Actor and former rugby player Rahul Bose, who has spent over three decades in films and an even longer time playing rugby, says he is working on his memoir, which he hopes to publish next year.

“I am already writing my memoir. I am even in talks with two publishing houses, who are chasing me to lock a deal. Hopefully, it will be out next year,” he tells us.

On what the book will cover, the 59-year-old says, “It will cover every high and low of my life. From the time I represented India internationally and my journey in sports, to my films and the various experiences I’ve had. It will have even the tiniest details.”

Bose began playing rugby union, boxing and cricket in the 1980s, eventually going on to captain the Indian national rugby union team in international competitions. He currently serves as president of Rugby India.

While sport has remained an important part of his life, acting has been another constant, with films like Chameli and Jhankaar Beats (both 2003) among his notable performances. His recent outing is Udta Teer.

Talking about the film, Bose recalls an unusual morgue sequence in which a dead body kisses him. “The original idea was that Ayushmann (Khurrana, actor) would come and save me. But the entire sequence with me lying on the stretcher and the scene eventually unfolding the way it did wasn’t planned,” he says, adding, “That’s the beauty of filmmaking. Sometimes things evolve on set, and you discover something completely different from what you initially imagined.”

Actor Babil Khan reflects on his journey in the film industry, acknowledging the privilege he comes from while recognising the realities of navigating the business. “I come from a family, a privileged family. People have to work a lot to feel this way, and I understand that’s the struggle of the industry. That’s why you have to be extremely passionate,” says Babil, 28, who made his debut with Qala in 2022.

For Babil, a lack of opportunities should not become a reason to complain. “If you’re complaining about, ‘Oh, good things are not being offered to me’, then you’re in denial with your entitlement. You have to really, really work on yourself before you even start thinking about these questions,” he says. 

Adding that he prefers to focus on self-improvement rather than dwell on what isn’t coming his way, he explains, “I don’t wait around and feel sad that things are not being offered to me. I spend that time, that day, trying to be the best version of myself and just having a connection with God or whatever it is that you connect to. And knowing that the joy is in when you are a better version of yourself. That’s where true joy is.”

Speaking about how his approach to acting has evolved, Babil says the need to prove himself has gradually taken a backseat.

“The biggest thing is that as your journey goes on, you try to prove yourself lesser and lesser. And once you start doing that, you open up to the honesty of yourself and you open up to the honesty of your character. I think that’s changed the most.”

However, he believes the process of proving oneself is never entirely over. “No matter how much you work, no matter how many projects you do, you have to keep proving yourself. And I guess that’s a journey where you’re not doing it to try to prove yourself, you’re doing it for the work and through the work, you’re proving yourself,” he adds.

Speaking about the thought that goes into his career choices, Babil says, “There are so many factors that affect your decision in that process. You have to really just meditate your way through it and make the choice that your heart wants to make and not what your wants and needs want to make.”

He admits to having turned down several projects and subsequently wondered what it would have been like to be part of them. “It’s not about whether it did well or not, but when you see the vision come to life, of course, a part of you screams, ‘Wish I did it.’ It’s always going to be the case. Your parameters for what success and failure are have to evolve through time. Otherwise, you’re not going to consistently make right choices,” he says.

For Babil, staying true to himself and his roots is equally important, especially while navigating an industry that can change one’s perspective. “I’ve always shown my true self, whether it be a scared self, whether it be an anxious self, whether it be a happy self. It was always me,” he says.

Interestingly, the actor had put up social media posts in May 2025, speaking about an emotional breakdown and calling the industry fake. Looking back at the importance of retaining one’s individuality, he says, “A very important thing about this industry is you have to keep going back to reminding yourself not to detach from your roots. Otherwise, it will change you, man.”

In the second week of October, Ajay Devgn kicked off Chauhaan’s shoot in Kargil district in Ladakh, wrapping up the first schedule by October 25. mid-day laid its hands on an unseen picture from the shoot of director Neeraj Yadav’s action drama. In the picture, the actor can be seen dressed as an Army man, sporting salt-and-pepper hair.

