(L-R) The singer with Usha Uthup. Pics/Instagram, Youtube

It’s not common for a singer to bring out a chartbuster even as their last song is dominating everyone’s playlists. But that’s the kind of run Madhubanti Bagchi is enjoying at the moment. Her latest track, Jab Talak, from Cocktail 2 continues to make waves even as Shararat from Dhurandhar (2025) as well as her other numbers released years ago continue to be popular.

“It’s a fulfilling feeling for sure,” she tells mid-day, as she sits down for a chat about the industry’s tendency to pigeon-hole artistes and preserving her art in a business that over-relies on a few voices. Excerpts from the interview.

Jab Talak was recorded after the film’s first teaser was dropped. I am happy with the way the female part was composed. Pritam da is a magician. Who doesn’t want to work with him? It’s a dream for any artiste to sing a song composed by him.

It wasn’t difficult to say no to such offers. The industry seems to put you in a box and then overuse it as much as possible until you do something else. Then they will put you in another box. Before Aaj Ki Raat, my Heeramandi song [Nazariya Ki Maari] came and everybody saw me as a classical singer. When Aaj Ki Raat released, people jumped from ‘She is a classical singer’ to ‘She sings dance numbers’. As artistes, we have to think about the narrative we are going to set for the audience. Why would I restrict myself to [one genre]?

Arijit da’s problem is of a different scale altogether because he is so versatile. He is one of those artistes who plays a character when he sings. There was no other male singer [dominating the scene] since he arrived. Also, Bollywood music industry is male-dominated. An album will have five male songs, and at best two female-led songs. So, for 13-14 years, an industry is producing 90 per cent male songs, of which Arijit da is the only one singing. There will obviously be fatigue because he doesn’t have anybody to share that load with. Now, it’s time for the industry to find not another Arijit Singh, but five-six singers. His space cannot be taken up by one person.

First and foremost, I am a playback singer. My non-film journey started much later. As a playback singer when I sit with a composer, I like getting into the details of the song and character. For instance, if you have an outspoken character, the song’s rendition will be different from that of a shy character. But when I’m doing a non-film song, I’m being myself. These are stories from my own life. As a non-film artiste, there is no purdah between my audience and me.

Madhubanti Bagchi is admittedly “scared” of remixes, but she voiced the ‘Ramba Ho’ recreation for ‘Dhurandhar’ (2025). It earned appreciation not only from listeners, but also from Usha Uthup, who had sung the original.

“After the song released, I was stressed and wanted some kind of validation from Usha ma’am. So, I called her and sent her the song. Later, we made a video on the song. That reel went viral,” recalled Bagchi.

After critically and commercially acclaimed collaborations in Hum Dil De Chuke Sanam (1999) and Devdas (2002), composer Ismail Darbar and filmmaker Sanjay Leela Bhansali had a fallout. The rift was reported to have emerged after Bhansali dropped Ismail from his web series Heeramandi: The Diamond Bazaar, over an article describing Darbar as the “backbone” of the project.

Now, Darbar said he felt “betrayed”, since he had spent a year and a half working on the music. “He betrayed me, not once, but twice. He committed to working with me, and then didn’t do so. I had worked on Heeramandi for 1.5 years, and he didn’t tell me before replacing me,” Darbar told Subhojit Ghosh.

The composer added Bhansali tried to reconcile, inviting him to the show’s premiere, but did not attend. “I respect him a lot because he gave my family and me a lot of love. We had a good bond till Heeramandi, he called me from the front to invite me to the show’s premiere. He had told me that he didn’t call anyone else but me, but by that time, my heart had already broken. If Sanjay and I had done Heeramandi, we would have created history,” Durbar said.

This comes days after Bhansali was reported to have been hospitalized due to chest pain, even though his family denied the claims, calling it a ‘routine check-up’.

Sonakshi Sinha, Manisha Koirala and Sharmin Segal. Pics/Ashish Raje, Instagram, X, AFP

The courtesans dazzled with their dances, wielded charm as power, and shaped politics in Heeramandi: The Diamond Bazaar. Despite mixed reviews, The Sanjay Leela Bhansali-created series managed to captivate the audience. Now, the courtesans are preparing to pick up from where they left. Vibhu Puri, one of the show’s writers, tells mid-day that work on the new instalment has begun.

“We are currently in the writing stage, exploring the characters and [their] storylines,” shares Puri of the series that premiered on Netflix in May last year. The Manisha Koirala, Sonakshi Sinha, Sanjeeda Shaikh and Sharmin Segal-starrer became “one of the biggest successes of Netflix.”

Courtesy the response to its maiden season, the expectations from the second season are naturally high. “People had doubted whether the show would work with the current generation and if they would understand it, but they embraced the world of Heeramandi,” beams Puri.

The last season ended with the courtesans of Heeramandi joining the freedom struggle. The new season focuses on their displacement, as they shift to the Hindi and Bengali film industries. “We should be able to start filming it very soon,” Puri says. With Richa Chadha and Aditi Rao Hydari’s characters’ death in ‘Heeramandi: The Diamond Bazaar’, new characters will be added to the second instalment.

When Tamannaah Bhatia dazzled in Aaj Ki Raat from Stree 2 (2024), it promised a resurgence of special dance numbers. The popular song also guaranteed something else — the breakthrough of a unique voice, Madhubanti Bagchi. Even though she had been singing Hindi film songs since 2019, it took Sachin-Jigar’s composition to mark her arrival. Now that she has reunited with the composers for Tum Mere Na Huye, a dance song in Thamma, mid-day speaks to her about new fame, fear of typecasting, and the challenge of having an unusual voice. Excerpts from the interview.

