A little over a week after Tiger Shroff’s October 18 attack, where two men fired reportedly five to seven bullets injuring his driver and a bystander, the actor is considering returning to work. Sources have told mid-day that Shroff will film a short schedule of director Raj Mehta’s ‘Lag Jaa Gale’, his upcoming action offering co-starring Lakshya and Janhvi Kapoor.

“Some patch work of the movie is left, for which Tiger is needed. Raj and his team have been prepping for the 10-day schedule that will take place sometime in early November,” said a source.

Naturally, Shroff’s safety is the makers’ top priority. So, the details of the schedule, including the location, are being kept under wraps.

Another insider shared, “The team is careful to not disclose the shoot location to anyone, barring the core members. Tiger’s safety is paramount for the makers. He wanted to return to work because he didn’t want the film to suffer in any way because of the incident.”

Backed by Dharma Productions, ‘Lag Jaa Gale’ went on floors last December in Mumbai.

Actor Janhvi Kapoor has condemned the morphed video featuring her and Jr NTR’s song Chuttamalle from their 2024 film Devara. The sexually explicit, AI-generated video has also sparked debate online over the misuse of AI.

Janhvi addressed it with a note on Instagram Stories on Sunday, calling “the criminal misuse of technology to objectify women and circulate fictionalized content without consent deeply violating, bordering on sexual assault”.

Janhvi emphasized that the issue goes beyond this specific video: “It is about the larger reality of being a woman, the gaze, the judgement, the constant negotiation for safety, and the feeling that our boundaries somehow remain open to interpretation. That threat has now expanded into the digital sphere, when we have not even adequately addressed the very real, physical fear that continues to disrupt the lives of women every day.”

The actor also thanked fraternity members Jr NTR, Chiranjeevi, Vijay Deverakonda, and Khushbu Sundar for coming out in her support. Earlier, Jr NTR had called the morphed video “shameful beyond words”, writing, “To the scumbags behind this morphed Chuttamalle video, I will not spare any of you. I will take every possible legal action against those who created it and those who are spreading it.”

Actor and producer Pooja Batra has built a career spanning Bollywood, international projects and film production. Her debut production, Echoes Of Us, was screened at Cannes and Venice. During a recent visit to Goa, she spoke to us about the state, her evolving career and the need for greater agency and representation for women in the film industry.

Pooja first visited Goa as a child on a family holiday with 15 relatives. She shares, “It was a full family trip — both my masis and their families, my parents, my nani — we were 15 of us in total, eight cousins and seven adults.”

Her connection continued over the years. She adds, “I've always loved Goa. I've come here with family, with friends, with boyfriends, with better halves — in every phase of life.” She also shot Haseena Maan Jaayegi here, with Jimmy Gazdar’s house in Aguada used as her character’s home.

“I love the vibe here, when done right, it's a mix of Costa Rica and Ibiza,” she says. She further shares, “What do I enjoy most? Honestly, everything — the people, the place, the greenery. The pace of life here is just different.” She is, however, concerned about “so much construction and so much land being felled.” Her latest visit was for a shoot with friend Asif Merchant and her first-ever yoga retreat in India, which began on the 18th.

Pooja has been exploring different aspects of filmmaking. “As an actor, I just finished working on a Russian film called Magic Lamp — in Russian, Volshebnaya Lampa,” she says. She also turned producer with Echoes Of Us, starring Deepak Tijori and Iulia Vantur and directed by Joe Rajan.

“We won over 80 awards, both nationally and internationally, and it was screened at the Cannes and Venice Film Festivals this year,” she shares, adding that she is now developing two more films for which she has acquired book rights.

Pooja would also like to return to Bollywood in a bigger way. “I would absolutely love to work in Bollywood again in a bigger way if I like the set-up and the role offered,” she says. Having worked on The Rookie, Lethal Weapon and SEAL Team, she further says, “For me it's always about the story and the character, no matter where it is.”

