Akash Jagga, a TV actor, talks about how payments often get delayed by 90 days and is a common practice in the industry now

For millions of viewers, television actors are familiar faces who appear in their living rooms every evening, often associated with fame and success. But behind the polished sets and prime-time popularity lies a far less glamorous reality. Over the years, several actors have publicly alleged delayed or unpaid remuneration, exposing the financial uncertainty that exists within the industry.

That conversation has resurfaced after TV actor Shehzada Dhami (Yeh Rishta Kya Kehlata Hai) alleged that a production house owes him Rs 30 lakh in unpaid dues. Speaking up in his support, actor Shilpa Shinde (Bhabhi Ji Ghar Par Hai!) described some television producers as “white-collar mafia”.

Their claims join a growing list of similar complaints in the television industry. Actors including Nupur Alankar (Diya Aur Baati Hum), Kishwer Merchant (Hip Hip Hurray), even the family of deceased actor Manmeet Grewal (Aadat Se Majboor) have, at different points, spoken about delayed payments, financial distress, or the irregular cash flow that often accompanies television work.

While producers’ bodies have occasionally disputed individual allegations or cited contractual and production-related complications, the recurring nature of these complaints points to a systemic issue rather than isolated disputes.

TV actor Akash Jagga, who is best known for his roles in Kasautii Zindagii Kay (2020) and Sasural Simar Ka 2 (2021-2022), entered the television industry in 2020. He says that delayed payments are not an exception but an accepted part of the profession. It is an unspoken standard practice for actors, especially newcomers, to be paid 90 days after the shooting of a particular show. His conversations with senior actors reveal how drastically the payment culture has changed over the years.

“I’ve heard from seniors that actors used to receive payments almost immediately. Then it became a week, then a month, then two months. Today, many actors are paid nearly three months after an episode is telecast,” he says.

Unlike film stars with multiple revenue streams, many TV actors rely on regular shooting schedules for a steady income. Payments are frequently staggered, and speaking out against delayed dues can carry the risk of being labelled “difficult” in an industry driven largely by relationships and reputation. As more actors come forward with their experiences over time, the spotlight is shifting from standalone individual disputes to questioning how financially secure are the faces that dominate Indian television screens?

TV actor Shreya Sinha [name changed] recalls an incident that exposed the power imbalance many television actors face when it comes to getting paid. During one of her projects, she says the production house attempted to pay her only half of what had been agreed upon when she was cast.

“They sent me only half my payment. That wasn’t what we had discussed. I stood my ground and told them that if I had worked, I deserved to be paid in full,” she says. After repeatedly following up, Sinha eventually received the full amount in her next payment cycle. However, she says several of her co-actors, who were hesitant to question the producers for fear of being replaced, did not get their dues.

Such delayed and partial payments are not uncommon. “We were paid once every three months, and sometimes only around 20 per cent of the total amount would come. Some of my co-actors went six to eight months without receiving their dues.” She believes newcomers are especially vulnerable. Many young actors, eager for visibility, accept salaries as low as Rs 15,000 a month despite working a 12 to 14-hour shifts. “You can’t even pay your rent in Mumbai with that. They do it because they want an opportunity, but that’s exploitation,” she says.

While contracts may allow established actors to negotiate payment clauses, Jagga believes newcomers have little bargaining power. Eager to secure their first break, they often accept whatever terms are offered. “As soon as actors ask for a better budget, makers can easily replace them with someone new who’s willing to work for less. That’s why television budgets have kept shrinking.”

Jagga admits he, too, accepted such conditions when starting out. But reality catches up. “We spend long hours on set, sacrifice our personal lives, and our health, yet the pay doesn’t reflect the amount of work we put in.”

Shehzada Dhami’s allegations are not an isolated case. Last month, actor Satendra Soni (Laapataa Ladies, 2024) broke down in an emotional Instagram video, alleging that he had not been paid for his work and claiming he was threatened after repeatedly asking for his dues. His video struck a chord with many within the industry, once again highlighting the financial insecurity that can accompany life in television. While not every project is affected, payment disputes remain a recurring concern across India’s entertainment industry, underscoring the absence of uniform safeguards for freelance creative professionals.

Offering the producers’ perspective, actor, producer, director, and Indian Film and Television Producers Council (IFTPC) chairman for TV and Web Jamnadas Majethia says delayed payments are rarely intentional and are often a consequence of mounting financial pressures within the television ecosystem.

Majethia explains that payment delays often arise when a producer suffers financial losses or faces cash flow issues. In such situations, producers prioritize immediate operational expenses, including payments to daily wage workers, studios, and essential vendors, while actors and suppliers often receive their dues later.

“A producer has to ensure the shoot doesn’t stop. If the studio isn’t paid rent on time, the production comes to a standstill,” he explains, “And delayed deliveries can cause a further loss due to late delivery penalties.”

