmaker further reflected on his understanding of love, writing, “Loving someone has to be an act of selflessness and we as a community of lovers have to disassociate the ‘I’ in ‘I LOVE YOU’ Selflessness is where true love truly resides…That feeling made me tell this story.”

Acknowledging the film's flaws and the polarised responses it received, Karan said he would still tell the story the same way today, embracing its imperfections and the choices he made while bringing it to the screen.

He concluded his note by thanking the film's lead cast, Anushka Sharma, Ranbir Kapoor, Aishwarya Rai Bachchan and Fawad Khan, for being part of the film.

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Released in 2016, Ae Dil Hai Mushkil starred Ranbir Kapoor as Ayan, a singer who falls in love with Alizeh, played by Anushka Sharma. However, Alizeh sees him as a friend, leaving Ayan to navigate the pain of unrequited love. The film also featured Aishwarya Rai Bachchan as Saba, a poet with whom Ayan shares a brief romantic connection, and Fawad Khan as Ali, Alizeh's lover. The film explored friendship, heartbreak and the complexities of relationships. Shah Rukh Khan also makes a cameo as Aishwarya's former husband.

Also Read: Shah Rukh Khan’s New King Poster Released; Karan Johar And Other Celebs React

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5 Hollywood films that put modern relationships under the microscope

noreply@blogger.com (News portal) — Tue, 27 Oct 2026 18:48:28 +0000

While love can bring a sense of belonging, it can also expose differences and force people to confront uncomfortable truths. And Hollywood has explored these complexities through several stories. Here are some films that offer a closer look at the many shades of love.

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Sai Pallavi Introduced As Nithya Reddy In Dhanush-Mammoottys Om: Chapter 1

noreply@blogger.com (News portal) — Tue, 27 Oct 2026 06:48:35 +0000

The makers of Om - Chapter 1: Udhiram - The Blood Wood have unveiled Sai Pallavi's character, Nithya Reddy, from the upcoming film headlined by Dhanush and Mammootty. The character introduction, released on Monday, offers a glimpse into the background of the officer played by Sai Pallavi and the investigation that brings her into the story.

Directed by Rajkumar Periyasamy, who previously collaborated with Sai Pallavi on Amaran (2024), the film revolves around an operation linked to the smuggling of red sanders. The newly released video positions Nithya as a sharp and experienced officer whose professional journey has taken her from the Andhra Pradesh police force to the Central Bureau of Investigation.

Described in the glimpse as 'honesty, smartness, and experience in a young blood,' Nithya appears to be an important figure in the investigation. Her introduction also provides a glimpse into the larger world of the film, which combines a crime investigation with the illegal trade in one of India's valuable forest resources.

Sai Pallavi plays a CBI officer in Om

According to the character introduction, Nithya Reddy is the daughter of an Indian Forest Service officer who was martyred while serving the country. Hailing from Naidupet, she began her career as an Assistant Superintendent of Police in the Andhra Pradesh police cadre before moving up the ranks.

She was subsequently promoted to the position of Additional Superintendent of Police in the Central Bureau of Investigation, where she works with Interpol. Her latest assignment involves investigating the smuggling of red sanders, with the operation given the codename Om.

The character's background suggests that Nithya brings both policing experience and specialised investigative skills to the case. While the makers have not revealed how her role intersects with those played by Dhanush and Mammootty, the introduction establishes her as a key player in the film's central operation.

For Sai Pallavi, the project marks another collaboration with Rajkumar Periyasamy after Amaran, the 2024 biographical action drama in which she starred opposite Sivakarthikeyan. The actor has continued to balance projects across multiple film industries, with her performances often placing considerable emphasis on characterisation.

Om also features Sreeleela, Sanjay Swaroop and Naseeruddin Shah, who makes his Tamil cinema debut with the film. With its ensemble cast and a storyline centred on a major criminal investigation, the project brings together performers from different backgrounds.

Dhanush produces the November release

Om - Chapter 1: Udhiram - The Blood Wood is scheduled to release in theatres on November 20. The film is written and directed by Rajkumar Periyasamy, who returns to the director's chair following Amaran.

Dhanush is producing the film under his Wunderbar Films banner, alongside Shraddha Agrawal and Azmat Jagmag. RTake Studios is also backing the project.

The technical team features composer Sai Abhyankkar, cinematographer Ezhil Arasu K, editor R Kalaivanan and art director A Pannerselvam. Action choreography is handled by Yannick Ben and Kecha Khamphakdee, adding further weight to a production that appears to combine investigative drama with action elements.

Although the makers have offered a detailed introduction to Sai Pallavi's character, the larger plot remains under wraps. The title's reference to the blood wood, another name associated with red sanders, points towards the illegal trade that forms the basis of Nithya's investigation.

With the November 20 release date approaching, further promotional material is expected to reveal more about the roles played by Dhanush, Mammootty and the rest of the ensemble. For now, Sai Pallavi's introduction establishes Nithya Reddy as an experienced investigator at the heart of Om's unfolding case.

Also Read: Reports: Sai Pallavi to Join The Sets of Prabhas’ Kalki 2?

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Shah Rukh Khan Says Qaatil Nahi Aashiq Hoon As He Unveils Kings New Poster

noreply@blogger.com (News portal) — Tue, 27 Oct 2026 06:48:34 +0000

Fans are eagerly waiting for the trailer of Shah Rukh Khan's upcoming film King. While the trailer is yet to be unveiled, the superstar has given them another glimpse of his character with a new poster from the film.

In the striking poster, SRK is seen walking forward with a gun in his hand and a rose held between his lips. Sporting a silver-fox look, the actor wears a rugged, open shirt with a jacket and trousers. The fiery backdrop adds to the menacing atmosphere, hinting at the action-packed world of the film.

Sharing the poster, Shah Rukh wrote, “Aaj phir yaad aaya...Qaatil nahi… Aashiq hoon… #KING In cinemas 24.12.26”

Check it out below:

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Fans were quick to react to the new look, flooding the comments section with praise and expressing their excitement for the film. “The One & Only King of Bollywood!” wrote one fan, while another commented, “Biggest Tsunami is Loading.”

About King

Directed by Siddharth Anand, King marks his second collaboration with Shah Rukh Khan after Pathaan. The makers first unveiled the film's title and a glimpse of the superstar's character on November 2, 2025, coinciding with his 60th birthday. The action-packed reveal introduced Shah Rukh in a silver-haired avatar, with a King of Hearts playing card held between his teeth and a voiceover that declared, “Sau deshon mein badnaam, duniya ne diya sirf ek hi naam.”

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King features an ensemble cast that includes Suhana Khan, Deepika Padukone, Abhishek Bachchan, Rani Mukerji, Anil Kapoor, Jaideep Ahlawat, Abhay Verma, Arshad Warsi and Raghav Juyal, among others. The film is particularly significant for Suhana, who will make her theatrical debut sharing the screen with her father.

Produced by Red Chillies Entertainment and Marflix Pictures, King is scheduled to release in cinemas on December 24, 2026.

Also Read: Salman Khan takes a dig at Karan Johar Says, “You Were Scared Of Me Because Of Shah Rukh Khan”

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A New Heartwarming Family Film Dilwali Diwali Announced Ahead of Diwali

noreply@blogger.com (News portal) — Mon, 26 Oct 2026 10:48:27 +0000

Terribly Tiny Tales has been an enjoying a wave of success with their previously two instalments in association with Netflix, Greater Kalesh (2025) and Musafir Cafe (2026), being hits. Once again, they will return to enrich our Diwali experience with a new release, Dilwali Diwali, where the festive family reunion will be explored along with the messy dynamics of intergenerational relationships tagging along.

Years of working abroad has bundled up success for Ansh Sikka, enabling him to provide a better life for his parents back home. When he returns home for Diwali, however, he soon discovers that a better life doesn’t necessarily translate to a fresh start.

As the family unites for this festive occasion, their contradicting views on life will lead to a series of fun banters and relatability for the viewers. Dilwali Diwali is written by Ritu Mago and directed by Ritesh Menon. Also starring in this film are Neelu Kohli and Aurra Bhatnagar.

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Mihir Ahuja, who stars in this movie, talked about his character, Ansh Sikka. He said, “Ansh’s journey in Dilwali Diwali comes from a place of love. I think that’s what makes the story so relatable.”

He continued to convey the emotions behind the core of the story. “We all want to do the best for our families, but sometimes, in trying to give them more, we forget to understand what truly makes them happy. TTT has beautifully captured these nuances with humour and heart, and I’m excited for audiences to experience the film on Netflix this Diwali and see a little bit of their own families in the Sikkas.”

Manoj Pahwa, who plays the role of Ansh’s father, said, “For a parent, home is never just about the walls, the furniture, or the address. It’s about the memories you’ve built, the people you’ve shared your life with, and the little things that make a place your own.”

He also talked about the contrasting ideologies held for a good life between children and their parents and how the movie focuses on this very dynamic. He continued, “ Children may have a different idea of what makes a good life, but the love behind both perspectives is the same. In Dilwali Diwali, TTT and Netflix bring this familiar generational dynamic to life in a way that is deeply heartfelt. I hope audiences enjoy watching this story with their families on Netflix this Diwali and find their own meaning of home in it.”

Also Read: Everything We Are Watching This Week (October 19-25): Udta Teer, Klara and The Sun & More

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Exclusive: Manoj Bajpayee on What Success Means To Him

noreply@blogger.com (News portal) — Sun, 25 Oct 2026 11:48:21 +0000

During an exclusive chat with Filmfare, Manoj Bajpayee discussed the meaning of success as per his definition. He said, "I've always wondered what the meaning of success truly is. As per me, the first true emotion of success is when you receive a paycheck for the work you put your heart into. The second one is when you get the freedom to choose a project of your liking. And I feel that I've been lucky to be handed good scripts."