They wanted the song to be intimate yet cinematic, something that would not just complement the narrative of Thamma, but also stand strong as an individual piece of music. Sachin-Jigar added their signature depth to the composition, ensuring that every note had its own space to breathe. For me, the challenge and joy were to bring that vision alive vocally.

Working with Sachin-Jigar has always been a creatively fulfilling experience. Aaj Ki Raat gave us a chance to explore a high-energy, dynamic sound. With the Thamma track, we ventured into a space that is far more emotional. That contrast speaks volumes about their versatility. What I admire most is how they bring out the best in every singer. They know exactly how to guide you, yet give you the freedom to interpret and make the song your own. With them, it never feels transactional, it feels like a true collaboration.

It feels gratifying and quite humbling. Every singer dreams of their voice reaching millions, but when filmmakers and composers of such calibre trust you repeatedly, it becomes the highest form of validation. What excites me most is the diversity. I’ve lent my voice to some of the most popular leading ladies of today. To adapt my singing to bring alive their emotions on screen has been a challenge as well as a joy.

It’s true that my voice is different from the usual palette in Hindi playback. Breaking in wasn’t instant, there were moments of doubt. But I always focused on staying true to my sound rather than fitting into a mould. What helped was finding the right collaborators — composers like Sachin-Jigar, Pritam da, and Amit Trivedi, and filmmakers like Sanjay Leela Bhansali, who were willing to experiment and give my voice space to tell the story authentically. Once that alignment happened, things started clicking. In the end, I feel fortunate that what initially seemed unconventional became my biggest strength.

I’ve had several dance numbers, but each one has its own personality. At the same time, I actively seek out projects that challenge me vocally. I have sung in Heeramandi [2024] and Coke Studio. Rather than fearing typecasting, I focus on growth and experimentation.

Begum Akhtar for her depth and mastery in ghazals, Lata Mangeshkar and Asha Bhosle for their range and timeless appeal and Arijit Singh for redefining contemporary playback with his emotive singing.

Veteran actress Mumtaz speaks frankly, and it's led her into some tangled scenarios. In her recent interviews, she openly discussed her complex relationships—with Shammi Kapoor, Yash Chopra's unrequited love for her, and the dating rumors swirling around Rajesh Khanna.

“Everybody keeps asking me the same old things. And my sister got a few calls. People complained to my sister. They say, ‘Mumtaz shouldn’t answer those questions’. But how many times should I say no comments? People want to ask me everything. My sister told me, ‘You are hurting industry people’. I don’t want to hurt anyone; they are my family. People who I have spoken about, now their kids have grown up and they don’t like when I speak the truth. And I cannot lie,” she tells us.

Ask her if she regrets talking about her contemporaries, and she replies, “I don’t regret it. But it does get monotonous. Everybody just wants to ask me about Rajesh Khanna and Shammi Kapoor. It is so monotonous. His (Shammi’s) wife feels bad, ‘Why is she talking about my husband’. So, I don’t want to hurt anyone.”

Though she's often in the spotlight, the actress, who is known for films such as Khilona (1970), Apna Desh (1972), Jheel Ke Us Paar (1973) and Aap Ki Kasam (1974), isn’t in a rush to return to acting. “You either work when there is a necessity, and I have no such majburi. Otherwise, I have not gotten any tempting offers,” she says. She is a fan of Jane Fonda-starrer, Monster-In-Law.

“I would like to do a movie like that, because the director showed Jane the way she looked. If a director shows me in that light, I might do it. I look reasonably good even now. But if they (makers) ask me to play a mother to a hero who is 60-year-old then I refuse it,” she explains.

Mumtaz was supposed to make a comeback to the showbiz with Sanjay Leela Bhansali’s Heeramandi. The actress refused to play a part, which was eventually played Koi Sehri Babu co-actress Farida Jalal. Opening up about it for the first time, she states, “I love Sanjay. If you saw Heeramandi, it is a multi-starrer. There are many characters, and each has something to do. I felt what would I have done in that show? Sanjay was even open to make a few changes (in the script). I will die to work with Sanjay, but I want an important character. I don’t want to do a movie, where every character is doing something so the importance gets distributed. Itna dum nahi tha, uss character mein. He understood my point.”

She adds, "I don’t miss being in front of the camera. I started working at the age of seven as an extra. So, I was really tired. Yes, I do miss my colleagues. Bohot mazaa ata tha on set. I miss the people, and the fun times.."

Mumtaz’s daughter Natasha Madhvani and her actor-husband Fardeen Khan have been reportedly separated. Query about the couple to the actress and she sheds some light: “They are saying they are separating but they aren’t still divorced. I love Fardeen a lot. He was born in front of me. They are still husband and wife.”

Has Mumtaz sat down with the couple to identify what went wrong? She answers, “Nothing serious has happened. Maybe they don’t get along anymore. Every marriage has ups and downs. They are too old; they won’t listen to me. Sometimes people don’t get along with each other. Arguments hote hai. Natasha and Fardeen should not divorce, as they have kids. And I have seen Fardeen is a good father. He shifts his shooting days according to their schedule. He respects me to date. I don’t know what they want to do. Even if they divorce, they won’t be separated due to their kids.”