Majethia maintains that delayed payments are not an industry-wide norm but individual cases that receive greater public attention because of the industry’s visibility. He believes producers today are operating under unprecedented pressure.

“A producer is the most vulnerable person in the entire system,” he says, “Producers have to deliver the same quality of content despite significantly dropped budgets.” With television viewership declining and advertisers increasingly shifting their spending towards OTT platforms, production budgets have shrunk considerably for the television industry. “So where will the money come from?” he asks.

After nearly 30 years of marriage, J D Majethia and his wife, Nipa, got married again on March 11—this time with rituals they had missed in 1997. “It was completely different,” the Khichdi producer-actor says. “Back then, it was a court marriage, after which we went to a temple in Mathura for blessings. After three days, we left for America for the tour of our play. We were working together in a Gujarati play at that time.”

This time, it was different. “We took vows which we couldn’t take earlier. All our vows were interesting, and some of them were funny too, but we knew we had fulfilled most of them over the years.”

J D further adds, “My wife always regretted that we didn’t do our pheras three decades ago. I could always see that. Both my daughters planned this ceremony along with her. I was a little conscious initially, but I am happy we did it. It was a very intimate event with very few family members and our common friends. After being married for 29 years, this felt like beginning our married life all over again.”

Their daughters became an integral part of the celebration. “My younger daughter, Misri, was equally excited as my wife. She made invitation cards, took part in every plan—my wife herself was almost the wedding planner of her own wedding. My daughter made a picture with the help of AI of both of our dads, who have passed away, with a note saying they are attending the wedding and blessing us. It made us very emotional and happy. It was a very intimate event with very few family members from both sides, our common friends. After being married for 29 years, renewing our vows felt like beginning our married life all over again.”

Actor and filmmaker JD Majethia (right), who produced the popular sitcom Sarabhai vs Sarabhai, reacted on late actor Satish Shah being posthumously honoured with the Padma Shri award recently.

Though Majethia expressed his happiness, he also feels that the joy of receiving the award, Satish ji himself would have been very different for Shah.

Majethia added that the entire team of Sarabhai Vs Sarabhai were discussing about Shah’s recognition.

“Satish ji was the kind of person who would take everything in a positive way. If he were with us, he would have probably made a video about this, joking about it coming to him too late,” he says.

Talking about the debate of the acknowledgement of actors while they are alive, Majethia says, “It is true that when an artiste gets an honour, and they receive it themselves, the award becomes very special for them. But for an artiste, there is also the love of fans which is not just about giving a hit show.”

He adds, “It is the love even the fans experience when their favourite artist wins an award. So, in such a case, when actors like Satish ji or Dharmendra sahab win an award, the love of the fans gets rewarded too.”

Satish Shah, who played the popular character Indravadhan Sarabhai, died in October 2025.

In 1984, India could not have enough of the riotous TV comedy ‘Yeh Jo Hai Zindagi’. The most-talked about element of that rib-tickling show on DD, then the country’s only TV channel, was Satish Shah’s impeccable comic timing and astonishing range — over 40 different characters, ranging from an unwanted guest to a thief, each funnier than the last.

Those roles propelled Shah, who passed away on Saturday following kidney failure at a private hospital in Mumbai at age 74, to the cover of the reputable Hindi film magazine Madhuri, a space then reserved for major film stars. The June 7, 1985, issue, which also featured fellow ‘Yeh Jo Hai Zindagi’ actor Swaroop Sampat, carried the headline, ‘Aap ke chahete sitare’ (Your favourite stars). The characters were not specifically written for him, Shah recalled in a TV interview two years ago. He said they were people he might have seen in school, college and other places and subconsciously absorbed. “I give full credit to Mumbai city, a melting pot, which gave me the opportunity to see them,” he said.

Fellow actor, friend and FTII (Film and Television Institute of India), Pune, batchmate Rakesh Bedi said, “With his talent, he converted an outsider into the most interesting and eagerly-awaited performer of ‘Yeh Jo Hai Zindagi’.”

Shah brought laughter, grace and depth to Indian cinema and television with iconic performances, said FTII.

Shah’s journey began at FTII, captured in student films like ‘Bonga’, ‘Corpses’, ‘End Of The Game’, ‘Khukari’, ‘Lokayat’, ‘Masks’, ‘Shikast’, ‘Duniya Chalti Hai’, ‘Out of Focus’, ‘Sab Maya Hai’, ‘Sadama’ and ‘Tenth Floor’.

The actor, who featured in nearly 200 films and TV serials, marked his presence even in cameos. Few would have played the corpse of corrupt municipal commissioner D’Mello better than him in Kundan Shah’s political sidesplitter ‘Jaane Bhi Do Yaaro’ (1983).

