Aman Verma may have been missing from television for a while, but the actor says he never really left the industry. Now seen playing a visually impaired paedophile in Yeh Fitoor Tera, Aman says the challenging role pushed him out of his comfort zone.

“If people are disgusted and worried for the girl, it means that I have been able to perform my part well. As an actor, I feel very happy when people say, ‘We hate you.’ I tell them, ‘Please hate me even more,’ because I know I’ve done a good job,” he says, adding, “Tomorrow I might play the role of a rapist. It doesn’t mean that I’ve become a rapist.”

Aman says he has largely been cast in supporting roles rather than as a conventional leading man, citing films such as Sangharsh and Baghban. However, he insists that this has never disappointed him.

He believes the industry’s changing dynamics have created more room for actors to experiment with varied characters. “That whole definition of being a lead actor just kind of changed. You needed to be somebody who could perform. Now it could be a positive or a negative role, or one with grey shades.”

Aman believes this is a good phase for actors, with increasing opportunities across television, films and digital platforms. “Every medium mein alag-alag kaam ho raha hai. Agar aaj ke daur mein aapko kaam nahi mil raha hai, that is not possible.”

Aman, whose marriage to actor Vandana Lalwani ended in February 2024 believes that relationships require patience and understanding, regardless of age. “Relationships require patience and understanding, regardless of age. Love is never easy at any age. You need tolerance,” he says.

Calling himself a “hopeless optimist”, he adds, “You just hope for the best, you put your head down, and you think that, you know, love will come your way. It doesn't matter, if not today.”

Actors Mallika Sherawat and Sunil Grover are set to explore a darker side of their craft with an upcoming digital show. The yet-to-be-titled series, a crime thriller that delves into the underbelly of the underworld, is being produced by Emmay Entertainment and is already on floors.

A source close to the production shares, “Mallika will be seen in a never-seen-before avatar. Sunil, on the other hand, will be exploring his non-comical actor side, just the way he has been exploring it of late.”

Mallika made her digital debut with the horror-comedy series Booo: Sabki Phategi (2019). She also featured in the web series Nakaab (2021) and was recently seen as a contestant on the second season of the reality show The Traitors India.

Sunil, who is popularly known for his memorable characters on The Kapil Sharma Show, has been exploring diverse roles across formats. He played a pivotal role in the crime drama Tandav and headlined the dark comedy Sunflower. He has also featured in United Kacche, Jawan and Blackout.

The series will be directed by Himank Gaur, who is known for directing the web series Dhindora and Taaza Khabar, including its second season. Gaur has also directed projects such as Lukkhe and Adarsh Baal Vidyalaya.

Earlier in an interview with us, Mallika spoke how directors are not able to see post her glamourous avatar. “People think glamour and depth cannot coexist, or that an outspoken woman cannot be thoughtful. Those are assumptions some people make. Some people couldn’t see past the glamour, the confidence or the boldness. That’s why many feel I wasn’t explored enough as an actor. I don’t look at it that way. I think this is a very exciting time for actresses because better parts are finally being written. I love comedy, but I’d also love to play a real-life personality one day. A biopic, like playing Kalpana Chawla, would truly challenge me as an actor,” she said.

For Sanjana Sanghi, festivals are as much about reliving childhood memories as they are about celebrating family rituals. From decorating the house with marigold flowers and diyas to helping her family with the much-talked-about Diwali cleaning, the actor cherishes the traditions that made the festival special while growing up in Delhi. Recently, she was in town for Lakmé Fashion Week, where she closed the show for designer Shaheen Mannan.

“I love the memories of the festive season, when one after the other there are so many festivals and reasons to dress up and eat good food. These days, I am especially thinking of the run-up to Diwali, when we are all engaged in the much-talked-about Diwali ki safai. And on Diwali day, when you see all the genda, all the diyas, all the decorations coming in and everyone gets together to do up the house, that fills the heart with so much joy,” she says, recalling how her mother would get stressed during the annual cleaning spree.

Living by herself in Mumbai has only made her miss home more. “Whenever I have been able to catch the chance to go back home to Delhi for Diwali, I always do that because it allows me to relive my childhood in the most special way.”

Coming from a multicultural family, Sanghi has grown up embracing different traditions. “My dadi is Punjabi, my dada is Marwari and my nana-nani are Gujarati, so I’m a mixture of all these different traditions of India,” she says, recalling playing Garba during Navratri with her maternal grandmother and playing cards with her paternal grandmother. Today, she celebrates with friends in Mumbai, decorating her home with fairy lights and diyas while praying for “general health and prosperity”.

As Sanghi closed the show for Mannan, her parents and brother cheered her on from the audience. Describing her look for the show, she says it felt “authentic yet classic and simple” — something that resonated with her personal style.

When it comes to fashion, she believes women should stop feeling pressured to follow trends. “We’ve to stop taking the pressure of subscribing to trends. I’ve never been able to understand trends.”

There are, however, a few styles she would like to experiment with. “I secretly love cute, short, tight dresses. I don’t do many of those, but they look stunning. I could pull it off; I should try that,” she says. Her wardrobe, meanwhile, is dominated by shoes, denim and white shirts.

