Veteran television producer and director B P Singh, best known for creating popular shows CID and Aahat, passed away on October 27 at the age of 77 following a massive heart attack.

“He was an important person in our lives. He is the creator of CID. He always took the team along whenever he moved ahead. We are about team of 200 members who worked with him for over 21 years. He was like the big umbrella. He made actors feel safe. We only had to focus on acting because he was the director, writer, and cameraman. He always portrayed us in the [best of light]. He was family. We’ve spent our prime years with him, and we are known because of him and CID. We were lucky that B P Singh happened in our life,” shares Aditya Srivastava who played Abhijeet in CID.

1995: Aahat (Creator, director, producer and cinematographer)

1998: CID (actor, producer, director, cinematographer)

2012: Adaalat (actor)

2012: Agent Vinod (actor)

2019: Abhay (producer)

2019: Divya Drishti (producer)

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Brijendra Pal Singh, referred to as B P Singh by the television industry, has died at the age of 75. He was known best for creating and directing one of the longest running TV shows in Indian history, CID.

He breathed his last on Tuesday morning. Speaking to HT City, Dayanand Shetty, who played the popular character of Daya in the crime investigation show, says, “B P Singh ji had no other life, other than making content. He was dedicated to his work, was very passionate about it. He was also one of the best cameramen we had. He had not been well for quite some time, and today morning he just did not wake up. It was age-related, he was not well.”

A recent video had also sparked concern some days ago, in which Singh appeared fragile, surrounded by some people from the cast of CID.

A student of FTII, Singh was also the creator of one of the best known horror shows in India, Aahat. CID came into existence in 1998, and ran for 20 years.

Playing a petty pickpocket with irresistible aplomb in C.I.D. (1955), the iconic Johnny Walker took audiences through a city of striking contrasts singing “Ae dil hai mushkil jeena yahan… Yeh hai Bombay meri jaan.” On the one hand, Bombay boasted stately Art Deco buildings, palm-tree-lined sea fronts, broad avenues, rumbling trams, horse-drawn Victorias, Plymouths, textile mills, and a unique work culture. On the other, it could be a cold, unforgiving landscape. Having experienced its harsh underbelly while struggling for a living, the comedian sang the track with such infectious chutzpah that it became the defining anthem of the metropolis.

Born as Badruddin Kazi on 11 November 1926 in Indore, the late actor would have celebrated his centenary this year. Delightfully, despite being a lifelong teetotaller who never touched a drop of alcohol, Kazi was rechristened after the famous Scotch whisky brand by filmmaker Guru Dutt, who was thoroughly mesmerised by Kazi’s uncanny impression of a stumbling drunkard.

Long before Baazi (1951) changed his fortunes, the comedian endured a crushing early life. After his father lost his job at an Indore cotton mill, his large family relocated first to Deolali and then to Bombay. Starting out selling ice candy in Deolali at the tender age of fourteen, Kazi later sold fruits and vegetables on the streets of Bombay to support his household. Eventually, he secured a job as a conductor on the BEST bus routes, earning a modest monthly wage of Rs 26.26.

The job had one silver lining: free transit across the length and breadth of Bombay, which allowed him to drop by movie studios. The cheeky conductor transformed the aisle of the bus into his personal stage. He would shout out stops in bizarre, exaggerated voices—bellowing “Mahim-wala passenger, get ready, ladies first!”—and pull off uncanny mimicry to keep weary commuters laughing.

When his family relocated to Hyderabad in 1947, the uncomplaining youngster stayed behind to chase his cinematic dreams, entering the industry as a junior artiste—a polite euphemism for an extra in the crowd. “If I was lucky, I got a few lines of dialogue, for which I would be paid Rs 10,” he recalled during an interview at his spacious bungalow in the 1990s, long after retiring from the screen.

While working as a crowd extra for Rs. 5 a day, Kazi often entertained stars on set during breaks with his impressions. While shooting Hulchul, actor-scriptwriter Balraj Sahni watched him perform and saw a genuine talent being treated like a jester. Sahni pulled him aside, told him to respect his craft, and arranged an audition with Guru Dutt, who was then drafting Baazi. The audition led to the birth of a screen legend. Kazi had staggered into Dutt’s office, pretending to be sloshed, picking a quarrel and causing such a scene that Dutt nearly had security toss him onto the street—until Sahni revealed it was all an act. Impressed by the the performance, Dutt cast him on the spot and gave him the catchy moniker after the release of Baazi.

The film marked the start of a legendary partnership. The two men were polar opposites—Dutt the erudite intellectual, and Kazi the unpretentious, cheery realist who had studied only until the sixth standard—yet they forged a deep personal bond. They played badminton after wrap-ups, ate phuchkas (pani puris) at street stalls, and went on hunting trips to Madhya Pradesh.

Dutt valued his friend so highly that he conceived specific roles for him, gave him top billing directly under the leads, and even asked lyricists to write entertaining, profound songs especially for him. Following Aar Paar (1954), Dutt gifted his favourite screen prankster a brand-new convertible Ford. Until then, Kazi had happily ridden public transport, thrilled whenever commuters recognized him.

It was on the sets of Aar Paar that the actor fell for his co-star, Noorjahan (Noor), sister of actress Shakila. Though her character on screen rebuffed him coquettishly with Na na na tauba, real-life romance blossomed between the stanzas.

In stark contrast to the rogue he played on screen, Johnny Walker was a devoted family man who loved quiet fishing trips to Powai Lake with his wife. “Being married to her has made me one of the happiest men on earth!” he effused.

Playing the man on the street came naturally to him as he had been one himself. The unforgettable tel-maalish champiwala in Pyaasa (1957) was modelled on street masseurs Dutt and Walker had observed in Calcutta, who chattered incessantly while massaging clients. “My years of struggle made me aware of human foibles and frailties. That’s why I could play these characters in an identifiable manner,” he reflected.

Walker lent his comic genius to masterpieces by directors like Chetan Anand (Taxi Driver), Raj Khosla (C.I.D.), B R Chopra (Naya Daur), Bimal Roy (Madhumati), and H S Rawail (Mere Mehboob). Yet in 1968, at the pinnacle of his stardom, he voluntarily cut back his workload. “I was doing double shifts then, but I felt money was of no use if I didn’t have time to eat or sleep when I should,” he reasoned.

