For Rick Roy, styling VIBE was less about making Kunal Kemmu and the rest of the cast look fashionable and more about creating a visual language for a world that is deliberately loud, quirky and slightly offbeat. The costume designer says the film’s aesthetic immediately clicked with his own sensibilities, making the collaboration with Kunal, who directs and stars in the comedy, particularly enjoyable.

“When I first met Kunal for it and the brief that he gave me and all the stuff that he was saying is something that I really love creating because street style, strong elements, slightly loud in terms of the clothes and bigger statement things, these are things that I love in my personal style as well. So when I got a brief for that character in his film, I was like, this is so me, I really, really want to do this film,” says Roy.

The idea was to build a highly stylized comedy without making the costumes feel disconnected from the characters. “It’s a really funny film and I have done a full-on comedy for a bit and also a very high-stylized comedy, I have to say, because the way it’s shot, the way the colour schemes are and everything, basically Kunal is very high style and I absolutely love that. For me, cinema needs to always be aesthetic. Even if you’re making the world in any kind of strata of society, I feel that cinematically it just needs to be beautiful because I’m a student of cinema. When I go to watch a movie, I just want to go to a different world that the director has created, and that’s what I think Kunal had managed to create for this film. I always try to create costume and create looks. Even if it’s a simple look, I always try to add an element of my own rather than it being a purchased piece directly. You look at the characters and when you see the film you’ll know that all the characters’ clothes are clothes that that character will wear. But when you actually look into it, you will see there are so many different elements that we have put into each outfit.”

One of the most striking examples of that approach is Kunal’s now-discussed orange fur coat. In fact, Roy had made the coat himself during a trip to London and, despite the team already having another look planned for the scene, had a strong instinct that it belonged in VIBE.

“It is my personal fur coat, I have to say. So I made that when I was in London. For my London trip, I made that myself and when we were discussing the film there was a scene when, you see the film, you’ll know where he narrated the scene and in my head I don’t know why I just told him, ‘Listen, I have the perfect outfit for it.’ And we had a completely different look for that scene made, discussed and all that stuff. But I don’t know why I was very, very sure that this is the outfit for that scene. There is nobody in the world who will wear that orange fur coat and sit and do the stuff that he has done in the film. When I brought it out he was laughing, he’s like, ‘Rick, what the f**k are you doing?’ I was like, ‘Kunal, just wear it. I’m telling you this will be iconic.’ And he started laughing like, ‘Okay, I’ll try it on for you.’ Then he wore it and then he was so excited. Then he was like, ‘Okay, you know what, you’re right, this actually makes sense. Let’s put it in the scene.’”

Roy says the actor-director was willing to experiment. For a designer who likes to alter and build on clothes, that made the collaboration particularly productive.

“I have rarely worked with directors who are as open to experimenting with looks as he is, as a director as well as an actor. That combo was fantastic. I would literally give him an outfit, I will see it on him and that’s who I am. I love changing things, adding things. I’ll tell him, ‘Will you give me 10 minutes? I want to do something to it.’ And he would laugh, he’d give it to me and I will do anything to that outfit and come back and he will just wear it.”

Roy sees that character-first approach as increasingly important at a time when, according to him, film fashion can sometimes lean heavily on existing trends.

“When you are trying to make a person look good, it’s a completely different kind of a mind space from when you’re trying to create a trend via a character of that film. The designers from all these films, your Manish Malhotra, your Neeta Lulla and all, they were not referencing styles. They were trying to create style. Nowadays I think most stylists are only trying to reference style and replicate that. I still try to do the old-school way because I’m a designer and I’m trained. It needs to be specific to that film. So when people go back to the film they will be like, ‘Oh, this outfit is from that film,’ which used to happen before and now recently it’s not because everybody is wearing everything and they all look the same eventually.”