Asked whose wardrobe she would raid for a day, Sanghi picks two stars with distinct styles: Rekha for her classic elegance and Deepika Padukone for her versatility. Over the years, her own relationship with fashion has evolved too. “I’m a lot more comfortable just being myself,” she says.

Mumbai: A proposal to change the reservation of the 1,005-sq-m plot housing the 105-year-old Alexandra Cinema in Byculla from cinema amenity to Residential/Residential Use Zone has received deemed approval, despite opposition from Congress and Shiv Sena (UBT) corporators.

Opposition members staged a walkout on Thursday over the approval, after the proposal, first placed before the BMC Improvements Committee on August 10, was not decided within the stipulated period.

Congress corporator Ashraf Azmi said three proposals were deemed approved on Thursday under Section 64(3A) of the Mumbai Municipal Corporation Act, 1888, which applies when a committee fails to decide within 45 days. “The chairman is responsible. Why was the Alexandra Cinema proposal not taken up earlier? This will set a precedent for other theatres,” he said.

Congress member Meher Mohsin Haidar noted that DCPR-2034 requires a cinema/theatre facility on 30% of such plots or 300 seats, whichever is less. Sena (UBT)’s Sachin Padwal questioned the loss of local entertainment options if the reservation is changed during redevelopment nearby.

Kunal Kapoor: Oh, I was nursed in the wings here. My mother was still acting when I was a few months old. My early years were backstage. Then, it was watching my grandparents [Geoffrey and his wife Laura Kendal] perform Shakespeareana while in school.

Zahan Kapoor: For me, it was watching The Boy Who Stopped Smiling. I also vividly remember Zakir ji [late Ustad Zakir Hussain] performing at the Prithvi Memorial Concerts.

Kunal: That came first. My mother and grandparents would read me Shakespeare plays for my bedtime stories. My mother [Jennifer Kendal] opened the theatre in 1978, and hosted the first Prithvi Theatre Festival in 1983. Unfortunately, she passed away in 1984. I didn’t go out looking for it [the legacy]. It just landed on my shoulders.

Zahan: It was 2012 onwards, as a young adult that I began to get involved. Since then, it became a parallel exploration for me.

Zahan: I don’t know. There are too many. The classic one I remember is of Amjad Khan.

Kunal: Back then, the café was being run by Mrs Pinto [Meena Pinto] and her son. Amjad Khan was performing here. Amjad Khan, if anyone knows him, drank tea continuously. At one point, the café told him that they had run out of milk. The next day, at about 8 am, Amjad saab had deposited two buffaloes by the theatre. “Next time, don’t tell me that you ran out of milk”, he said. [Laughs] The stage has always been a place for stories, and traditions. I am sure there are more than a few..

Zahan: The performers often assemble in a huddle in the make-up room before the third bell. That’s a part of the stage ritual now.

Kunal: Few people know that every troupe that performs here leaves a tip for the café staff. They did that in the lockdown as well, despite there being no performances. One more tradition is that the stage is never dark. We set up my grandfather’s chair, with two ghost lights that stay on through the night.

Zahan: We are trying to document as much as we can [of the past]. The goal is to make that more accessible. That’s a fine balance to keep even as you evolve.

Kunal: Nothing has evolved. Trying to make the economics work is the biggest battle. The festival certainly facilitates that experience. I am fascinated by the curation this year, especially with Naseeruddin Shah’s take on Salman Rushdie’s experience in 27 Seconds?

Zahan: I am very curious about that as well.

Kunal: I think Salman Rushdie is curious about it, too. [laughs]

Kunal: Every single play.

Zahan: The idea is to celebrate. Watch everything you can, hang out at the café, come talk to us over tea.

RAMAYANA (Hindi) scored a good first day as it collected 43 crore nett though movement was slow on the day due to it being the pre Diwali period. The film had already racked up around 25 crore nett in advances and therefore added just 18 crore nett in current as much of the audience is pre occupied with Diwali festivities.

A film like RAMAYANA is also a film where much of the Muslim crowd will not be interested especially outside the metros so that potential crowd is also missing for the film. In Odisha, where it seems there is no pre Diwali affect, it has beaten the figures of DHURANDHAR THE REVENGE. That sort of tells the potential of the film if it was a normal day release. Just on this collection, you can say the film has been hit by at least 25 crore nett due to pre Diwali release.

This does not mean the film should not be releasing on pre Diwali as when such a huge film is made, you don't make to set first day or weekend records but its about the bigger picture. Diwali can fall right for the records to come but this year, its not one those years when it falls right. A pre Diwali release gives more potential in the final count as these pre Diwali days are like a bonus. Yes, if the film is not up to the mark then its best to come on the day after Diwali, but no one makes such a huge film on this budget and resources and then think its not up to the mark.

The film could have done more but the release in South India is weak for the Hindi version. Mysore has done well enough and got somewhere near its normal collections but Nizam/Andhra should be much better in Hindi. There is a shortfall of around 3 crore nett here which has nothing to do with pre Diwali but just these South distributors giving precedence to regional versions over Hindi when its Hindi with more potential.