In 1985, he stepped away from cinema altogether, coming out of retirement only once for Kamal Haasan’s Chachi 420 in 1997. Content with his quiet life, his car, his home, and providing his children the education he missed, he famously remarked: “Crorepatis don’t have my peace of mind.”

For his 100th birthday, here’s a toast to the non-drinker who gave this melting pot of a city its beating heart: Main Bambai ka babu, Naam mera Anjana, English dhun mein gaaun, Hindustani gaana…

The history of the Indian television detective can be traced through his tools. Karamchand had a carrot and an assistant named Kitty; the crime procedurals of the satellite era brought forensic laboratories, mobile vans and officers who could extract a confession before the next commercial break. Today, CCTV footage and phone locations do much of the sleuthing.

Between these eras sits CID, which began in 1998, survived the saas-bahu boom and remained on air until 2018. Its return in December 2024 after a six-year absence proved that reruns, memes and YouTube clips can keep a television institution alive long after its original audience has grown up.

For Dayanand Shetty, 56, stepping back into Inspector Daya’s familiar jacket felt less like a comeback than reporting for duty. Plans for a feature film had taken shape during the pandemic before the channel opted for a new television season. “Ultimately, it’s the fans’ prayers, love and affection that made the show come back,” he says. “For me, it was nostalgia, but I felt I never left. We were continuously working on the show, the story and trying to do something in a film format.”

The programme’s great trick was allowing its officers to become larger than the cases. ACP Pradyuman’s raised finger, Abhijeet’s suspicions and Inspector Daya’s approach to locked doors became more memorable than most murderers.

The series could also be technically ambitious. In 2004, 22 actors and a 175-member production unit filmed a 111-minute episode in one continuous shot, earning a Guinness World Record. Yet the line that travelled furthest required only four words: “Daya, darwaza tod do.”

“I won’t say it’s a national meme, but people love it,” Shetty says. “Wherever I go, news anchors use ‘Daya, darwaza tod do.’ It’s used in cricket commentary, interviews and across platforms, along with ‘Kuch toh gadbad hai, Daya’.”

Memes can flatten an actor into a punchline. In Shetty’s case, they became free syndication, carrying the character to viewers born after the original episodes were broadcast. “Gen Z is discovering it. Forget Gen Z, even Gen Alpha is!” he says. He has encountered children as young as three who refuse meals until an episode is switched on.

The role’s physical authority preceded Shetty’s acting career. He was a competitive shot-putter and discus thrower until a knee injury led him towards theatre, advertising and television.

“I was never a bodybuilder or a model. The career just happened,” he says. “I used to go to the gym regularly because I was an athlete. When I quit athletics, I joined a gym just to stay active.” He stopped heavy weight training more than a decade ago and now relies on stretching, occasional cycling and home-cooked food. Television’s most famous battering ram has evidently required less maintenance than the doors.

Shetty’s move into vlogging now lets viewers meet the men behind the severe expressions. Friends and colleagues had repeatedly reminded him that “the entire world is doing something on YouTube”. He and Aditya Srivastava began Safar Khane Ka, retracing filming locations and visiting the restaurants that fed them between shoots.

“People saw where we ate after shoots and where we ordered food from. The audience loved it,” Shetty says. His channel now carries behind-the-scenes footage and updates about forthcoming projects. “It’s just my first step as a vlogger.”

The appeal lies in surrendering some of the control required by acting. “Vlogging is much more convenient because it’s extempore. You live in the moment and speak your mind without worrying about scripts, lighting or sweating. As an actor, everything is calculated: how Daya stands, looks and speaks.”

He and his long-time colleagues are now developing the Udupi Series, too, another crime programme for the internet. “Crime shows are our forte, but I also love emotional, family-based dramas focused on relationships,” he says.

But the online audience is a different beast. Viewers want to enjoy their shows with takeaways, while planning holidays; creator culture also feeds on access. It’s a whole different world he’s entered. And after decades spent breaking into rooms, Shetty appears to have understood that the contemporary performer is less about breaking down doors, but more about opening them to let viewers in.

Sony Pictures Entertainment (SPE), the entertainment arm of Tokyo-based Sony Group Corporation, is intensifying its focus on the Indian market as the country’s media and entertainment (M&E) sector undergoes rapid transformation, a top company official said.

SPE CEO Ravi Ahuja, who assumed office in January, noted that the boom in India’s M&E industry is being driven by strong economic and population growth. He also acknowledged that the company’s Indian operations are being reshaped following the failed merger with Zee Entertainment over a year ago.

“We believe the Indian market holds tremendous potential. We have a new MD and CEO, Gaurav Banerjee. His team is now focused on strengthening content production, building out distribution-related partnerships, and rebuilding and reorienting their growth strategy following the merger we previously attempted,” Ahuja said during the company’s annual presentation.

India’s media and entertainment (M&E) sector grew modestly by 3.3% in 2024, reaching Rs. 2.5 lakh crore, according to a report by EY in collaboration with FICCI.

Banerjee, previously with Star India, which is now jointly owned by Reliance Industries and Walt Disney, now leads Sony Pictures Networks India (SPNI), legally known as Culver Max Entertainment. SPNI owns and operates 27 linear television channels and the streaming platform Sony LIV. In FY24, the company reported a net profit of Rs. 839 crore on revenue of Rs. 6,510 crore.

A significant part of the growth strategy includes a renewed focus on digital platforms. "This includes increased investment in digital platforms, particularly in Sony LIV, our streaming service,” Ahuja added.

SPNI recently sublicensed the digital rights to India’s 2025–26 cricket tours of England to rival JioHotstar while retaining the television rights. SPNI is believed to have paid between $200–250 million for the England and Wales Cricket Board (ECB) media rights, with the India tours comprising the lion’s share of the value.

Sony Entertainment Television (SET), facing challenges in its fiction segment, is revamping its lineup. This includes relaunching the popular drama Bade Achhe Lagte Hain in a new format and introducing the thriller Aami Dakini later this month. Other recent launches include Chakravarti Samrat Prithviraj Chauhan (June 4) and Shirdi Wale Sai Baba (April).