At 77, the Do Raste actress continues to remain fit. She eats at 7 pm, works out for over an hour, and has a diet to follow. Talking about her need to still look perfect, she shares, “If you don’t work out, you won’t look good. I have not done any facelifts, but sometimes when I am too tired, I do use fillers on my left and right side of the face. Usse chal jata hai ek do mahina. I do it once every four months. I don’t feel the need of going under the knife, till now.”

She further talks about the idea of plastic surgery which is rampant amongst the younger actresses these days. “If you feel there is anything less in you, then you must rectify it. It is not a crime to change it. Everybody wants to look good and beautiful. Even if I feel like I need something I need to work on, I will change it. Even if I have to do a plastic surgery, I will do it. If that makes me look beautiful, why not. Everybody should do it,” she ends.

Actor Aditi Rao Hydari received rave reviews for her performance in Heeramandi (2024). In fact, her gaja gamini walk went viral on social media. However, the actor says that all the limelight did not translate to exciting acting offers.

“After Heeramandi, the way everybody went on and on and how it was loved, I thought I would have a bauchaar of interesting stuff, [but that never happened]... I was like, ‘What’s going on?’ It was really like a drought,” she told filmmaker Farah Khan Kunder on her YouTube show.

A surprised Farah asked: “Really? Tabhi tune shaadi kar li?” Aditi, who got married to actor Siddharth in an intimate ceremony in September last year, giggled and said, “Actually! We had to space it out so that we could get back from work, get married and then get back to work.”

Prime Video and Netflix topped India’s 15 most-viewed Hindi streaming shows in 2024, while Disney+ Hotstar led in Tamil and Telugu, according to Ormax Media’s ‘Streaming Originals in India - The 2024 Story’ report.

The report emphasized the dominance of platforms like Netflix, Prime Video, and Disney+ Hotstar, which collectively have an estimated 70 million subscribers. It highlighted the growing role of regional content and franchise-driven formats in shaping India’s streaming landscape.

Netflix and Prime Video each had five entries in the top 15 Hindi streaming shows. Mirzapur Season 3 was the most-watched Hindi series with 30.8 million viewers, followed by Prime Video's Panchayat Season 3 (28.2 million) and Netflix’s Heeramandi (21.5 million). The viewership estimates were based on primary data, according to Ormax.

In the non-fiction OTT category, JioCinema's Bigg Boss OTT Season 3 led with 17.8 million viewers. Netflix’s The Great Indian Kapil Show Season 1 ranked second with 15.7 million viewers, while SonyLIV's Shark Tank India Season 3 secured 12.5 million viewers.

The report also highlights a wide variety of unscripted genres, spanning TV extensions, documentaries, game shows, and reality formats driven by influencers.

Netflix also dominated Hindi direct-to-digital films claiming 11 of the top 15 spots, with Do Patti leading at 15.1 million viewers, followed by Sector 36 (13.9 million) and Sikandar Ka Muqaddar (13.5 million).

“Audiences today seek more choices—across stories, devices—and we’re here to meet that demand,” said Monika Shergill, Netflix India’s vice president, content. “The sheer convenience of streaming with improved accessibility and broadband and CTV market growth is leading to a revolution in how we consume our entertainment. Exceptional storytelling enhanced by quality subtitles and dubbing in several languages is enabling more stories to travel and be consumed by more audiences in India and around the globe."

She further noted, “At Netflix, originals like Heeramandi: The Diamond Bazaar, Amar Singh Chamkila, The Great Indian Kapil Show, and blockbuster movie slates in Hindi, Tamil, and Telugu have demonstrated how entertainment and experience can together become the key drivers of streaming growth.”

Nikhil Madhok, Head of Originals, Prime Video India, stated that Indian audiences are open to good stories regardless of language, format, or genre. He highlighted Prime Video's success in engaging audiences across languages with titles like Mirzapur Season 3, Panchayat Season 3, Inspector Rishi, and global hits like The Boys and The Rings of Power.

"We are in a unique time, a renaissance in Indian entertainment, where all kinds of stories are being told and all genres are being explored on streaming. We will continue to collaborate with the finest creators and storytellers from India and around the world to offer our customers some of the most dynamic, fresh, out-of-the-box stories," he said.

Last year, Netflix and Prime Video unveiled ambitious content slates. Netflix’s 2024 slate included 14 shows and eight films, while Prime Video India announced plans to release 70 series and films over the next two years.

In regional content, Disney+ Hotstar's Save The Tigers Season 2 (5 million viewers) and Prime Video's Inspector Rishi (4.9 million viewers) were the top Telugu and Tamil shows, respectively. Disney+ Hotstar dominated the top 10 lists in both languages, with four Telugu and seven Tamil entries.

Netflix’s Squid Game Season 2 became the most-watched international show of 2024 with 19.6 million viewers, securing its place as India’s all-time leader. Among international films, Prime Video’s Road House led with 6 million viewers.

While the report excluded YouTube Originals, it acknowledged the success of India’s Got Latent on Samay Raina’s YouTube channel, which could have ranked in the top three.

According to Ormax, the report evaluated the top original shows and films released in 2024 in Hindi, International, Telugu, and Tamil across parameters such as viewership, marketing buzz, and content strength. It focused exclusively on original content, excluding theatrical films, catch-up TV, sports, and other non-original streaming content.

Manisha Koirala has weathered many storms in her professional and personal life and has emerged stronger. The actress, who won praise for her performance in Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar, is in a happy space. In a conversation with us, she talks about her perspective towards work today and living life on her own terms. Excerpts:

The Khamoshi actress has never been one to shy away from expressing her thoughts. From her opinion on marriage to acknowledging the rivalry with her contemporaries back in the day, Manisha has spoken about all topics candidly.

