A wave of nostalgia swept across social media recently when Pooja Bhatt shared the poster of her 1993 film Pehla Nasha. The post not only revived memories of the cult thriller but also transported many back to a phase when several now-established names were still finding their place in the industry.

For Deepak Tijori, the film remains especially close to his heart. While speaking to us, the actor admitted that Pooja’s gesture caught him by surprise and stirred a flood of emotions.

“I was surprised to see the post. But I can expect that out of Pooja; she has always been that kind of person. She has always been there for me, and seeing her put up that poster just brought back so many memories from that phase of my life,” he says warmly.

Back in the early ’90s, Deepak was still navigating his way through the industry. He recalls, “In 1993, I was still getting there as an actor. I had been doing supporting roles, and this was a big moment for me. What made it even more special was that Pooja, who was already a star at that time, immediately said yes to the film. Even with Raveena Tandon, there was no hesitation; she came on board with complete conviction. That kind of support meant a lot to me back then.”

The film also marked the directorial debut of Ashutosh Gowariker, making the experience even more memorable for the team. Deepak remembers the atmosphere on set as one filled with youthful energy and genuine camaraderie.

“This was Ashutosh’s first film, my first as a lead — it was a very sentimental journey for all of us. Honestly, we were having a blast more than we were shooting a film. There was so much energy, so much enthusiasm. It remains one of those rare experiences in my life that I will always cherish,” he shares.

One of the film’s most talked-about sequences featured an impressive line-up of stars, including Shah Rukh Khan, Aamir Khan, Rahul Roy and Sudesh Berry. “Even that sequence was a treat. To have all these actors come together — it added a certain charm to the film. It felt like everyone was rooting for us,” he says.

Despite the passion and promise behind the project, Pehla Nasha struggled at the box office. According to Deepak, external circumstances heavily impacted the film’s release.

“At the time of release, the film ran into complications with distribution. Around the same time, the 1993 blasts had happened, so naturally people were not going to theatres the way they normally would. The film didn’t get the kind of release it deserved, and it wasn’t a box office success. But for us, it was never just about numbers — it was a very emotional project,” he explains.

During the 2020 lockdown, actor and director Boman Irani began Spiral Bound, an initiative that trained aspiring screenwriters. Six years on, it has grown into a nurturing hub for writers. The actor, who had announced a writing competition after conducting 870 sessions, is set to felicitate the winners at a special gala in Bandra on April 30.

Irani told mid-day that the idea of the competition was to instill confidence in the writers. He explained, “Many of them are afraid to share their work. They are unsure whether the writing is good or bad. So, I told them to just write, send it ahead, and come for the gala.”

Noted writer and lyricist Javed Akhtar will felicitate the winners. Other attendees include Aamir Khan, Anil Kapoor, Karan Johar, Sooraj Barjatya, and Anupam Kher.

Irani added, “I told the students that so many people are turning up to support writers. If we don’t support writers, we can’t complain that we are not getting [good] stories.” We got to support the writers, pay them well and give them a place on that stage. They set the ball rolling, and if you don't respect and encourage that, we have no right to complain,” he said

Top 10 among the applicants will be announced at the event, while the best three will be rewarded with a trip to Moscow.

Irani shared. “The Russian Film Confederation is sponsoring them a trip to Moscow. The trip will take place in June. And it’s not just about the trip, what matters is that they can turn around and say that their writing got them there, something that everyone say has no money and gratification. But there is a prize, a victory and gratification. And that’s what I'm proud of, because what it's doing is waking up people. Finally you get messages from people, saying, ‘I'm so glad you did this. Finally I'm not afraid to put pen on paper’,” he said, adding that Spiral Bound precisely aims to make writers more confident about their skills. 

“No one is ever scolded or reprimanded in the class, even if they ask stupid questions. Ask the questions. Clarify your doubts. There's so much of learning. It's not just a community. It's not a support group. It's where serious, hardcore, high-level learning happens. I've been trained by Oscar-winning writer Alexander Dinelaris Jr, whose next is with Tom Cruise. He teaches me, I share. It’s as simple as that,” Irani said.

Apart from teaching, Irani also makes sure he helps students earn opportunities by recommending them to the right people in the industry.

“It has to be done, right? Otherwise what’s the point of all of this? We had a girl in our class in 2020. I have her a prompt to write a scene. She wrote the scene and it had four-five lines in it. But I told her to apply what we teach. Today, she is writing multiple web series. I'm not trying to be ‘Mr Nice Guy’. I have a great love for cinema and I'm looking forward to good movies. So, this is out of a very selfish reason.”

Adding Aamir Khan’s production, the tentatively titled Batwara 1947, to his filmography has been a moment of pride for Ali Fazal. But being part of an intense Partition drama takes a toll. The actor admitted that it wasn’t easy to leave the story behind after wrapping the film.