“I changed my expressions as per scenes,” he once said. And who can forget his spit-showering ‘How dare you’ face-off with Shah Rukh Khan in ‘Main Hoon Na’ (2004). He featured in a clutch of Shah Rukh films, including ‘Dilwale Dulhaniya Le Jayenge’ (1995), ‘Kal Ho Naa Ho’ (2003) and ‘Om Shanti Om’ (2007).

His talent for mimicry shone in Ramsay Brothers movies such as ‘Purani Haveli’ (1989), where his parodies of old hit Hindi film songs drew guffaws. He also played two minor negative characters in ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and ‘Umrao Jaan’ (1981). But TV gave him roles of length and heft. In ‘Sarabhai vs Sarabhai’ (2004), Shah made the part of Indravadan Sarabhai, the irreverent patriarch of a well-heeled Gujarati family in swank south Mumbai, his own.

Shah faced a curious problem when starting out. At a time when actors were neatly slotted as hero, villain and comedian, he could not find himself fitting into any. “I was too tall and well-built for comedies, too soft a face to become a villain and not conventionally good-looking for a hero,” he once said on TV. But the versatile actor, who grew up in south Mumbai playing cricket with neighbourhood kids such as Sunil Gavaskar and Sudhir Naik, did well nonetheless.

Bedi recalled that Shah was as funny off screen as on it. And that his sense of humour never left him. “Some of us went to see him when he had open-heart surgery a few months ago. We were with him for two hours. He laughed and joked, making sure that he was the centre of attention,” he said.

CM Devendra Fadnavis paid tributes to Shah, describing him as a versatile artist who left an indelible mark on Indian cinema and theatre. The CM said Shah, who passed away at 74, will be remembered for the effortless charm and authenticity he brought to every role he portrayed. “Through his natural and graceful performances, he carved a permanent place in the hearts of audiences,” Fadnavis said.

He said Shah, who had also acted in films by the late Dada Kondke, contributed to enriching Marathi cinema. “His demise has caused a great loss to the world of art. A guiding link that connected generations of artists has been severed,” the CM said.

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A massive fire broke out early Monday morning on the set of the popular TV show Anupamaa, located in Goregaon’s Film City. While the exact cause of the fire remains unknown, sources say that it was quickly brought under control. Fortunately, no casualties or injuries have been reported.

The makers, Shahi Production, in a statement said, “An unfortunate incident occurred early this morning on the sets of Anupamaa. A fire broke out, but by God’s grace, there were no casualties. There was no shoot on Sunday, and Monday’s call time was scheduled for later in the day. At the time of the incident, no unit members were present — only security personnel and set staff, all of whom are safe. No animals were harmed, and proper precautions were taken to ensure their safety. The fire department and relevant authorities are currently investigating the cause, especially since the set was not in use and the main power lights were turned off.”

It further stated, “We have also been made aware of individuals spreading false and misleading information. We sincerely request everyone to refrain from believing or circulating any unverified news. We extend our heartfelt thanks to the senior associations, industry peers, and well-wishers who have reached out with their support and concern. We are also grateful to the channel for standing by us — and above all, to the Almighty for keeping everyone safe.”

Birendra Nath Tiwari, President of the Federation of Western India Cine Employees (FWICE), told us, “The fire broke out around 5 am. It was a massive fire that caused significant damage.” He went on to highlight that a fire safety audit had recently been conducted on the Anupamaa set.

He said, “The production had undergone a thorough fire audit and was found to be fully compliant with all mandatory safety norms. Unfortunately, despite these precautions, the fire broke out — most likely due to a short circuit or electrical fault.”

Stressing on the need for stricter safety measures across the industry, B N Tiwari said, “All sets should go through proper fire and structural audits, especially since many older structures are still in use and pose serious risks. Clear and accessible exit routes, along with functional firefighting equipment, are critical. We urge producers to ensure comprehensive audits across departments and to maintain proper insurance coverage.”

J D Majethia, Chairman (TV & Web Series), Indian Film and Television Producers Council (IFTPC), added, “Thankfully, there were no casualties. Our biggest fear is the loss of lives. Unlike private premises, Film City spans 420 sets, making fire control far more challenging. Located in an open, uncontrolled area, it is crucial that we have full government support to ensure safety. Apart from individual producers being more vigilant and taking extra care and precautions, we urgently need to reassess Film City’s infrastructure and enhance security by developing more guarded and secure studios. Continuous and well-coordinated vigilance is essential. A centralized CCTV system should monitor every corner of each set, enabling immediate response to any fire outbreak. We plan to submit a formal request to the Chief Minister to address these concerns on the industry level in Mumbai and Maharashtra.”