She says, “There comes a time in life when you mature, when you’ve experienced it all – good, bad, everything. Then, you realize the value of integrity and authenticity. You also understand that we’re all flawed as human beings, and it’s fine to own up to our flaws. Nobody can teach you or give you gyaan about it, you have to realize that yourself. I’m grateful that people have accepted my honesty.”

Manisha, who was married to Samrat Dahal for two years (2010–2012), spoke in a previous interview about how marriage is not for her. Elaborating on it, she says, “I come from a belief that every human being is different and has their set of values. My brother is happily married. My parents may have had ups and downs, but they had one of the nicest marriages. They have stuck by each other through thick and thin, and I would say they still love each other so much. So, it’s not that I don’t value the institution of marriage, but it doesn’t hold that much importance for me. I would rather have companionship, which is committed for life.”

Talking about this new phase in her career, Manisha says, “I am at a point right now where either it’s all or nothing – I can’t do anything half-heartedly anymore. I have decided to give it my all when I take on something. I don’t want to take it easy. I’m more intensely involved with my characters now than I was before. As an actor, I want to create different characters where one cannot see Manisha Koirala.”

However, she isn’t in a hurry to pick up projects despite the success of Heeramandi. “At the moment, my project is to get back in shape and be healthy and fine. When you rigorously work on a film for two or three years, especially when you’re older, it takes time to get your health completely back on track.”

Born in the United Arab Emirates (UAE), actor Taha Shah Badussha could not celebrate Diwali in a big way in his initial years. But it all changed after he moved to India, where he was mesmerised by the opulence of the festivities.

“In the UAE, celebrations were restricted to small sectors. Everybody would dress up in traditional attire and pray, but in India, everything is just so extravagant,” he tells us, adding, “When I first came here, I wasn’t used to it, but the celebrations made me fall in love with Diwali. I began to understand the culture and have even started playing cards with a few friends.”

Badussha, who did part of his schooling in India, looks back on that time with fondness. The actor shares, “In school, all the kids would gather and we would have a few fireworks. Being around those people, dressing up and just being a kid is something I cherish.”

The 36-year-old also says that he particularly enjoyed fireworks. “Those were really fun, except when there were a couple of mishaps — rockets flying into people’s houses, that wasn’t very fun. I remember a time when I lit a firecracker, and it fell on the ground and literally chased me!” he says.

As an adult, Badussha loves getting to share the warmth of the festival with others: “Diwali for me symbolizes the triumph of light over darkness. It touches my heart to have so many friends and being able to go all over with them celebrating Diwali.”

Ask about his favourite festive rituals and the actor replies, “Sending gifts to people that I love, and that list is growing exponentially. Making everybody happy is one of the best rituals.” He also notes that this year has been made so much more special due to the success of Heeramandi: The Diamond Bazaar. 

“The show and (filmmaker) Sanjay Leela Bhansali have given me so many blessings. It’s because of him that I’m here today and this Diwali has lit up my life,” he signs off.

The year 2024 marked Fardeen Khan’s comeback to the movies. In a conversation with us, the actor talks about how he struggled to make a re-entry into showbiz after a hiatus of 14 years, his moments of self-doubt, and how his father, Feroz Khan’s death deeply affected him. Read on...

Fardeen, who spent most of his time away from the limelight living in London with his family, says that making his way back to the industry was a struggle.

Fardeen says, “A lot went into these last three years… just sitting at home, believing in yourself and keeping that hope. It’s been a struggle, especially because I wasn’t coming back after a couple of years, but 14 years and that too, after turning 50. I had a lot of questions like, will filmmakers be able to slot me in a role? Do people even want to see me? Today, the content is very different from what it was in the 2000s. The protagonists have changed. Different parts of our country are being represented so beautifully now. The times are very different. So, I came back with the mentality of literally starting off a new career.” The actor was recently seen in the web show Heeramandi: The Diamond Bazaar and films Khel Khel Mein and Visfot.

While he’s happy to face the camera again, when asked what led him to step away from the industry at an important juncture of his career, he says, “It was a conscious decision. We had challenges having children at that time, so we moved to London. There, we had an incredible doctor, and soon after, my daughter was born (through IVF) in 2013, followed by my son in 2017. After my daughter was born, I intended to take a two-year break to enjoy parenthood. I enjoyed being a father so much that it ended up being a break that lasted more than a decade. I wish I hadn’t taken such a long break from work. The only brownie point is that I have two beautiful children with whom I could spend so much time.”

The other reason he stayed away from the limelight was his father’s (Feroz Khan) demise in 2009 due to lung cancer, after which he faced a health scare himself. It’s a phase of his life that he doesn’t want to recall. “Let me just say that I had a surgery that also affected me. Also, my father’s illness was very serious, as his prognosis was not good from the beginning. Those two years were very tough. I needed time for closure. Dad’s death affected me deeply,” he shares.

Fardeen, who would shuttle between Mumbai and London, was heavily trolled for his weight gain in 2016. Those comments shook him. “I was like… why are they after me? However, that version was the heaviest version of me. I realised that there was an audience that wanted to see me. I saw some love in all that criticism. Then, when I decided that I needed to make a comeback, I started losing weight.”

Fardeen’s kids, Diani and Azarius, he says, are loving this fitter version of him. “They called my belly, Tungu (laughs). So now they are like, ‘Daddy, your Tungu’s gone!’ I don’t think there is any greater form of self-love than to look after your health. Now, I enjoy playing sports with my kids. My son is just about starting out and he’s showing interest in football. I’m introducing him to Jiu-Jitsu.”