This adds to a content slate featuring Kaun Banega Crorepati, Indian Idol, CID, Crime Patrol, and Shark Tank India. SET India, Ahuja noted, remains the fourth most-viewed YouTube channel globally with 184 million subscribers.

“Early signs are promising — ratings for Sony’s channels have seen a notable uptick since the leadership change, reflecting growing viewer engagement,” he said.

“We also recently secured exclusive media rights for the Asian Cricket Council tournaments, starting in 2024 and running through 2031—a move we believe will significantly boost viewership and further enhance Sony LIV,” Ahuja said. SPNI paid $170 for the exclusive media rights.

However, the upcoming Asia Cup in September is uncertain due to escalating tensions between India and Pakistan following the Pahalgam terror attack and the resulting war-like situation.

SPE posted sales of $9.9 billion and operating income of $774 million, despite headwinds from lower series deliveries due to the Hollywood strike and reduced revenue from the India media networks business under SPNI.

Rob Stringer, chairman of Sony Music Group, said the company is expanding its presence in high-growth markets including India, Latin America, Eastern Europe, Africa, and the Middle East. “In India and Latin America, we are still number one in recorded music,” he added.

Returning to TV after a long time, actor Parth Samthaan, who was last seen on the show Kasautii Zindagii Kay, says he doesn’t want to stick to a project for too long. Parth, who has joined the cast of CID recently, talked about what compelled him to be back on TV, his future projects, especially in Marathi cinema and his plans of getting married. Excerpts...

Abhi aisa toh kuch hai nahi. Had the stint been for just a week, I would not have been shooting for the show, which I am till now. I am back on television after a long time, and it is going well so far. Picking one of the iconic shows on television, CID, is a great thing. The best part is that I don’t need to sell myself or my new show to the audience as they are already very well aware of it.

Even though it is fiction, I still don’t have to act-act in it with over-dramatization and emotions, as it requires me to be me. I realized this on the first few days of the shoot itself. And because of all this, initially mujhe bahot problem hui that I don’t need to have attachments to any character, which I am used to in my other shows. It was a struggle for me to be straight-faced during the scenes for this show.

All these years, I didn’t want to do TV because I did not want to commit myself for such a long duration. I didn’t want that because then that commitment didn’t allow me to do anything else on my career front, like singles, OTT and films. TV restricts you as an artiste for the longest period. Plus, according to me, it also gets you into the comfort zone and makes an artiste complacent ki haan ab yeh hi theek hai. With all due respect to the other actors who have been doing shows for several years, I, on the other hand, have become very lazy and want to explore something else. I feel like after some time in a show, I have shown all the possible shades, and now I am on a repetitive mode. Yes, staying on a show pays one well also, but that has not been my priority. Agar aisa hota toh Kasautii... ke saath saath mein Bigg Boss bhi kar leta aur bhi kitne shows hain woh bhi kar leta. It all depends on artist to artist, but this is how I am. Drama is something that people have enjoyed over the years, especially the family drama on TV. They do not enjoy ‘just’ love stories on TV today. The love stories thing has shifted more to the OTT now. Earlier love stories used to do great on TV for years, because then there was no OTT.

Mujhe khud bhi nahi pata ki yeh shows itni jaldi kyun band ho rahe hain. The day I left Kasautii... I barely kept myself updated about the medium. Maybe what I feel is that the broadcasters today do not have the patience to sit and see and let a story stretch for a minimum time for it to work. At the same time, the environment on the medium is fiercely competitive. Not only are we competing with other shows on the medium but different mediums itself. Plus, chemistry between the leads is needed to work, which I have done for most of my shows. If chemistry works between leads, shows click soon.

I have a film that will be releasing in September this year and a web series too. I am excited about this web series because it has a Marathi background, and a lot of people are not aware that I am myself a Marathi and can speak fluent Marathi. In fact, recently only I have met a few filmmakers in the Marathi cinema who were surprised to know that I am a Marathi and can speak the language fluently. I am looking forward to work there as it will be a fresh thing for my career and people will also get to see something new.

Shaadi toh karni hi padegi jaldi as my family is pressurizing me to get married soon. Kisi tarah se main do-teen saal se taal raha hoon but now I will have to! I am not in a state to get married in an arranged setup, and therefore it will be a love marriage for me, definitely. Plus, I have always believed in love. I am just waiting for stability in my life. I have recently purchased a house, and I am busy with that. A lot of people I have met regret getting married in their late 40s. I don’t want that, and I feel that somethings should happen at the right time.

Indian over-the-top (OTT) platforms are diversifying their content offerings not just to attract new audiences, but also to retain them in an increasingly competitive landscape.

As user attention spans shrink and viewer fatigue sets in due to content overload, platforms are adopting new content formats to keep audiences engaged. One of the most notable shifts is the anticipated rise of microdramas—bite-sized, mobile-first series that originated in China.

Industry executives note that these tightly packed narratives are designed for on-the-go consumption, aligning perfectly with India’s mobile-first audience. All major OTT platforms are now actively working on their microdrama strategies.

"Microdramas are a natural response to India’s mobile-first audience and evolving viewing habits," says Mautik Tolia, MD of Bodhitree Multimedia. "They offer instant connection and fit seamlessly into our daily lives."

Tolia views the format not as a passing trend but as a foundation for future storytelling, especially in a market defined by linguistic diversity and widespread smartphone use.

While microdramas represent a shift in form, Korean dramas are reshaping content preferences. Prime Video’s recent multi-year deal with CJ ENM highlights the growing demand for K-content in India. Platforms like Netflix already boast strong Korean content libraries, with global hits like Squid Game leading the way.

Amogh Dusad, Director and Head of Content at Amazon MX Player, said that OTT platforms must adapt to evolving audience preferences in a rapidly changing digital landscape. MX Player is placing big bets on Korean dramas, anime, and serialized microdramas through its upcoming ‘MX Fatafat’ initiative, which will feature short, two-minute episodes.

"By experimenting with a variety of genres and formats, we ensure our content reflects the global nature of today’s entertainment while remaining grounded in the tastes and preferences of the Indian audience. As we enter the next phase of growth, we’re also enhancing our library with a wide array of shows across genres," he said.