Asked about the recent row involving Janhvi Kapoor and Peddi, Pooja says the issue goes beyond one actor or film. She shares, “I have known Janhvi since she was a student at the Lee Strasberg Institute in Los Angeles. She is a hardworking, sincere girl, and what happened with Peddi is not just about her.”

She feels the controversy highlights a larger problem with how women are portrayed. She adds, “The objectification of a woman in Indian cinema is pathetic. It is weak writing.”

She questions what it means for newcomers, saying, “If an actress with such strong industry backing, with a big film, a big director, a big co-star, can still find herself in a situation where she is filmed that way and has to face that backlash, what chance does a newcomer have?”

On whether women have more power today, she says, “Yes, on paper we talk more about consent, about body image, about equal pay, about working hours and working conditions. Social media has given us a voice to speak up. But has the power really shifted on set, in the writing room, in the edit room? I don't think so.”

She further says, “Until we have more women writing, more women directing, more women producing and actually green-lighting films, this won't change.”

Filmmaking rarely goes entirely to plan, but the makers of the sci-fi actioner Raaka are powering ahead despite a possible month-long delay following Rashmika Mandanna’s hip injury during dance rehearsals for the Atlee-directed film. The team is now gearing up for a major schedule next month, with high-octane action sequences featuring Mandanna and Allu Arjun, alongside Malayalam actor Aishwarya Lekshmi.

A source close to the production reveals, “Allu Arjun will be playing a triple role in Raaka — one as a divine warrior, another with negative traits, [while the third is still under wraps] — the character will span three different timelines in different avatars. Deepika Padukone, who has wrapped up her part, plays a pregnant woman in the Puranic Vedic era. Rashmika will play Deepika’s protector who is crucial in her fight for survival, while Janhvi Kapoor is said to play a tribal girl.”

The source adds that Lekshmi’s character will have grey shades. The sci-fi film will move across three timelines, featuring “wild beasts, exotic new creatures and species”, informs the source.

“A massive set is also being built at Ramoji Film City in Hyderabad for a September schedule, where the makers will shoot the interval block, featuring Arjun in elaborate action sequences.”

Mumbai: Box office success is no longer the defining factor in film stars' endorsement deals, with advertisers increasingly prioritizing celebrities' meaningful, controversy-free social media presence as a key metric, according to a latest study.

For example, actor Shah Rukh Khan, who did not have a film release in the past three years, is still the country's biggest celebrity by brand valuation, shows the latest brand valuation study of India's top 25 celebrities by financial and risk advisory firm Kroll.

The actor endorsed 30-35 brands in 2025, compared with 25-30 the year before.

He has maintained his endorsement fee at Rs 10 crore per brand between 2024 and 2025, indicating the strength of his brand equity and digital presence.

“Today, box office success is not a key criterion in endorsement deals. Brands focus on the digital presence of stars. This has made social media engagement an important factor in selecting celebrities for endorsement deals," said Umakanta Panigrahi, managing director of Valuation Advisory Services at Kroll.

The rising share of digital endorsement deals has contributed to this trend.

According to Kroll, the share of digital endorsement deals in total endorsement deals has increased to 60-75% from 40-60% over the past two to three years.

Against this backdrop, advertisers are evaluating specific digital parameters of film stars, according to independent brand valuation experts. One of the most important metrics is the net positive sentiment surrounding a celebrity.

“Advertisers look beyond box office success, with digital influence becoming a key consideration. They closely track the net positive sentiment around a film star," said Ajimon Francis, managing director of brand valuation consultancy Brand Finance.

“Today, negative sentiment spreads rapidly online. As a result, stars with a positive or neutral public image continue to attract advertisers regardless of how many films they have released.”

A star's ability to create original content is another factor advertisers consider.

"Advertisers prefer celebrities who create original content, post regularly, and stand for meaningful causes instead of simply reposting others' content. These qualities build trust and strengthen engagement," Francis said.