“It’s not something you can switch off from easily at the end of the day. The role stayed [with me] as it’s heavy, internal, and required sustained emotional investment,” he said.

Fortunately, he found a light-hearted offering in Lust Stories 3, giving him just the right contrast after the intense movie. To Fazal, director Shakun Batra’s segment with Radhikka Madan offered a different creative rhythm, allowing him to explore more personal shades.

Speaking about the contrast, the actor added, “You should constantly put yourself in uncomfortable spaces, and this year was [just that]. What excites me is this constant shift in energy. I’m enjoying that directors are making us see ourselves in a different light.”

I remember the single happiest day of my teenage years. I came back from school and found a pink letter on my table. It was a friendship band that was sent by Jasmeet Walia, aka Jassi. At 12, I genuinely thought of Jassi [the lead in the show Jassi Jaisi Koi Nahin (2003–2006)] as my friend. And there began my love for Mona Singh. Many years later, during an interview, I told her this story and she laughed. “That innocence of Jassi is something I hope we always carry with ourselves,” she’d told me.

In the past few years, everywhere we look, we see Singh. She is the tough cop in Sudeep Sharma’s Kohrra. She is a don in Vir Das’s wacky Happy Patel: Khatarnak Jasoos. She is the hero’s warm mother in Aryan Khan’s Ba***ds Of Bollywood (2025). She is the doctor who can save the world in Netflix’s Kaala Paani (2023). She is also Sunny Deol’s bantering wife in Border 2. And she is the menacing Babli Didi, a mafia queen in Suresh Triveni’s Subedaar. It raises the same question in everyone’s mind — how is she in so many things all at once, never looking out of place in any of these diverse set ups?

The best answer I found to this, came from a late night conversation with Saurabh Khanna, writer of Yeh Meri Family (2018), and the producer of Kaala Paani (2023). He said, quite-matter-of-factly, “She is a Bachchan! Aap koi bhi film dekh lo, Bachchan sahab ki, film kaisi bhi ho, Bachchan sahab kabhi kharab nahin hotey!”

Khanna’s Yeh Meri Family is considered to be Singh’s turning point. She played a mother to three kids in ’90s small town India. What about that show made Khanna think of Singh? “When we started casting, we knew we wanted familiar faces. This wasn’t a show about big lines, big drama. It was about everyday stories. She has this unique quality that she can shine in whatever you give her. Very rarely do we get actors who take punt on fresh ideas, who don’t ask ‘mere opposite kaun hai?’”

Singh broke out with her iconic role Jassi Jaisi Koi Nahin in 2003. The role itself was a risk. Television boom had seen an influx of interesting new actors but for any avid TV viewer of that era, Jassi was a revelation. An unofficial adaptation of Ugly Betty, Jassi too was the story of how a spirited young hard working woman is constantly admonished because she does not meet the traditional standards of beauty.  At its peak, the show touched a TRP of 9.2 making it among the most-watched television programs in the country. In Jassi, young women saw their own story of being reduced to just their looks.

But success, especially of that magnitude, comes with its own design to pigeonhole someone. For Singh, the shadow of Jassi wouldn’t leave so easy. For years after the show ended, the industry struggled to see her beyond the braces.

“There was a time when people only saw me as Jassi,” she has said. Breaking that image took a lot of courage from her end, which also meant fresh punts. Between 2006 (after Jassi ended) and 2009, Singh was on both Jhalak Dikkhla Jaa and 3 Idiots (2009) — her first film with Aamir Khan, trying her hand at evolving in whatever way she could. She hosted reality shows, did her work in TV but she was made for greater things and it was the advent of OTT that put the spotlight back on her craft.

But it was Khanna’s Ye Meri Family and Ekta Kapoor’s Kehne Ko Humsafar Hai (2018–2020), that was the first of her big OTT outings. In the latter, Singh plays an independent artiste in a relationship with a married man. Written by Neena Gupta, the show portrays Singh with grace.

In 2018, Singh had told mid-day, “It is a tricky part. Ekta Kapoor (the show’s producer) was very sure from the beginning that she will not project her as a vamp. She is a modern woman who happens to fall in love with a married man.” It ties in with what Khanna had told us about Singh’s choices, “Expect the unexpected from her. That’s what she is seeking.”

It’s this very tryst that took her to play Aamir Khan’s mother in Laal Singh Chaddha (2022). As Singh had once corrected me, she is Laal’s mother, defending her decision of agreeing to play a mom to a man well her senior. During his drive from Goa to Mumbai, Adavait Chandan, director of Laal Singh Chaddha, called us to chat about what makes Singh such a phenomenal actor.

“There is a scene where she is crying when Aamir’s character is graduating. Even when I was directing that scene, I had tears in my eyes. It is my favourite scene of hers. She did become Laal’s mother. I find that loyalty she has her for work and craft, her most defining quality. She is a really great person and that energy feeds every character she plays. When our film didn’t work, she held me and we cried together. She taught me so much about how resilient an actor can be.”