Meanwhile, Netflix is tapping into nostalgia to expand its viewer base. By adding iconic Indian TV shows like CID, global phenomena like WWE, and comedy programs such as The Great Indian Kapil Show, it is drawing in established fan communities.

“Indian digital and OTT platforms are leveraging Korean dramas and micro content due to their rising popularity, cost-effectiveness, and strong audience appeal,” said media analyst Rajesh Sethi. “K-dramas offer relatable themes, high production quality, and concise storytelling that resonates well with Indian viewers.”

He added that digital platforms benefit from affordable licensing costs, diverse content offerings, and increased viewer engagement—particularly among younger, mobile-first audiences.

For Netflix, content such as CID, The Kapil Sharma Show, and WWE serves to broaden its reach, particularly among audiences in Tier 2 and Tier 3 cities, Sethi said.

According to Media Partners Asia, video content investments are expected to grow from $6.7 billion in 2024 to $8.8 billion by 2028, with online video (excluding sports) accounting for a quarter of that spends.

The recently filed charge sheet—spanning over 1600 pages—in the Saif Ali Khan attack case by Bandra police confirms mid-day’s exclusive report published on January 26. As reported, crucial fingerprint samples collected from inside Khan’s flat, where he was allegedly attacked by Bangladeshi national Shariful Islam Shehzad, did not match the accused.

Sources had earlier revealed to mid-day that 19 samples were sent to the State CID’s Fingerprint Bureau, and none matched the suspect. The charge sheet now confirms this, with CID’s fingerprint analysis included in the official documentation. It clearly states that 20 fingerprint samples collected from various parts of the crime scene were either unidentifiable or unfit for forensic comparison.

“Out of 20 chance prints, seven developed on the black bathroom door, two on the sliding bedroom door, and two on the cupboard door—all were found not identical with any of the fingerprints from the impression slips of Shahid Shabbir Sayyed (suspect) and Shariful Islam Shehzad (arrested),” the report states.

It further notes that the fingerprints were also run through the National Automated Fingerprint Identification System (NAFIS) and the Automated Multi-Modal Biometric Identification System (AMBIS), but none matched any fingerprints of previously arrested or convicted individuals in the NCRB or Maharashtra Fingerprint Bureau databases.

Regarding the remaining ten prints—five fingerprints and one palm print from the black bathroom door, one from a wooden door, and three from the marble and wall of the bathroom—the report states these did not show a sufficient number of ridge details and were unfit for comparison or practical use.

However, the charge sheet includes another CID report confirming that a single left palm print found on the 8th floor of the building matched the accused. “Out of three chance prints, one palm print developed on the wooden door (8th-floor staircase) was identical with the left palm impression of Shariful Islam Shehzad (arrested),” the report notes.

Two other prints from the 9th-floor wooden door were also found unfit for analysis due to insufficient ridge detail. The charge sheet also includes another fingerprint bureau report that confirms matches with two of Khan’s domestic staff—Nilesh Hari Gawade and Hemlal Nyaupane. Legal experts say the absence of the accused’s fingerprints from the actual crime scene could weaken the prosecution’s case.

“The integrity of forensic evidence, particularly a matched fingerprint supported by expert analysis, is crucial for conviction. Any inconsistencies in reports will be used by the defence to highlight discrepancies and weaken the prosecution’s case,” said Advocate Trivankumar Karnani, a criminal lawyer at the Bombay High Court.

He added, “If forensic reports are inconclusive or contradictory, it becomes difficult for the prosecution to rely solely on them to prove guilt beyond reasonable doubt. Under the Bharatiya Sakshya Adhiniyam (BSA), formerly the Indian Evidence Act, forensic evidence is key to establishing scientific credibility. Any errors or contradictions in the charge sheet stage will be scrutinised during trial.”

When asked, DCP Zone 9 Dixitkumar Gedam clarified, “Whether it’s the crime scene or post-arrest, we do not collect fingerprint samples ourselves. We inform the concerned agencies, who collect, analyse, and submit reports.”

Despite the fingerprint mismatch, police maintain they have multiple pieces of strong evidence against the accused. These include CCTV facial recognition reports, which allegedly match Shariful, and identification by one of Khan’s domestic staff during a parade. However, Once the photo is leaked before the identification parade, as the accused’s image had already circulated widely on social media, the reliability of identification is always questionable for defece in any case.

Karnani stated, “The prosecution will likely conduct a fresh in-court identification during the trial to strengthen their case, which the defence will cross-examine thoroughly.” DCP Gedam said, “We are confident in our case and have multiple forms of evidence against the accused. It’s a watertight case.”

The charge sheet also mentions that mobile tower location data places the accused at the building on the day of the attack. His employer has confirmed his presence there, adding to the circumstantial evidence. Police have also recovered the clothes allegedly worn by the accused at the time of the incident. Meanwhile, Shariful has filed a bail application through his lawyer, Sangram Jadhav. The matter is likely to be heard by the sessions court on April 17.

"Daya darwaza thod do," is a dialogue that is forever etched in our minds. For almost 21 years, the cast and crew of CID have been entertaining the audience. In 2018, when the crime show went off-air, fans complained and requested to bring ACP Pradhyuman (Shivaji Satam), Daya (Dayanand Shetty) and Abhijeet (Aditya Srivastava) back on the small screen. Six years later, the makers heeded fans’ demands. Shetty and Srivastava caught up with mid-day on the set to discuss the crime show, the plots they’ve upgraded, and plans to connect with GenZ while keeping the authenticity and quirks of the show intact. Edited excerpts from the interview.

Aditya Srivastava: When we came to know that the show is shutting down, it was shocking. It has been a long journey with the CID unit, and we’ve operated like a family for over 20 years. We had see each other’s faces as soon as we woke up, so when that was getting over, it disappointed us. When we learnt that the show is coming back in 2024, we couldn’t believe it until we reached the set and the camera began rolling. The six-year gap felt like it never happened.

Dayanand Shetty: Between 2016 and 2018, the show changed its timings a lot, so we had an intuition that something was happening with it. We were disappointed when the call was finally taken in 2018. While we felt bad about it, it felt worse knowing that the unit would suffer. They’ve been isolated from the rest of the industry for 21 years while doing this show. We worried about what would happen to them. We would still be able to manage and find other work, but for them to acclimatize with another unit would take time. We did feel that within six months or a maximum of a year, the show would be back, because people still liked the show; they wanted it back. A lot of personalities supported the show. So we were positive that CID would come back, but it didn’t happen until now.