Roy had a fanboy moment while working with Sharmila Tagore, who has a cameo in ‘Vibe’. He shared, “Sharmila ji was delightful. She is so beautiful and well-spoken. I spoke to her in Bengali, and she was so excited. I truly had a fan moment.”

An ambitious epic like Ramayana: Part 1 deserves maestros, and filmmaker Nitesh Tiwari gave us that as he brought five-time Grammy Award winner Hans Zimmer and two-time Oscar winner A R Rahman together. Now, as the Ranbir Kapoor, Sai Pallavi, and Yash-starrer ramps up its promotions, the makers know just the way to get global attention. mid-day has learnt that Zimmer and Rahman will host a musical evening, dedicated to Ramayana: Part 1, in London on October 20.

A source close to the development revealed, “The prestigious Royal Albert Hall is likely to be the venue for the event. The Zimmer-Rahman collaboration forms a key part of the film’s global positioning, and the duo will take the audience into the movie’s sonic world. The lead actors, Nitesh, and producer Namit Malhotra are expected to attend the event.”

Before we see the maestros in action, we will witness their work on screen. Word is that the movie’s first song will be released this month.

The source added, “The track depicts Lord Ram and Sita’s wedding. It is currently being given finishing touches. The launch will mark a major asset drop in the promotional campaign, which began with the Rama teaser that was unveiled in April, followed by the trailer in July.”

The second trailer is expected to be launched around October 23.

The truth is I rarely get a script before I walk into a dubbing studio. There may be a phone call a few days earlier asking whether I am available, and that is about it. I enter, glance at the script, watch the first scene and begin to understand the character as I perform. You have to adapt immediately.

If you are new, you will probably test for every part. After years in the business, studios know what your voice can do. Sometimes they call because they can already hear you as that character. I never expected any of this. I always knew I would become an actor. Voice work happened by accident after I returned from Drama Studio London. Commercials and corporate narrations kept coming, the money became substantial, and it became a parallel profession — as important as acting.

Unlike sets, a dubbing room is surprisingly solitary. It is usually me with the mic, while the dubbing director and two audio engineers sit in the engineering room. We discuss interpretations and sometimes disagree. Ultimately, the director has the final say for good reason. As voice actors, we rarely watch the film or series. We see our sections. The director has the full picture.

What many get wrong about dubbing is that a voice actor must imitate the actors. Not true. When I voiced Adam Sandler, Michael Fassbender or The Professor in Money Heist, my voice remains mine. What matters is whether it belongs convincingly to the face on screen.

I have to match emotion, rhythm, breath and, crucially, time. A line has only so many seconds available. Yet I can add an inflection, a sigh or a small sound that strengthens the performance.

Voice actors have one freedom screen actors often lack. Our faces do not restrict us. I can use a deeper or higher voice, and animation expands that range further.

I once got called to voice a Spider-Man trailer for Doctor Strange because Mohan Kapur, the actor who usually voiced him was abroad. I messaged him to explain that I was only doing the trailer and hoped he would return for the film. I did not want to take his character. Then there is The Professor. After 48 episodes of Money Heist, I felt I knew him inside out. I suspect Indian audiences would find another voice on him strange.

Streaming transformed the business. Shows now appear in several languages, which has created work for established artists and opened doors for new ones. Sacred Games, for which I dubbed Saif Ali Khan’s character in English, was an early example. There is also far more training available. Most of the big dubbing studios run programmes, there are excellent independent voice coaches, and much of it is accessible online. When I started, none of that existed. I learnt on the job, session by session. Today, I’m a voice and body language coach myself and run a programme called Million Dollar Presence.

AI poses a different question. Early synthetic voices were easy to identify. They are becoming alarmingly good. A lot of the middle-tier voice work we once did has already disappeared because some brands ask why they should pay an artist when they can generate a voice themselves. Emotion does not always matter to them. They simply need a voiceover.