Speaking about the industry, during a different interview, he opened up a bit more, this time talking about how the industry has been harsh for certain talents. He mentioned how many actors have silently disappeared from the industry due to the treatment they endured.

He said, "Stereotyping is for everyone. For many actors, we ruined talent just by doing that in this industry. This industry always had a bad reputation and bad karma of demolishing such great talent by reducing them to nothing on the set, in terms of the roles, and in terms of the treatment that they have given to them. Many of the people went away, withered away, without any recognition.”

He added, “I have always maintained that only 25 per cent of my acting abilities have been used. There is a lot. But I think that's an actor's greed or an actor's hunger. I am very happy that the fire is still burning in the belly, and I'm always looking forward to the next one.”

Divya Dutta added her thoughts about the tags of supporting actors taking away from a performer’s efforts, sidelining them, and having them get placed in a generic sense. To this, Manoj added his thoughts. “I think that angst is very much understandable because we are still so colonised and believe in a lot in hierarchy. He is the main actor, she is the main actor, this one is a character actor, this one is a supporting actor. Based on these we fix the hierarchy. I have been through this phase, and I’ve fought so many battles on personal levels, but I am happy, as Divya rightly said that it is not there anymore.”

Also Read: “That’s Really Scary”- Manoj Bajpayee On Tiger Shroff’s Recent Firing Incident

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Himani Shivpuri: âIâve Witnessed Many Romances on The Setâ

noreply@blogger.com (News portal) — Sat, 24 Oct 2026 10:48:29 +0000

She’s celebrated as Bua No. 1, her chirpy persona lighting up the screen. The flirty Kammo Bua (aunt) in Dilwale Dulhania Le Jayenge (DDLJ). Dr. Razia Chachi serenaded by her poet husband in Hum Aapke Hain Koun..! Matriarch Kulwanti Bua in Pardes. Affectionate hostel warden Rifat Bi in Kuch Kuch Hota Hai. Sweet neighbourhood aunt in Kabhi Khushi Kabhie Gham… And more recently as the quick-witted mother-in-law Katto Amma in the show Happu Ki Ultan Paltan… Himani Shivpuri’s ‘family’ for her fans. “I was offered many bua roles after DDLJ. I used to get upset. But I tried not getting typecast. I played various characters – serious, comic, negative… The bua in Pardes is different from the mom in Biwi No. 1 who’s different from the grand-dame of Main Prem Ki Diwani Hoon,” she elaborates.

An actor from the National School of Drama (NSD), she played the iconic Desdemona in the stage adaptation of Shakespeare’s Othello among other notable plays in the early ’80s. Parallel cinema was a natural transition for the actor with heft. Arundhati Roy’s National Award-winning television film In Which Annie Gives It Those Ones, Shyam Benegal’s Suraj Ka Satvan Ghoda, Mammo and the series Yatra further endorsed her erudite credentials. “I was earning my living doing something I love,” she says with humility.

The turning point was doing commercial cinema, which made her share the frame with superstars. However, she remained unfazed by glamour. “Acting is my profession. But as a person I remain down-to-earth. I even buy my own vegetables,” she smiles.

This very smile, which has now become her signature feature, helped her tide several troughs including losing her actor husband the late Gyan Shivpuri in 1995. A single mother, she brought up son Katyayan, who’s now a recognised writer/director. Read her story in Himani Shivpuri’s own words:

“MY RELATIVES VIEWED ACTING AS ‘BHAANDGIRI"

My father Haridutt Bhatt Shailesh ran away from his remote village in Uttarakhand to build a life for himself. A poet/writer he became a Hindi teacher at The Doon School in Dehradun. Being his daughter, I could also attend the all-boys boarding school. Early in life, it helped me find my way in a man’s world. Dad encouraged me to participate in drama, debates and practise Bharatnatyam. He’d say ‘my daughter is equal to my son (Himanshu Bhatt)’ and should have an ‘all-round development’. My mother (Shail Bhatt) however wanted me to learn domestic skills.

While studying for my postgraduate degree in Organic Chemistry from DAV College Dehradun I also did amateur theatre. I received a scholarship to further my studies in the US. I’d also applied for admission in the National School Of Drama (NSD) for which I got selected.

I decided to go to the NSD, leaving my relatives stunned. They viewed acting as ‘bhaandgiri’ (clowning). But I told my father ‘Baba, I don’t want to regret letting go of this dream.’ Later, I joined the NSD Repertory Company established by theatre doyen Ebrahim Alkazi saab as an apprentice. I was paid Rs 600 per month, which gave me a sense of independence.

“PLAYING DEVAKI BHOJAI BROUGHT ME INTO PEOPLE’S HOMES”

I did theatre for about seven or eight years. My plays including Hamida Bai ki Kothi, Othello, Mitro Marjani, Aazar Ka Khwaab, Tughlaq, Draupadi… did well. Then I was offered the role of Chutki in India’s first television soap opera Hum Log (1984) written by Manohar Shyam Joshi. But I refused it fearing I wouldn’t get time for theatre. Manoharji was also writing Hamrahi (1993-1995), a show on women empowerment. He suggested my name to the makers saying, “She’s talented but crazy. She refused Hum Log!” I was offered the role of Devaki Bhojai, a conniving sister-in-law. The negative role won me popularity as DD brought me into people’s homes. It was a turning point in my life.

Between 1993-2000, my other TV shows include Dekh Bhai Dekh ,Tu Tu Main Main and Hasratein. The latter tackled complex marital themes. I play Sulakshana married to a much-older music teacher (Yashwant Rao). Sulakshana has an affair with a tabla player (Bobby Khanna). It included an intimate scene considered bold for those times.

I was also part of satellite shows including Kyunki Saas Bhi Kabhi Bahu Thi, Astitva...Ek Prem Kahani, Dollar Bahu, Sasural Simar Ka… More recently, Happu Ki Ultan Paltan has me play the comedic Katori ‘Katto’ Amma.

“SHYAM BABU WAS MY IDOL”

Being from theatre, art cinema interested me. I worked with Shyam Benegalji in Suraj Ka Satvan Ghoda (1993) and Mammo (1994), the television series Yatra (a 1986 travel-based anthology) and Samvidhaan: The Making of the Constitution (2014). Shyam Babu was my idol. He was simple and caring. I was a newcomer. But he was equally concerned about me and whether I’d had breakfast or not. As a director he was gentle in the way he explained a scene unlike some directors who like to intellectualise. He never made you feel you were in the presence of a genius.

“SALMAN IS A BADMASH”

My late husband/actor Gyan Shivpuri (late Om Shivpuri’s cousin), who’d featured in Rajshri’s Babul (1986), was keen that I explore films in Mumbai. After seeing my play Aazar Ka Khwaab (Urdu adaptation of George Bernard Shaw’s play Pygmalion), Sooraj Barjatya offered me Hum Aapke Hain Koun..! (HAHK 1994). In fact, he added the character of Doctor Razia after seeing my performance.

The late Satish Shahji played my husband in the film. He’s fond of shayari. In one scene, Salman tells him, “Ghazal (referring to me) aapke saath rehti hain aur aap shayari sunaate hain?” I hit him playfully when Salman spontaneously lifted me in his arms. Soorajji liked Salman’s impromptu act and retained it. Truly, Salman’s a kid at heart.

In Bandhan (1998) I play his mother while Anjan Srivastav, who plays Salman’s father dies. We were shooting the funeral scene in which Salman had to hold me close while I wept. Director K. Murli Manohar Rao kept saying, “Tears, tears…!” even as Salman whispered in my ears, “Arrey yaar, mar gaya buddha jaane de...” I was trying to emote and he was making me laugh! He’s badmash and full of pranks.

“MADHURI DIXIT HAS A MIDDLE-CLASS VIBE”

I’m fortunate to have worked with co-stars who were supportive and respectful. For instance Madhuri Dixit is so down-to-earth, a Marathi mulgi with a middle-class vibe. She’d get poha for all of us on the set of HAHK.

We were some four-five female shooting the song Dikhtana Dikhtana in Ooty. Between Madhuri, Binduji, Renuka Shahane, the late Reema Lagooji… and I we had just one room to get ready. Madhuri never created a fuss though she was the No. 1 heroine that time. She has no false airs. She has both inner and outer beauty. She’s extremely talented and hence not insecure.

“SRK ENJOYS HIS STARDOM”

When I met SRK for the first time, he remarked with characteristic humour, “Ma’am, jis film mein aap heroine thi, uss mein main crowd mein tha!” I recollected that when I was in the NSD repertory, SRK was also doing theatre. We were both part of a film called Where Annie Gives It To Those Ones (1989) written by Arundhati Roy. I’d played a supporting character. Among other films, I also did Subhash Ghai’s Pardes (1997) with SRK. Subhashji would call everyone at 7 am and jokingly say, “Jo nahi aata hai uska role main kaat deta hoon!

SRK enjoys his stardom. He’s earned everything because he’s so hard-working. Yet he’s so gracious. Few Indian men get up when they see a lady. He’s a gentleman. He opens the car door for you. Some stars are rude to their fans. It does get annoying when you’re in a different mood and they want a picture. Fans believe ki unka haq hai hum pe. Shah Rukh understands this well. He’s ever gracious towards his fans.

I have fond memories of working with Sanjay Dutt as well while filming Vaastav: The Reality, Khoobsurat, Hum Kisi Se Kum Nahin… (between 1999-2002). Those days I used to eat paan. He’d say I reminded him of his mother, the late Nargisji who also enjoyed having it. My staff would make paan for Sanjay as well.