Coming to the regional version, it has managed to get good collections of around 15 crore nett plus with Telugu probably being best. The Kannada version has the highest collections but there Yash is a star and even higher collections were probably expected. The release was much bigger than most other Hindi films. Its the third best collection ever for a Hindi film in its regional versions after ADIPURUSH and WAR 2. But the films being compared tells these collections are pretty much irrelevant and today when for the big budget South films, its about the Hindi markets, then for RAMAYANA, these also hold little importance looking at the bigger picture. 

The film will see a drop today but it will be and up down scenario over the weekend. The film seems to be getting a positive response but the real audience is yet to give its verdict yet. Its generally the class audience in premium formats or bigger multiplexes there and that wider audience will come from Monday onward and that will decide the fate of the film.

The film will trudge along over the next three days but you take 100 crore or 125 crore business that will come before the actual first day in terms of the wider audience. If Saturday can jump, then it can be a little more also. Although it will not be seen this way it is a great start for Pre Diwali. There is always hope to beat the circumstances but its never happened in the recent times though it has happened before but then the craze of cinema then was at a higher level.

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RAMAYANA has taken the sixth biggest opening day of all time when we include collections from regional versions. The collections of the other versions in Kannada, Malayalam, Tamil and Telugu have fetched healthy figures combined which paints a better picture for the film than the Hindi version alone. The issue of Pre Diwali is not there in the South unlike the Hindi version.

The collections are a little short of ANIMAL but better than PATHAAN and DHURANDHAR THE REVENGE leading the pack. Although DHURANDHAR THE REVENGE also had a release in multiple versions, it could not hit the theatres on the first day due to an issue with the prints. The ill fated ADIPURUSH is actually the second biggest opening day for a Hindi film in all versions due to the Prabhas factor in Nizam/Andhra.

Like ADIPURUSH, this film was also based on the epic Ramayan and picked up almost 73 crore nett on day one. However, it crashed from the next day. Generally the films below had a multiple version release barring DRISHYAM THE CONCLUSION and STREE 2 but most of the big budget films are likely to go this way in the hope that one may just break out.

Its practically certain that RAMAYANA will beat the regional figures of films like JAWAN, ANIMAL and DHURANDHAR THE REVENGE but the best is ADIPURUSH at around 118 crore nett and if that could be challenged it can be called a result. This would not alter the fate of the film as that is all dependent on what happens with the Hindi version. A 100 crore from the South from regional versions with Hindi not doing well hardly matters except for being a record in the book.

The top ten openings by Hindi films including regional versions is as follows.

1. Dhurandhar The Revenge - 76,68,00,000

2. Adipurush - 72,75,00,000

3. Jawan - 72,02,00,000

4. Drishyam 3 The Conclusion - 62,44,00,000

5. Animal - 60,50,00,000

7. Pathaan - 57,47,00,000

8. Stree 2 - 52,69,00,000

9. War - 52,10,00,000

10. Thugs Of Hindostan - 49,75,00,000

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RAMAYANA has emerged the FIFTH highest opening ever worldwide for an original Hindi film thanks to a fantastic overseas performance. The film has just edged past the figures of ANIMAL to become the biggest opener worldwide for Ranbir Kapoor in Hindi. In India, it fell short of the collections of ANIMAL due to pre Diwali. RAMAYANA collected 90 crore apprx on day one worldwide it its original Hindi version.

The surprise on the list is DRISHYAM THE CONCLUSION which is not in the zone of the other films dominated by high budgets, scale and action. There is STREE 2 also but that is far lower in the list. This thriller/drama film stands at almost 100 crore worldwide due to its extraordinary opening day in India. The expectations for RAMAYANA was a 100 crore plus worldwide opening as a few days before release, it looked it could hit 50 crore nett in India and the pending amount was always likely in Overseas. However, collections moved at a snails pace on day one at the box office in India.

DHURANDHAR THE REVENGE leads the pack and RAMAYANA was never a threat to this film unless it released post Diwali where it could have been the first HINDI film to hit the 150 crore benchmark worldwide.

The figures below are highest opening days for an original Hindi film worldwide. They are all like for like and ALL films are for one day only and also do not include the figures in other languages and that includes the figures for RAMAYANA. The multiple versions figure will be updated later where it will be move up in the pecking order.

1. Dhurandhar The Revenge - 134.54 crore

2. Jawan - 113.16 crore

3. Pathaan - 104.06 crore

4. Drishyam The Conclusion - 94.32 crore

6. Animal - 89.66 crore

7. War - 72.14 crore

8. Tiger 3 - 71.04 crore

9. Sultan - 70.74 crore

10. Stree 2 - 69.95 crore

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RAMAYANA did well on its second day as it collected a little over 33 crore nett which takes the film to 76 crore nett in its first two days. The drop is there and the collections have gone to a low level but hopefully this is the lowest day before the holiday period starts on Monday. It was the correct decision to release on pre Diwali instead of Monday but maybe one day could have been avoided and it could have released on Friday which would have avoided collections in this 30 crore nett plus range.

Generally the figure will be seen as low especially for such a huge release with such high expectations but this is how it goes pre Diwali. The drop is around 22% and its across the board with the film falling everywhere. The film is showing better results in the premium formats till date and that should mean good rebound on Saturday as these properties do best on Saturday. Also, as its Puja on Sunday, some of the Sunday audience will coming out on Saturday.