Dubbing will take longer, but I can see AI entering that space. I suspect human voices will be licensed because the technology still needs them. The crucial question is whether performers will be paid and protected. In India, adequate safeguards for actors’ voices remain a concern. Someone does not need my face or even my presence to reproduce what I do.

After more than 20 years, the profession has also ruined television for me. After years behind a mic, you can hear what has been done well, and what hasn’t. In the studio, if a breath hits wrongly, there is a click or an odd sound — I will take the line again. Because the audience may never spot the difference. But I will.

Panaji: A guitar. A high chair. A final bow. Remo Fernandes fuelled his career with restless energy, cross-language hits and a stage presence that couldn’t sit still. His closing act came sitting down.

Indian pop-rock’s road warrior called time on his concert career at 73 and ended a 6-decade run with a live performance in London, saying he could no longer give audiences “100%” of himself.

Known for prowling every inch of a stage, Remo sang Sunday night’s show at a UK-Goan festival seated on a high chair, delivering favourites in English, Konkani, Portuguese, Hindi and French. The audience responded with thunderous applause, singing along to “Humma Humma”, “O Meri Munni”, “Maria Pitache” and even requesting “Pyaar To Hona Hi Thaa”.

“I’m used to moving around the stage. It was extremely constricting and limiting doing a show sitting on a high chair. Besides, in that crouching position, my lungs felt restricted for singing,” he told TOI over the phone from UK.

The Padma Shri recipient said he would not continue with seated performances. “I feel I’ll be cheating on my audience and myself if I’m not able to give 100% of myself.”

Remo said a mild stroke after his third Covid vaccination affected movement of his fingers. Persistent vertigo, worsened by a fall that required surgery, has left doctors advising him against performing standing up because of the risk of another fall.

Calling time on live concerts leaves him with mixed emotions. “On the one hand, I’m happy as I’m tired of performing... on the other hand, I guess I’ll miss it sometimes.”

His journey began at age 5 in then Portuguese-governed Goa, singing a Portuguese waltz with a banjo in Panaji. By 14, he was writing love songs. Architecture studies in Mumbai led to Indo-Western experimentation before hitchhiking across Europe and North Africa, busking, writing songs and poems, and eventually returning to Goa.

Remo went on to become one of India’s biggest-selling rock musicians before crossing into Hindi pop and film music, earning gold, platinum and double-platinum records, winning international honours and sharing stages with Jethro Tull, Led Zeppelin, Queen, Zakir Hussain, Trilok Gurtu and Eurythmics.

Now dividing his time between Portugal and Goa, he says there is no new project on the horizon after completing his autobiography and an opera on Mother Teresa. Instead, he hopes to spend his days reading, travelling and watching films. “Goa is home, however spoiled it is... my home in Siolim keeps bringing me back.”

No farewell tour. No curtain call stretched out over months. Just one final concert in London. Remo played his last live set. His music still soared. His feet stayed still.

Akshay Oberoi is making the most of a rare pause in his packed schedule before diving into a busy second half of 2026. He is on an extensive family holiday covering London, Paris, Ghana, New Jersey, Los Angeles, San Francisco and several other destinations across the globe.

Akshay says, “This trip is honestly my calm before the chaos. As actors, we are constantly moving from one set to another and one city to another, but we rarely get to travel with no agenda other than spending time together as a family. My son Avyaan is growing up so fast, and I don’t want to miss these moments with him.”

His nine-year-old son, Avyaan, has been at the heart of the month-long itinerary. Akshay says, “We keep Avyaan’s interests in mind because he’s nine and needs to stay engaged, but he’s wonderfully adaptable and goes with the flow. We wanted him to experience the world this way because I truly believe travel broadens a person’s perspective.”

Even while on holiday, Akshay doesn’t believe in completely switching off from work. He says, “I don’t think I would ever want to completely disconnect from work because I genuinely love what I do. My wife often calls acting a lifestyle job, and she’s absolutely right. It’s become such an integral part of who I am that I’m always thinking about my work, the films I’m making and the dreams I have for my career.”