Advertisers also place equal importance on a star's legacy, with endorsements extending beyond short-term or episodic popularity, according to brand merchandising experts.

"Long-term legacy matters a great deal. Advertisers prefer stars who stay away from controversy and have a strong future film pipeline. Ultimately, endorsements are driven by reputation, relevance and brand fit, not just box office numbers,” said Navin Shah, joint managing director of EMC Solutions Worldwide, a branded entertainment company.

Advertisers also consider the emotions a star evokes, according to influencer marketing companies.

"Advertisers select personalities with unmatched mass appeal who can connect with audiences across generations," said Anirudh Sridharan, cofounder of influencer marketing company HashFame. “Stars fulfil these criteria. They represent memories, emotions and nostalgia, reminding people of different phases of their lives. These qualities help them continue to attract endorsements even after their peak years.”

According to the study, Ranveer Singh was the second most valuable celebrity by brand valuation in 2025, followed by Alia Bhatt and Deepika Padukone. Among sportspersons, Virat Kohli and Sachin Tendulkar were the top two most valuable celebrities.

There are four clear trends emerged from the study.

“The first trend is legacy icons such as Shah Rukh Khan, Sachin Tendulkar and M S Dhoni continue to command a premium because they enjoy trust, familiarity and recognition across generations. Their appeal goes well beyond their current professional achievements. They are valuable brands even years after their peak. The second trend is female celebrities are growing much faster than their male counterparts in brand valuation. Nearly half of the top 25 most valuable celebrities are now women. Women stars are increasing both their endorsement portfolios and brand value,” said Umakanta Panigrahi, Managing Director, Valuation Advisory Services, Kroll.

“The third trend is about Southern stars becoming national brands. Celebrities such as Rashmika Mandanna and Samantha Ruth Prabhu have significantly improved their rankings because of their growing pan-India appeal. Finally, younger Bollywood stars are also rapidly building their endorsement businesses through strong engagement with Gen Z audiences. Ananya Panday and Janhvi Kapoor have recorded notable growth in brand value,” he added.

These trends reinforce the point that box office success alone does not determine a celebrity’s brand value. Long-term relevance, cross-generational appeal and meaningful engagement with fans particularly on digital platforms are becoming equally important drivers of commercial success.

The wedding of Anshula Kapoor and Rohan Thakkar was among the most talked-about celebrations of the week. Boney Kapoor has spent decades creating some of Hindi cinema’s biggest spectacles, but nothing, he says, compares to watching his daughter begin a new chapter with the man she loves.

Talking to us about what it felt witnessing his daughter’s wedding, Boney says, “It is difficult to put into words what I felt watching Anshula get married. Her decision to have her mom’s (Mona Kapoor) photo by the mandap and to wear her dupatta, made the moment even more special because it would have been incomplete without her blessings. I’m sure this is exactly how Mona would have wanted to see her daughter celebrated.”

Boney adds, “Anshula is a piece of my heart and seeing her so happy makes me feel fulfilled. Looking back at the celebrations, I think what has stayed with me the most are the smiling faces, the love that surrounded us, and the happiness everyone shared with us. Your daughter teaches you to be the best version of yourself. Seeing her begin this new chapter with Rohan was an emotional moment for all of us. As a father, you prepare yourself for this day, but when it finally arrives, you realize how special and overwhelming it truly is. As a family, we feel incredibly fortunate to have witnessed this beautiful beginning with the love and blessings of everyone around us. Watching Anshula begin this new chapter of her life was one of the most emotional moments I have experienced as a father.”

The celebrations began with intimate family rituals before culminating in a grand reception. Over three days, family and friends came together to celebrate the couple, with blessings pouring in from every corner.

“My heart swells with love and gratitude for my brothers and their families and extended families, my sister and brother-in-law with their family, my son Arjun, and daughters Janhvi and Khushi, who all stood behind me and witnessed this beautiful milestone moment. Having all my children by my side made the moment complete,” he shares.