The growth looks very good at present but its a long day and generally current is running at a low pace. The realistic target for the film was 175 crore nett for the extended pre Diwali four day weekend and its not going to get there but it will easily get over 160 crore nett mark that is more than good enough. It is no surprise for a film to collect under expectations over this period and its been happening for years especially in this multiplex era. Eventually if the film has merits, then this is all a bonus as Monday will behave like the first day of the film and it can go on from there.

The regional versions have dropped more than the Hindi version but a 30% drop there is actually a good result for the film and it has around 27 crore nett in two days which is good collection with the Kannada and Telugu versions dominating. It means the total collection in all versions is around 93 crore nett in two days. If we include these it should be a four day weekend of over 200 crore nett.

The collections of RAMAYANA (Hindi) till date are as follows.

Thursday - 43,00,00,000 apprx

Friday - 33,25,00,000 apprx

HANUMAN ANSH is coming to the end of its run and will close its business at around 318 crore nett in the Hindi version. The film is continuing to run in the thirteenth week and may hit 100 days at some theatres despite the release of RAMAYANA this week. The biggest multiplexes around the country may still hold a show here and there in week fourteen.

The devotional film has seen a huge run from the fourth week onward practically smashing every record in the book from week four till week nine. It will take this type of film which is totally unknown before release to challenge these records as the expected BLOCKBUSTERS will not be breaking records post the fifth week unless its a film on par with SHOLAY and that's not likely to happen.

HANUMAN ANSH is a SUPER BLOCKBUSTER becoming the second biggest HIT of the year after DHURANDHAR THE REVENGE. It is also the second biggest biggest ever in the genre after the legendary JAI SANTOSHI MAA. The footfalls of the film will finish around 1.7 crore and and it will be very similar to DRISHYAM THE CONCLUSION which will also end in that range. The performance of the film is best in CI, Delhi/UP and East Punjab in that order.

The film also collected around 3.75 crore nett in Telugu but could not really break out. It is better than MIRZAPUR THE MOVIE which collected 1 crore nett in Telugu.

The collections of HANUMAN ANSH till date are as follows.

Week One - 90,00,000

Week Two - 47,00,000

Week Three - 10,36,00,000

Week Four - 57,45,00,000

Week Five  - 83,55,00,000

Week Six - 76,91,00,000

Week Seven - 42,02,00,000

Week Eight - 27,46,00,000

Week Nine - 10,27,00,000

Week Ten - 4,58,00,000

Week Eleven - 1,98,00,000

Week Twelve - 64,00,000

Week Thirteen - 50,00,000 (3 days)

Telugu Version - 3,75,00,000 apprx

DRISHYAM THE CONCLUSION continues to hold into its fifth week as it collects around 85 lakhs nett and this should enable the film to get in another good week before the release of RAMAYANA. The trend will be strong on Saturday as has been seen on all the holdover Saturdays. The collections of the film have reached the 363 crore nett and its probably looking it a close of 370 crore nett if it can add a little after week five.

The film is best in Mumbai circuit and is chasing the figure of TANHAJI: THE UNSUNG WARRIOR which did 143 crore nett. DRISHYAM THE CONCLUSION stands at at around 139 crore nett and it is sure to get over 140 crore nett. But those last couple of crore will be tougher to reach. It is only the second film to reach 100 crore this year in Mumbai as the other grossers like BORDER 2 and HANUMAN ANSH did not reach the 100 crore nett mark.

The film will be the highest grossing film of Ajay Devgn but footfalls remain lower than TANHAJI: THE UNSUNG WARRIOR and hence, that is probably a bigger HIT. In Overseas, there is no doubt that the film is the biggest ever for Ajay Devgn and will close with around $13 million.

The collections of DRISHYAM THE CONCLUSION till date are as follows.

Friday - 85,00,000 apprx

UDTA TEER collected 30 crore nett in its first week with a fair trend on the weekdays though Wednesday did see a drop. The film has done better in places like Mumbai and Bangalore while some places were affected by pre Diwali. The film will have a shortened second week with RAMAYANA coming on Thursday. Although its held well enough, it needed higher collections due to the limited window.

The first week collections of the film are better than PATI PATNI AUR WOH DO which did around 27 crore nett but it will still be difficult to match that film as PATI PATNI AUR WOH DO went to around 50 crore nett. For UDTA TEER, to match those numbers, it will have to do some decent business post the release of RAMAYANA. By decent, we mean in terms of shows as there will not be many.

The collections of UDTA TEER till date are as follows.

Friday - 4,00,00,000 apprx

Saturday - 7,15,00,000 apprx

Sunday - 8,00,00,000 apprx

Monday - 3,00,00,000 apprx

Tuesday - 3,00,00,000 apprx

Wednesday - 2,50,00,000 apprx

Thursday - 2,25,00,000 apprx

The other release of the week, PEHLA PYAAR DOOSRI BAAR, collected 2.35 crore nett in week one while there were other releases like TU HAI MERI KIRAN and TUM MERE HO which were even worse.

MIRZAPUR THE MOVIE is ending its run and will finish with business of 223 crore nett plus. Its a huge total for a non cast film and its the fifth highest grossing total for a non cast film after SAIYAARA, HANUMAN ANSH, THE KASHMIR FILES and URI. Barring URI, all the other films are post pandemic showing the change in business as it gets less and less star dependent.