The experiences he gathers away from film sets, he believes, eventually enrich his performances. He shares, “Travel has always been deeply therapeutic for me. I love meeting people, trying local food, walking through unfamiliar streets and simply soaking in new experiences. The more you travel, the richer your understanding of life becomes, and that naturally reflects in your work as an actor. Every experience adds something to your craft because, ultimately, life is what an actor brings to the screen.”

A day after the London premiere of 52 Blue, Neha Dhupia is still processing what she experienced. The actor, who stars in Egyptian filmmaker Ali El Arabi's international feature, says the biggest change isn't what the film might do for her career, but how it has changed the way she sees herself. "I would've accepted everyone's congratulations until yesterday," she says with a laugh.

"But the difference between speaking to you yesterday and today is that I've now seen the film. I'm genuinely proud because it's one of those films that adds something to your body of work. Every film has its own fate, I don't know where this one will go, but there's a dialogue my character Lakshmi says: 'Everything you do and everyone you meet is pushing you in a direction you're meant to be in.' That's exactly how I feel about this film."

What drew her to 52 Blue wasn't the prospect of an international project, but the opportunity to play someone she hadn't been allowed to play for years. "When they first called and told me about this woman from Kerala who's carrying so much emotional weight and eventually ends up living on an island, I was convinced I wasn't going to get the part. You fight for roles like these at the beginning of your career, and then somewhere along the way you stop expecting them."

The irony, she admits, isn't lost on her. "It took a filmmaker from Egypt to notice that he could see me like this. At one point, even I had forgotten that I could see myself like this. You start believing you have range, but then you slowly surrender to the box people put you in. I had opened one side of that box through films like Mithya and A Thursday, but after a point the rules become the same. That's why it's so special when somebody else's belief in you helps you rediscover yourself."

Her first meeting with Ali El Arabi happened over Zoom, but the director's instinctive reading of her stayed with her long after. "He told me, 'When I look at you, I feel like you've been through a lot. Your eyes tell me you're strong, but somewhere you haven't given up'. That's not something people usually tell you the first time they meet you. He also felt becoming a mother had given me something this character needed. Honestly, if this film had come to me before I had children, I don't think I would've been able to play Lakshmi the same way."

Years ago, Dhupia says, she actively chased the idea of crossing over into international cinema. "When I was younger, I really craved that crossover. Now, if this film opens doors internationally, wonderful. But even if it simply leads to more interesting work here, I'll be equally happy."

The biggest validation, she says, came immediately after the London screening. "Prakash Jha was in the audience yesterday. After the film, he came up to me, patted me on the back and said something that stayed with me. Sometimes all you need is for filmmakers to suddenly notice something in you that they hadn't seen before. Even that is enough."

Watching herself on a giant screen also became an exercise in confronting vulnerability. "This film made me braver than I've ever been. There's no makeup, no vanity, nothing to hide behind. You're completely exposed. I didn't think I was brave enough to do something like this. If I can be this raw and still feel proud of what I've done, then I know I can do so much more. I've always wanted to do a sports biopic because I've always been athletic. Maybe I'm older now, but then again, not every sports story is about an athlete at their peak. Some of the most interesting stories happen afterwards."

Despite working across films, television, OTT and podcasts over two decades, Dhupia admits she still feels her versatility hasn't translated into the kind of opportunities she craves. 

"I don't value my versatility enough myself," she says candidly. "Maybe after conversations like this I'll feel good for twenty minutes. Then someone will call to negotiate a fee and I'll go back to being an earnest worker who's grateful to have work. I've been in this industry for over two decades. I'm grateful that people know who I am wherever I go. But I genuinely wish my body of work was much wider than it already is. Sometimes I see a filmmaker's work and think, 'I'd love to do something like that.' Then later I hear they never even thought of me. That's the part that still hurts."