For someone who has spent decades bringing stories to the screen, he says this was one occasion where life itself felt like the most beautiful story. “People often ask me what success means after all these years. For me, these three days were the answer. The greatest thing you can earn in life isn’t fame or success, it’s goodwill. Seeing Anshula so happy, surrounded by people who have been part of our lives for so many years, is an unforgettable memory. Watching her grow from holding my hand to holding the hand of the person she loves the most, is one of my life’s cherished moments. She will always be my little girl, no matter how empowered or old she gets. Today, I see her not just as my daughter, but a kind-hearted, super confident and compassionate woman.”

Overwhelmed with emotion, Boney concludes, “I want to say this to my lovely daughter Anshula... A big thank you, for filling my life with your laughter, lessons and unconditional love. You will always have a sweet home in my heart.”

The representation of women in Telugu cinema has often been a topic of discourse, and last month it was highlighted again with actor Janhvi Kapoor’s portrayal in Peddi being called out for objectification. Amid this came a female-led action film, Samantha Ruth Prabhu-starrer Maa Inti Bangaaram, which became a box office success, and has collected Rs. 95 crore worldwide since release.

While Maa Inti Bangaaram isn’t the norm but an exception in Telugu cinema these days, director B V Nandini Reddy says change in the industry will come only when it first reaches the audience. She also says her film’s box-office performance is a reminder to Tollywood that women-led films work.

When asked Nandini where the change needs to come from to better represent women in Telugu cinema, her answer is quick. Her solution lies with the audience changing first. “I think it needs to come from the audience. From the films they choose to watch, the films they choose to make successful. That itself sends a message which is loud and clear. It’s the biggest harbinger of change,” she says.

“I keep telling women. If you don’t like what you’re seeing, then when you see something you like, ensure that other people go and watch it. The audience also has to make the effort to go watch the films they like only in theatres. It’s the only way to get better films,” explains Nandini, adding, “When it starts with the audience, then of course the filmmakers will listen. It’s a business at the end of the day, and you have to listen to the customer.”

Nandini says Maa Inti Bangaaram has brought women back to the theatres because it made them feel seen. “It has put out the question that there is a large section of the audience you’re not catering to. You’re not telling stories that matter to them,” explains the filmmaker, adding, “If you add this crowd to an already existing male audience for male-centric films, imagine the numbers now. The industry keeps saying we lost the audience there. But no, they’re there, waiting.”

The filmmaker also brings up Barbie as an example of how a woman-centric film can do wonders at the box office. “Samantha always said Barbie did so well because the women came out to watch it. And that’s the audience we targeted with Maa Inti Bangaaram. Numbers are numbers, but I think we did something right because women across age groups have turned up at the theatres to have fun,” she rounds off.

Maa Inti Bangaaram was released in theatres on June 19 and has since grossed over Rs. 95 crore worldwide, a record for a female-led Telugu film. Peddi, which was released on June 4, has grossed over Rs. 340 crore.

The Kapoor family is gearing up for another round of wedding festivities as Anshula Kapoor prepares to tie the knot with longtime partner Rohan Thakkar on July 6. After the Mata Ki Chowki hosted by Rohan’s family last month, the celebrations are now shifting to the Kapoor residence.

We have exclusively learnt that Anshula’s sisters, actors Janhvi and Khushi Kapoor, have planned a special mehendi ceremony for the bride-to-be at their Mumbai home tomorrow. The function will be an intimate affair attended only by immediate family and close relatives.

Over the years, the four siblings — Arjun, Anshula, and their half-sisters Janhvi and Khushi — have grown close, often sharing glimpses of their bond through family celebrations and heartfelt social media posts.