The film has shown huge numbers in UP and Bihar with the latter being almost as high as a film like ANIMAL. DRISHYAM THE CONCLUSION will not reach the collections of MIRZAPUR THE MOVIE in Bihar despite being a 360 crore nett plus film across India. On top, the film is coming from a banner like Excel Entertainment which is known for films like DIL CHAHTA HAI and GULLY BOY which are or were industry favorites. However, much of the audience would not watch these films and if you tried, you would not be able to sit through them.

This is the change that will have to sweep through the industry if its to really get back on track. If you can get this crowd on side which MIRZAPUR THE MOVIE has got, you will see results but if you cant then its a difficult ride. The pattern is pretty much similar with the likes of SAIYAARA, TTHE KASHMIR FILES and HANUMAN ANSH as far as geographical demographics go.

The collections of MIRZAPUR THE MOVIE are as follows.

Week One - 1,44,84,00,000

Week Two -  54,60,00,000

Week Three - 16,31,00,000

Week Four - 6,87,00,000

Week Five - 52,00,000

Week Six -  20,00,000

Week Seven - 9,00,000

Week Eight - 1,00,000 (3 days)

JAILER 2 continues to do well in South India as it collects 77 crore nett in five days of its second week though now collections are coming down to lower levels after a huge run for the first 11 days. The film has a total collection so far of 386 crore nett and it will be the second Tamil film to hit the 400 crore nett mark after 2.0. Its unlikely to reach this mark by the end of the second week but will do in the third weekend. It will eventually emerge as the highest grossing Tamil film in history.

The collections in Tamil Nadu in week one were 115 crore nett and its added another 30 crore nett so far in the second week for a total of 145 crore nett. Here the film is chasing the 170 crore nett plus totals of PONNIYIN SELVAN - PART 1 and LEO. It could fall short as business is generally limited for big Tamil films post week three. This will be the only disappointment for the film if it falls short of the top two. JAILER's first part did 150 crore nett and that will be crossed comfortably.

The Hindi version stands at around 35 crore nett after thirteen days which is decent though it has dropped in the second week. The makers kept to the four week window due to the digital price and it was the correct decision as there is no break out for the film. Its mainly a Mumbai circuit film and the makers would have probably lost 15-20 crore by going for a eight week window.

Below are the collections of JAILER 2 till date.

Friday - 14,00,00,000 apprx

Saturday - 22,50,00,000 apprx

Sunday - 24,00,00,000 apprx

Monday - 9,25,00,000 apprx

Tuesday - 7,25,00,000 apprx

In an unusual instance of Instagram flagging a video for removal, filmmaker Yasmin Kidwai has alleged that Meta took down a clip featuring Shah Rukh Khan from her 30-minute documentary, Filmisthaan – The Euphoric State Of Bollywood (2017). The independent documentary filmmaker said the excerpt featured Khan speaking about the beauty of India’s diversity. She shared the clip on November 2, the actor’s 61st birthday.

Kidwai questioned the platform’s decision, saying, “Why am I getting censored? [It is imperative] to ask Instagram why they removed the clip of Shah Rukh Khan from my documentary?”

The irony is that the excerpt comes from a documentary commissioned by the Ministry of External Affairs (MEA). “The unedited version of the documentary continues to stream freely on YouTube,” she said, adding that she had shared the clip several times.

“It is one of the largest documentaries MEA ever made. This clip had 1.5 million [views]. It is still on X but Meta removed it. Internet censorship is going out of hand. I sent it for review, and it says it doesn’t meet industry standards,” Kidwai told mid-day.

‘Filmisthaan’ examines Bollywood’s cultural influence and its ability to unite audiences across geographical, linguistic, and religious boundaries.

After much deliberation, Salman Khan’s Maatrubhumi has locked December 4 as its theatrical release date. The announcement sets the stage for an interesting box-office clash, with films starring Salman Khan and Shah Rukh Khan arriving in cinemas in the same month. Salman initially planned to release Maatrubhumi on November 20, but “that left too little time for promotions”.

“It would have also cut short the box-office run of Ramayana: Rise Of A Legend. Salman wanted the film to have a month-long run window,” informs a trade source.

While one hurdle is out of the way, the new release date is expected to throw up distribution challenges. Trade analysts believe screen allocation could become tricky, particularly as Maatrubhumi will now compete with Shraddha Kapoor’s Eetha.

Interestingly, Jio distributes both films, making the screen-sharing dynamics more complicated. “It is a tightrope. Eetha has buzz, but Maatrubhumi is a Salman Khan film which will be a massy release,” says trade analyst Taran Adarsh.

Screen allocation aside, December is already packed with big-ticket releases. “It’s a problem of surplus,” Adarsh says. “World over big films release in the Christmas month. There’s a 19-day gap between Shah Rukh Khan’s King [December 24] and Maatrubhumi which is a big enough gap. Avengers: Doomsday and Dune: Part Three are both releasing [on December 18], but the target audience of the two films are different. Salman’s film will have a stronger presence in single screens and the rest depends on the movie itself. The film has a timely anti-war message which will echo with everyone given the ramifications of war the world is facing,” he explains.