A source revealed that Chauhaan is the first Hindi action film after Sidharth Malhotra’s Shershaah (2021) to be shot in Kargil. It may be, however, noted that parts of Laal Singh Chaddha (2022) and Uunchai (2022) were also filmed there.

“Ajay sports grey hair and a leaner look in the movie. During the two-week schedule, the unit shot a few major action sequences, designed by action director RP Yadav. Shooting in Kargil was special for Ajay as he returned to the location 23 years after he had filmed JP Dutta’s war drama, LOC Kargil [2003].”

Also starring Vikrant Massey, Chauhaan is set against the 2018 insurgency in Kashmir. The source added, “The cast and crew shot in areas of historical and strategic significance in Kargil, including Hunderman, which is situated near the Line of Control. They also filmed in the village of Kaksar.”

Fahadh Faasil did not return to cinema expecting to build a career spanning more than 60 films across Indian film industries. After his debut, Kaiyethum Doorath, failed at the box office, he left for America, unsure if he would ever return to acting. “My first film in 2002 flopped, and two days later I left for America. I thought I would probably settle there permanently,” he says.

When he eventually returned to acting, his plan was to do just one film before heading back to the US. That brief return turned into a career spanning Malayalam, Tamil and Telugu cinema, with roles that have continued to push him into unfamiliar territory. In conversation with Hyderabad Times, Fahadh discusses his latest Telugu film, Don’t Trouble The Trouble, and the experiences that continue to challenge him as an actor. Excerpts...

While Fahadh made a mark as Bhanwar Singh Shekhawat in Pushpa: The Rise and Pushpa: The Rule, his role in the franchise remained that of a supporting antagonist. With Don’t Trouble the Trouble, however, the actor steps into a different league, taking on the lead role in a Telugu film for the first time. The shift brings with it a more demanding engagement with the language, one that goes beyond delivering dialogue to thinking and expressing himself in Telugu.

“I have mostly worked in Malayalam before, so the challenge was not just speaking Telugu but thinking in Telugu. My natural thought process happens in Malayalam, then I translate it into English and finally express it in Telugu, which is not a very smooth process,” he explains, adding, “Learning a new language and training myself to think in it was challenging, but I genuinely enjoyed the process.”

Taking on a Telugu film as a lead was a new experience for Fahadh. Despite the film’s underwhelming box-office performance, he says the project gave him an opportunity to explore something different as an actor. “When I was called for this film, I heard the story and felt like it was something I had never experienced before. It was unlike anything I had come across,” he says.

The supernatural fantasy also offered a change from the kind of roles Fahadh has usually taken up in Malayalam cinema. “My films in Malayalam are mostly rooted in subtle performances and quiet storytelling. This was a refreshing change, and I was excited to be part of it. I was happy that they approached me because there is so much talent here, and I didn’t want to miss this opportunity,” he shares.

Having produced films such as Premalu and Bethlehem Kudumba Unit, Fahadh wears both actor and producer hats, but when asked which side of filmmaking he enjoys more, he says production wins hands down. “Acting is much harder. Production is actually enjoyable. I genuinely love the process of producing films,” he shares.

On his approach to filmmaking, Fahadh emphasises the importance of having a clear plan without leaving no room for spontaneity on set. He prefers to know how a story unfolds before filming begins, while allowing scenes to evolve organically during the shoot. “I won’t start a film without knowing the beginning, midpoint and ending. But once the shoot begins, everyone should have the freedom to organically improve scenes rather than strictly sticking to what is written on paper,” he explains.

Fahadh has built a reputation for portraying characters with shades of grey, from the casteist antagonist Rathnavelu in Maamannan and the aggressive Bhanwar Singh Shekhawat in Pushpa: The Rise to Dhayalan, the thief in Maareesan. Asked what draws him to morally ambiguous characters and their journeys, the actor says, “Yes, I am drawn to them. I think every human being carries those shades within themselves. It is a part of human nature. I enjoy exploring those complexities.”

Celina Vikram Jaitly’s return to India and back to the film industry has not been without its challenges. After returning to India in October 2025, following the end of her 15-year marriage, she was overwhelmed by the way her life had taken a dramatic turn. She tells us, “Initially, I didn’t even have a place to stay. I was in shock and had almost stopped stepping out.”