1. Tenali Rama (Film City): In March this year, a fire erupted on the set due to an electrical generator issue; no casualties were reported.

2. Ghum Hai Kisikey Pyaar Meiin (Film City): A massive blaze caused by a short circuit broke out in March 2023. While the set was destroyed, there were no casualties.

3. Pandya Store (Film City): A fire broke out on the show’s set in February 2021, damaging costumes and materials. No lives were lost.

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On Monday morning, a massive fire broke out on the sets of the Rupali Ganguly-led TV show Anupamaa at Film City, Goregaon, Mumbai. The fire started at around 5am.

According to initial reports, the blaze caused significant damage, two hours before the shoot was to begin, but no casualties or injuries were reported.

Producer Rajan Shahi, in a statement, said that there was no shoot scheduled on Sunday and no unit members were present on set at the time of the incident. “The fire department and all concerned authorities are currently investigating the reason, especially since there was no shooting on the set and the main power lights were turned off,” he added.

Meanwhile, All India Cine Workers Association (AICWA) condemned the negligence on set and called for an investigation into the fire’s cause in a statement posted on X. AICWA has also called for an FIR to be filed against the producers, the production house, and the television channel, as well as the Film City Managing Director and Labour Commissioner.

AICWA president Suresh Shyamlal Gupta also urged Maharashtra Chief Minister Devendra Fadnavis to initiate a statewide fire safety audit of all film sets and studios. He further demanded that any producer or production house found violating fire safety norms be blacklisted.

India’s precision strike at nine terror hideouts in Pakistan and Pak-occupied Kashmir was followed by a frenzy in the film industry as producers scrambled to register the title Operation Sindoor and Mission Pahalgam.

As the process goes, producers must register titles through any one of the four film bodies — Indian Motion Picture Producers Association (IMPPA), Western India Film Producers Association (WIFPA), Indian Film and TV Producers Council (IFTPC), or Producers Guild of India. Sources tell us that IMPPA received 12 applications, WIFPA got two, and Producers’ Guild received 10 applications so far.

“The time of registering a title gets stamped. The four film bodies then exchange letters to confirm which filmmaker filed the first application. The result is declared in the next meeting.”

- Ashoke Pandit, Producer and IMPPA member, early applicant

“I’ve applied in the film and web series section under languages across the country. I’m thinking of my Operation story with women leading it, the way Colonel Sofiya Quraishi and Wing Commander Vyomika Singh briefed the country about the operation.”

- Vishal Saroye, Filmmaker

Without confirming the number, J D Majethia, chairman, Television & Web Wing of IFTPC, says that several applications have been filed with the organization. However, he feels such films shouldn’t be made within one-two years of such military operations: “Manoranjan ke liye climax theek hai but in that process we end up showing our intelligence agencies’ investigations, sharing the big secret of planning process and intelligence agency of our country with enemies.”

A source tells us that several filmmakers have also applied for the trademark of Operation Sindoor. While a title can only go to one filmmaker, a trademark means that several filmmakers can make the film on the same subject. Mukesh Ambani’s Reliance Industries was one of the proprietors, but later withdrew the application. A part of their statement read that it was filed by a junior person without authorization.

Urvashi Dholakia wants to break free from her iconic vamp tag and show the world that she’s so much more than Komolika (from the TV show Kasautii Zindagii Kay). In recent years, she has been selective about the roles she takes up.

Ask Urvashi if she feels she’s not getting the kind of parts she deserves, and she replies, “Discrimination and capitalization? Oh, they are there for sure. What I need is for people to start thinking outside the box. I play a positive character in Pushpa Impossible. Unfortunately, no one’s ever thought of me in roles other than negative ones. Only J D (Majethia) and Aatish (Kapadia) thought outside the box and cast me in something different, and I think we’ve all passed that test with flying colours.”

The actress further adds, “I’m sure people will now see me in a different light. When the right opportunity knocks, I’ll be ready to answer. Until then, I’m not the type to sit around complaining. I don’t do that.”

Of course, no conversation about Urvashi is complete without a mention of her character Komolika. While many still associate her with that, she isn’t bothered. “I’m still making money from Komolika. I don’t mind being called Komolika, but it’s not the only character that defines me. I’ve got so much more to offer,” she says.

In an industry full of competition, the actress stands out with her no-nonsense attitude. Not one to play the comparison game, she says. “I’ve never bothered about competition. I have lived on my own terms, made my own rules, and kept moving forward. I’m my own best friend and my own enemy. I don’t waste time comparing myself to anyone else. I don’t need to because I’m always focused on myself.”

At a recent appearance on filmmaker-choreographer Farah Khan’s YouTube channel, J D Majethia made a surprising announcement about Khichdi 3. The excited actor-producer tells us, “We have announced a 2027 release, so the film will be written this year and shot next year.”