But co-stars remember something entirely different about Singh. It’s her big laugh, that stays with those she meets on set, and her ability to remain calm under pressure.

Co-star Aditya Rawal, who worked with her on Subedaar, tells us, “This one day we had a big shoot sequence for Subedaar. We were shooting in Chembur and had ordered for chole bhature from somewhere. And then we had this really intense scene. No matter what Mona is shooting, she has this ability to stay calm. She can switch on and off between scenes. She is seamless in front of the camera. And as someone who was working with her, that I felt is the reason why she has endured across mediums, formats,” Rawal tells us.

Aditya Sarpotdar who directed her in the hit film Munjya (2024), told us, “She has always been a very secure actor. She would always encourage the new younger talent and was very approachable for all the young actors around her.”

But no one can read you better than the one who gave you your break. Rajan Shahi, who directed Jassi Jaisi Koi Nahin, says the secret to her evolution is quite simple. It’s the one virtue she has had all along in her life, “When I think of Mona, the thing that stands out is she is a selfless soul. She is a true artiste. I remember something from her pre-Jassi success days.  She was a nervous student, sitting with script, learning lines, scared before exams. Till date, she is still that nervous student wanting to do well. After the show broke out, Mona was the biggest TV star back then. I remember one day SRK was crossing our set, he and his children waved at her and she waved back. We then got a call from Yash Chopra saying Shah Rukh and his kids want to meet Mona. So many people change after success. They slow down creatively, fame corrupts them. But Mona has stayed grounded. She is humble and kind. When I watched Kohrra season two, I was so surprised that the same young girl is this fine actor today. You know why Mona jaisi koi nahin, because Mona remains unfazed by fame!”

If anyone can slip into the skin of Aamir Khan, Shah Rukh Khan, Salman Khan, or even Gulzar saab with uncanny ease, it is Sunil Grover. His razor-sharp impersonations routinely set the internet buzzing, and his take on Aamir Khan drew praise from the actor himself. In this conversation, Sunil reflects on craft, pressure, admiration and the slow burn of stardom.

Asked about his ability to capture voices and mannerisms, Sunil admits he does not fully understand how it happens. He says, “It just happens. Hum toh karte rehte hain aur kayi baar cheezein click kar jaati hain. It’s instinctive. I see it as a gift, and I try to preserve and nurture it. Even I surprise myself sometimes and think, ‘Did I really do that?’ Sometimes it doesn’t land, but that’s part of the journey. Jab nahi hota, tab samajh lena chahiye ki abhi taiyaari chal rahi hai.”

Despite bringing so many characters to life, he acknowledges that the nervousness never disappears. He says, “It’s not just butterflies in the stomach; sometimes it feels like huge birds are flying inside! Pressure should only be to the extent that it helps you give your best. If you take too much pressure, you won’t perform well. Our job is to enjoy what we do. The only real pressure is when there is no work.”

Sunil remembers hesitating before performing one of his most talked-about acts. He says, “There was an impersonation of Gulzar saab. I kept wondering at night whether I should attempt it and how it would be received. He is such a respected and celebrated poet and writer. Presenting him in a comic light had to be done carefully, especially since we were blending humour with reverence.”

His recent impersonation of Aamir became a talking point when the actor himself called it fantastic and said he laughed the loudest while watching it. Sunil describes that appreciation as deeply affirming. He shares, “When appreciation comes from someone like Aamir Khan, whom I admire, it feels deeply rewarding. I respect his passion for his craft and the love he has for his work.”

For Sunil, however, it is never about fame. He says, “Stardom bohot achhi cheez hai aur popularity mil jaati hai, par main unki skills ka fan hoon. Mujhe artiste ki art intimidate karti hai, their approach to art, their talent and what they do with it. That amazes me more than a person’s popularity. Stardom doesn’t make any difference to me.”

His journey began early. Sunil recalls, “I was in class six when I first impersonated veteran actor Rajendra Nath. He remains my favourite. Watching him brought me immense joy. Of course, I was copying teachers and relatives. That’s how it all began.”

Did that lay the foundation for his comedy? He reflects, “Kayi baar aap woh karne lagte ho jisme log aapko pasand karte hain. I didn’t know people would enjoy my impersonations. There was a phase of Gutthi and Mashoor Gulati. Abhi impersonation ka phase chal raha hai, toh dekhte hain kab tak uska maza le sakte hain. Kabhi kabhi darr bhi hota hai ki audience ko achha lagega ki nahi.”

In an era where celebrities are protective of their personality rights, Sunil takes a light-hearted view. “Jis kaam ko main kar raha hoon, main chahta hoon koi rokk na lagaye,” he jokes, adding, “A colleague once suggested that I secure my personality rights. I told him, ‘Main khud doosron ki copy kar raha hoon, tu mujhe kya bol raha hai personality rights ka. Main kisi ko kaise rokunga?’”