AS: No, not really. As an actor, I’ve looked at CID as a job. During that time, I added about 20 to 25 films to my career graph. I never even thought of or felt fear. I believe it is a journey, and we’ve been lucky. I think it’s the grace of the audience that we’ve managed to come back. I have always picked up opportunities that came my way. I don’t think too far ahead; that’s my attitude.

DS: COVID. I cannot forget those two years at home where I enjoyed and pampered myself. Those two years were almost the best time of my life. After that, when work came, I felt [reluctant] to go out again. The skies were clear, birds were coming home, I had started seeing sparrows, I had some good moments at that time.

AS: The writers’ team was discussing this. In the six-year break, people have seen a lot of content, and the audience has upgraded their content. I believe we should upgrade the presentation. The GenZ terms have also been included in this season. As an actor, we try to get ready on all aspects. In TV, you get the script in the morning, you have to prepare and deliver, so we intend to keep doing that to the best of our ability. The show does look more glossy now.

AS: The show has been going on 20–21 years. As actors, we try to change our approach, which is sometimes possible because of the story. Sometimes the change is action-wise or in relationships [within the show]. Of course, doing one character for so long is challenging for any actor, but we try to keep it different. If we have questioned someone in the previous episode, we change the attitude the next time, although it is very difficult because of the exposure the show has been getting. We make small changes as actors.

DS: These characters are embedded in people’s minds; that is why the show was brought back. The characters are popular for certain things in the show, like kids liked seeing ACP Pradhyuman moving his eyebrows and questioning criminals, so those things will still remain. What we can improvise is the technicality through the cameras. We had outdated cameras before, and in these six years, we’ve upgraded those. We use gimbal cameras that can go anywhere. Of course, we have to improve on the script too. It cannot be that we solve all the crimes by triangulating the cell phone connection. The audience will not enjoy the simplicity and predictability of these things. We’ve used AI in the coming episodes. CID is like a thali; you have to have comedy, action, emotion and drama.

AS: It was only difficult to get everyone back together because everyone had gotten busy with their respective lives. However, once we reached the set, saw the same faces and camera, we were charged. We didn’t even realise [that there was a gap].

AS: The show had shut down, but wherever we travelled, people would approach us and tell us that they watched our show just a day before. A lot of people didn’t realize that the show had gone off-air. Maybe they caught up with the shows online or the repeat telecast of episodes. Or they watched it on the apps. So, according to them, the show was still going on.  

DS: Recently, I was standing in a queue for something. Before me was a family who had a four-year-old child with them. The father turned to me and said that his kid is a big fan of Daya. I was wondering if they were trying to fool me. How can a four-year-old child be a fan of a character who has been off-air for six years? The kid aggressively turned to me and said, “Me CID Bagto.” I was surprised. I realized they were watching the old episodes on YouTube or SonyLIV. It felt nice to know that even though the show is off-air, we were still relevant. Of course, ardent fans complained, saying they’ve seen the old episodes 25 times, and demanded new ones.

DS: [Maybe till] a four-year-old child becomes 40 years old. We may do this in our dentures too [laughs].

AS: As an actor, we are lucky to get a show that the audience loved. The aim of any actor is to have a connection with the audience, and they get accepted. We got that from this show. Other than that, it is like a job for me.

DS: I came to know that I am a good human being [laughs]. For 21 years, we’ve worked with one team. The people are so good, we carry a middle-class attitude in food to how we manage everything. There are no stars on set; everyone is only an actor. People outside consider us as something big, but on set, we are like everybody else. We don’t even want to know about our star status; we are the labour kind of actors who come at 9 am and leave by 10 in the evening. People are surprised to see us being down to earth.

AS: It’s because our seniors have created that atmosphere. Satam sir [74], belongs to theatre and has done a lot of work. We’ve always looked up to him. He doesn’t throw any tantrums; he is extremely devoted. So when new actors come on set, they get inspired. If Satam sir is not asking for pack-up [despite his age], how can anyone else ask for it? It’s the culture we’ve created on set.

DS: I can’t write. I can only visualize a story and create a concept. And that happens randomly and after two days, it fizzles out. So, I call Christabelle D’Souza, who is a creative on the show, to discuss a story. She then develops on it. The makers are kind enough to give me credit, but I am not a writer.

DS: It is a badge of honour for us.

AS: Sometimes, when I meet people who’ve seen me in Satya, Black Friday, Super 30, or Bhakshak [they recognize me]. TV audiences recognize our CID characters, and the reach of the show is quite vast.

CID, the iconic crime show featuring iconic characters, has kept fans glued to their screens for nearly three decades before it went off air. Now we have learnt that actors Aditya Shrivastava and Dayanand Shetty, who played Abhijeet and Daya, respectively, are coming back! However, there’s a twist! The dynamic duo won’t be reprising their characters; Shetty confirms, “Yes, we’re making a comeback, but not as Abhijeet and Daya.”

So, how exactly are they coming back? Well, this time it will not be about solving crime — it will be all about satisfying wanderlust and taste buds!

Shrivastava spills the beans, saying, “Daya and I have been partners in crime-solving for 20 years, and our bond is unbreakable. Our old CID crew came up with this brilliant idea of a travel show, and we are gearing up to launch it on YouTube in May. Get ready for a rollercoaster ride filled with travel tales and foodie fun. We’ve already explored Satara, Maharashtra, and now we’re spicing things up in Goa!”

The overwhelming demand from fans to see the CID dream team back in action pushed them to embark on this new adventure, admit both actors. But wait, there’s more! Shrivastava and Shetty will be seen in a film too. “We have completed a film. We have gotten a lot of love from the audiences till now; hopefully it will continue,” he concludes.

Aditya Srivastava is currently basking in the success of his latest, the web movie Bhakshak. Reacting to the feedback, the actor, known for the longest time as CID’s Abhijeet, says, “It was an important story to tell. Whoever watched it, got the message right. I tried my best to be true to the character, and I am glad about the appreciation my performance has come in for.”