He adds, “We have a story idea, but we need time to develop it. The whole original team will return [for the movie] and everyone is excited. They want to start right away.”

Talking about the franchise, based on the TV show, Khichdi, J D asserts that they are not making the film just for money: “People look at franchises like a cash cow, but I never saw Khichdi that way. Our aim is to take it ahead only when we are sure we can do something mad with it.”

While the franchise is popular, Khichdi 2: Mission Paanthukistan (2023) failed to connect with the audience as well as the first part did in 2010.

Ask the actor-producer why he still wants to go ahead with a third part and he says, “Khichdi 2 might not have turned out like the first part, but that doesn’t mean the franchise is flawed. People still enjoyed it, and we made money.”

Elaborating on what might have gone wrong with the film, he says, “We made a mistake with its release date. We got a good Friday and Saturday opening, but then it was cricket World Cup final on Sunday. India was playing, and so, no business happened on that day in the major territories. Also, piracy hampered Khichdi 2 on a big scale.”

JD ends on an optimistic note, saying, “Khichdi has been made twice on TV, then as a web series and two films. It has proven itself five times already. Also, it has a loyal fanbase. The memes have kept the franchise alive.”

He may be busy producing shows, but acting will always remain close to J D Majethia’s heart. The actor, who was last seen in the daily soap Baa Bahu Aur Baby in 2010, recently returned to TV after 14 years with Wagle Ki Duniya.

Majethia shares, “It was a cameo where I played modern-day Krishna. We were looking for actors, who could play this role, and that’s when my team felt that I should do it. It was a sudden decision. Currently, I have a long beard and hair and that went well with the character.”

Talking about his passion for acting, he says, “I want to act a lot more, but my production work keeps me busy. Also, I can’t take up a role in my own shows because I’m focusing on other things and my mind will be all over the place. Even when I played Himashu’s role in Khichdi many years ago, it was supposed to be a cameo, but the character was loved so much that we continued with it.”

Majethia is best known for his comic roles, but he says he would like to do something different, too. “People have this perception of me as a comedy actor, but I have done other roles as well. And in the future, I want to be part of different genres across mediums. I’d like to work with different makers and break the image of being a comedy actor. It’s not about the money here, it’s the roles that matter. I still have that hunger as an actor,” he signs off.

When the Microsoft outage brought the world to a standstill, Deven Bhojani’s tech-obsessed character Dushyant’s catchphrase “I’ll explain” from Sarabhai vs Sarabhai, became fodder for memers. Ask the actor-director how does it feel seeing his character be used for memes and he shares, “It felt good. As an actor, all my characters have become popular.”

This isn’t the first time that Dushyant memes have taken over the internet. He shares, “Last year, after the release of Oppenheimer, people made memes which said, ‘Only Dushyant can interpret the film Nolan conceived it to be’. After the budget was announced, memes like ‘Only Dushyant can explain Nirmala Sitharamam’s budget to public’ surfaced.”

With the show still receiving a lot of love, are there plan for season three and he says, “After the first season, people asked for season two. Producers J D Majethia and Aatish Kapadia and I eventually did make it, which was successful, but only to an extent. We set the bar too high and we’ve mutually decided that we’ll only work on a third season if we have an idea we are 110% sure will be loved by the audience.”

The 54-year-old feels there is a degradation in the level of Indian sitcoms over the years and explains, “We used to put out an episode once or twice a week. As creators and actors we had time for rehearsals and workshops. We had that kind of luxury. Now, we have daily comedies. It’s a challenge with no time to prepare. Quality is suffering.”

He also feels the art of family comedies has been lost with time: “There are successful weekly comedies, but they deal with a different kind of humour and have a different audience.”

J D Majethia recently shared on Instagram that he almost fell prey to an online scam. Such cases have increasingly been reported of late.

Shocked, the filmmaker-actor says, “I was getting calls from an unknown numbers for many days but I ignored it. Then one day, in the morning, I picked it up as I thought it would be the bank. They started shouting at me and said they are calling from the Customs Office.”

As he had “nothing to do with it”, he didn’t lose his cool or calm. He added, “They told me, ‘Saat din pehle, aapne Cambodia mein parcel bheja’. I thought it must be a case of mistaken identity.”

The 55-year-old was told they had “proof”. He adds, “We covered such scams on our show Wagle Ki Duniya. I asked them for handwritten proof. Mera mann nahi maan raha tha. He said they sent an email, but checked my inbox and hadn’t got anything. He then asked for the last four digits of my Aadhaar card. At this point I realized it is a scam.”

He said the crooks were persistent and “called from different numbers as they wanted to get my data”. “I decided I should share about this incident on social media to make people aware,” he ends.