While the actor lives here now and is totally focusing on his career, his kids continue to live in London. There were reports of his separation from his wife, Natasha. While he doesn’t want to talk about his personal life, he does open up about missing spending time with his children.

He says, “It’s not easy. I don’t want to get into why they’re away, but yes, it’s not easy. I miss them terribly. I see them every four to six weeks and we talk over video calls daily. But I definitely miss being a part of their daily life, watching them grow up, be a part of their decision-making process and help them find their own identity. My kids paint and I have put up their artwork on the walls of my house in Mumbai. I miss their hugs, cuddles and kisses. I keep working to keep my mind distracted. And whenever they come down to Mumbai, I clear my entire schedule and be with them 24/7.”

In a career spanning 50 years, Farida Jalal played leading parts long before she gracefully transitioned to the lovable maa and dadi roles in films and TV shows. The veteran actress, who was in the news sometime ago after attending the premiere of a web show in which she featured, was surprised by the way people reacted to what they called ‘a rare appearance’ by her.

She tells us, “I don’t know why people were so surprised to see me. It’s not like I have stopped working, I have been busy with various projects. It’s just that I have been away from the public glare, but that has always been the case with me.”

The Dilwale Dulhania Le Jayenge actress is happy that today, senior actors are making a comeback and hopes that filmmakers also offer her something beyond what she has been portraying all these years. 

“I’m waiting for a challenging role where I can showcase my versatility. I feel ki chalo, ek aur maa ka role laaye, aur ek dadi ka role laaye mere liye. Same wahi sab kuch. I’m disappointed that makers don’t think I can do more than that. I want to do something exciting. My male counterparts got to do so much. From the late Amrish Puri to Anupam Kher, they played villains as well as comedians so well. They were not limited to playing only fathers or dadas on screen, but unfortunately, I have been given just one slot,” she says.

The actress is making the most of whatever comes her way. “While I hope to get meatier roles, I am enjoying my work. I am an actor and would love to showcase more of what I can do. There is a lot I can offer, but nobody is tapping my talent. ‘Jeete raho beta, khush raho beta’ karti rahungi filmon mein. Meri mamta se koi nahi bacha hai... I keep saying that (laughs). I have played mother and dadi to all the actors and I am happy about it,” she says.

In 2020, Jalal was seen in the Saif Ali Khan-starrer Jawaani Jaaneman and Ittu Si Baat in 2022. She was recently seen in Sanjay Leela Bhansali’s web series, Heeramandi. Talking about her upcoming projects, she says, “I have completed a couple of projects, including Dua Qubool and a film in which late music composer Aadesh Shrivastava’s son is making his debut. I love my work and will never quit working.”

India ranked second in terms of paid net subscriber additions globally for video streaming giant Netflix in the June quarter, and third by revenue percentage growth, backed by a strong content lineup headlined by ‘Heeramandi: The Diamond Bazaar’ web series.

Netflix's paid net additions stood at 8 million in Q2 compared to 5.9 million in the same period last year. Its global paid subscriber base stood at 278 million.

Revenue for the quarter grew 17% to $9.5 billion, while net income rose 45% to $2.1 billion.

Netflix said in a letter to shareholders for Q2 2024 that 'Heeramandi' is its biggest drama series in India, fetching 15 million views. ‘Amar Singh Chamkila’ movie followed with 8.3 million views. Licenced films such as ‘Laapataa Ladies’ and ‘Shaitaan’ also helped drive subscriber additions.

Netflix also said ‘The Great Indian Kapil Show’ ranked among its most-popular shows globally in Q2 along with ‘Bridgerton S3’, ‘Baby Reindeer’, and ‘Queen Of Tears’.

According to Media Partners Asia, Netflix had 12 million paid subscribers in India. As per regulatory filings, Netflix Entertainment Services India reported a 24% growth in revenue at Rs 2,214 crore in FY23. Net profit jumped 75% to Rs 35 crore during the year.

“It's truly remarkable how our series and films have made a significant impact on a global scale. Heeramandi becoming our biggest Indian drama series to date is a testament to this. We are focused on engagement as the single most important indicator of success because when our members watch more, they stick around longer," said Netflix India vice president incharge of content Monika Shergill.

She noted that 2024 has been a great year for Netflix, with healthy engagement across films and series as well as a steady growth in subscribers.

Speaking at the MoffettNathanson Media, Internet & Communications conference in May, Netflix VP of finance, corporate development, and investor relations Spencer Wang noted that the platform is growing quickly in India.

Wang also said that India is an important country for Netflix and a very competitive one. While noting that Indian consumers have a lot of choice, Spencer said the platform's job is to just improve its offerings so that they resonate with the Indian consumer.

‘The Great Indian Kapil Show’ and ‘Heeramandi’ were among the popular titles, creating 1.1 billion organic impressions on Netflix India's social channels.

Netflix India had earlier announced it would release 14 shows and eight films in 2024. The platform has lined up non-fiction content including ‘Modern Masters: SS Rajamouli’, ‘Nayanthara: Beyond the Fairy Tale’, and ‘Yo Yo Honey Singh’.

Films and series on the platform include returning seasons of ‘Yeh Kaali Kaali Ankhein’, ‘The Great Indian Kapil Show’, ‘Fabulous Lives Vs. Bollywood Wives’, besides ‘Phir Aayi Haseen Dillruba’, and Anubhav Sinha’s gripping drama ‘IC 814: The Kandahar Hijack’. The platform will also stream feature films like Do Patti and Vijay 69.