Acknowledging the power of OTT as a medium, Srivastava, who has featured in digital projects such as Raat Akeli Hai (2020) and Haseen Dillruba (2021) earlier, says, “I was mostly involved in CID, plus television ka demand alag hota hai toh main usmein fass gaya tha. But the way OTT is promoting new narratives and approaches in terms of subject, performance, storytelling and the like, is encouraging to see.”

The 55-year-old points out that unlike what sometimes tends to happen with actors transitioning from TV to the big screen, he did not have to battle notions arising from his over two-decade-long stint on the CID. “In fact, the web has helped me break that image formed in the minds of the audience. Sab actors ko yahi chahiye hota hai, ki kuch different harr project mein try kare, and I think I am being offered roles like that,” Srivastava explains, adding, “Image waali baat reh nahin gayi hai. It’s all about how you are going to be presented in the narrative.”

The actor, who made his screen debut 30 years ago with Shekhar Kapur’s Bandit Queen, goes on to add that OTT offers more avenues for a wide variety of artistes and technicians. “The medium is a way of job generation for writers, actors and directors. It has brought great results for everyone. Web series ka long format allows a bigger playing field, as opposed to cinema, which gives just two hours of storytelling time,” Srivastava says, adding that he has shot for another web series, details of which are under wraps for now.

While digital releases don’t face the same kind of pressure as theatrical projects, the actor asserts that there are different facts that matter here. “It’s not like box-office pressure nahin hai toh koi measure karne ka parameter hi nahin hai. Even if there is no numbers game, shows are expected to churn out new seasons and get dropped if they don’t work. At the end of the day, it is important to satisfy the audience’s need for entertainment,” he ends.

Popular for playing ACP Pradyuman on CID, actor Shivaji Satam considered co-actor Dinesh Phadnis his family. His death feels like a personal loss to the 73-year-old. “Dinesh was fun to work with. Losing him is like losing a family member. It’s very sad that he had to go so early,” Satam tells us.

Phadnis, best known for playing Freddy on CID, died on Tuesday due to some health complications. The two have a long association of over 20 years owing to the cult show. Satam reveals they would often talk about reviving the show. “People from all departments want to come back [for the show]. Not for professional purposes, but chalo ki start karte hain, like a family,” he shares.

Satam, who last met Phadnis on late singer Lata Mangeshkar’s birth anniversary (September 28), shares, “His health had failed. I had spoken to him on call recently to figure out how he was doing, and whenever I would talk to Daya (Dayanand Shetty) or Aditya (Srivastava, both co-stars), I would get an update on Phadnis’ health.”

Mumbai: Actor Dinesh Phadnis (57), who played the role of Fredericks aka Freddy in the television crime series ‘CID’, passed away on Monday night. The ailing actor died of organ failure in a Malad hospital.

Born November 2, 1966, in Bihar, Phadnis had done a few small roles before he shot to fame in 1998 with ‘CID’, which became one of the longest running shows on Indian television. While he essayed the role of a police inspector, he also wrote some of the episodes. He was noticed for his performance in films like ‘Sarfarosh’ and ‘Super 30’ and also scripted a Marathi film.

The last rites were performed at Daulat Nagar crematorium on Tuesday. Cast members of ‘CID’ including Shivaji Satam, Aditya Srivastava, Tanya Abrol and Ansha Sayed arrived to pay their respects. Co-actors Dayanand Shetty, Shraddha Musle and Narendra Gupta visited his residence in Shantivan, Borivli (E).

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Actor Dinesh Phadnis, best known for playing Fredericks on the TV show CID, passed away on, Monday night. Dinesh, breathed his last around 12.08 am, died multiple organ failure. All his close friends and family attended his last rites this morning. His co-stars from CID were also seen at the crematorium.

Aditya Srivastava, who played the role of Abhijeet on the show, said, "It is a huge loss for all of us. He wasn't keeping well and was on the ventilator. Due to a medical condition and his ongoing medicines, his liver was affected after which his other organs stopped working."

Sharing about the good times they have had on the set together, Aditya said, "He was always a jolly person. The core team of CID has worked together for 21 years now and there are so many beautiful memories that we have we all have good. Dinesh was funny on screen and made people laugh... he became a likeable character on the show. Off screen too he was the same."

Aditya further added, "We all have stood by each other in good times and in bad, and we will continue to do so. Dinesh was close to all of us and I hope he is in a better place now. CID is incomplete without Fredericks and we all will miss him."

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The death of Dinesh Phadnis, popularly known as Freddy from the cult Hindi show CID, on December 5, has left his fans and colleagues shocked. The actor died at a hospital in Mumbai at the age of 57. His career began in 1998 with the show that cemented his identity among the audience.

His co-star, actor Dayanand Shetty aka Daya, tells us, “He was like an elder brother. We have some amazing memories [together]. I remember the first time we met in April 1998, we were shooting a chase sequence in Juhu and he was sitting behind me. He was very funny and cooperative. I was a new actor then, but he made me feel comfortable.”

The actors became fast friends and were in constant touch. “The day he got admitted, he called me and said, ‘Tu dekh le ab, main admit ho raha hoon’. I met him and everything was looking good. But the same evening, his kidney collapsed; multiple things caused his death,” adds Shetty.

Actor Aditya Srivastava, who played Abhijeet on the show, says, “He was an integral part of the CID team. We worked together for 20 years. Dinesh was very jovial, just like his character.”

Actor Dinesh Phadnis, who played Fredericks in the popular television show CID, has been hospitalised in Mumbai and is on ventilator support.

According to reports, the cast and crew of the show were told of his health condition on Saturday, after which a number of them dropped by at the hospital to check on him.

“Dinesh Phadnis has been battling for life, with ventilator support,” a source told Iwmbuzz.com. The report added that Phadnis’ condition was slightly better on Saturday, compared to his “critical state” on Friday night. He is said to be in his late fifties.

However, contrary to reports, Phadnis did not suffer a heart attack. His CID co-star, actor Dayanand Shetty, told indianexpress.com: “Dinesh Phadnis is hospitalized and on ventilator, doctors are observing him. He has not suffered a heart attack, it is a different treatment.”