“I’VE WITNESSED MANY ROMANCES ON THE SET”

I did many films with Aishwarya Rai Bachchan including Aa Ab Laut Chalen, Hamara Dil Aapke Paas Hai, Dhaai Akshar Prem Ke, Kuch Naa Kaho and Umrao Jaan (1999-2006). Many a time we shared a vanity van while shooting abroad. She’s unassuming.

Have I come across real-life love stories on the set? Yes, I have witnessed many romances though I don’t want to talk about it. When artistes are constantly working and travelling together it’s natural to develop feelings for each other. Familiarity breeds romance. Similarly, familiarity also breeds contempt.

Regarding rivalry, yes showbiz is competitive. Even if my roles were cut or taken away, I don’t want to talk about it. Jo ho gaya so ho gaya. I don’t hold anything against anyone. Of course, one feels sad when less is seen of what you actually did. But that’s part of the game. Maybe, they’re in a position to do that.

“I’VE BEEN THROUGH MANY LOWS”

I believe in keeping a positive attitude. But I’ve been through many lows. I lost my husband Gyan Shivpuriji during the making of DDLJ. I’m the only actor missing from the cast during the climax scene. Three days before the final shoot my husband, who was in his 40s, passed away. He suffered a heart attack. He was in his 40s. I got a call from Yashji (Chopra), who was so gracious and kind. He said, ‘We’re sorry for the tragedy but we cannot change the schedule date.’ My son Katyayan (Shivpuri), who was around nine, was studying in Dehradun. Om Shiv Puriji’s son, Vineet Shiv Puri, lit the pyre.

From then on it’s only been about work for me. I found solace in it. But as you grow older you do miss a companion. At this stage, it’s companionship you need. My son, now in his 30s, has directed short films. The Comedian (2023) streamed as the opening film for the JioCinema Film Festival. His film Hunger (2023) screened at the NYC Independent Film Festival.

My school teacher had once said, ‘We must make it a point to give back to society.’ I’ve adopted my father’s ancestral village Bhatwari. Life’s harsh in the remote place. Youngsters don’t find employment so they come down to the plains. The village is full of old women and men. I hope the village can have a sustainable existence.”

Also Read: Himani Shivpuri Recalls Salman Khan's Heated Rant About Aishwarya Rai Bachchan

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Clayface Review: DCs Most Disturbed Villain Melts Into Body Horror

noreply@blogger.com (News portal) — Sat, 24 Oct 2026 10:48:28 +0000

Superhero films usually ask you to cheer for the mask. Clayface asks you to watch it melt. This is the closest that a DC movie has come to Chris Nolan’s depiction of Gotham and its crime world in the first 2 Dark Knight movies.

Director James Watkins has made a proper body horror film, and its best moments are the ones in which Matt Hagen's face is disfigured and he then acquires the supernatural-tech powers of Clayface. These sequences are fascinating and, more often than not, genuinely unnerving. The practical effects give every transformation a wet, tactile weight that digital polish rarely achieves. The slashing, blood and gore are brutal enough to invite comparison with Gaspar Noé's Irreversible, and Watkins finds creative, unsettling uses for Clayface's abilities rather than treating them as a visual gimmick.

At the centre is Tom Rhys Harries, who is exceptional. He begins as a likeable, positive actor and ends as a deplorable mental health nightmare. The film's smartest idea is that Hagen is not evil by choice but by necessity, pushed there by constant suffering, and Harries sells every step of that slide. By sheer intensity, this Clayface is more psychotic than Mystique has ever been in the X-Men films. His self-annihilating journey is also more disturbed and unhealthy than the Jokers of Joaquin Phoenix or Heath Ledger. There are shades of Rorschach from Watchmen here, and the grey menace of Hannibal Lecter (Silence Of The Lambs) and Travis Bickle (Taxi Driver), which makes the character far more engaging than a standard comic-book baddie.

The supporting cast holds up well. Naomi Ackie is top notch as Dr Caitlin Corr, the central presence who keeps Hagen, and the audience, at the edge of the seat. Max Minghella is likeable as a cop in a smaller but important role. David Dencik is vile enough as mob boss Szabo, but the part needed a little more unhinged charisma than what he managed onscreen.

Watkins deserves credit for deconstructing Hagen and showing how a DC villain is built from tragedy. The film is a standalone horror story that needs no franchise homework, which is a welcome change of texture for the DC Universe.

Where it slips is the screenplay. At 109 minutes the film is lean, almost too lean. It could have run another ten minutes and used them on more breakdown scenes charting Hagen's descent into madness. The performance earns that room, and a few familiar story beats might have felt fresher with it. The film shows us the destination more convincingly than the journey. Perhaps even a more direct call out to Batman or Bruce Wayne would have added that extra payoff for the fans.

Even so, Clayface is gruesome, gripping and anchored by a star-making turn. Humans with intimidating superpowers may wear the mask, but this film shows you what happens when it slips off.

Also Read: James Gunn on Clayface, Mike Flanagan’s Pitch and Why DC Films Need Their Own Identities

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Salaar 2 News Back on The Radar on Prabhasâs Birthday

noreply@blogger.com (News portal) — Fri, 23 Oct 2026 19:48:21 +0000

Director Prashanth Neel, known for KGF, is expected to begin pre-production on Salaar 2 after completing Dragon. To mark Prabhas’s birthday, Neel met the actor, and the two posed for a photograph. The film’s team shared the picture with a note: “A special day and a special reunion. Wishing our one and only Violent Man, #Prabhas a spectacular birthday! We can't wait to see this DINO-mite duo back in action…Salaar 2.” Earlier, Neel’s wife, Likitha Reddy, shared a picture with Prabhas, describing him as an elder brother.

The sequel has been in limbo for a while. In May, Neel confirmed that Salaar 2 would be his next film after Dragon. This put to rest rumours that he had shelved the sequel after describing Dragon as his last film in the dark, hyper-stylised action genre. Dragon is slated for release on June 11, 2027.

A special day and a special reunion ♥ï¸ Wishing our one and only Violent Man, #Prabhas a spectacular birthday! We can't wait to see this DINO-mite duo back in action… #Salaar2 https://t.co/SiUY3R34RQ
— Salaar (@SalaarTheSaga) October 23, 2026

Salaar 2 Delayed, but Not Shelved

Delays on both sides explain the wait. Dragon has taken longer than planned, and Neel cannot move on until it wraps. Prabhas, meanwhile, has a packed slate. Fauzi, Spirit and Kalki 2 are all in progress, and Spirit now has a revised release date of October 29, 2027. With both the director and the actor busy, Salaar 2 has continued to be pushed back.

Prabhas’s Line-up Is Tight

Prabhas’s birthday brought other updates too. The Kalki 2898 AD team shared a 32-second behind-the-scenes video from the sequel. It opens with the words “Bhairava is back” and shows Prabhas arriving on set in his character’s armour. Amitabh Bachchan and Kamal Haasan have also returned to the sets. About 90% of the shoot remains to be completed.

Meanwhile, the Fauzi team released a new poster. It shows a golden coin featuring Prabhas in a military uniform, surrounded by flames. Fauzi is scheduled to release in theatres in March 2027.

Also Read: Prabhas' Spirit Locks Diwali 2027 Release; Official Announcement Made

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Udta Teer Review: A Spy Spoof That Hits The Target

noreply@blogger.com (News portal) — Fri, 23 Oct 2026 11:48:32 +0000

Udta Teer takes the familiar ingredients of a patriotic spy thriller and gives them a comic spin. A spoof of the espionage genre, the film also works as a parody of sorts of Dhurandhar, turning its elaborate undercover operations, nationalistic fervour and deadly agents into the stuff of comedy. It is a welcome change from the usual spy films, which often take themselves far too seriously.

The story revolves around Bilal Ahmad (Ayushmann Khurrana), a Pakistani spy sent to India on a mission. When an operation goes awry, Bilal suffers a head injury and loses his memory. He wakes up believing that he is Vikrant, an Indian counter-terrorism officer. Convinced that his duty is to protect the country, he turns against the very people he once worked for. His former associates are left bewildered as he begins hunting Pakistani agents, unaware of his own past. Meanwhile, his relationship with Yamini (Sara Ali Khan), who works in India's defence establishment, takes an unexpected turn. What follows is a series of increasingly absurd situations as the two sides struggle to make sense of Bilal's confused identity.

The film's biggest strength is its willingness to poke fun at the conventions of spy cinema. The larger-than-life agents, secret operations, double-crosses and patriotic declarations are all fair game. The humour also extends to the India-Pakistan rivalry. The potshots at Pakistan are delivered in a light-hearted spirit rather than through aggressive jingoism. The film celebrates patriotism without insisting that every moment must be solemn or chest-thumping.

The first half crackles with comedy. Writer-director Aakash Kaushik finds plenty of opportunities to turn familiar spy-film situations on their head, while the dialogue and misunderstandings keep the proceedings lively. The makers also take playful digs at their own cinematic legacy. Dharma Productions gets an opportunity to spoof some of its films and songs, adding an extra layer of fun for viewers familiar with the studio's filmography.

Ayushmann Khurrana is in excellent form. His comic timing is impeccable, and he handles Bilal's transformation into an unwitting Indian patriot with just the right mix of conviction and bewilderment. He understands the absurdity of the situation without overplaying it. Suhail Nayyar, as Dhruv, his friend and colleague, provides able company. Their interactions add to the film's comic energy.