Actor Sharmin Segal has been on the receiving end of heavy criticism for her performance in Sanjay Leela Bhansali’s web series, Heeramandi: The Diamond Bazaar and her “negative” interviews.

Segal has been facing flak for what many consider to be dismissive remarks about her co-stars; in a now-viral video, the actor seemed to refer to her co-star Sanjeeda Shaikh as an “outsider”. During the interview, Shaikh called Bhansali a “perfectionist”, to which Segal responded: “It’s is a very basic word to describe [Bhansali], it’s what an outsider, would use.”

When asked if she feels an “insider versus outsider” narrative was created over her interviews with Shaikh and actor Aditi Rao Hydari, she replied, “This is something I don’t know... my interviews were taken out of context. I share a very cordial equation with both Aditi and Sanjeeda. I wish people would not use 10-second clips to define the relationship I share with them.”

Even as Sanjay Leela Bhansali’s web series Heeramandi: The Diamond Bazaar continues to receive equal parts praise and brickbats on the internet, A M Turaz, who worked as a songwriter on the show, feels that not everyone involved with the project has equally received the recognition.

“A film belongs to the director and the writer. Similarly, for a song, it’s the composer and songwriter who deserve the credit. But actors sab credit le jaate hain ki ‘Humari film, humara gaana’,” shares the 49-year-old, who has also collaborated with Bhansali for films such as Guzaarish (2010), Bajirao Mastani (2015) and Padmaavat (2018).

For the songwriter, the matter extends beyond personal recognition. “If the creators and writers don’t get the respect that others are getting, how will they create good content in the future?” questions Turaz, adding, “Art is about confidence. Confidence tab aata hai, jab aapko respect milti hai, jo aap deserve karte hain.”

Having said that, the songwriter has no complaints about Bhansali. “Main jitna deserve karta hun, wo (Bhansali) mujhe usse kahin zyada respect dete hain. Recently, he mentioned me in one of his interviews too. He refers to me as his favourite writer, and that doesn’t make him smaller. Instead, it makes him a bigger person,” Turaz shares and adds, “On the other hand, actors are the face of a film. So when they are sitting on a platform for promotions, why can’t they credit a writer?”

Actor Sharmin Segal has been at the receiving end of trolling for her performance as Alamzeb in Sanjay Leela Bhansali’s web series, Heeramandi: The Diamond Bazaar.

Defending her work in the show, the actor had earlier shared that she had taken inspiration from veteran actor Meena Kumari’s performance in Pakeezah (1971). Now, Meena Kumari’s stepson, filmmaker Tajdar Amrohi has reacted to Segal’s comments, saying that there is “a lot of difference” between the two.

In an interview earlier this month, Segal stated, “Meena Kumari was one of my inspirations. I tried to bring The actor’s nothingness from Pakeezah to my character in Heeramandi.”

In an interview with Zoom TV, Amrohi said, “Zameen aasman ka fark hai between Heeramandi and Pakeezah. Don’t compare the two. Nobody can make Pakeezah again. Neither Meena Kumari nor Kamal Amrohi (filmmaker, his father) can ever be born again.”

He continued, “I don’t know Sharmin. But no, I can’t relate to her statement on nothingness. I must say here, that each one of us has individual tastes. There might be people who have liked Heeramandi more than Pakeezah.”

Amrohi then went on to elaborate on Bhansali’s admiration for his father. The filmmaker added, “Once, Bhansali had come to Kamalistan Studio and asked where my dad used to sit, where he walked. Out of great respect, he touched the ground. That was 15 years ago and I never met him again.”

Jayati Bhatia considers herself “blessed” to have been a part of the Sanjay Leela Bhansali universe, and being around the filmmaker was nothing but “pure happiness” for her.

The actor, who has been getting recognition for her character of Phatto in Heeramandi: The Diamond Bazaar, tells us, “I’ve learned so much just by being on that set. I remember when I did theatre, I’d get butterflies and I’d be overwhelmed before going up on the stage; I felt exactly the same roller-coaster ride in front of the camera during Heeramandi’s shoot.”

Amid all the compliments, Bhatia says getting praises from veteran actor Rekha meant the world to her. “During the premiere, Rekha ji was talking to my co-actor Sanjeeda (Shaikh), as I stood in the corner, totally starstruck as I had never seen her from such a close distance before. She saw me, stopped the conversation midway, came up to me and said, ‘Lo, hum toh aapke fan ho gaye’. She gave me a hug and pecked my cheek,” gushes Bhatia, adding, “She also complimented me for working on my character the way I wanted. It was such a beautiful thing to hear and I’ll forever be grateful.”

Meanwhile, Bhatia is aware of the backlash her co-star, Sharmin Segal Mehta is facing. Stating that Bhansali got exactly what he was looking for from Alamzeb’s character, the actor feels Mehta is being unfairly targeted.

“People are trolling her unnecessarily by digging up old interviews given during promotions. She’s a young girl, who doesn’t know how to sugar-coat her words. She’s neither trying to put down anyone nor make others think anything highly of her. She is a person with a pure heart and has nothing against anyone,” Bhatia ends.

It’s been a month since Sanjay Leela Bhansali’s ambitious OTT debut series Heeramandi dropped on Netflix and the one person who has been discussed the most is his 28-year-old niece, Sharmin Segal. This is her second project after Malaal, and the Internet has been picking away at her performance. Most reviews say Segal’s laboured performance sticks out next to that of seasoned colleagues. But the armchair critic on the ’Gram has also zoomed into the micro-expressions of colleagues as an unprepared Segal gives interviews.