Apart from CID, Phadnis had a cameo appearance in the hit TV show Taarak Mehta Ka Ooltah Chashmah. He was also part of a few Hindi films, including Sarfarosh (1999) and Super 30 (2019).

I met Dev saab on the sets of C.I.D. I was a fan, but never in my wildest dreams thought that I will be working with him in my first Hindi film. He never made me feel like ki main newcomer hoon aur woh established star hain. He made me feel so comfortable aur naturally woh ek understanding thi, toh humne ek ke baad ek saat (seven) picturein ki. And the best was of course, (Guide) saari duniya janti hai. He was so charming and decent. Kabhi kisi ki burai nahi karte thay.

Once he told me, “Waheeda kabhi fikr mat karo ki picture chalegi ya nahi chalegi kyunki ye jo zindagi ki slate hai, uspe tumhara mera naam toh likh diya gaya hai, toh woh koi mita nahi sakta. Toh aap kabhi socha mat karo. Picture nahi chali (toh) nahi chali. Chhor do. Aage dekho kya karna hai.” He was very charming. Jaise charming dikhte thay waise charming insaan thay. Bahut achhe insaan thay.

On the second day of the shoot I called him Dev saab, and he said no. Toh maine kaha achha Mr Anand? And he was like – ‘No, no, no, no.’ Maine puchha, phir kya bulaoon? Toh kehne lage Dev. Maine kaha aap mere se bade hain aur itne bade star hain, main kaise aapko Dev bulaoon. Ye hamare culture mein, hamari tameez mein nahi hai.’ He then explained, ‘Dekho agar koi saab kehta hai toh mujhe lagta hai ki main school teacher hoon. I don’t get that feeling that you are my colleague’. So, in the whole industry, he was the only hero jinse main first name basis pe baat karti thi.

C.I.D. ke liye hum Churchgate station pe raat ko shooting karne gaye thay. Raj Khosla took special permission for it. We both had to get into a running train. I was very nervous. Dusra shot hone tak raat mein mujhe neend aa jaati thi toh main so jaati thi do baje tak. So Dev asked me, ‘You want to do more pictures?’ It was my first film, so I said, ‘Haan karna toh hai’. To which he replied, ‘Then you will have to shoot at night’. Like a fool I asked ‘Par raat mein kyun kar rahe hain. Din mein kyun nahi kar rahe?’ Toh kehne lage, ‘Public khatm ho jayegi tabhi toh hamare liye permission milegi!’

It was really good and fun. It was so comfortable working with him, very casual, very charming.

Meri kismat achhi thi aur Dev ne soch liya tha ki Guide mein Rosie ka role main hi karungi. That made me very happy and confident. I told him, ‘Ismein aap jo marzi scene cut karo, magar mera koi bhi dance cut nahi hoga’. It was the only film where I had got the chance to dance.

I was in Guide only because of Dev. He was the producer and he had given me the contract pehle se. Unfortunately, the directors Chetan Anand and Tad Danielewski (for the US version), they didn’t want me. I told Dev ‘Aapke dono directors mujhe nahi pasand kar rahe. Problem ho jayegi. Aap kisi aur ko le lijiye.’ He said, ‘Are you crazy? Meri marzi hai main kise loon. I am the producer. What makes you think like that?’ I told him to ask his publicist and friend Amarjeet. He confirmed it. Tad also said there’s going to be a very hot love scene. When I told Dev, he said, ‘You know I won’t do a scene like that. Tumko darane ki koshish kar rahe hain.’

Finally, although Tad stayed (for the US version, which didn’t have Waheeda), Vijay Anand aa gaye (in place of Chetan Anand for the Indian version).

— As told to Niharika Lal

I don’t remember when I met him for the last time. When he did Hum Dono in colour (in 2011), toh uska premiere hone wala tha. Both the leading ladies of the film – Nanda and Sadhana – didn’t come for it. He had called me for the premiere, but when I found out both the leading ladies are not coming I asked ‘Fir main kaise jaungi? It will look like I’m taking away their (credit). It’s bad manners.’ Toh Dev kehne lage ‘You are a part of Navketan (his production house). You are not an outsider’. I said, ‘It is very sweet of you, but public kahegi ki na Sadhna hai, na Nanda hai, ye Waheeda beech mein kya kar rahi hai? Galat lagta hai na.’

‘Tum mera dil dukha rahi ho’ (Dev said), and I replied, ‘I’m sorry. Tell them kuch bhi kar ke aaye. Unke bagair main nahi aa sakti’.

Dev and Waheeda in Prem Pujari, his directorial debut

When I was first signed to star opposite Dev, I had no idea that I would be working with him. Those days we got to know about our costars at the last moment. When I went on the sets of CID, director Raj Khosla introduced me to the whole unit. When I saw Dev, I was surprised and shocked. I went up to him and said “Dev saab, it’s an honour to meet you.”

He replied, “Tum mujhe Dev saab nahi kahogi (You can’t call me Dev saab).” I told him that I was a newcomer, and he was a big star, so how could I call him by his first name? But he insisted. He explained very calmly that if someone uses words like ‘saab’ or ‘sir’, a distance is created and he doesn’t feel comfortable. As a result, he became the only person in the industry whom I called by name. Everyone else was “ji”, “saab”, and “sir”. He was just Dev for me.

Guide was made in Hindi and English. Vijay Anand directed the Hindi version; Tad Danielewski, the English. Both didn’t want to work with me. However, Dev insisted that only Waheeda will do the role. I told him not to force the directors. But he stood by me, and insisted that as the producer, he would take the call. I blushed when he told me that ever since reading the book by R K Narayan, he had only imagined me playing Rosie. I was taken aback when he told me that he knew that if problems arise, I would stand by him. That’s what happened.

There was a lot of chaos as we were shooting simultaneously in Hindi and English. Ego clashes between the two directors hampered the shoot. Dev was very upset and worried. A lot of time was being wasted. One day, he suggested that we should first shoot in Hindi, then in English. He asked me for additional dates and I agreed without a second thought. “See, I knew you’d stand by me,” he replied.