For him, impersonation is rooted in admiration. “Unless I genuinely like someone, I cannot impersonate them. There has to be something distinct about them that fascinates me. I must enjoy the process of becoming them. I don’t see it as mere mimicry. It’s a celebration of people,” he emphasizes.

The internet often calls him ‘exceptional’, compares him to a chameleon and describes him as someone who redefined the word behroopiya. Ask him about his stardom and he laughs, “Yeh itna dheere dheere hua hai ki mujhe pata hi nahi chala. When it comes to popularity and its ups and downs, I relate to Sahir Ludhianvi’s line, ‘Main pal do pal ka shaayar hoon’. It sums it up. Although it reflects reality, woh reality sunn kar aap kaam nahi kar sakte.”

He adds, “I feel fortunate and grateful for all this love. Sometimes I wonder whether I deserve it. The joy lies in seeing something you once enjoyed privately beginning to resonate with others. When people connect with it, that makes me truly happy. I’m simply grateful and hope to continue doing what I love.”

At a time when actors such as Kajol, Abhishek Bachchan, Aishwarya Rai Bachchan and Salman Khan, among others, are increasingly moving court to safeguard their personality rights, Sunil Grover has a clear take. The actor-comedian, who is known for mimicking several celebrities, believes mimicry, when done right, is a celebration, not a violation.

The 48-year-old shares, “When I impersonate them, it’s a tribute and is not meant to make fun in any way. I understand the problem when someone misuses it to endorse a brand or a thought which the artiste doesn’t want. But these personalities have become so big ke ab wo public ke bhi ho gaye hain and we celebrate them.”

The comedian reveals that his latest act, a mimicry of Aamir Khan on The Great Indian Kapil Show, had received praise from the actor himself, who called it “priceless” and “authentic.” Sunil recalls the experience fondly: “It felt good. People even referred to me as ‘Aamir sir.’ I am a big fan of Aamir and his work, and it’s his greatness that he also took it all in zest.”

While he advocates for such acts to continue as a form of celebration, Sunil draws a clear line at offensive humour. He says, “I don’t support below-the-belt and offensive jokes. I don’t like to talk about their personal lives too. Jo garima mein hai, wo theek hai; hum koshish karte hain ki uske paar na jaye.”

On a lighter note, he shares, “One of my friends told me that I should get an order for my personality rights and I told him, ‘Sharam nahin aati hai. Main duniya bhar ke logon ki nakal kar raha hun aur tu mujhe bol raha hai.’”

From choosing mental health work over films to embracing a quieter lifestyle, superstar Aamir Khan and Reena Dutta’s daughter Ira Khan in an interview talks about battling depression, how her parents are her support system and why she does not party with star kids.

Ira, who has faced body shaming and mental health struggles in the past, is clear about one thing — films are not her calling. While her brother (Junaid Khan) is already part of the film industry, Ira has chosen a different path and says her work with a NGO defines her career.

“I’ve been working full-time at a NGO for the past five years, with one break in the middle for my mental health. It is my career. I don’t want to pursue films,” she says.

Her decision stems from lived experience rather than rebellion. “After my experience with depression, there seems to be no point in doing anything else with my life. And I get to explore my creative side through the NGO as well.”

Ira credits her father Aamir Khan for shaping her values and work ethic. “I think there are some very helpful things that I have learnt from my dad that I am very grateful for. His work ethic is one of them. He’s always learning new things. The other thing that he’s taught me is to stay true to what I believe in.”

She adds, “I truly believe that if I were ever in trouble, I can always reach out to my parents — no hesitation and no shame.”

Unlike most celebrity kids, Ira doesn’t enjoy clubbing or loud social scenes. “I like to socialize. I don’t necessarily go out to clubs and party. It’s too loud, and there are too many people,” she explains. Her recovery from depression has changed her lifestyle and priorities. “Since my recovery journey through my depression, I’ve realized sleep is very important to me. So I don’t do late nights, but I socialize in my own way — karaoke at home, craft hang-outs, just hanging out at home.”

Ira says marriage with fitness coach Nupur Shikhare hasn’t dramatically altered her life. “Life after marriage has been pretty much the same as life before marriage. Which I think is a good thing,” she says, adding that the decision was well thought out.

“I mean, I made a thought-through decision, and we both knew what we were getting into and are very happy about our decision. Even Popeye’s (Nupur Shikhare) bad jokes.”

She also shares that living with her husband and mother-in-law has been smooth. “Life with my husband and mother-in-law has been good. As I said, we’d been living together for a while.”

Having spoken openly about her body image issues and personal complexes, Ira says fitness has now become part of her self-care. Participating in the Mumbai Marathon helped her restart that journey.