Where does so much hate come from?

The industry consensus is that Segal and many young actors become soft targets for the Internet. “Hate for Sharmin comes from nepotism because she is Mr Bhansali’s niece,” says Tushar Joshi, a film critic with India Today. “In my interview, Mr Bhansali spoke about why he cast her. Alamzeb was meant to naïve, and if you watch the show with Sanjay’s words in mind, you realise that this was their vision for the character.”

Nikhil Taneja, mental health advocate and co-founder of Yuva (a Gen Z-focused media company) agrees that star kids have it worst. “The root of the vitriol towards Sharmin or Suhana Khan or Khushi Kapoor comes from the fact that people are struggling themselves; they naturally dislike those who have easy access. This happened with The Archies as well.”

While this normalized the conversation around nepotism, making it more than a passing discourse, it’s a fine line into harsh trolling. “The Internet has made being a****les cool,” says Taneja, “People need to understand that being unkind to people is not okay. To say that someone is a bad actor is understandable, but to shame people on how they look, behave and talk, you are projecting your understanding of the person.”

So much so that colleague Richa Chadha had to step in to shield her colleague to say, “Criticism has to be constructive. If someone doesn’t like your work, one could say, ‘okay the body language isn’t believable. [or] The voice tonality isn’t okay’. When we start operating like that, we help the actor grow. Actors bhi insaan hai, mental health sabka kharab hota hai.”

An image consultant adds, “The Internet and social media have simply allowed people to say things without being held accountable. We come from the culture of wanting to pull down the next.”

And, it doesn’t help, the professional says caustically that, “Gen Z stars want to be everyone except themselves. They invite hate by being inauthentic. If you are being hypocritical, you can’t cry about it.” 

They say it may be their job to protect the client’s image, but that’s hard when they don’t have the personality they try to project. “A lot of it is their own doing,” the image consultant said, “They’re like: ‘Oh I wanna have Kareena’s sassy personality on the Internet’. You can’t become someone else if you are not naturally that.”

Recently, a clip went viral in which Babil Khan, actor Irrfan Khan’s son, is seen apologizing to a woman after he unknowingly bombed her red carpet pictures. One user wrote, “He makes Vanga look better as I can at least see straight forward toxicity”. Another said, “There’s something so spectacularly insidious about a man who makes a whole performance out of being nice. Like who even are u when ur not performing”.

Here, a digital content creator says, freedom of expression is rebellion against the careful curating of personalities. “Comedy is not bullying; it is a commentary,” she says, “My Babil Khan video did well because people are recognizing that his PR has a tendency of projecting him as a little saintly boy. He is already a kind, sweet, wonderful person; cut out the extra drama of buying memes saying, ‘Oh such a green flag’.”

She sees her role to be in line with the press’s: Cutting stars and their perceptions to size. “Be yourself, be authentic. Let us decide if you are a green flag,” she says.

However, Taneja, who shot with Babil last year, says, “He is a visibly anxious person. He has been very open about his grief, his mental health, losing his father so unexpectedly, his living parent. Being vulnerable has made him a soft target. His every move is analyzed, he has to live up to the pressure of carrying forward the legacy of  one of the world’s greatest actors. People need to stop and analyse whether they are punching up or punching down. ”

Abhishek Thukral of the boutique PR Agency Hardly Anonymous Communications, says the hate for Segal is a case study on things going too far. And that it’s the publicist’s responsibility to coach a fresh actor on media perception, and check things when they go too far.

“No actor is great in every project,” he says, “And that’s okay. But when an actor is going for promotions of a big show or movie, they must be prepared better. There is a reason experts are hired to give sound advice to talents.”

He adds that young actors have to be trained in facing the press with mock drills to help them field questions better. “You can’t go into a Heeramandi underprepared,” Thukral says.

And in the case of someone who is being launched into the industry, a publicist’s role is to condition the audience to the new person. With star kids, it’s made to look organic with a slow trickle of snapshots from their personal life, with the more recognized or influential parent. “The world should be familiarized with the person before the launch,” says Thukral, “Who are they? What do they like?”

Where do film critics come in all this? In the era of social media, are they mindful of how far their words could travel? Are they aware harsh ones could set off a tsunami of hate? 

“A reviewer’s job to take a movie or a show, recommend or fault it,” Raja Sen, film critic, says. “It is your informed opinion. You must present your perspective such that people have a solid idea as to why I like a certain show.”

The critic-filmmaker dynamic is professional, he says, and crucial for better storytelling. They serve as gatekeepers of entertainment and the craft. “Sometimes people in the movies think of criticism as a personal attack,” says Sen. “No it is not; we don’t know these people personally and we are reacting to the work, not the people. As critics, however, the review should lucidly explain what we are finding revolting so that the reader can make up their own mind.”

When the critic-audience-filmmaker is bound by this authentic service, everyone benefits. “Ram Gopal Varma once told me that bad reviews are the only ones worth reading,” continues Sen. “I am not telling a filmmaker where to start a scene; I am saying the movie was a traumatic experience for me. That should make them pause and ask why.”

Joshi agrees somewhat: “Reviews are feedback for course correction; I won’t write the person off. I won’t use harsh words; won’t slam beyond redemption. If a performance is abysmal, we need to ask ‘What isn’t working?’”