Rahul Bose is another major asset. Playing M. D. Burman, he finds himself at the receiving end of a generous helping of physical humour. The film puts him through an assortment of ridiculous situations, and Bose commits to the silliness with admirable enthusiasm. His performance is among the more entertaining aspects of the film.

Sara Ali Khan has a relatively limited role. She gets a couple of songs and a few emotional scenes, but the narrative does not give her as much scope as it does Ayushmann. The supporting cast, including Gulshan Grover, Ram Kapoor, Brijendra Kala, Raghubir Yadav, Supriya Pilgaonkar, Smita Tambe and Sandeep Anand, also contribute to the film's comic texture. Late Mukul Dev makes an impression as the terrorist Azhar Mehmood who loves dating apps.

The problem, however, is that the film gradually loses some of its comic momentum. The second half introduces too many twists and turns, shifting the emphasis towards suspense, intrigue and the mechanics of the spy thriller. The plotting becomes more serious just when the film should ideally be building on the irreverence that makes its first half so enjoyable. Some of these developments may work as thriller elements, but they dilute the comedy.

At its best, Udta Teer is an entertaining send-up of the spy-film genre, with Ayushmann leading the charge and Rahul Bose providing plenty of laughs. It could have been tighter in the second half, but its light-hearted approach to patriotism and its willingness to laugh at familiar cinematic tropes make it a refreshing change of pace.

Also Read: Everything We Are Watching This Week (October 19-25): Udta Teer, Klara and The Sun & More

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The Rings Of Power Season 3 Official Trailer Watch Now

noreply@blogger.com (News portal) — Thu, 22 Oct 2026 10:48:22 +0000

The official trailer for Lord of the Rings: The Rings of Power officially released on October 21, 2026. In the new trailer, we get to see Sauron's grip on Middle-earth tightening further, with the inhabitants cradled in a heroic struggle to fend him and his army of Orcs off. Aside from the continued onslaught, the Nazgnagol, his Ring-servants, patrol the lands.Further chaos unfolds as the ruling political factions brew a potential civil war scenario upon the kingdom of Numenor.

Gandalf in an attempt to bring peace and order reaches far to the extents of his magical powers in its entirety, fighting hard to turn the tides of the enveloping darkness in the eastern lands of Rhun.

Season 3 encompasses war on Middle-earth, five years since the fall of Eregion. With a majority of the world within the grip of his palm, just a few hidden colonies stay affray of his colorization. But for how much longer is the question to be asked. To foil the dark lords quest of harnessing the true power of the ring, the One Ring to rule them all, the Dwarves, Elves, Men and Wizards must unite.

The Lord of the Rings: The Rings of Power is produced by J.D. Payne & Patrick McKay along with their team of executive producers Lindsey Weber, Kate Hazell, Justin Doble.

Set thousands of years in the past way before the events of J.R.R. Tolkien's The Hobbit and The Lord of the Rings, the viewers will get to absorb the abstract history behind the infamous battle of acquiring the one true power.

You can watch the trailer here:

The Rings of Power Season 3 will be released on November 11, 2026.

ALso Read: The Lord of The Rings: The Rings of Power Season 3: Everything You Need to Know Before Its Release

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Mirnaa on Jailer 2: Working With Rajinikanth Sir Is a Blessing

noreply@blogger.com (News portal) — Thu, 22 Oct 2026 06:48:04 +0000

Mirnaa is on cloud nine! The reason? Her latest release, the Rajinikanth-starrer Jailer, has turned out to be a money-spinner at the box office. Her character, Swetha Pandian, in the Nelson Dilipkumar directorial is winning praise too. The film’s success couldn’t have come at a better time for the actress. “My mobile has been ringing incessantly, and the love that’s pouring in is overwhelming,” says Mirnaa, expressing her gratitude to the audience.

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Rajinikanth’s Clinical Approach to Filmmaking

Mirnaa is thrilled to have had the opportunity to work with Rajinikanth at an early stage of her career. Calling it a blessing, she treasures the experience of working with the superstar. “There are so many takeaways for me from the film, and working with Rajini Sir is the best thing,” Mirnaa says. “His stardom is unparalleled, yet he is open to ideas, and his approach to filmmaking is clinical. There are some confrontation scenes in the film, and many actors may not have agreed to do those scenes. But Rajini Sir insisted on including them because of the impact they create on the narrative.”

According to her, Rajinikanth’s humility and work ethic are inspiring. “His discipline and passion for cinema amaze me. Despite his superstardom, Rajini Sir always considers himself a student of cinema.”

Working with Legends

Every actor needs an identity, and for Mirnaa, that came with the Jailer franchise. She is ecstatic about the visibility the action entertainer has brought her.

She considers herself lucky to be part of films headlined by superstars like Rajinikanth, Mohanlal and Nagarjuna. While she has learnt a great deal by observing them, the actress believes these experiences make her a better actor. “I am in a good place, and my career has been progressing in the right direction. I am part of milestone films across multiple industries, and this gives me the confidence to take up roles that push me as an actor.”

Mirnaa wants to play characters that create an impact and open up new markets for her. “I may have made some tough choices, but I don’t have any regrets. I am evolving with time and every film. I wanted to build my own audience and shoulder films.”

Also Read: Fauzi Glimpse Video: Prabhas’s Birthday Treat for Fans

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âRajinikanth Is So Down-to-earthâ Says Apeksha Porwal

noreply@blogger.com (News portal) — Wed, 21 Oct 2026 18:48:34 +0000

Within a week of its release, Jailer 2 has crossed the Rs 500 crore mark worldwide. Headlined by Rajinikanth, the film features an ensemble cast that includes S. J. Suryah, Mithun Chakraborty, Suraj Venjaramoodu, Vidya Balan, among others. It also marks Apeksha Porwal’s Tamil film debut, who plays the role of an assassin and appears alongside Hrithik Rohsan in the film's high octane climax scene. With titles such as Miss India Delhi winner and Miss Diva 2017 runner-up to her credit, Apeksha made her Bollywood debut with Undekhi in 2020. In an exclusive conversation with Filmfare, she looks back on her experience of working with Rajinikanth, sharing the set with A-list stars, things that stood out to her about the Tamil film industry and the lessons she takes away from the experience. Read on.

Tell us about your preparation for the role and some of the challenges you faced while making the film.

Martial arts is not something you can just learn in a day. I started training in martial arts because I personally really enjoy it. It started off as a hobby, but I knew in my head that I wanted to do it on screen. One of my favourite films ever is Kill Bill. It stars Uma Thurman, who literally wields a katana throughout the film. And I got to do it on screen, so that's really amazing. I'm very grateful for that. In terms of fitness, it is something I really enjoy. I like going to the gym and staying fit. For the film, I became very strict with my routine. I was weight training five to six days a week, even while I was shooting. I would shoot during the day, come back and go straight to the gym. After the gym, I would go for a swim because swimming is really good for your physique.

Did you have a stunt double for action sequences or did you perform everything yourself?

I did my own stunts. There was no stunt double at all.

You are part of a larger-than-life film with an ensemble cast, led by Rajinikanth. What was your first interaction with him like?

When somebody of his stature walks onto a set, the whole pulse of the set changes. You can feel it in the air. I was a little spellbound because, as a much younger and newer actor, I couldn't just walk up to Rajinikanth sir. I thought that if he said hello, I would greet him. And he did. He is such a humble person. He is always smiling and greeting people with a good morning. It is not just with me; he does it with everyone on set. One of my biggest takeaways was that people know Rajinikanth as the myth, the legend. But when you see him up close, you realise what people actually love about him and what makes him so great. It is literally how humble he is. He is so down-to-earth. When the director is speaking, he gives him the respect he deserves. He never throws his stardom or his weight around. I have never seen him do that. His greatness lies in his humility and simplicity.

You are also part of a climax sequence featuring Hrithik Roshan. What are some things you observed about his preparation that you can share with us?

Hrithik is extremely focused. He is very clear about what he wants. If he looks like a Greek god on screen, it is because he knows how to deliver that every single time. While observing him, I noticed that he is very eager to take directions from the director and follow his vision. At the same time, Hrithik is very particular about the way he looks, how he is presented and how he comes across on screen.

Coming to Nelson, what can you tell us about the kind of director he is?

Nelson has a really nice, quirky and dark sense of humour, which comes across in the film. He is extremely particular about his shots and lighting. The team will spend hours getting everything precisely the way he wants it. He would ensure all the elements like style, frame and humour would come across well. I haven't seen a single day when he has lost his cool, which is remarkable given the scale of the film, its massive budget and the high-octane action.

Can you recall a memorable behind-the-scenes moment from Jailer 2 that you will always cherish?

One day that really stayed with me was the first day I performed my entire action sequence. There were around 150–200 crew members, and we were doing high-end action sequences. I was doing action from morning until evening because that was how they were shooting it. That day, the great Rajinikanth was on set, along with Mithun Chakraborty, S. J. Suryah, Ramya Krishnan and Vidya Balan. All these people were frozen in their positions while I had to perform my action. It was such a pinch-me moment to be on that set.

Describe what you felt when you first watched it on the big screen?

Rajinikanth's mass film was an experience in itself. Then, when I come in at the end with Hrithik, everyone starts screaming. The feeling of watching a massy South Indian film in a single-screen theatre is something that will stay with me.

Since you have worked in both the Tamil and Hindi film industries, tell us one thing you appreciate about each industry and one thing you think has scope for improvement.

In the Tamil industry they are extremely particular about timings. They started at a particular time and wrapped up at a particular time. One thing I really loved about working on this film was that phones weren't allowed on set at all. I remember being surprised because I was new to that experience. And it's amazing, right? That's how it is in Nolan's films and Tarantino's films, too. They don't allow phones on set because there was so much at stake, and they didn't want any pictures from the set to get leaked. But because of that, it was a very magical filmmaking experience. What happens on set stays on set, and only the final product goes out.