Filmmaker Hansal Mehta has responded to the controversy over the shoot of Ranveer Singh-starrer Pralay at Mumbai’s Azad Maidan, saying the team had secured the required permissions. The controversy began after the Mumbai Cricket Association (MCA) raised objections to the six-hour shoot, claiming it forced the postponement of inter-school cricket matches. The association has questioned why a ground used by young cricketers was made available for a commercial film shoot.

Speaking to us Mehta says, “Our shoot at Azad Maidan was fully permitted. We have requisite permission letters from police departments, sports departments including an acknowledgement of the same from MCA. The larger problem is this. Mumbai is the home of Indian cinema. It has also become a most unfriendly city to shoot in. A single location needs clearances from multiple departments, each with its own process, its own delays and its own power to stop a shoot. Even when you have every permission, you are treated as if you are trespassing.”

He adds that so many other states welcome film crews. He says, “They understand that a shoot brings jobs, business and visibility. Here, we are met with obstruction. I say this with much sadness as a proud Mumbaikar and Maharashtrian - This is why so many of us now prefer to shoot outside Mumbai.”

However he continues saying he wants to shoot in Mumbai. “I have worked in this city for over three decades. I love it and I want to keep telling its stories here. But filmmakers will go where they are allowed to work. If Mumbai wants to remain the centre of this industry, it has to stop treating its own filmmakers as a nuisance. We followed every rule no matter how complicated or difficult it may be. We will continue to do so. We simply seek the cooperation of the authorities and a much needed lack of mistrust in doing so.”

We are at Scarlett House, Bandra West, on a Friday afternoon, sipping mocktails. Amrita Arora, who we all have known for years from the big screen and from being a VJ, looks happy and excited. It’s the festive season and, as she says, she has stepped out after a while. The actress, and now restaurateur, says she mostly prefers hanging with her husband on their terrace these days. She looks good — back in shape just in time for Diwali.

It’s been a challenging three-four years for Arora, who one day found herself in an unhealthy space —  mentally and physically.  “So for me, I think the journey was pretty tough. I used to eat healthy, and I used to gym, but then I think I just fell off the wagon around 2022. We were going through COVID and everybody was in a different mind state. After COVID, Shakeel [Ladak, her husband] went off to work, the kids started school, and that was my tipping point. Because, I almost became like an empty-nester. But there came a point when I was like I have to do it, I have to get healthy. My son said, ‘Mama, come on, let’s all do it’. Almost a year ago, he set up a challenge. He said, ‘In December, we’re all going to do a photo shoot. And let’s be the fittest versions of ourselves’. I said, come on.”

Well, she started and has been on the fitness bandwagon for a while now. Her diet is a tough one! “So I completely went on a steamed food diet. Then you up the protein, and cut the carbs. I had very misleading thoughts about intermittent fasting, but it works for me. My last meal is at 7.30 pm and then I don’t eat breakfast. I don’t do sugar, alcohol. It’s just mind over matter. And I eat the same food every day. I don’t need a fancy menu, you know.”

Arora laughs remembering a recent evening when she went out with her husband to her favourite restaurant, and “ordered Schezwan Chicken, which I used to love. I had two pieces, and I was back to steamed fish. I just love it now. And I also think that a bit of that fear factor is good.”

For Arora to be strict about her diet is especially tough, because her family is known to be a foodie family. Her and sister Malaika Arora often talk of their love of food coming from their mom Joyce, who is known for her legendary meals. “I actually took my own food for her Onam lunch,” she laughs.

For her fitness journey, Arora feels that its fortunate that now people are talking about women’s issues like perimenopause and menopause. She had been feeling the cravings, bloating, the brain fog, and she decided to go to a doctor.

“She told me I may be in peri, but I didn’t want to do HRT [hormone replacement therapy], I was like, I will just take the traditional route. And like I said, it came to a point where I think getting into the gym was what worked. My doctor had told me ‘drop the weight, and the symptoms will reduce’.”

But going to the gym came with its own challenges. Arora remembers a time she was even embarrassed to go out where people could see her. “It was literally my lifestyle that was holding me back. The late night binging, the eating, the sedentary life —  and then the more you get into that rut, it gets worse. I’m not ashamed to say it. I got into self-loathing. And then I’d see a picture of mine if I stepped out. And I’d be like, hmm, what’s happened? And then you go down that rabbit hole, and dig a deeper one.”

But she started with baby steps. She found a smaller gym where she knew everyone. “And my trainer told me, ‘the only way you’re going to do it is by being consistent. If there are days where you think you don’t want to do it, just come and sit around, look out the window, have a coffee, and talk to people’. I did that, and I would eventually end up working out.”

But it was never just about the physical healing that Arora wanted to put herself through. She also worked on her mental health. “So I’m someone who suffers anxiety, you know, and I got on medicines for anxiety. I wanted to help myself. And now, I am almost off them. I will be medicine-free soon. I used to be a pill-popper, but now, I don’t take anything.”

She also reduced going out —  “My husband and I enjoy each other’s company. We love hanging together. And it helped that he met me halfway, and joined me in my journey. At 10.30 pm, it’s lights out. And my friends helped me. They used to say, ‘You don’t need to drink and get your own food, but just come’.”