Of late, actors from TV shows Taarak Mehta Ka Ooltah Chashmah (TMKOC) and Anupamaa have spoken up about the toxic work culture and harassment on set. This raises a pertinent question: Why are such serious issues not spoken about despite the presence of regulatory bodies like Cine & TV Artistes’ Association (CINTAA) and Federation of Western India Cine Employees (FWICE)?

FWICE president Birendra Nath Tiwari says, “The organization can take strict action against the offender or stop the shoot temporarily, but we can’t do anything unless victims come out and register an official complaint. Actors don’t want to spoil their equation with the production houses. Hence, they don’t talk about it openly.”

Given that CINTAA is a union that largely comprises actors, many believe it’s highly unlikely that they’d take strict action. “Jo CINTAA mein baithe hain, unhe bhi toh kaam chahiye producers se. I’ve heard that CINTAA comes, takes money [from the producers] and ignores the matter,” says Control Room actor Nishant Singh Malkani, who recalls being told by CINTAA members to do what the producers were saying.

Actor Jennifer Mistry Bansiwal, who recently accused TMKOC producer Asit Kumarr Modi of sexual harassment, says, “Every time a CINTAA representative had to visit the set, which is usually a surprise visit, Asit would know about it beforehand and everything would be put into place. So, when we know that producers had their way of dealing with CINTAA, why would we go to them?”

CINTAA general secretary Amit Bahl says, “We have an outrage committee, a care committee and a dispute-settlement committee. The moment we get any complaint regarding abuse, we act instantly. CINTAA doesn’t charge a single penny for any case.”

On actors’ claims about CINTAA members taking bribe, Bahl adds, “We disaffiliated CINTAA from the federation six years ago, after we found out that there were corrupt people in the union.”

While some actors stress on the need of a counsellor on set to tackle such issues, producer J D Majethia says that after the #MeToo movement, every production house was told to make a committee and immediately report any such mishap, not only regarding harassment, but also toxicity on the set. “But, in the absence of the committee, if any unpleasant incident happens and the producer isn’t taking any action, the victim should inform the channel and CINTAA,” he says.

Actor Monika Bhadoriya, who called out the production team of TMKOC, says she didn’t know there was a body that helps with such issues: “I thought CINTAA only helps with payment-related issues. Also, people keep quiet to not harm their careers.”

TMKOC actor Priya Ahuja feels going to CINTAA would mean “turning producers into your enemies”. Echoing similar thoughts, Malkani adds that actors choose to stay mum as they don’t want to be “tagged troublemakers”.

Actor-producer J D Majethia ticked off an item from his bucket list as he climbed the Everest Base Camp recently. Currently in Kathmandu (Nepal), the 54-year-old took to Instagram to share videos from his 11-day trek. He tells us that it was actor Amitabh Bachchan’s 2022 release, Uunchai, which inspired him. “I watched the movie with my daughter. I told her and my family that I’m definitely going for this,” says the Khichdi actor.

He continues, “We only live once. This journey introduced me to a new J D. One must challenge themselves at every step.”

To prepare for the climb, the actor’s trainer asked him to strengthen himself, physically. “For one month, I climbed 17 floors of my (residential) building. Since my office is on the seventh floor, I would take the steps to get there too,” he shares, adding that he faced a health-related situation before leaving, but he never told his family about it: “Had I told them, they wouldn’t have let me leave.”

On his way to the Kala Patthar, Majethia’s health deteriorated. “You get acute mountain sickness. But I didn’t take any pills. I was certain that I’d pass through it. One morning, mera blood loss hua stool mein, so I got scared. If there is blood loss due to an injury, you aren’t much worried, but when it is internal bleeding, you are clueless,” he says.

Calling it a “cathartic” experience, Majethia adds, “It gave me a lot of satisfaction.”

After almost a decade, Ayesha Jhulka has taken the OTT route for her comeback to showbiz. The ’90s actress, who’s best remembered as Jo Jeeta Wohi Sikandar’s Anjali, played the proverbial girl next door in most of her cine outings like Khiladi, Balma, Sangam, Rang, back then. In a chat with us, Ayesha spoke about how the break she took from movies made her discover another side of her as an actor and the kind of roles she hopes to do more now. Excerpts:

Ayesha was on an eight-year sabbatical before she acted in Genius (2018), which was her last big screen outing. On asking if the break was a conscious choice, Ayesha says, “It was a conscious choice. I felt that if I associate myself with a project, I should be able to add value to it. But that can only happen if I am given a chance to perform. If that was not happening and I was being treated as a prop in a project, then it was not really worth my time. So I had to put an end to those roles. Every actress wants an upgrade, wants to be known for her acting skills and not just as a glam girl. I wanted that too.”