She says, “The Mumbai Marathon was definitely a great way for me to kickstart my fitness journey again. There was definitely a big selfish plus side of ‘Hey! This will mean I will have to get fit!’”

Ever since prominent producers including Karan Johar (Dharma Productions), Sajid Nadiadwala (Nadiadwala Grandson Entertainment), Ektaa Kapoor (Balaji Telefilms), Farhan Akhtar and Ritesh Sidhwani (Excel Entertainment), Zoya Akhtar (Tiger Baby Films) among others were seen leaving actor-producer Aamir Khan’s residence in Mumbai on Thursday, the film industry was abuzz with speculation about what might have been the reason behind the same.

While parties involved have remained tight-lipped about the meeting’s agenda, a well-placed source tells HT City that it was to resolve the ongoing issue between an actor and Excel Entertainment.

“Aamir is trying to resolve the rift between Ranveer Singh and Excel Entertainment. The meeting at his place was to address the same,” the source informs.

Excel Entertainment has sought Rs. 40 crore from actor Ranveer Singh after his exit from Don 3 for alleged financial losses.

Sanjay Leela Bhansali builds his on-screen world perfectly and patiently. Love & War is no exception. Word in the industry is that the Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal-starrer, which went on floors in November 2024, still has 70 days of filming left.

The love triangle is currently being shot at Film City in Goregaon, Mumbai. A source close to the production told mid-day, “We have over two months of shoot remaining, with six songs yet to be filmed. Nearly 35 days have been blocked only for the songs. As with any Bhansali film, these aren’t quick tracks; they have been envisioned as elaborate sequences mounted on a grand canvas. These period-specific songs will need a lot of prep before being filmed.”

Naturally, the delay in completion has impacted its release plans. Love & War was earlier targeting an Independence Day release. However, Aamir Khan recently announced that his production, Lahore 1947, will arrive in cinemas on August 13.

“Independence Day was an attractive window, but Love & War’s team would have to race against time to meet that deadline. Plus, with Lahore 1947 booking the date, it didn’t make sense to crowd the space. Bhansali would prefer a clear run for his love story,” added the source.

The movie’s new release date is yet to be finalized.

For a while, there has been buzz around Aamir Khan and Rajkumar Hirani teaming up for a biopic on Dadasaheb Phalke. As per reports, the film was supposed to go on the floor this March. However, now it seems that the plans have been pushed ahead.

When asked about the film, Aamir said, “I have immense respect for Dadasaheb Phalke. I do know some of his life because of the research that Raju has done, and he has told me about it. I’m not sure if the script has been fully cracked yet, as he’s still working on it. Ultimately, it all depends on how the final script shapes up, so I’m waiting for Raju to take that call. He’s a great person to work with.”

If the film materializes, it will mark Aamir’s third collaboration with Hirani after 3 Idiots (2009) and PK (2014).

Aamir said this in a chat with us at golfer Amit Luthra’s 18th Invitational Fundraiser Tournament 2026, held in Chembur. Praising the initiative, the actor highlighted the importance of making golf accessible to underprivileged children. “What the Golf Foundation is doing is wonderful. Golf is often called an elitist sport because it’s very expensive... you need courses, infrastructure, equipment, gloves and so much more. Children from economically weaker backgrounds usually don’t get a chance to play."

Insiders once associated with Harvey Weinstein have famously described Oscar campaigning as a “blood sport.” For Indian films, which largely compete in the International Feature Film category, entering this arena is a daunting challenge. The goal might be simple but what’s difficult to achieve is ensuring Academy members actually watch the film. As voters are not required to see every submission, visibility is everything, but it comes at a high price.

Karan Johar, who has backed the Oscar-shortlisted Homebound, recently highlighted the staggering financial and logistical hurdles involved, describing the campaign process as a “bottomless pit.” So what does it take to ace the Oscar campaign?

It’s the season of the Oscars – or rather, the season of the Oscar campaign trail. PR firms are hired. Strategists are deployed. Social media campaigns are organized. Several people work their phones to drum up support.

And it costs a lot. By some estimates, an Oscar campaign may cost even more than making the film.

Dheer Momaya, producer of Chhello Show, which was India’s official entry for Oscars and won shortlist nomination, says, “Running an Oscar campaign is one of the most challenging and misunderstood parts of filmmaking. People often call it lobbying, but it’s really about positioning a film in the minds of Academy members and, most importantly, getting them to actually watch it and vote for it.”

He explains, “That requires a sophisticated strategy and usually multiple publicist separately for North America, UK and Europe, each organising high-profile screenings at premium venues. In Los Angeles alone a single screening at places like the Ross House can cost $50–60,000, the Four Seasons around $30–40,000, and then there are events at Soho House in London or MoMA in New York. Beyond screenings, there is an enormous advertising push. Full-page ads in the LA Times, The New York Times, Variety and The Hollywood Reporter, and often billboards on Sunset Boulevard targeted directly at voters.”