During that era, there were three big stars: Dev, Raj Kapoor, and Dilip Kumar. All were very talented, but there was something different about him. He was not condescending. He insisted on working with new directors and crew, and made everyone comfortable. He was a charming actor and a charming human being. He was also a decent flirt. Dev was always the most well-dressed person on the set. He had so much energy mentally and physically. If his clothes would get drenched in sweat or get soiled, he would run to his room, change, and then come back to take a shot. I used to joke, and call him an ‘Eveready Battery’, always charged. Dev also had an ear for good music and was very particular about the songs in his films. If he didn’t like a song, he would even tell (Sachin Dev) Burman da, “Dada, maza nahi aaya! Kuch aur banaiye.”

As I become older, it sometimes becomes difficult to recall the details of the time I spent with him. What I remember the most, however, is how broad-minded and progressive Dev was in his thinking. Also, he didn’t stick to the formulaic films or typical love stories that were being made in that time. He wanted every film of his to be different from the other. He had the guts to make Guide, which had a very bold subject. More than a love story, it was about three people who want to make something of their life. The characters were grey, and made unconventional choices. It was different, yet at the same time, very true to life and the people we see around us even today.

I am sure wherever he is, he is happy that his work is being honoured and remembered even today.

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A pickpocket pinched Dev Anand’s purse, robbing him of Rs 15,000 during the premiere of Jewel Thief (1967) at a New Delhi theatre. Adjusted for inflation, that roughly amounts to Rs 7.5 lakh today.

“I flew all the way from Darjeeling to Delhi to attend the premiere at the Odeon Cinema. The crowds were jumping up and down with delirious joy as I alighted from the car outside the theatres,” the actor writes in his autobiography, Romancing with Life.

“Suddenly a hand brushed my hip pocket. I checked for my purse, and found it missing. But I did not react, for the euphoria of the moment was too immense to cry over a meagre sum of Rs 15,000, lost in the enormous wave of goodwill and popularity,” he writes.

“Stardom cannot be earned or bought at a price. I let the pickpocket dance away in joy with my cash-filled purse,” Anand concludes.

Interestingly, Dev Anand had played a pickpocket in the film, Pocket Maar (1956).

When veteran actress Waheeda Rehman heard that four classics of Dev Anand, including Guide which also featured her, were being re-released, she wondered if moviegoers would be interested in watching 60–70-year-old films in cinemas. She was surprised to know that the shows of these films C.I.D. (1956), Guide (1965), Jewel Thief (1967) and Johny Mera Naam (1970), which will happen over this weekend as part of Dev Anand’s birth centenary celebrations, had been sold out.

"Restored and remastered films provide a higher-quality viewing experience. Post the pandemic younger audiences are going out for movies while the older audience has stayed away. Re-release of classic titles has enabled us to bring back this audience to cinemas."

- Gautam Dutta, Co-CEO, PVR INOX Limited

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“These special screenings offer a chance to relive iconic moments and share the magic of timeless films with a new generation of cinema enthusiasts. The response to re-releases has been overwhelming."

- Devang Sampat, CEO Cinepolis India

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"When I recently met Waheeda ji to invite her to the Dev Anand film festival, she was shocked to discover that there is a huge craze among people for these classics. She couldn't believe that the shows of these re-releases were mostly sold-out."

- Shivendra Singh Dungarpur, film archivist and director of Film Heritage Foundation

- Khalnayak, on completion of 30 years of the film

- Koi Mil Gaya, to celebrate its 20th anniversary

- RRR, before the Academy Awards ceremony

- Avatar, before the release of Avatar 2  Gadar, before the release of Gadar 2

- Dilwale Dulhania Le Jayenge, to celebrate Shah Rukh Khan’s birthday

A part from the Dev Anand films, Kamal Haasan’s 1987 film Pushpak is set to be re-released in theatres soon. Exhibitors say that in the last year, several films have been re-released to celebrate actors’ birth anniversaries, film anniversaries, and even to hype some upcoming sequels. Industry insiders say that the reason why there’s such a huge demand for these films is because “re-releases give young moviegoers a chance to discover classics on the big screen and evoke nostalgia in the older generation”.

Movies like Titanic (English), Dilwale Dulhania Le Jayenge (Hindi), Ticket to Paradise (English), Ved (Marathi), Geetha Govindam (Telugu), Vinnaithaandi Varuvaayaa (Tamil), Hridayam (Malayalam), Googly (Kannada), Love Ni Bhavai (Gujarati) were re-released as part of the festival in multiple cities

To mark Dilip Kumar’s birth centenary, Aan (1952), Devdas (1955), Ram Aur Shyam (1967) and Shakti (1982) were released in 31 cinemas in 21 cities

Interstellar, Inception, The Dark Knight and Dunkirk were re-released ahead of Oppenheimer’s release date

It was held in Chennai and Coimbatore last year with shows of Baba (2002), Sivaji: The Boss (2007), 2.0 (2018) and Darbar (2020)

To celebrate Amitabh Bachchan’s 80th birthday, a film festival was organized in 17 cities where Kaala Patthar, Kaalia, Kabhi Kabhie, Namak Halaal, Abhimaan, Don and Deewaar were screened

’If you know him, your childhood was awesome’, read the caption, and his pictures were enough to send social media into a nostalgic overdrive. Viivek Mashru, who played the role of Inspector Vivek in the cult show CID, has been overwhelmed ever since he resurfaced in the limelight.

“My wife told me about my picture going viral. I had never thought this would happen to me,” exclaims Mashru, who quit acting in June 2012. What further shocked many was a tweet claiming that Mashru has become a professor at a Bengaluru university now.

Well, he clears the air: “I oversee the function of an entire department at the university; it’s a leadership position. I am transitioning out of that too now in July.”

The original contract for Mashru was only for three months, but CID’s creator kept extending it, and his stint ended up being for six years. Then one fine day he decided to quit acting and go backpacking, and later went on to complete his higher education in Singapore. Mashru holds a Master’s in International Business and a PG diploma in Data Science and Business Analytics.

The transition from being a celeb to leading a life away from the spotlight was tough: “If I ever broke a signal, the police would stop me, realize I am in CID, salute, and let me go after an autograph. If I went to a temple, they would take me for VIP darshan... so from that to travelling by bus, waiting in queues, etc. the transition was difficult. But by God’s grace, I had a good ecosystem.”