Like most ’90s leading ladies, Ayesha was also stereotyped as a glam girl. Did that worry her? She says, “I had nothing against what was being offered to me, but I felt I was doing the same kind of films, I had to be a clothes horse, do the typical song-dance routine, get romanced by the hero and look beautiful. Being a glam girl is fine when you are a newcomer, but as you grow in the profession, you also want to be known for your acting chops. The cinema I was doing no longer satisfied me, I was hungry for work that tapped my potential and that wasn’t happening. Taking a break from acting and devoting my energies else-where made sense.”

At a time when she was playing mainstream female characters, Ayesha’s learning experience as an actress came from a play. She travelled across India for the drama Purush, starring Nana Patekar. She says, “While the characters that I played in films had different names, they were almost similar. The first time I did something really challenging was in 1999, when I did a play called Purush, directed by Vijaya Mehta, where I played the role of a rape survivor. During that process, the way Vijaya ji took me through the character’s journey, made me realise what acting is all about. I felt that everything that I had been doing till then, was nothing compared to this character. That’s when my choice of projects changed before I eventually took a break.”

And now that she is back, what is going to be Ayesha’s choice of roles? “I don’t want to limit myself by listing my choices. I am open to playing any role, provided it has something for me. It’s simple, when I have the ability to portray a character, and such roles are offered, I would give it my all.”

Ayesha’s OTT debut was in an all-women production, Hush Hush (2022), costarring another ’90s heroine Juhi Chawla, besides Kritika Kamra and Soha Ali Khan. She considers Meera Yadav, the character she played in the show as “complex, dark but satisfying” and a welcome change after her “good girl roles” on screen.

She says “OTT has been the game changer for us, especially for female actors. It is a boon for us. If we didn’t have OTT, it would have been the same. It’s only here that we get to showcase our acting skills and play interesting characters; age is not a bar on OTT.”

Recently, Ayesha’s tried her hand at comedy with Happy Family: Conditions Apply. She says getting into comedy was “an amazing process”. She adds, “Aatish Kapadia and Jamnadas Majethia had such clarity of thought, each character and scene were written really well.”

Ayesha, who plays a Gujarati bahu in the series, is also one in real life. She says, “Pallavi was an interesting character and a lot like me. I am actually quite a fun-loving person and laugh a lot in real life. She resonated with me on many levels and also because she’s a Gujarati bahu, like me!”

A massive fire broke out on the set of Ghum Hai Kisikey Pyaar Meiin at Film City on Friday evening. While no casualties were reported, the entire set was gutted. The fire also affected the sets of two other shows, which were next to it. The incident has put the focus on how safe TV sets are where shoots take place day and night, and what precautionary measures need to be taken, especially during fire sequences.

Producer J D Majethia, who is the Chairman of Indian Film and Television Producers Council, says, “There are guidelines regarding licences and approvals before starting to shoot on a set. These norms are adhered to by producers. We have to keep fire extinguishers on the sets and also ensure that they are renewed every year.”

The problem, makers say, is that the sets are largely made of wood and other such materials, which catch fire quickly and spread rapidly. “Sometimes it’s human error or it could be that an open wire may have caught fire due to a short circuit. It gets difficult then to find out what really went wrong,” he adds. 

The need of the hour is to upgrade equipment on the sets. “We need to get lights that do not require too many wires because open wires are risky. As an industry, we must look at options, which can make our sets safer. This has to be a collective responsibility, from the producer to every unit member because a single error can put everyone in danger,” shares J D.

The recent fire has become a cause for concern. Says an actor, who was shooting on a set close to the Ghum Hai Kisikey Pyaar Meiin set, “It was very scary. If we panicked seeing the fire, we can imagine what the people on the set of Ghum Hai. . . felt. We need a safe workplace. Yes, all sets are insured and the makers may recover a lot of their monetary losses, but an incident like this can be very stressful.” 

Kishori Shahane, who is a part of Ghum Hai. . . , says, “There is no disaster management at Film City. They should be far more responsible because many film and TV shoots take place here. They need to be better prepared during unforeseen situations like a short circuit, gas leak or fire. ”

Federation of Western India Cine Employees (FWICE) President Birendra Nath Tiwari, says, “We have mentioned this on numerous occasions and written to Film City authorities, bringing to their notice that the sets erected are old with no proper exits and covered on all sides. Also, fire audits should be conducted regularly by the concerned authorities. We can’t put people’s lives at risk and this applies not just to television shows, but all shoots that take place. I am also reiterating that an ambulance should be parked at Film City to tackle any unfortunate incident.”

— Neha Maheshwri

Around 2015, there were several fire incidents on TV sets. They have reduced in recent times, but the fire on the set of Ghum Hai Kisikey Pyaar Meiin has brought the issue to the fore once again. Here’s taking a look at fire incidents over the past 10 years...