It was her friend, actress Preity Zinta, who encouraged her to step out of that difficult phase and begin rebuilding her life. “It was my darling sister Preity, who helped me step out of that darkness and encouraged me to get out, start working again and begin rebuilding my life. I will always be grateful to her for that. She has literally been the wind beneath my wings,” she adds.

After nearly 15 years away from mainstream cinema, Celina is set to return to the big screen with filmmaker Anil Sharma’s period drama Arjun Naga. The actress says the opportunity came at a significant juncture in her life.

“At the beginning of September, I attended an event as a guest of honour alongside Sunny (Deol) sir. Videos of us sitting together went viral. I had worked with him in my second film Khel back in 2003. Anil Sharma sir saw one of those videos and from what I understand, called Sunny sir to ask whether it was me in that picture with him. When he realized that I was back in India, he asked the casting director to get in touch with me,” she explains, adding, “Interestingly, this opportunity came on the very day I officially changed my name to Celina Vikram Jaitly, carrying forward my father, late Colonel Vikram Kumar Jaitly’s name and legacy as a war hero. Working with Anilji feels like a blessing from both my late parents, as it feels like they are watching over me.”

Set against the backdrop of Dubai’s oil boom in the 1960s and 1970s, the ensemble includes Arjun Rampal, Randeep Hooda, Utkarsh Sharma, and Zarina Wahab among others. “Anil ji wanted me opposite Arjun Rampal, whom I admire so much,” she concludes.

Filmmaker Zoya Akhtar, born and brought up in Mumbai, has always been vocal about developments in the city and concerns citizens face. Recently, the Maharashtra Maritime Board (MMB) invited tenders to introduce floating advertising barges and illuminated hoardings along Mumbai’s coastline, and Zoya opens up on her thoughts on it.

“This city is bursting at the seams, with its population, construction, traffic, pollution, noise, garbage, lack of open spaces, felling of trees etc. It’s already an assault on the senses. We are in desperate need to connect with nature, and not disconnect further. And we need respite, not sponsored sunsets! Why would people want to look at ugly hoardings when sitting by the water,” she shares.

Zoya adds that citizens should have a say before such installations are approved. “People pay through their noses for homes with a view and even if they don’t live by the sea, they spend a considerable amount to live in Mumbai. Their opinion has to matter.”

Concerns have also been raised about the impact of such advertising on Mumbai’s coastal environment and marine life. Separately, the growing presence of commercial signage raises another question: where should one draw the line between creative advertising and visual pollution? “Please mark certain areas for commercial advertising and limit it to that. A city must not have signage everywhere. It’s mentally taxing, we don’t realise but to be bombarded with constant messaging is very stressful for the mind,” Zoya ends.

Slowly but surely Tiger Shroff is returning to his old life, even as the shadow of the October 18 firing incident looms over him. The actor is set to make his first public appearance, since the attack, at the launch of actor and wellness author Claudia Ciesla’s book, Beyond Weight Loss: Eating, Healing & Ageing with Claudia’s Concept. The event will be held at a Mumbai hotel on November 3.

The actor’s appearance comes after a pause in his professional commitments following the firing incident in which two men shot at his vehicle outside a football ground in Juhu.

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A source said, “Time has helped him recover and regain his confidence. He is keen to get back to his routine. He is looking forward to getting back on set. His appearance at Claudia’s book launch was discussed at length, given the circumstances, but he is keen to resume his public engagements. Security has been significantly stepped up.”

It has been heard that Shroff will also attend a few Diwali gatherings this week.

Shroff, a fitness enthusiast, has also penned the foreword for Ciesla’s book. Confirming his presence at the launch, Ciesla said, “I wanted to bring together my years of knowledge, experience, and learning in a book, helping people understand how to eat better, heal, and take charge of their health. I’ve always admired Tiger’s discipline and dedication to fitness. When I approached him to write the foreword and shared the concept behind it, he connected with the message and graciously agreed to be part of the book and the event.”