A source tells us, “Janhvi & Khushi have meticulously planned every detail of Anshula’s mehendi, from the décor to the smallest personal touches. The celebration, which will be hosted at their home on July 5, has been curated as a heartfelt surprise for Anshula. Every element has been thoughtfully chosen to reflect her personality, while the menu will feature a selection of all of Anshula’s favourite dishes, making the occasion even more meaningful.”

Days after director Buchi Babu Sana apologized and removed portions criticizing the portrayal of Janhvi Kapoor’s character Achiyyamma, Peddi is set to return to theatres with an extended cut from Wednesday. The revised version will include three previously deleted scenes, including two involving Janhvi’s character and one featuring Jagapathi Babu.

The announcement was made by Buchi at a success meet in Hyderabad on June 14. Confirming that the film had already been re-edited, the director said the additional scenes would be added to theatrical prints from Wednesday. He also expressed confidence that the restored footage would help audiences connect more deeply with Achiyyamma and add emotional weight to her arc. Peddi, starring Ram Charan along with Janhvi, released on June 4 and emerged as a box-office success.

However, the film also sparked widespread criticism online over the depiction of Achiyyamma, with viewers objecting to certain camera angles, close-ups and romantic sequences that they felt objectified the character. Responding to the backlash earlier this month on X, Buchi acknowledged that “a few shots turned misleading” and confirmed that the team had taken corrective measures by removing the contentious portions. He also issued a public apology, stating that women deserve to be represented with dignity and respect.

At the film’s success meet on Sunday, lyricist Anantha Sriram said he disagreed with director’s decision to apologize.

Defending the filmmaker, Sriram said, “A character behaves the same way… that is the director’s imagination. It is a character created with that imagination.” He argued that social media opinions were increasingly shaping creative decisions and questioned whether directors were being given enough freedom to tell their stories.

He also suggested that similar emotions are judged differently depending on how they are expressed. “If you use big words like vital attraction, hormonal reactions, etc., it is called awesome... If the hero speaks his tribal language and says, ‘I will touch you’, it is called vulgarity,” he said.

While noting that Buchi Babu may have apologized out of courtesy, Sriram warned that such criticism could end up “trampling on creativity” and make it harder to make strong points through commercial cinema.

Two days after Peddi released in theatres, director Buchi Babu Sana issued an apology over criticism surrounding Janhvi Kapoor’s portrayal in the Ram Charan-starrer and confirmed that certain scenes featuring the actor would be revised.

The backlash centred on Janhvi’s character, Achiyamma, whom many viewers felt had been reduced to a decorative love interest rather than a fully developed character. Several social media users also objected to the way she was filmed, arguing that lingering body shots and certain romantic scenes framed her largely through a male gaze. Critics further questioned scenes in which Peddi expresses a desire to touch Achiyamma without her consent and forcibly kisses her during a power cut despite her protests.

Responding to the criticism on X on Saturday, Sana wrote, “It was never our intention to objectify or disrespect any female character. If any part of the film has been perceived that way, we respect those sentiments, understand the concerns being raised, and sincerely apologize.”

The filmmaker also announced changes to the film. “After reviewing the feedback, we have decided to make changes to the concerned portions. Every woman deserves to be respected, valued, and represented with dignity,” he said, while thanking audiences for sharing their views.

Peddi, a sports drama starring Ram Charan in the titular role, released on Friday.

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Cinema grows through its connection with audiences, and as storytellers, we have a responsibility to be mindful of evolving perspectives and sensitivities. Every woman deserves to be respected, valued, and represented with dignity. We remain committed to telling stories that celebrate strong characters and uphold those values.

- Buchi Babu Sana, director

Actor Janhvi Kapoor made her Bollywood debut in 2018 opposite Ishaan Khatter with Dhadak. Now, she has revealed struggling with depression despite her first film’s commercial success.

“Every time anyone talks to me about my first film, they are like, ‘She was so good in it’. But my memory of Dhadak was very different. I was depressed after Dhadak,” the 29-year-old said on Raj Shamani’s podcast, adding, “I thought ho gaya, pack-up ho gaya. People hate me.”