The campaign run can be one expensive marathon for the film. “It’s not unusual for the campaign to cost more than the film itself,” shares Dheer, adding, “Neon reportedly spent around $20 million on Anora when the film cost about $5–6 million, and Apple invested a similar amount for CODA. Distributors do this because an Oscar win unlocks long-term value for the IP and global visibility. Each branch of the Academy, directors, writers, editors has to be engaged separately, especially when competing in multiple categories. I saw this firsthand with Last Film Show; we were up against Netflix titles like Bardo and All Quiet On The Western Front, with campaigns well over $10 million, flying teams across continents for Q&As from Tokyo to Los Angeles. It’s exhilarating, but it’s also an expensive marathon few people truly see from the outside.”

So many expensive campaigns (including Paheli, Gully Boy, Peepli Live/Taare Zameen Par, all from huge banners) did not make it, even though they spent money. Producers say that however, it’s not just about the money, the film has to actually resonate with the academy voter base.

Screenings are crucial for the buzz they create, far beyond just getting eyes on the screen, said Kiran Rao in an interview last year. “Everyone’s films are now online. You don’t have to rely on screenings. What you rely on is the buzz. The multitude of online viewing options means it’s still easy for some films to be overlooked. The sound surrounding it has to be pretty loud. Back then, screenings were the only option, and you relied on word-of-mouth to get people to come. You do screenings regardless of the fact that your film is available online,” she explains.

Guneet Monga explained to us in 2023 when The Elephant Whisperers won the Oscar for Best Documentary Short Film, “I’ve been trying to articulate and explain for so many years that you have to get into that country’s distribution. It’s important to select films with US distribution because hum log jo wahan ja kar campaign karte hain, at that time, we have like 40 or 30 days for the campaign. In 30 days, you can’t learn the market and ace it, right? Woh campaign khatam ho jata hai, and by the end, every filmmaker is like achha, ab humein samajh aaya karna kya hai. It’s basically American awards, so you have to work with American distributors. It’s the core of it. Lagaan got nominated (for the Best Foreign Language Film at the 74th Academy Awards) because Sony Pictures Classics did the campaign with Aamir. And The Lunchbox would have been nominated agar India select karta, the film would have gone far. And if we do good campaigns, hum paanch saal mein nominate bhi ho jayenge, jeet bhi jayenge. But as of now, we don’t do good campaigns. With Period: End of Sentence and The Elephant Whisperers, we had an American distributor.”

Ensuring that your film doesn’t get overlooked is key, said Aamir in an interview last year. “There are separate committees for the foreign language category and for the documentary category. The (Academy’s) entire membership doesn’t get involved. Roughly 600 to 800 people sign up to watch these films and then vote. Your main work is to get the members of the Foreign Language committee to watch your film. Given that voters are only required to watch 80% of the submissions, ensuring your film doesn’t get overlooked is a critical part of the process,” he explained.

- Awards campaigns often rely heavily on statistics and timing narratives rather than just performances or films. Negative narratives are also a part of the strategies

- As The New York Times notes, narratives don’t always work, but the right one can overpower a bad film.

- Strong personal or comeback narratives can outweigh weak or poorly reviewed films, as seen with Brendan Fraser’s nomination for The Whale.

Oscar campaigns are often run by professional strategists. In Hollywood, sometimes their work starts a year before the award ceremony. These strategists advise where a film should premiere, what should be the campaign platform.

According to an NYT report, "Sometimes several strategists work on a single film, and the war room of an Oscars campaign can grow to be as many as 10 or 20 people.”

For years, the Khans have been a familiar sight at the Tata Mumbai Marathon, but always on the sidelines. Aamir Khan, with family and friends, would turn up before sunrise with posters, drinks, and loud encouragement for runners he knew and many he didn’t.

This year promises to change that. That’s thanks to Ira Khan, who didn’t just sign up as a fundraiser but also assembled one of the city’s most unexpected running crews: Her mother Reena Dutta, father Aamir, father’s ex-wife Kiran Rao, and Ira’s husband, Nupur Shikhare. They may be running in different categories, but there’s one undeniable thread tying them together, and that’s Ira’s refusal to let anyone off the hook.

The way she tells it, this wasn’t the result of any dramatic speech or emotional pitch. It began, instead, with what she calls being “bullied into it” by her husband, a long-time TMM participant.

“He kept telling me: ‘You have to walk the walk. You can’t keep standing on the sidelines,’” she said at the press conference. Ira, who loves football but admits to “dreading running long distances”, responded as most reluctant runners would, by flatly refusing.

“I told him, ‘I cannot do this run.’ He said, ‘Of course you can. You can do the Dream Run. Look at the categories and pick one.’”