Once the mirror started showing results, Arora says she got even more motivated. To keep up her wellness journey, she sets intentions every day, and journals and meditates. “I was a very jumpy morning person, kids out of the door and all that. Now, I take my time. I manifest. I meditate. I stretch. I jump. I put on some music.”

This mental health work is also what’s helped her deal with trolls online. “I am an emotional person and of course, it bothered me. They’d say like things like, ‘Oh, this is the face of Ozempic, baby’. But, it’s been a struggle for me. And I’m very open about it. It’s been going on for years. And there were options all this time. But, I took on that challenge. Be healthy. Get your a** in the gym. Watch your food. Walk a lot. Practise good mental health stuff if you suffer from it. And things get way better.”

If she had to talk to women who are above 40 now who are struggling, what would she say? “I think start small. Baby steps. No pressure. Even if it’s at home. Whatever makes you happy. Do home workouts and walk in your building.”

Well, she has done all that, and she finds herself at a good place right now — almost ready for that family portrait. But first, there is Diwali. Like her mom, Arora loves to do a small puja at home. But home get-togethers is where her heart is. “I love hosting like my mother! Tablescapes are my thing.” Her Diwali wish for everyone is that don’t burst crackers, love your animals, and protect them from the noise. “And be healthy!”

As we step out, the paparazzi say “Amrita” to get her attention, and she poses. It’s her time now.

After ‘Lalkaara’, Aamir Khan could be heading towards an interesting reunion. Trade insiders have told us that the superstar, who is backing the adaptation of Mansoor Khan’s novel, ‘One: The Story Of The Ultimate Myth’, will team up with producers Farhan Akhtar and Ritesh Sidhwani. Aamir and Akhtar gave us the iconic ‘Dil Chahta Hai’ (2001), which marked the latter’s directorial debut. The duo then worked on two films in different capacities.

A trade insider told mid-day that conversations about their reunion have been ongoing. “There is a strong interest in taking ‘One’ forward with Aamir and Farhan coming together as producers. The idea is to begin pre-production in early 2027. With the success of the ‘Mirzapur’ franchise, Farhan and Ritesh’s Excel Entertainment wants to build its original IP slate. It’s still too early to know if this collaboration will work out.”

‘One’ revolves around Abhay, a genetic engineer who is on the run after challenging an establishment’s scientific beliefs. When he meets Sonal, it sets off a conversation around science, society, and the truths that people are conditioned to accept.

Abhay Verma believes grooming is not just about looking good or putting together the perfect appearance. It is also about the energy one radiates and how one makes people around them feel. The actor, who shot to fame with the horror-comedy Munjya (2024), says his understanding of grooming has been shaped by the Bollywood stars he grew up admiring — Shah Rukh Khan, Shahid Kapoor and Aamir Khan.

“I think my understanding of the word grooming came from watching my heroes, like Shah Rukh Khan Sir, Shahid Kapoor Sir and Aamir Khan Sir and the way they have carried themselves throughout their journeys. One can only imagine what it takes to reach where they are today,” he says.

Having had the opportunity to work with SRK in King, Abhay says “I recently got the opportunity to work with Shah Sir, and I realized that it takes a lot more to make others feel comfortable around you. For me, growing up in Panipat, I was introduced to this world through these actors, the way they behaved and portrayed themselves in films. When a person is groomed and well put together within themselves, they radiate a certain energy. That energy travels across even through television screens and mobile phones.”

Chandrachur Singh, who made a lasting impression with Gulzar’s Maachis, recently marked 30 years of the film, which released before his debut project Tere Mere Sapne. The actor, who was shooting for both films simultaneously, recalls how he landed the role in the 1996 film. “I went to meet Gulzar saab in his office because he was looking for the lead character. I had not shaved my beard, and it was an unkempt sort of look. But that was the kind of character he was looking for,” says Chandrachur.

“I was recommended for the role by common acquaintances. Gulzar saab subsequently watched my audition tapes for Tere Mere Sapne, after speaking with Jaya ji (Bachchan), and decided to cast me. I have always believed that if things are meant to happen right, they do happen and fall into place at the right time.”

The actor says working with a filmmaker of Gulzar’s stature early in his career was a valuable learning experience. Maachis, shot across Himachal Pradesh, Kota and Mumbai, went on to earn critical acclaim and commercial success.

“We never assumed that it would become such a hit. We knew it would be critically appreciated, but commercially doing so well was something none of us had imagined,” he says, adding, “The film’s success grew through word of mouth in those days.”

Recalling the challenges of filming against the backdrop of political turmoil in Punjab, he says, “At that time, though the film was centred around the political turmoil in Punjab, we could not shoot it in Punjab, nor did we shoot in Kashmir due to security issues. We shot in Manali, Kota and then in Mumbai.”

Asked about a possible sequel to Maachis, Chandrachur says, “I would rather see Maachis re-released. I always believed that the original had said everything it needed and so there was nothing much left to carry it forward.”

Chandrachur is now focussing on both OTT and movies. He says, “There are good films and there is good work. OTT platforms have opened up opportunities for talented performers.”