What about the Hindi film industry?

What I really like about it is the kind of work that is coming out, the projects being made and the risks we are taking. I think that is happening across the board, whether in Hindi cinema or South Indian cinema.

What has been the hardest part about building a career on your own terms?

I came into this industry with no godfather, no knowledge and no prior understanding of how things worked. I've learnt everything on the job. Of course, there have been challenges. I'm still learning, and I will keep learning and discovering new things. But the positive side is that when you come in without any baggage, there is so much room to experiment. And that is liberating.

Also Read: Jailer 2 Box Office Day 4: Rajinikanth's Film Crosses Rs 400 Crore Worldwide

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Cover Story:Dhurandhar Star Danish Pandor on His Next With John Abraham Ranveers Acting and More

noreply@blogger.com (News portal) — Wed, 21 Oct 2026 10:48:16 +0000

Danish Pandor’s journey in showbiz is a testament to patience, perseverance and an unwavering belief in his craft. From years of auditions and navigating the uncertainties of the industry to steadily carving a space for himself, the actor has learnt that success rarely follows a straight path. Every experience, every setback and every opportunity has shaped his approach to acting and strengthened his resolve to go further. In this candid conversation with Filmfare, Danish opens up about his journey so far, the lessons that have stayed with him, the people who inspire him and his ambitions for the road ahead...

You’ve spent years auditioning and working towards this moment. What has the journey taught you about patience and perseverance?

This journey has taught me the importance of continuing to show up, even when it feels like nothing is happening. After so many years of hard work, there are moments when you constantly question where your life is heading. Of course, doubts creep in, but at some point, you have to learn to trust the process. That, to me, is imperative.

I’ve realised that patience is not simply about sitting around and waiting for things to happen. It’s about continuing to work towards your goals and, more importantly, working on yourself while you wait for the right opportunity. You have to keep growing, keep learning, and keep believing, even when you cannot see the results immediately.

With Dhurandhar, you’ve finally received widespread recognition. How does it feel to see years of hard work translate into this breakthrough?

Dhurandhar has indeed brought me widespread recognition, and I feel extremely happy, proud, and grateful for all the love people have showered on me. It’s a beautiful feeling. When you’ve been working for 15 years, you learn to appreciate even the smallest opportunities because you understand how much goes into getting them.

When a magnum opus like Dhurandhar reaches such a wide audience and people begin recognising your work, it is incredibly fulfilling as an actor. However, I don’t look at it as though these 15 years of struggle have suddenly been justified. I value those years for what they taught me and how they shaped me into the actor I am today. This recognition is special, but the journey itself has been equally important.

Uzair Baloch has struck a chord with audiences. What went into building the character and getting his intensity just right?

For me, the key was understanding Uzair’s world and psychology rather than simply trying to look intense on screen. Sometimes, in the pursuit of appearing intense, actors tend to overdo things, and usse raita bhi phail jaata hai! I didn’t want to go down that route.

Intensity doesn’t always come from being loud or doing something dramatic. Sometimes, it lies in stillness, in the eyes, or in the way you respond to another character. I wanted Uzair to feel like a real person who belonged to that world, rather than someone performing for the camera.

The workshops were an important part of the process, and Aditya sir was very clear that we needed to make our characters as human and believable as possible. His vision, his understanding of the story, and the clarity with which he communicated what he wanted from each character helped me immensely. Ultimately, my job was to serve the story and make Uzair believable. Nothing else mattered more.

Were you prepared for the kind of popularity Uzair’s scenes and fan edits would receive?

Not at all. I never anticipated anything like this. While working on the film, my only focus was to give it my 100 per cent without thinking about anything else. For me, it was almost a make-or-break situation, so I wanted to put everything I had into the opportunity.

You always hope that people will connect with your work, but you can never predict how that connection will unfold. The fan edits, comments, conversations, and the number of Reels people have created around certain scenes have been wonderful to watch. Sometimes, audiences pick up on things you may not even have realised would stand out.

As actors, we work on a scene and then move on to the next one. But once a film reaches the audience, they make it their own, and that is the most exciting part. I’m extremely grateful that Uzair has found a place in people's minds and hearts.

How has the success of Dhurandhar changed your confidence and the way you approach new roles?

It has strengthened my belief in the process rather than changed who I am. I’m still the same person I was before Dhurandhar. When you’ve been in this profession for a long time, there are inevitably moments when you question yourself. Having your work reach a wider audience gives you a certain reassurance that what you’re doing is connecting with people.

However, I don’t want to become complacent or start believing that I’ve figured everything out, because that will never happen. The moment I start thinking, “Okay, I’ve understood everything, and this is how I’m going to navigate my career,” I’ll know I’m heading in the wrong direction.

There will always be ups and downs, periods of consolidation, and new challenges. Every character has something different to offer. If anything, this experience has made me hungrier to learn, experiment, and take on roles that push me beyond what I’ve already done.

How important is it for you to establish an identity through your performances rather than be defined by industry associations?

For me, ultimately, the work has to speak for itself. The film industry is a collaborative space, and the people you work with, the directors who trust you, and the actors you share the screen with are all important. But an actor’s identity should ultimately be defined by what they bring to a character and, through that character, to the story.

I want people to watch my performances and feel that I’ve contributed something meaningful to the narrative. I would rather build a body of work that people remember me for than have my identity defined by my associations. At the end of the day, I want the work to speak louder than anything else.

When choosing a role, what matters more to you: screen time or the impact your character leaves on the audience?

Impact, without a doubt. Screen time is a number; impact is what stays with the audience. A character can have limited screen time and still serve a very important purpose in the story.

I look for roles that give me something meaningful to contribute.

If I’m part of a project but my character isn’t making even the slightest difference to the story, then what’s the point? I don’t want to be there just for the sake of being there, like a tree standing in the background!

I want the audience to travel with my character, understand their perspective, and feel something through their journey. Even if the screen time is limited, I want the character to leave a lasting impression and make the audience resonate with my performance.

What was your biggest takeaway from working with Aditya Dhar on Dhurandhar?

The biggest takeaway for me was the clarity and conviction with which Aditya sir approaches his work. He knows the world he wants to create, understands how every character fits into it, and communicates his vision with remarkable clarity. That gives an actor a very strong foundation to work from.

I also learned the importance of looking at the larger story rather than focusing only on my individual role. But beyond filmmaking, Aditya sir has been a tremendous source of inspiration for me as a person. He is genuinely amazing. There is so much you can learn simply by spending time with him. The kind of aura he carries, his personality, and the way he conducts himself leave a lasting impression on you. I honestly can’t put into words how beautiful a soul he is.

I’m extremely grateful to have worked with him and to have spent one-and-a-half years being part of his magnum opus. I feel truly blessed.

I remember an incident at a screening of Haq. Yami ma’am was posing for the paparazzi, and Aditya sir was standing there, clicking her pictures himself. It was such a beautiful sight. To see them supporting each other, holding hands, and growing together as a couple was genuinely heartwarming. You learn so much from these little moments, and seeing that kind of companionship is incredibly inspiring.

Sharing screen space with Ranveer Singh and Akshaye Khanna must have been a learning experience. What did you observe about their craft?

You learn a great deal by observing actors who take their craft seriously. Ranveer bhai brings tremendous energy and instinct to the set, whereas Akshaye sir has a remarkable sense of control and calmness. Watching them reminded me that there is no single formula for delivering a good performance.

Every actor has their own process, and what matters is finding your own way while remaining honest to the character. When you share the screen with such accomplished actors, you naturally observe, absorb, and learn from them. Their commitment to the craft is something I deeply respect, and being around performers who take their work so seriously is always an invaluable learning experience.

Your role as Afzal in Imtiaz Ali’s Main Vaapas Aaunga is another interesting addition to your filmography. What drew you to the character?

I’ve grown up watching Imtiaz sir’s films, and working with him was a dream come true for me. I’m extremely grateful to have been given that opportunity.

For me, it was not just about the character; it was also about the opportunity to work with one of the finest directors in our country. What particularly attracted me to Afzal was that, despite having limited screen time, he plays a very impactful role. He is single-handedly responsible for setting off the chain of events that leads to all the chaos in the second half. That, in many ways, connects to what I was saying earlier about screen time versus impact.

The role also gave me an opportunity to explore a character with different attributes and a different perspective on things. As actors, we are always looking to experiment, explore different shades, and step into worlds that are unlike our own. That is what excites me about this profession.

I’m really glad that people appreciated my part. I still remember that many people weren’t even aware I was in the film. When I went to the cinema hall and suddenly appeared on screen, people reacted with, “Uzair! What is Uzair doing here?” In a way, that was a victory for me as an actor. It meant that the audience was seeing the character rather than simply expecting to see me.

You’re now part of Guru, a psychological thriller starring John Abraham and directed by Ribhu Dasgupta. What excited you about this project?

Guru is an intriguing psychological thriller that explores human behaviour, suspicion, and the secrets people carry. What drew me to the film was the strength of the story and Ribhu Dasgupta’s distinctive approach to the genre. He creates an atmosphere in which every character and every detail feels important.

Working with John sir is a wonderful opportunity. I’ve grown up watching his films and haven’t missed any of them, from Jism, Paap, Saaya, Aetbaar, and Dhoom to Water. You name it, and I’ve watched it! He is an amazing personality, a beautiful person, and a fantastic co-actor to work with.

I’m really excited for audiences to experience the world of this film. More than anything, I was drawn to the opportunity to be part of a story that keeps the audience thinking and questioning what they see. It’s going to be one hell of a ride! The script has so many layers, and it is genuinely intriguing. I can’t divulge too much at this stage, but you’ll have to wait and watch.