Around the same time, the Agatsu Foundation, her two-and-a-half-year-old mental health community centre, signed up for TMM’s philanthropy programme. So did the Paani Foundation, run by her parents and Kiran Rao. Suddenly, the idea of showing up “only on Instagram” felt insufficient. “It felt like the right thing to do,” Ira said. “But also a very scary thing to do.”

One late-night Google search led her to the ‘Home Run Squad’ initiative, a category celebrating families that run together. “I thought, this is perfect,” she said. “Now I just had to convince my family.”

There was, by her admission, “a lot of cribbing” and a fair amount of confusion. The family group was flooded with questions like: “What happens if I don’t finish?” and the more existential, “What happens when I do finish?” Ira sidestepped all of it, sensing she was close to converting the sceptics. But once everyone tentatively agreed, she realised the danger wasn’t opposition, it was someone backtracking. That’s when she deployed what she now calls her “masterstroke”: Going public.

Before anyone could reconsider, Ira announced on social media that the entire family had officially joined the Home Run Squad. “I publicly announced it so no one could back out,” she said, half amused, half proud.

To cement the commitment, she created a WhatsApp group and added everyone. “It’s been very interesting to see all of us try to wake up at 7 am,” she laughed. “We’re all suffering together.”

Beyond humour and bonding, the marathon is serious business for Ira. Agatsu, which she set up after her own struggle with clinical depression, now sees nearly 1,200 people a month. The centre offers low-cost therapy, peer-support groups, movement classes, senior citizen hours, and, most importantly, a safe space where people can simply be.

“Mental health is hard to fundraise for because it’s not tangible. You can’t say you built 10 classrooms or vaccinated 200 children,” she said. “People don’t oppose donating; they often just don’t respond.”

As a first-time fundraiser, she’s now witnessed how much persistence and patience it takes. “A lot of people think I don’t need money because I come from a certain family, but Agatsu doesn’t run on assumptions.”

With Happy Patel Khatarnak Jasoos, actor-director Vir Das has done everything that goes against mainstream Bollywood culture. At a time when Hindi cinema is dominated by heightened spy actioners led by angry alpha men, Das arrives with a spy comedy — one where the protagonist is the punchline.

It’s not just the film’s screenplay that is counter-culture; its making also goes against the grain of the Hindi film industry, Das tells mid-day. Producers have lately raised concerns over soaring entourage costs. So, the rules on the Happy Patel set — no mobile phones, no entourage, and one common hair and make-up crew for all — come as a surprise. For Das, the maths was simple. To finish the film on a tight budget and within a short schedule, he needed to do the opposite of what the industry considers normal.

“It is a tiny film, shot in 31 days. So, it was crucial to do this. We had six action sequences and 14 original pieces of music. We also had cameos from Aamir [Khan] and Imran [Khan]. We had to keep our costs down,” Das explains, adding that he is thrilled to have set a new culture on a movie set. “The no-cell phone policy benefited us. We sped up shooting by one and a half times.”

Vir Das believes the expert crew helped complete the film in 31 days. Colourist Sidharth Meer also worked on ‘Homebound’ (2025). Costume designer Parakriti Rajpurohit designed outfits for ‘Sacred Games’ (2018,19). Parth Pandya has previously composed music for ‘Jigra’ (2024). Himman Dhamija, of ‘Mangal Pandey: The Rising’ (2005) fame, served as the DoP on ‘Happy Patel’.

‘What the hell have you made?’ That is a question Vir Das admittedly heard frequently at a recent screening of Happy Patel Khatarnak Jasoos. “That is good feedback. Everybody seemed to be laughing,” said the actor and International Emmy-winning comedian, who has turned director with the spy comedy.

The idea of Happy Patel lurked in Das’s mind for almost 15 years. It needed the right time and the right producer. The actor got lucky on the second count. “After writing the script, I called Aamir [Khan] sir and said, ‘I’ve got this mad movie. You might be the only person who will produce it.’ He called me in. Keep in mind, I hadn’t spoken to him since Delhi Belly [2011].”

The superstar liked the script, but he needed Das and co-director Kavi Shastri to follow a process. First came a series of narrations. “There are five-six narrations with Aamir sir, during which he asks questions like ‘What is the story? What are the characters? What do they want?’ Once you’ve done that, he gives you a bit of money and makes you shoot five scenes of the movie. When we showed those scenes — graded, colour corrected, edited — to him, he greenlit the film,” recalled Das. 

Khan’s involvement as a producer didn’t end there. He held around 30 test screenings. “After the second cut, he held screenings for people of different age groups and demographics. He told them, ‘Tell us what’s wrong with the movie. No praise allowed.’ [Based on that], we did our third and fourth cut.” 

Even though the process was extensive, it was rewarding for Das. The actor and director shared, “The win is learning how to make a film from Aamir Khan. I wish every bhatkoing artiste finds the creative lighthouse that is Aamir.”