Genelia Deshmukh, who grew up in Mumbai and is married to actor Riteish Deshmukh, looks forward to the festive season for a reason that has now become a cherished family tradition — their annual trip to Latur, Riteish’s hometown in Maharashtra. The couple, who have two sons, Riaan and Rahyl, make the journey with their extended family, turning the celebrations into an occasion for the children to reconnect with their roots.

Talking about what Diwali looks like every year, Genelia says, “The most exciting part is all of us going to Latur. We’re going to spend one week there. Every year we take the train, so all the cousins can travel together.”

The festivities begin with rituals that are deeply rooted in tradition. “We land there and have the first bath, which we call the pehli anghol. That is the most fascinating part because all the boys sit there in their shorts sitting and the girls apply the utna. It’s made at home, so the whole night goes into preparation. Honestly, for us, Diwali is very homely affair. It’s also the time when I break my diet. We have all the faral, junk and chatpata food. I don’t enjoy sweets as much,” she says.

For Genelia, the trip is also a reminder of how different childhood experiences can shape a family. While she grew up in the city, Riteish would often tell her about the freedom and joys of his childhood in Latur. Today, she sees those same experiences unfolding for their children. “The openness of a field — something as simple as being able to run on a field, climb trees — is pure joy for them. As parents, we are so much more relaxed. You don’t need to tell them to eat more because they are hungry after running so much,” she says.

Embracing tradition also extends to what she wears during the festive season. The actress has a special fondness for the traditional Maharashtrian paithani sari, which she sees as a cherished part of her festive wardrobe. “I remember talking to my mother-in-law about it because she has such a wide variety of saris. When I asked her about them, I learnt so much. I love wearing a paithani and I think my children will learn about it by seeing me wear it. I think it will help them carry it forward to the next generation,” she says.

Genelia admits that she initially struggled to understand what Riteish meant when he spoke about having the best of both worlds. “I always said that I was a city girl. Riteish used to keep telling me, ‘I’ve had the best childhood.’ I would ask him…what do you mean? I’ve also had the best childhood! He would say, ‘I would get the mix of both — city life and village life (in Latur)’. Today, I understand what he meant because my children are getting a chance to experience that.”

Netflix Entertainment Services India’s net profit grew 6% year-on-year to Rs 90 crore in FY26, while total income rose 17% to Rs 4,477 crore, reflecting pressure on margins amid rising costs, according to filings with the Registrar of Companies (RoC).

The local operating entity of US-based Netflix saw a profit growth that moderated from FY25, when earnings rose 63% year-on-year. Turnover growth was driven by subscriber additions, as the streaming platform continued to expand its India business.

Profit growth, however, lagged income expansion as total expenditure rose 17% to Rs 4,339 crore from Rs 3,711 crore in FY25. Other expenses, the company’s largest cost head, increased 17% to Rs 4,230 crore, while personnel expenses rose 13% to Rs 99 crore.

Netflix India’s paid subscriber base is estimated at 20-25 million. Email queries to the company did not elicit a response till press time.

Meanwhile, Los Gatos Production Services India LLP, Netflix’s India-based content production entity, reported a 42% decline in net profit to Rs 105 crore in FY26. Total income fell 2% to Rs 4,177 crore, while expenditure increased 1% to Rs 4,015 crore.

The decline in profitability comes amid significant content costs associated with a growing production business. Financial performance is influenced by multiple factors, primarily the slate of titles launched in a particular year and their production costs. The entity’s financials are not indicative of Netflix’s overall performance in India since it is a buy-sell entity for Netflix’s local titles.

The two entities reported contrasting balance-sheet trends. Netflix India’s cash and cash equivalents declined 21% to Rs 630 crore, while Los Gatos’ cash balance rose 31% to Rs 1,068 crore. Los Gatos’ trade receivables fell to Rs 432 crore from Rs 696 crore, while inventory declined to Rs 2,950 crore from Rs 3,080 crore.

Both entities also disclosed potential income tax liabilities relating to FY21 to FY23, which are not reasonably ascertainable due to pending High Court CIT(A) and Bilateral Advance Pricing Agreement proceedings.

In an interview with ET in August, Netflix CEO Ted Sarandos described India as one of the company’s most strategic markets, citing its appetite for entertainment, thriving creative ecosystem, rising smartphone and connected TV penetration, and affordable internet.

“There is a big appetite for entertainment in India and a large consumer base. I think those people have generally been underserved since there aren’t enough screens for as many people who want to watch a movie. We are trying to solve it through different screens like TV and mobile. That’s why I think the market is so attractive; and the principles of entertainment are exactly the same,” he said.

Separately, Netflix’s India revenue grew 18% year-on-year on a foreign-exchange-neutral basis in the July-September quarter, while viewing hours rose 24% and paid net additions hit a quarterly record, according to its Q3 2026 shareholder letter. Netflix does not disclose India-specific financials or subscriber numbers. Its parent, Netflix Inc, is listed on Nasdaq.

The Q3 growth was driven by a content slate led by Lock Upp, Netflix’s first daily reality series, alongside scripted titles Musafir Cafe and Operation Safed Sagar. Lock Upp recorded the highest viewing hours of any Netflix title in India in its first 91 days.

Viewing hours per member rose by low-to-mid single digits. The content slate, along with Netflix’s first transaction-based loyalty bundle with Flipkart, helped the company achieve its largest-ever quarterly paid net additions in India.