After the attention Dhurandhar brought your way, how do you ensure that you choose roles for the right reasons rather than chase momentum?

It’s a difficult balance, but I keep reminding myself that attention comes from the work. I don’t want to choose roles simply because they are popular or because I’m afraid of missing out on an opportunity. As an actor, you do experience FOMO because we know that the supply of actors is enormous while the number of opportunities is relatively limited. So, you can’t always afford to be too picky, but you still have to learn to take calculated chances.

I ask myself whether a role excites me, whether I can bring something meaningful to it, and whether it challenges me as an actor. If the answer is yes, I’m willing to explore it. Of course, practical considerations matter too, but I want to build a long career by making thoughtful choices rather than chasing every opportunity that comes my way.

I am also a very simple person and not particularly materialistic. I don’t believe in splurging on expensive things, and I find contentment in the little things in life. Perhaps that simplicity gives me the freedom to focus more on the kind of work I want to do. Ultimately, I want to keep striving for good roles and meaningful opportunities.

How have the quieter years of your career shaped the actor and person you are today?

Those years have given me a much better understanding of life. The most important lesson has been learning how to deal with uncertainty, how to keep working without constant validation, and how not to tie my self-worth entirely to my career.

Fifteen years in this industry have also made me more observant. You meet people from different walks of life, listen to their stories, and begin to understand their nuances, behaviours, and motivations. All of that eventually finds its way into your work as an actor.

I’ve realised that there is so much to learn simply by observing the world around you. The quieter years may not always bring recognition, but they give you experiences, perspectives, and a deeper understanding of human nature. In hindsight, all of that has contributed to the actor and the person I am today.

Has your definition of success changed over the years, especially now that audiences are beginning to recognise your work more widely?

Earlier, success meant getting an audition, landing a role, or simply getting the opportunity to be on a film set. It felt like a gradual process, almost like building a graph, one opportunity at a time. Those milestones are still important to me, but my understanding of success has evolved.

Today, I also think about the kind of work I want to be known for and the kind of actor I want to become. Recognition feels wonderful, but it isn’t the only measure of progress. What you are being recognised for is equally important.

For me, success means continuing to work, being able to support the people I love, and feeling proud of what I create. As long as I’m happy and content with what I’m doing, both professionally and in my personal life, I believe I’m in a good place. As they say, all’s good in the hood!

Ten years from now, what would you like your filmography to say about Danish Pandor as an actor?

Ten years is a long time! Honestly, I don’t even know what the next moment holds for me. I believe a lot of it is in the hands of the Almighty, who has brought me into this world and blessed me with the opportunities I’ve had. So, I don’t want to make predictions about where I’ll be a decade from now. I’m someone who prefers to live in the present.

Having said that, I don’t want to limit myself as an actor. I want to take risks, explore different worlds, and inhabit characters that challenge me in different ways. If, ten years from now, I’m hale and hearty and still doing the work I love, I hope people will have the confidence that Danish can play all kinds of characters. I want filmmakers to be able to close their eyes and bet on me, knowing that I’ll give a role everything I have.

I hope my filmography reflects variety, honesty, and dedication, rather than being defined by a single role or one successful film. If my journey can inspire even one young actor to keep going through difficult times and believe in themselves when things aren’t working out, that would mean a great deal to me.

Ultimately, I want to build a body of work that stands the test of time and continues to speak for itself long after the present momentum has passed.

Also Read: Sreekumaran Thampi: “She Was a Voracious Reader. It Showed in Her Performances”

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Tiger Shroffâs Team Warns of Legal Action Over AI Videos and Fake Narratives

noreply@blogger.com (News portal) — Tue, 20 Oct 2026 19:48:30 +0000

In an era where synthetic media travels faster than truth, digital accountability has never been more critical. Following the harrowing October 18 shooting incident in Mumbai’s Juhu that left the film industry deeply shaken, actor Tiger Shroff’s official representatives have stepped forward to clear the air. Shutting down the relentless onslaught of fabricated clips, AI voice clones, and sensational speculative clickbait flooding social platforms, Team Tiger issued a definitive statement drawing strict legal boundaries against malicious online misinformation.

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Categorically dismissing assertions that the action star had spoken out publicly about the attack, the official statement read, “We would like to categorically clarify that Tiger Shroff has made no statements, released no videos, and authorised no communication regarding the recent incident or any related developments.”

Calling out opportunistic pages capitalising on the serious ordeal for digital engagement, the team highlighted, “It has come to our attention that several social media pages and digital platforms are circulating fabricated stories, AI-generated videos and scripted narratives, falsely attributed to Tiger. These are completely false, unauthorised and intended to mislead the public.” Urging widespread restraint, they emphasised, “We do not endorse, support, or have any association with such content. We urge media outlets, digital platforms and social media pages to exercise responsibility, verify information before publishing, and refrain from creating or amplifying misinformation for engagement or monetary gain.”

The actor's management made it crystal clear that bad-faith digital manipulation will not go unchecked, it further stated, “Any individual or page found creating, promoting or circulating such fabricated content will face appropriate legal action. We are taking cognisance of these instances and reserve the right to pursue all available legal remedies against those responsible.” They concluded with a vital appeal: “We request everyone to rely only on verified communication from Tiger Shroff and his official team.”

As the Mumbai Police actively investigate the firing incident, the team's stern pushback serves as a sobering reminder: chasing views and algorithmic clout should never eclipse basic human ethics or the absolute truth.

Also read: Jackie Shroff, Tiger Shroff and Krishna Shroff prove they're the most chilled family

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Jackie Shroff Jeetendra Suniel Shetty and Others Attend Bappi Lahiri Marg Naming Ceremony

noreply@blogger.com (News portal) — Tue, 20 Oct 2026 14:48:32 +0000

On October 20, 2026, many celebs from Bollywood were present at the naming ceremony of Bappi Lahiri Marg, meant to honour the timeless legacy of Bappi Lahiri. Maharashtra CM Fadnavis was present at this grand occasion and was felicitated by Bappi Lahiri’s family during the event.

Among the attendees were Gulshan Grover, Jeetenrda, Suniel Shetty and his good friend Jackie Shroff. This was also Jackie Shroff’s first public sighting after that firing incident on his song, Tiger Shroff.

Gulshan Grover shared some words of praise for the legend. He said, “He is a legend in cinema, music and art. He has earned such immense renown and acclaim. He has produced pathbreaking, extraordinary work, so it is a matter of great pride and honour that an artist of his stature is being recognised in this way… I don’t think there is a single song of his that I don’t like.”

Jeetendra was also present at this occasion and relished some good memories with Bappi Lahari who he worked with on a good number of projects. He said, “We were both neighbours. I have worked on 40 films with Bappi Da. My producers and directors were always very happy, because he provided both good service and good music… I am very happy that I came to this function.”

Suniel Shetty, upon attending the naming ceremony, shared some words of excitement about the well-deserved recognition. “I think this should have happened many years ago. But better late than never. My family and I are absolutely thrilled. It’s truly wonderful. There isn’t just one song… all are good.”

At the ceremony, he also shared some personal views regarding the recent event involving the firing on Tiger Shroff. He said, “The whole world loves Tiger and Jackie Dada, and if something like this can happen to him, it could happen to anyone. It shouldn’t have happened. Tiger is so focused on sports and exercise…”

He also continued to talk about his relief that Tiger was fine. He added, “It is so, so important for us to stay safe. For me, Jackie Dada is a childhood friend, and I just hope everything turns out well. I’m also relieved that Tiger is fine…”

Also Read: Bappi Lahiri wanted this actor to play the lead in his biopic

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Filmfare Exclusive: Maya Surendra Pupala: âDeepak Sawant and I Dressed Her Up Like a Brideâ

noreply@blogger.com (News portal) — Tue, 20 Oct 2026 07:48:36 +0000

I was working with Moushumi Chatterjee, who had reduced her workload, so I was free. It was around that time that Mukesh Bhatt called me to work on Other Smita. We worked together on films like Sutradhaar and Aakhir Kyun. Smita and her mother really liked my work. What do I say about her? She was an angel. She was so caring and treated me like family. Unlike today, there was no discrimination. I was very much a part of her family.

I remember she was pregnant and shooting for Waaris in Nashik. It used to be so hot in those days. We took a trip to Shirdi, where she had a bath and then lay down on the floor with her hair still wet. I yelled at her, saying she couldn't do that in her condition, and made her dry her hair.

I had a parlour in those days, and it used to remain closed on Mondays. She would come over, and I would make Maharashtrian dishes like varan bhaat and potato bhaji. She loved spicy food, but when she got pregnant, I wouldn't let her eat too much of it. After a hearty meal, she would go into the last room, switch on the AC and fall asleep. She had no nakhras or anything starry about her, despite being such a great artiste. When I hear stories about how stars treat their hairdressers today, I feel so fortunate to have worked with someone like Smita. I would call her Mityama.

Once, she left an envelope containing money for me, and I fired her, saying that our relationship was beyond all that. She was insistent and wouldn't hear of it. I remember accompanying her to an Asha Bhosle show in Muscat. We got our visas on arrival. I recall Amjad Khan not getting his visa and having to return home.

Since she couldn't shop on the streets because of the crowds that would gather around her, I remember her sending the organiser with me in the car and asking him to take me shopping. She was that concerned about us. I remember buying something from the Georgette 644 brand and also a gold coin. In those days, it was difficult to bring a gold coin through customs.