- Pandya Store, February 2021

- Kumkum Bhagya, July 2020

- Aaj Ki Raat Hai Zindagi, October 2015

- Jamai Raja, December 2015

- Tu Mera Hero, September 2015

- Satrangi Sasural, June 2015

- India Poochega Sabse Shana Kaun, February 2015

- Yeh Hai Mohabbatein, October 2014

- F.I.R., December 2013

- Comedy Nights With Kapil, September 2013

Urvashi Dholakia is looking forward to packing a punch as Devi Singh Shekhawat, a lawyer in Pushpa Impossible. But what’s even more interesting about her latest outing is that she will be seen as a positive character after a gap of almost 20 years.

She said, “I was quite shocked when J D Majethia (the producer of the show) approached me for the part. I am glad that those associated with the show put behind their inhibitions when it came to me. It’s not a matter of breaking the image, but bringing out the best in an actor. All this while, you have loved to hate me, but I am very sure that this time around, you will love to love me.”

While many may feel restricted when playing the same shade for many years in a row, Urvashi, who has been part of popular TV shows like Kasautii Zindagi Kay, Naagin and others, has enjoyed every bit of her journey so far.

Talking about breaking free from the typecast mentality, she shared, “I have to keep doing what I feel good about, be it positive or negative. Of course, I would request the industry to change its perception. Why is it that a protagonist can play a negative character, but an antagonist is not easily accepted in a positive role?”

She also welcomes the evolution of the protagonist – from submissive to strong – on TV shows. She said, “That’s the reason why I have taken up Pushpa Impossible. It’s a progressive show that talks about the importance of education and the empowerment of women.”

Be it the number of working hours in a day, focus on nutritious meals or their education getting affected — the debate around the well-being of child artistes on set has been going on for a while. Now, the National Commission for Protection of Child Rights is set to issue guidelines to protect young performers on set — artistes under 18 — from exploitation. These guidelines will be applicable to child artistes in films, web shows, reality shows and TV.

“Even parents have started using children as factories. There’s no cap on working hours for kids, sometimes they shoot for 10-12 hours. They are kept hungry for long because the moment they eat, they will go to sleep. There are instances when some people poke infants to make them cry,” says actor Vani Tripathi Tikoo, a part of the committee drafting the new guidelines.

She adds, “I know of cases, where child actors’ parents have quit their own employment and have just become managers, earning millions.”

Birendra Nath Tiwari, president, Federation of Western Indian Cine Employees, says there are “instances where guardians make their kid work for extra hours”. He adds, “There is no focus on their health and education. Right now, they are made to work for eight hours with no rest.”

J D Majethia, chairman, TV division of the Indian Film and TV Producers Council, adds, “I think parents, kids’ schools and the makers need to work together to find a way so that we can develop the skill of the kids.”

No child shall be allowed to work for more than five hours a day.

Makers to ensure facilities for physical and mental health, including timely nutritional diet of the child.

One person to be appointed for a maximum of five children by the makers to look after them.

At least 20% of the child’s income to be directly deposited in a fixed deposit account in a nationalized bank in the name of the child artiste.

Producers try to ensure a smooth ride, but parents have to pay attention to their kids’ future.

Sometimes, when we are shooting with famous actors, the crew is busy around the celebs and we often get neglected. Parents must be allowed on set for supervision.

The surging Coronavirus cases have again started hitting film shoots and releases, with many biggies postponed already. But what happens to TV, our daily source of entertainment?

In the last two years, many TV shows had to go off air, and others shifted their shoots from Mumbai to neighbouring states during the lockdown. Currently, Mumbai and Delhi have night curfews, along with a weekend curfew in Delhi. And the possibility of another lockdown remains a concern. Television industry mostly seems to be in the wait and watch mode right now. And some shows, like Bhabi Ji Ghar Par Hai, and Vidrohi, have a bank of episodes ready.

J D Majethia, producer of Wagle Ki Duniya and chairman of TV and web wing, Indian Film and Television Producers Council, says the situation is manageable currently. “But it may not remain the same if the number of cases doesn’t come down. We will see what impact it has... The best possible option will be to shoot in a bio bubble. We have to see the situation all over right now, not just in Maharashtra. We are still shooting and facing challenges,” he adds.

Actors, on their part, are open to shooting safely. Sanjay Gagnani, who stars in Kundali Bhagya, is certain that shoots will not stop: “I have heard that if shooting stops in Maharashtra, we would go to any other state where cases are not high.”

Meanwhile, Sharad Malhotra, who leads the historical show Vidrohi and is battling Covid-19 currently, says, “Luckily, we have a bank of episodes... We’re following precautions. As far as shifting the shoot to another state is concerned, we hope it doesn’t get that bad.”