Janhvi made her debut just months after the sudden and tragic death of her mother, veteran actor Sridevi in February 2018.

“I got all of my validation in my life from my mum. She went away. So I was like, ‘I’m going to shift that to the audience’. I was expecting some across-the-board acceptance, which I didn’t know does not exist,” she shared.

The actor admitted that she focused only on criticism, overlooking the film’s strong performance at the box office: “I didn’t even acknowledge that it was a very big success. I think it was the most commercially successful film with newcomers until Saiyaara. It didn’t click that it was a hit. I just knew that I sucked and people hated me… Because I only looked at the negative, and that became my reality.”

Saiyaara (2025), starring Ahaan Panday and Aneet Padda, broke Dhadak’s record for highest opening day ticket sales for a debutant-led Hindi film.

He put India on the global map with his beautiful creations. But beyond the genius, he’s only human. He carries a heart that misses his near and dear ones, especially the actor who had the biggest influence on him. Designer Manish Malhotra reflects on his bond with late actor Sridevi, which continues through her daughter, actor Janhvi Kapoor. Excerpts from The Right Angle with Sonal Kalra:

Late photographer Rakesh Shrestha liked my sketches and introduced me to actors for styling them. I went to meet Sridevi for the first time at Mehboob Studio in 1991 and I was a big fan even before I met her. She was in a red outfit and was just going to the set. She was quiet. Then she called me to do a sweater, which was a continuity sweater for Khuda Gawaah (1992). I went to meet her, and somehow we connected.

Then, in 1996, we were in Las Vegas and she told me she was leaving films. She said she worked from the age of four and she wanted her life to carry on. I remember getting a little lump in my throat. I was so attached to her. And in the 15 years when she didn’t work and gave birth to Janhvi and Khushi, I was the one person who was always in touch with her. And I still called her ma’am. I continued my respect and friendship because I think she really contributed to my career. Her death was a big loss to the film industry.

I’m very fond of South Indian food and ma’am would get it to my house. That’s something that Janhvi sweetly does now, which is so nice of her. Every month, she makes it a point to come over, spend time, and get food from her house.

I was there at Rani Mukerji’s first shot for Raja Ki Aayegi Baraat (1997), Kareena Kapoor Khan for Kaho Naa... Pyaar Hai (2000; she was the original heroine), Deepika Padukone in Om Shanti Om (2007), Alia Bhatt for Student Of The Year (2012), and Ananya Panday for Student Of The Year 2 (2019). So, I would say I’m the lucky mascot here. I’ve seen them grow and evolve.

In fact, with Kriti Sanon, Bipasha Basu and Lara Dutta, I worked with them before they became actresses, as models. I’ve seen their journeys from being newcomers to being established actors, with some even getting married and becoming mothers! Now we are working with the newer generation.

Kiara Advani and Sidharth Malhotra’s because the entire wedding was done by us. There were discussions about the décor, the surprises entry dance by Kiara, or the Reel that Sidharth did. And I forced them to put it up, saying, ‘Please put up this Reel!’ I am grateful to them for their love and respect. So happy! So I think that is one of my most cherished weddings.

On Sunday, actor Samantha Ruth Prabhu’s security were forced to create a human chain around her, after fans broke barricades to click a selfie with her at a store inauguration in Hyderabad. Last Wednesday, Hyderabad Police booked a mall and the event’s organizers after actor Nidhhi Agerwal was mobbed and manhandled by fans while trying to leave the venue. On November 30, actor Dhanush had to step in to save his co-star Kriti Sanon from being mobbed by an overenthusiastic crowd at a screening of their film in Mumbai.

The list of celebrities being mobbed seems to keep growing, with negligence being highlighted.

So, why do such lapses happen, despite the organizers having prior knowledge about the presence of public figures and anticipation of a large crowd? Security experts and industry insiders weigh in on the concerning issue.