He agrees that the conversation is about the craft, not the person. “You ask if the actor getting better with their films, says Joshi, “It’s a conversation about Janhvi Kapoor right now, that her performances are of similar nature. I understand that the actor put themselves out there, [so] they have to be open to critique. But attacks can’t be of a personal nature.”

In a time when perception can be shaped through influencers, Sen believes the role of the critic is even more important. “When I look at criticism today, I see a lot of soft pedalling and pacifying in reviews. There are many agendas, many camps...” he says. “[So] the role of a reviewer is even more crucial now. A critic can’t be wishy washy. In order to stay relevant, they need to be honest.”

In many ways, Reels and other reactions on the Internet are the “authentic” response to this micromanagement of perception. “Through Reels,” opines Sen, “people are representing some authentic experience. It may not be cool, but they are true to their experience. The problem is that they are unfiltered, but they too are a work of passion.”

And once they are out there, algorithms take over, and everyone jumps on the trend to be seen. “We mirror the audience’s mood,” says content creator Arindam Thapliyal. “Our content only reflects what the public feels. Content creators are putting up videos only to stay relevant. They aren’t trying to attack any star.”

He says it’s the public mood  that colours the conversation. “It makes a plain comedy video seem like an attack. The videos, if you notice say nothing; it is the comments that are hateful.”

Hate is best managed early, and the publicist we spoke to earlier believes Segal’s image spiralled out of hand. “Narratives can be controlled by buying media narratives, social media memes. The process of any damage control is different. If my client has said something elitist, ignorant, I would suggest acknowledging, apologizing and moving on. If it’s political, I suggest not meddling. If a newcomer is getting hate, you have to counter with positive narratives.”

Individual responsibility, unheard of on the web, will need to be practised soon. “The Internet is our second home and to keep it clean, hate free and non-toxic is as much our responsibility,” says Taneja. “It is not long before we all start being shaped by this hate.”

Sonakshi Sinha is all smiles, basking in the glowing reviews she’s received for her performance in Heeramandi. “I’m thankful to Sanjay sir (Leela Bhansali, filmmaker) for showing me to audiences like they’ve never seen me before,” the actor says.

In an exclusive chat with HT City Showstoppers, she talks about her relationship with fashion and the journey from aspiring fashion designer to stardom.

Sinha reveals that she was drawn to fashion as a teenager: “Mum (politician Poonam Sinha) produced Mera Dil Leke Dekho (2006) when I was in school. I helped her with styling and clothes. [Actor] Koel Purie was the first person I ever designed for.”

However, the actor admits that it didn’t “come naturally” to her. “My style is very casual, very easy. But I’m open to experimenting and open to trying out new things. So it’s been acquired,” Sinha tells us.

Why design? “I was just out of college, trying to figure out what to do. I was good at drawing figures and silhouettes, stuff like that. Fashion designing seemed to be the most natural step,” she explains. But then, Salman Khan advised her to become an actor. “My life completely changed,” she says, referring to her debut in Dabbangg (2010).

Her career took off with films like Rowdy Rathore (2012), but it was Lootera (2013) — departure from her usual glam roles — that really let her shine. The 36-year-old also credits Akira (2016) for her pivot from masala films. “I was the focal point [of the film], it was liberating. That’s when I realized I wanted to portray strong female characters on screen. Since then, I’ve stuck to my guns, whether [a film] worked or not,” she tells us.

With her venture into streaming, first with Dahaad — which went on to become India’s debut at the Berlin International Film Festival — and now Heeramandi, does Sinha feel the medium has given her better opportunities than films? “It’s a coincidence that the better roles have been on OTT. I have always had that choice, right? [OTT is a] long format and I think people are willing to take more risks with female protagonists on OTT,” she ends.

The red carpet of the Cannes Film Festival is all about glamour and fashion. But behind it lie multiple fitting sessions and negligible sleep, quipped Aditi Rao Hydari, when we spoke to her only days before she headed to the French Riviera. On Thursday, the actor walked the red carpet in a strapless monochrome gown, completing it with soft lip colour and an updo.

The idea was to showcase her inherent style. “I don’t try to prove anything to anyone. When I was starting out, people had a lot of advice to give me. For the promotions of my early films, I’d wear jeans and a shirt. People started saying, ‘Get a hairstylist, be glamorous, and wear heels.’ [I] felt the need to conform. That change [in mindset] happened in 2016 when I worked with Mani [Ratnam] sir. Subsequently, I’ve never let fashion play heavy on me,” said Hydari, who represented L’Oreal Paris at the gala.

Her non-conformist streak has held her in good stead. Earlier this month, her Gajagamini walk from Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar caught the fancy of the internet.

“Sanjay sir had asked me to put on some weight. Then I got COVID-19 and became so skinny that everyone overfed me. I put on a few kilos when I went to shoot the song. I suggested losing weight, but Sanjay sir said, ‘You’re beautiful. You’re not a 2020 heroine, but a 1940’s woman.’ Today when I see how that has made people feel, it feels wonderful. People have written in to say that they feel seen. We’re stuck in a manufactured idea of beauty, and it took Sanjay sir to show that other body types are as beautiful. In our tryst to be healthy, we have normalized a particular body type. But all body types are beautiful.”

Even though the Cannes Film Festival is among the most prestigious film galas, for some, fashion takes precedence over movies. Hydari said, “It depends on the intention of the person. There are countless cinephiles there, who watch films all day long. The media also needs to report more diversely. This year, we have a film in the competition section [All We Imagine As Light]. Payal’s [Kapadia, director] mother is my mom’s friend. I want to catch her film!”