Mityama went out of her way to do things for us. She was shooting for a Bengali film in Kolkata, which must have been Akaler Sandhane or Debshishu. I remember a silly co-star who was shooting with her reading her palm and telling her that she wouldn't live long. In the car, she remarked on how weird he was and said there was no need for him to give her that information.

She once told me at night that she had completed her seventh month of pregnancy. It was 14 September. I used to live in MIG Colony, so I organised a godh bharai ceremony for her at my sister's house. She lived in Artek Apartments, which was nearby. Many of my friends came. I recall Raj Babbar and his friend Asghar Ali being there, too. Raj and Smita were truly in love. Maa didn't approve of their relationship because he was a married man.

I never took my two daughters to any shoot. However, when we were shooting for B. Subhash's Dance Dance, Smita asked me to bring my children along. As luck would have it, my grandmother passed away. My husband called Smita and informed her. She quietly sent me and my children home with her driver, Tiwari, saying, ‘Go home. I'll manage the shoot here.’ She even walked during the Hope 86 strike while heavily pregnant. It was such a long walk. Halfway through, I forcibly bundled her into the car and took her home.

I was with her throughout her delivery and remember going to the hospital. It wasn't an easy delivery. I recall them giving her an injection in her spine. I wasn't happy with the overall treatment. After the baby was born, she was discharged on the seventh day. Her feet were swollen, but she disregarded it. I have two daughters, so she told me, ‘Now Prateik is your son.’ She had decided on her child's name long before he was born.

I came home and was cleaning my shelves when her cousin called to tell me that Smita wasn't feeling well. I rushed back to her house. She was reluctant to go to the hospital because Prateik was so small. I told her I would take care of him, and that reassured her enough to go. I was at the hospital when she passed away. Raj sent me home to inform Maa and everyone else. I called her sister Anita, who said she would come. Deepak Sawant and I dressed her up like a bride. It was one of the most heart-rending and depressing moments of my life.

I later left for Canada to be with my two daughters. Whenever I came to India in January, I would meet Maa and Prateik. I met him regularly as a child and would give him a huge chocolate. He was very loving. Of late, though, he hasn't been in touch.

Smita passed away in 1986. My husband passed away in 1988. If my Mityama were alive, I wouldn't have felt his loss so deeply. She would have taken care of me.

Also Read: "I Fell in Love With Her Simplicity, Honesty, and Enormous Talent": Gulshan Grover on Smita Patil

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Salman Khanâs Security Tightened After Tiger Shroff Got Attacked

noreply@blogger.com (News portal) — Mon, 19 Oct 2026 18:48:35 +0000

Security arrangements outside Salman Khan's Galaxy Apartments in Bandra, Mumbai, have been strengthened following the firing incident involving Tiger Shroff on October 18, 2026. Mumbai Police have increased their presence around the actor's residence and are conducting additional security checks as a precautionary measure.

Police officers wearing bulletproof jackets were spotted outside Salman's residence, along with several police vehicles stationed nearby. Authorities have also stepped up vehicle inspections in the surrounding area to ensure safety.

According to visuals shared by ANI, heightened police activity was witnessed outside Galaxy Apartments following the shooting incident involving Tiger Shroff. The increased security comes amid reports of an alleged threat concerning Salman Khan and individuals associated with him. Meanwhile, the police are continuing their investigation into the firing incident.

The incident reportedly took place on Sunday, October 18, when Tiger Shroff was leaving a football ground in Mumbai's Juhu neighbourhood. Several fans had gathered outside the venue as the actor's vehicle made its way towards the main road.

As the car exited the premises, unidentified individuals allegedly opened fire at the vehicle. While Tiger escaped without injuries, his driver reportedly sustained injuries in the attack. Another person present near the location is also believed to have been injured.

In a significant development, three suspects connected to the shooting have reportedly been arrested in Kota, Rajasthan. According to ANI, the Rajasthan Police and the Anti-Gangster Task Force carried out a joint operation and apprehended the accused at Kota railway station.

The suspects were reportedly travelling from Mumbai to Delhi when they were intercepted by the authorities. Of the three individuals arrested, one is said to be from Maharashtra, while the other two reportedly belong to Haryana.

Meanwhile, security remains heightened outside Salman Khan's Bandra residence as a precautionary measure.

Also Read: “Nobody Stopped Me From Getting Married” - Salman Khan

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Rashmika Mandanna Visits Vijay Deverakondaâs Alma Mater

noreply@blogger.com (News portal) — Mon, 19 Oct 2026 10:48:22 +0000

Rashmika Mandanna and Vijay Deverakonda visited Prasanthi Nilayam in Puttaparthi, Andhra Pradesh, to offer prayers. The couple attended the Veda Purusha Saptaha Jnana Yajna, a key event during the Dasara celebrations, and sought divine blessings.

A Profound Sense of Spiritual Solace

Vijay is an alumnus of the Sri Sathya Sai School in Puttaparthi. His visit brought back cherished memories of his school days. For Rashmika, the trip fulfilled a long-standing wish to visit the holy abode and experience its profound sense of peace. The actress shared pictures from the visit along with a heartfelt account of her experience.

Rashmika had heard stories about Vijay’s childhood, his alma mater, his friends and his upbringing in Puttaparthi. “So I’ve always been calling them Parthi boys and girl, and along the way, they’ve become my best friends too,” she shared. She added that she had always wanted to visit the place, and when the opportunity finally came, the experience left her feeling an overwhelming sense of love, gratitude and peace.

“I really cannot explain how peaceful I felt being there... there was something about that place that made my heart feel so calm… everything felt so beautiful and divine,” Rashmika added. Reflecting on the experience, Rashmika reiterated that the places we grow up in, the people we spend time with, and the lessons imparted by our parents and teachers become an integral part of who we are.

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Gunshots Fired at Tiger Shroff and His Driver Actor Narrowly Escapes Driver Reportedly Injured

noreply@blogger.com (News portal) — Sun, 18 Oct 2026 18:48:14 +0000

In a shocking development, Bollywood actor Tiger Shroff was reportedly caught in a firing incident involving three unidentified men. According to the information provided, gunshots were fired at the actor and his driver, with the latter sustaining injuries. Tiger is said to have narrowly escaped the attack.

The alleged incident has raised serious concerns about the safety of celebrities and the circumstances surrounding the reported assault. While the driver was reportedly injured in the firing, Tiger is believed to have had a close escape, averting what could have been a far more serious situation.

The identities of the three alleged assailants and the motive behind the firing remain unclear. It is also not yet possible to establish the precise sequence of events leading up to the incident or the circumstances in which the men allegedly targeted the actor and his driver.

Tiger Shroff, one of Bollywood’s prominent action stars, is known for his high-octane performances and physically demanding roles. The actor has built a career around action-oriented entertainers, making the reported incident particularly alarming for his fans.

However, several crucial details, including the location of the alleged firing, the extent of the driver’s injuries, and whether a police complaint has been registered, require official confirmation. No verified statement from the actor’s representatives or law enforcement authorities has been given as of now. A video has surfaced online about the same stating that it took place near JVPD grounds.

As further information emerges, the focus will remain on identifying the alleged attackers, determining their motive and establishing the facts surrounding the incident.

Also Read: Ajay Devgn and Tiger Shroff Submit Their Responses To FDA; Shah Rukh Khan's Still Pending

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The Regal Violet Edit: Navratriâs Eighth Day in Haute Purple

noreply@blogger.com (News portal) — Sun, 18 Oct 2026 10:48:39 +0000

Purple has never been an ordinary choice for the festive circuit. Historically tethered to imperial courts and Roman royalty, it holds a natural, shadowy gravitas that demands meticulous execution. As Navratri reaches its penultimate evening, the festive mood shifts from luminous day shades to deep nocturnal grandeur. Plum, rich violet, midnight aubergine, and electric magenta step into the spotlight. When approaching such a saturated tone, the secret lies in balance. The fabric must hold its own, the silhouette needs discipline, and the styling must never feel pedestrian. Here is how seven of cinema’s best turned-out women conquer the palette with singular panache.

The Gilded Court: Balcony Romance and Heavy Zardozi

Janhvi Kapoor opens the edit with pure courtly poise, stepping onto the terrace in an opulent royal-purple lehenga that radiates old-world majesty. The full circular skirt, laden with intricate gold zardozi paisleys and sweeping Mughal borders, finds its equal in an ornate round-neck choli detailed with delicate sleeve embroidery. She pins her gossamer dupatta neatly over one shoulder, allowing the heavy gold border to frame the waist without obscuring the silhouette. For jewellery, Janhvi layers an antique kundan choker studded with pearl drops against her throat, anchoring the frame with matching jhumkas and a fine haathphool over her hands. Wear this with a centre-parted low chignon wrapped in white jasmine, soft terracotta shadow across the lids, a velvet nude pout, and champagne metallic mojaris.

Tamannaah Bhatia offers an intoxicating, minimalist counterpoint in this midnight aubergine satin saree. The liquid drape is peppered with tiny gold foil buttis and edged in a fine scalloped bullion trim, catching the ambient evening light with every turn. Paired with a sleeveless, low-scoop velvet blouse, the look breathes with unhurried sensuality. Tamannaah frames her bare clavicle with a snug pearl choker punctuated by a central kundan motif, stacking carved gold bangles along her forearms. Her porcelain skin is buffed to a luminous glass finish, complemented by a slick ballerina bun, soft brown winged liner, and warm rosewood lip lacquer. Finish with a compact antique brass minaudiere and towering platform heels concealed beneath the pooling pleats.