At events like in colleges, we employ 20 bouncers, but the numbers don’t matter as much as smartness. Once the celeb is on stage, we never disclose their exit venue, or else people start crowding the gates. That seems to be what happened in recent cases.

I visit the event location to figure out security and do recce myself. There’s always plan A and a secret plan B for situations like mobbing. With female celebs especially, zyaada dhyaan rakhna padta hai.

The only issue here is that people try to save a little money. And security is about brains more than brawn. With female celebs, it is trickier, not just in India but worldwide. The negative intentions of some people towards a female star is more.

In 2013 in Gurugram, I had to literally run away with hundreds chasing me. Such incidents are traumatising. It comes as a part of the profession, but it is scary and affects you for years. I am not saying organisers don’t do their bit, but then things go out of hand.

Even as the fourth season of The Great Indian Kapil Show began streaming over the weekend, its third edition has landed comedian Kapil Sharma and the makers in trouble. Phonographic Performance Ltd (PPL) India, the country’s oldest copyright licensing organization, has moved the Bombay High Court against Sharma, the producers of the comedy reality show, and Netflix India, alleging copyright infringement through the unauthorized use of songs on the popular comedy series.

According to the commercial intellectual property suit filed on December 12, a copy of which is in mid-day’s possession, three episodes aired between June 21 and September 20 are in contention. One featured actors Sidharth Malhotra and Janhvi Kapoor, in which the song M Bole To from Munna Bhai MBBS (2003) was used, while another with Sanjay Dutt and Suniel Shetty played the track, Rama Re, from Kaante (2002). The final episode, featuring Akshay Kumar, used the number Subha Hone Na De from the actor’s movie Desi Boyz (2011). 

In the suit, PPL India has claimed these uses amount to “public performance/communication to the public” under the Copyright Act, 1957, requiring a licence from the rights holder. Stating that no such licence was sought or granted, it has accused K9 Films Pvt Ltd and BeingU Studios Pvt Ltd, the production houses behind the show, of copyright infringement. The suit also notes that the show is first recorded in front of a live audience, where the music is audibly performed, and only later streamed on Netflix, compounding the alleged infringement.

Before this, PPL India had issued a cease-and-desist notice to the producers on November 6. “However, only a holding reply has been received, and the defendants have not stopped playing the plaintiff’s sound recordings,” states the plaint.

The organization has now appealed to the High Court to restrain the defendants from using its copyrighted sound recordings without a licence, to order disclosure of revenues earned through the alleged illegal use, and to appoint a court receiver to seize infringing material. The matter is expected to come up at the Bombay High Court’s commercial division.

mid-day reached out to Sharma and PPL India. Both didn’t respond till press time.

Early December, mid-day reported that Dharma Productions’ new hero Lakshya and Janhvi Kapoor’s actioner, tentatively titled Lag Jaa Gale, is set to go on floors (From ‘Ba***ds’ to badla/Dec 3). Now, sources tell us that the shoot of the Raj Mehta directorial film is in full swing, with the production planned over a three-month schedule.

“Lag Jaa Gale is going to be shot in a start-to-end schedule, from December to March, in Mumbai. The actors have given block dates to Raj, who is keen to wrap up the film by March end,” a source informs. 

The film also stars Tiger Shroff, who plays Lakshya’s nemesis. The makers aim to ready the film for a theatrical release in the second half of 2026.

“It’s going to be an out-and-out actioner with enough drama between the three primary characters to ground the film. The action sequences between Lakshya and Tiger, who both excel in this genre, are being envisioned as the film’s highlights. The theme of revenge forms the core of the film,” says another insider, adding that if all goes as per plan, the film is likely to arrive in theatres by the second half of 2026.