When Sanjay Dutt and filmmaker Subhash Ghai announced ‘Khalnayak Returns’, the sequel to their 1993 hit ‘Khalnayak’, in April, the prospect of seeing the popular anti-hero Ballu’s journey unfold was enough reason for fans to look forward to the project. Now, there might just be a star-studded addition to the cast. Insiders have told mid-day that Ghai — who directed the original and is a creative consultant on the second instalment — and the writers’ team have developed a cop character with Salman Khan in mind.

An insider revealed, “The role impacts the narrative. The idea is that the cop, a good Samaritan, will help Sanjay’s character. Who better than Salman to play this helpful character? The casting is not locked yet as the script is still being developed.”

If Khan comes on board, it will be the superstar’s second project with Ghai after ‘Yuvvraaj’ (2008). 

When mid-day contacted Ghai about the development, he said, “It’s too early to say anything. The scripting is still on, and once we have a complete script, we will know where we stand.”

An action series about a powerful female gangster running a matriarchal society with an iron fist — we’re all for it. As are Keerthy Suresh and Radhika Apte, who headline Akka that dropped on Netflix today. But not many know that writer-director Dharmaraj Shetty’s crime drama series, which wrapped its principal photography in 2024, had to wait two years to reach the audience. Why? We’ve heard that the show underwent several edits and reshoots to tone down the violence.

Set in the fictional city of Pernuru in the 1980s, the YRF Entertainment-produced Akka tells the story of Suresh’s Bhavani who rules the matriarchal society and faces an attack from Apte’s Rudra, an outsider. Action understandably is a big part of the narrative.

A source told mid-day, “Since the period crime drama revolved around badass, ruthless women, its visual treatment was gory initially. But after watching the rushes, the makers felt that the brutality could be toned down. So, some of the violent scenes and expletives were cut, some sequences were reshot to make it a well-rounded story rooted in emotions. Both YRF and Netflix are mindful of audience sensitivity and understand how much is too much when it comes to action. At the same time, they felt it was a powerful script. They decided to take the middle path to tell the story to viewers. They were also careful to not include action for the heck of it; the fights are justified in the gangster drama.”

There was another reason for the delay — the show’s grand scale. The source added, “Such a project involves several stages of creative development and production. Akka has been mounted on a grand scale.”

mid-day reached out to YRF Entertainment and Netflix India. Both didn’t respond till press time.

"It was not his time to go” was the sentiment echoed across the Hindi film industry following filmmaker Sanjay Gupta’s accidental death at his Mumbai residence. The 57-year-old filmmaker suffered a head injury after accidentally falling in his kitchen on Friday (October 30). Friends and collaborators remembered his spirited nature and passion for cinema.

Shabana Azmi, who co-produced the 2007 anthology Dus Kahaaniyan with Gupta and later acted in his Jazbaa (2015), said she could not believe she was speaking about him in the past tense. “On the sets, he gave a lot of freedom to his actors after giving them an outline of what he had in mind. He was positive, always enthusiastic, and a very good producer. Sanjay was always full of stories and a keen cineaste,” Azmi told mid-day.

Known for slick actioners featuring cool anti-heroes and thumping music, Gupta made his mark with Kaante (2002) and Musafir (2004). Producer Rangita Nandy, whose father Pritish Nandy co-produced Kaante, revealed that she and Gupta had recently discussed a sequel.

“Sanjay and we made an unforgettable film. Kaante, which remains a defining film — distinctive in its storytelling, stylish in its execution, and unforgettable for the way it brought together an exceptional cast and a gripping heist narrative. He was always keen to make a sequel. It’s unfortunate that that wish will remain a dream,” she said.

Writer and director Milap Zaveri, who co-wrote Kaante’s dialogues, remembered Gupta as his mentor. “He gave me Kaante at 21. Then resurrected my career again with Musafir, and Shootout At Wadala [2013]. He was my father. My teacher. I’m heartbroken.”

Gupta’s last directorial was The Miranda Brothers (2024). Its lead actor, Harshvardhan Rane, remembered his warmth and love for family. “He was all about loving his family and making films non-stop. During shoot, he often took Meezaan [Jafri] and me out to eat in Goa. I had never met a happier man on and off set. He had a huge heart, and I will miss him dearly,” Rane added.