The idea of ‘Happy Patel’ struck Das, a fan of spy comedies like ‘Johnny English’, in 2009. But he had to wait as the Indian audience hadn’t woken up to spy films then.

“Culture has to be mainstream for comedy to counter it. So, I had to wait for ‘Tiger’, ‘Pathaan’ [2023], and ‘Dhurandhar’ [2025] to happen. Amogh Ranadive [co-writer] and I wrote the script in the month ‘Pathaan’ released,” said Das.

In September 2025, mid-day had reported that Aamir Khan and filmmaker Rajkumar Hirani’s Dadasaheb Phalke biopic was readying to go on floors in January 2026 (Aamir cried over some moments in Phalke’s life, Sept 27). Now, there is a change in plans. The actor and filmmaker duo is planning to roll the much-anticipated project in late March.

What caused the delay? Insiders say that a fresh draft of the script is being developed, one that matches both Hirani and Khan’s vision while doing justice to Phalke’s journey that saw him become the Father of Indian cinema.

A source told mid-day, “Hirani and Aamir agree that the film must feel emotionally contemporary while staying rooted in history. The rewrite is to fine-tune the balance of humour and sincerity. They want to ensure that the character arc captures Phalke’s stature. The draft will likely be finalised by February, and production will begin in late March.”

While rumours were rife last month that the actor may begin work on the sequel to 3 Idiots (2009), he denied being approached for it. The biopic will be the superstar’s next.

As a screenwriter, you rarely get to put a face to your words. Sometimes, years pass before the audience even knows who wrote their favourite story. So, when Divy Nidhi Sharma got the chance to perform his own story at the ongoing seventh edition of the Udaipur Tales International Storytelling Festival, he grabbed it with both hands.

“When you’re a screenwriter, there are many people involved between you and the audience before the story reaches them. But when you recite a story, there are no mediators,” says the writer, who has penned a new story, Jewan, for the festival.

As Sharma kicks off the year with fresh writing, he reflects on how his last outing — the Aamir Khan-starrer comedy Sitaare Zameen Par — has made Bollywood’s top studios take him “more seriously” now. 

“A film like Sitaare Zameen Par opens a lot of doors. Now when you go to pitch to a studio or a producer, you know your word is taken more seriously. It wasn’t just a commercial hit, it was well-received by the common people because of the intent with which the film was written,” he shares.

“We made a film that was well received. The film made decent money. It got families back into theatres. That was our objective. Beyond that, there is no end to wishes and wants.”

We may be days away from 2026, but Aamir Khan and Rajkumar Hirani are going back in time to 2009. Recently, we reported that the actor-director duo is teaming up with original cast members Kareena Kapoor Khan, R Madhavan, and Sharman Joshi for a sequel to their classic 3 Idiots (The idiots are calling, Dec 4). And it looks like things are progressing swiftly. We’ve exclusively learnt that Hirani is planning to take the comedy by mid-2026.

An insider shared, “Work on the script is going on in full swing. The premise for the sequel has been cracked, and it’s a matter of a few months before the screenplay is developed. The sequel to 3 Idiots will go on floors around June-July.”

So, where does that leave Khan and Hirani’s biopic on Dadasaheb Phalke, regarded as the father of Indian cinema? While rumours earlier suggested that the film would roll in January 2026, the ambitious plan has now been kept for another day.

A source revealed, “The script needed more work, and both Raju and Aamir were clear that unless the script captured Dadasaheb’s life in all its glory, they wouldn’t take it on floors. They aren’t in a rush.” 

mid-day reached out to Hirani’s team, who didn’t respond till press time.

Rajkumar Hirani’s directorial 3 Idiots turns 16 this Christmas, and the film is once again in news amid reports of a sequel featuring the original cast: Aamir Khan, R Madhavan, Sharman Joshi and Kareena Kapoor Khan.

Ask Sharman whether he has any inkling about the project, and the 46-year-old says, “On more than a couple of occasions earlier, there has been buzz that the 3 Idiots sequel is happening. I hope that this time around, it’s true, but I have not been informed yet.”

But does he think there is scope for continuation of the story of the three friends from the film? “I am in no position to know. Only the master, Raju (Rajkumar) sir, Abhijat (Joshi, writer) sir and Aamir would be working on it if there is potential,” he says.

A smile comes to Sharman’s face as he talks about 3 Idiots. The actor reveals that it was his 2001 breakthrough film Style that ultimately led him to Rajkumar’s film. “Raju sir had seen me in Style and thought that someday he’d cast me in some movie.”

One of the most talked-about scenes from 3 Idiots is the one where Sharman’s character attempts suicide.

Elaborating on the effect the scene had on the audience, Sharman shares, “People would call my parents asking if I was doing alright. Not just parents, but many kids, including my daughter, were moved by that scene as well. She was just four when we were at the premiere and she started crying while watching that scene. She didn’t stop until I held her in my lap.”