What’s next for Lakshya? That’s what many are wondering after he caught the attention of the masses with his lead role in director Aryan Khan’s satire The Ba***ds of Bollywood. It looks like the actor has bagged another big-ticket production. He has been signed on for Dharma Productions’ action drama, to be helmed by Raj Mehta. Joining Lakshya in the action extravaganza is one of the experts in the genre — Tiger Shroff.

The film will be a homecoming for Lakshya as Karan Johar’s banner had launched him in movies with Kill (2024). A source tells mid-day, “Kill was an out-and-out action fare. But this time, a revenge story is at the centre of this action offering. The film is in its final stage of prep and Raj plans to take it on floors by November.”

Another source indicates that the two actors are pitted against each other in the movie. “It will be Tiger versus Lakshya. Both actors have shown their prowess in the action genre, and the film will benefit with them sharing screen space,” says the source. The buzz is that Janhvi Kapoor, a frequent face in Johar’s productions, is the female lead.

Interestingly, this is the same action film that Johar had announced on his 50th birthday in 2022 and was supposed to direct after Rocky Aur Rani Kii Prem Kahaani (2023), marking his foray into the genre. But the filmmaker changed his mind and has now passed the project to Mehta, who has helmed ensemble dramedies  Good Newwz (2019) and Jug Jugg Jeeyo (2022).

“Karan has set his eyes on another story now, something that is more in his zone of drama and emotions. He is confident that Raj will blend masala with big-screen action well,” shares an insider.

In the 1990s, most of us grew up on David Dhawan’s comedies. Over two decades on, entertainers in that genre have reduced in Hindi cinema, with Shashank Khaitan being one of the few filmmakers attempting it. From his debut film Humpty Sharma Ki Dulhania (2014) to his latest work, Sunny Sanskari Ki Tulsi Kumari, it’s easy to see that Khaitan is influenced by the senior director’s school of cinema, blending romance and comedy to make an all-out entertainer.

Ask him what led to that brand of comedy’s decline, and Khaitan analyses that it was perceived as “easy”. “A narrative was created that these films were not real cinema. People started believing that only films with intense messages were serious cinema. It made filmmakers apologetic about the genre. But the truth is that someone like David Dhawan could teach cinema to anyone, given his understanding of editing and craft. The genre was unjustly treated. It’s as tough to make a Sunny Sanskari… as it is to make a Homebound. Our definition of entertainment needs to expand. Entertainment isn’t only laughing and clapping. Homebound was entertaining to me because it engaged me, taught me about a different worldview,” he shares.

The industry may create its narratives, but Khaitan is staying true to what he knows. With the Varun Dhawan, Janhvi Kapoor, Sanya Malhotra, and Rohit Saraf-starrer, the director is bringing a family entertainer set against the backdrop of a big, fat wedding. His trump card is his leading man Varun. Having worked together on two movies previously, Khaitan says they push each other by surprising one another.

Khaitan shares, “When I write for Varun, I have to think, ‘How do I present him differently?’ Otherwise he’ll get bored of me. So even within a similar universe, we tried to make Sunny different from Humpty and Badri. Here, we’ve gone more tongue-in-cheek in terms of the performance.”

As he reunites with Kapoor seven years after launching her in Dhadak (2018), the difference in the actor is evident to him. Today, she is more confident and aware of the world around her, he notes. “When Dhadak was released, she was dealing with a massive personal tragedy, which made her retreat into a shell. Now, she is much more open and ready to express herself as an artiste. She accepts the pros and cons of her family background, the love and hate that comes with it. She is not scared to take chances. That’s exciting for me as someone who knows her personally, and as a director who now has an actor unafraid to take risks.”

With Sunny Sanskari…, Khaitan has managed something unusual — an ensemble cast where each actor holds his ground. Many directors say it’s impossible these days because of egos.

What’s his take? “I managed it by being honest with everyone. I gave my entire script to the actors and told them, ‘Only come on board if you trust me’. I don’t oversell. I don’t make commitments about things beyond my control, like posters or promotions. That honesty keeps egos out of the conversation.”