Shraddha Kapoor embraces vibrant Maharashtrian heritage with a brilliant royal-purple silk drape that commands attention through sheer luminosity. The lustrous saree features classic woven gold buttis, grounded by a contrasting emerald-green and gold zari border that provides a striking visual border. Honouring the classical nature of the weave, Shraddha pairs it with an elbow-length forest-green blouse and layers of traditional temple gold. A broad antique gold choker hugs her neck, flanked by grand temple jhumkas with delicate ear chains pinned back into a slick floral bun. Keep the complexion natural and warm, sweep on a sharp kohl outline along the waterlines, add a tiny crescent bindi, and slip into embroidered raw silk juttis.

The Modern Silhouette: Sheer Sequins and Sculpted Corsetry

Triptii Dimri strips the palette of all classical weight, transforming violet into high-voltage partywear with this sheer georgette cocktail saree. The gossamer fabric is embroidered with diagonal rows of tone-on-tone purple sequins, lending an elongated vertical line that shimmers effortlessly against the dark. Her bralette blouse features a plunging sweetheart neckline and micro-sequined straps, leaving the decolletage deliberately unadorned. By skipping necklaces entirely, Triptii lets her shoulders command focus. Style this with brushed-out bombshell waves parted down the middle, a dewy plum gloss on the lips, sculpted cheekbones, and strappy metallic sandals that allow the sheer hemline to float freely.

Ananya Panday leans into midnight glamour with an ink-purple satin drape that looks cast in pure shadows. The fluid, heavy silk puddles languidly around her ankles, edged by a refined antique mirror and zardozi border. What makes the look sing is the high-neck halter blouse, encrusted with intricate silver-gilt bullion that acts as an integrated collar piece. Because the neckline is fully detailed, Ananya foregoes neck jewellery, relying instead on tiered diamond chandelier earrings that graze her collarbones. An architectural messy bun with face-framing tendrils, smokey mauve eyes, and pointed metallic courts complete this moody, high-society vision.

Karisma Kapoor brings her signature regal tailoring to the night, ascending palace steps in a floor-grazing rich purple raw-silk anarkali gown. The structured silhouette features a fitted torso, full-length churidar sleeves, and a subtle front slit, all bordered by fine gold marodi needlework and scattered floral buttis. Karisma wears her matching silk dupatta swept casually over one arm, keeping the focus on the sharp V-neckline. She accents the ensemble with long antique gold chaandbalis, a vintage cocktail ring, and towering platform pumps. With brushed-out glossy lengths falling over her shoulders, defined winged eyeliner, and a soft petal-pink lip, she delivers an effortless lesson in timeless aristocratic ease.

Alia Bhatt concludes the edit with a daring fusion of East and West, pairing a printed purple silk saree with a sharply tailored strapless corset. The satin bustier is a marvel of corsetry, featuring a sweetheart neckline held together by delicate centre frog-clasp loops that reveal slivers of skin. The drape beneath is woven with intricate ivory toile de Jouy motifs, blending European rococo storytelling with Indian handlooms. Alia grounds the look with an antique polki and diamond choker necklace, paired with ornate heritage tops. A snatched, centre-parted low chignon, a fresh wash of mauve blush, and an embroidered velvet clutch bag elevate this ensemble to the pinnacle of contemporary couture.

When darkness settles over the eighth night of the festival, purple presents an irresistible invitation to abandon the ordinary. Whether channelled through the majesty of classical temple gold or the sharp lines of tailored corsetry, it carries an inherent dignity that outshines simpler shades. Choose deep, decadent textures, let your statement jewels cut cleanly through the twilight, and step into the evening with sovereign poise.

Also Read: The Molten Slate Edit: Navratri’s Seventh Twilight in Haute Grey

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The Marathi Thriller Gondhalâs Pan-India Release Date Announced

noreply@blogger.com (News portal) — Fri, 16 Oct 2026 22:48:23 +0000

Gondhal made history this year for its historic selection as the official Indian entry by the Film Federation of India (FFI) at the 99th Academy Awards on September 18, 2026. For the Oscars 2027, Gondhal will be one of the nominations for the Best International Feature Film category.

Under the direction of Santosh Davakhar, co-founder of Davakhar Films, the film is set in the rural areas of Maharashtra, diving deep into a dark and suspenseful tale of betrayals and obsessions.

Davakhar expresses his excitement, explaining the original goals behind making Gondhal. He said, "When we set out to make 'Gondhal,' our only goal was to stay fiercely true to the raw culture, haunting rhythms, and untold layers of our soil.”

On seeing the regional story of Gondhal journeying to meet a nationwide audience as well as being a participant in the Oscar race, he further said, “To see this deeply rooted folk thriller resonate so profoundly that it becomes India's official Oscar entry is an overwhelming honour. Now, bringing it to audiences across the country on November 13 in a Pan-India release feels like bringing the story back full circle."

He mentions just how much gratitude he has for all the love the film has received from the viewers. Davakhar continued, "Cinema has no language barriers when the emotion is raw and honest, and I am filled with immense gratitude that viewers from every corner of India will get to experience this sacred, suspenseful journey on the big screen together."

Gondhal follows the tale of Suman , a young woman who is entangled within a suffocating marriage and seeking out. What follows is a desperate act of exploiting her lover’s obsessive faith in the sacred traditional Gondhal ritual, eventually leading to a web of secret betrayals and severe consequences.

Gondhal is all set and geared up for its Pan-India theatrical release on November 13, 2026.

Also Read: Marathi Film Gondhal Chosen As India’s Official Entry For 99th Academy Awards

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Ranabaali Review: Honest Intent but Lacks Emotional Delivery

noreply@blogger.com (News portal) — Fri, 16 Oct 2026 18:48:28 +0000

Quick Take: Ranabaali starts on a promising note but loses steam, eventually falling into a predictable template.

In 1878, Rayalaseema, in present-day Andhra Pradesh, faces a crisis of epic proportions: a devastating famine that will result in deaths on an industrial scale. Against this backdrop rises Singanamala Bobbili Ranabaali, a young, muscular and agile local hero who rides his majestic horse with the bearing of a supreme overlord. He and his cohorts clash head-on with Commissioner Sir Theodore Hector (Arnold Vosloo), a ruthless official who imposes harsh tax targets despite the drought.

Vijay Deverakonda's titular character appears born of the gods but raised in the mud. He looks like someone who has put in the hard work, and his rooted physicality helps elevate the character. Vijay lets grace emerge from the ease of his movements. Rashmika Mandanna's Jayamma keeps him human. Her warmth and assertiveness stem from the same source: she sees people clearly. While he is still and weighty, she is expressive and grounded in the immediate. Sadly, the actors playing the British characters fail to match their intensity, leaving the hero-antagonist clashes feeling barren at times.

For all its creative liberties, Ranabaali comes across as a well-researched tale. Writer-director Rahul Sankrityan has demonstrated a keen interest in history before, as his politically charged and socially polarising Shyam Singha Roy showed. Here, he avoids the low-hanging fruit. Yes, the film indulges in hero worship, but it is not as compulsively clichéd as some films set in British India. Sye Raa Narasimha Reddy (2019), for instance, was more sweeping and less specific in its approach.

Ranabaali handles its visual style and central themes with confidence, capturing the stark realities of starvation, merciless killings and the emaciated bodies documented in accounts of the era. The British colonisers are shown partying, oblivious to the suffering around them. They are tone-deaf, power-hungry and manipulative. While the British possess tactical superiority, the native tribe has the advantage of knowing the local terrain. The protagonist moves between rage and muted shock as he witnesses the unspeakable suffering around him. He rarely sheds a tear; when he does, it hints at an intolerable tragedy. He is destined to become a saviour, even as his days are numbered — a harmless spoiler, given that this is revealed at the outset.

The film uses visual and folkloric devices to build Ranabaali's mythology. Its religious themes and imagery are hardly novel, but neither do they overstay their welcome. The action sequences are not unnecessarily prolonged, and the choreography avoids the disorienting cuts and jarring movements that often plague the genre.

The Ajay-Atul duo's background score is functional. Shivam Rao Nagasani's production design, however, towers above the other major departments, with the cinematography particularly failing to match its impact.

The second half is where the film begins to falter, falling into a predictable template. Ranabaali repeatedly twirls his moustache (not every time, but you get the point), while colonial officials continue to inflict pain on Indian subjects. The narrative devolves into a repetitive ritual of familiar confrontations as the original ideas drawn from lesser-known pages of history begin to dry up. The clashes between victims and perpetrators merely go through the motions, failing to generate sustained dramatic tension. The British officers, meanwhile, feel interchangeable, trapped in the same rigid mould.

Ranabaali's emotional life remains understated to the point of detachment. He lacks the vulnerability one might expect from someone who has witnessed such extreme suffering, both directly and indirectly. A crucial scene involving a British officer, Jayamma and Rajamma (Easwari Rao), Ranabaali's mother, plays out like a conventional gangster-movie trope in which the antagonist confronts the hero's family.

Another key episode wears its Kantara influence so openly that its mythological flourishes feel less like an organic culmination and more like an echo of Rishab Shetty's film.

The film also remains firmly rooted in the past. During pre-release interviews, the makers highlighted how impoverished Indians today continue to suffer from bloated stomachs due to the genetic fallout of colonial-era famines. A film so invested in historical realities ought to demonstrate a stronger inclination towards contemporary relevance. The connection is raised, but the narrative does little to explore it meaningfully.

On the whole, Ranabaali impresses with Vijay Deverakonda's physicality and its unflinching portrayal of colonial-era suffering. However, its second half succumbs to repetitive confrontations and indistinguishable British antagonists, ultimately weakening the emotional impact of a story with considerable potential.

Also Read: Rajinikanth’s Blessings Boost Rashmika Mandanna’s MS Subbulakshmi Biopic

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