The passing of legendary playback singer Asha Bhosle on April 12 at the age of 92 marks the end of an era in Indian music. Tributes have poured in from across the industry, but among the most heartfelt is that of singer Shaan, who shared intimate memories of his conversations and bond with the icon.

For Shaan, his connection with Asha Bhosle was not defined merely by professional admiration, but by personal warmth and unexpected moments. He has been a part of multiple shows and performed with her on stage for decades.

“I've had the privilege and the good fortune of having a lot of conversations with Asha ji on the phone,” he recalled. “Mostly I would never know how to reach out to her. So she would call… whenever she would call, we would get to speak.”

One such memory remains etched vividly in his mind, a late-night call that came without warning. “It was quite late that night, around 11 or 11:30, and suddenly I see her name flashing on my phone,” he said.

True to her personality, Asha Ji skipped pleasantries. “She was always very straight to the point… she said, ‘Accha sun, Tera beta gaane laga hai main sunn rahi hoon. Log keh rahe hain ki theek thaak hi gaata hai woah. Yaad hai, humne jab show kiya tha tab tere god mein tha woh.’ So, I told her that was my older boy. That show was in 2004 when we had performed in London together. Soham was crying and she said, ‘Isko godi mein le le’ and I held him up. And that time she announced on stage, ‘Yeh jo baccha dekh rahe ho aap, iske Dadaji, (my father) ke saath maine perform kiya tha. Aaj bete ke saath perform kar rahi hoon aur jab yeh baccha bada ho jayega, main iske saath bhi perform karoongi!’”

And that is what she reminded me again. “She said, ‘Ab toh tera beta bada ho gaya hai, bula usko ghar pe, kuch gaana kartein hain uske saath!’ I was absolutely stunned. The fact that she remembered all this and actually said that about my son. I told my son Mahi. And he was absolutely elated. He took her blessings.”

Despite the emotional weight of that invitation, Shaan admits he never followed up. “I didn’t know how to really go about doing that,” he said. “Whenever she would call, we would speak… but I rarely reached out to her. I guess its my personality that I never reached out to her.” That hesitation now lingers as a quiet regret. “And now, I guess I never will,” he said.

Beyond memories, Shaan emphasized the profound influence Asha Bhosle had on his life and career. “I have always mentioned this-Asha ji’s aashirwaad and fondness for my voice will remain my greatest take back from my singing career,” he said. “No other achievement or compliment can match up.” He described her as a towering inspiration. “She is my greatest inspiration to work hard and focus on what is in one’s control.”

As the industry reflects on her unparalleled contribution, Shaan echoed a sentiment shared by many: that Asha Bhosle’s legacy is simply beyond comparison. “Her body of work is unparalleled… she has set the bar so high that it’s impossible for anyone to match up,” he said. Yet, even in her absence, her influence remains indelible. “She will continue to inspire and give us hope that if we work hard, there is no limit to what we can achieve.”

Horror is a genre Ajay Devgn knows inside out, having explored it with Bhoot (2003), Kaal (2005), and Shaitaan (2024). But there’s something else about his next horror film with director Rohit Jugraj that has us excited.

mid-day has learnt that the actor will play a character with grey shades in the offering.

Before this, Devgn essayed a grey character in Kaal. A source told us, “Almost 21 years after that horror film, Ajay will play a dark character again in Rohit’s movie. Set in London, the story will have the superstar essaying a brooding and intense character with supernatural powers. He will sport a distinct look in the film. So, he wants to complete his pending assignments before the project rolls.” 

The actor is currently shooting for Rohit Shetty’s Golmaal 5 with co-stars Akshay Kumar, Arshad Warsi, Kunal Kemmu, Tusshar Kapoor, Sharman Joshi, and Shreyas Talpade in Mumbai. While the comedy has him booked till May, June will be dedicated to the patch shoot of Drishyam 3. Only in July will he step into Jugraj’s supernatural world.

The source added, “Rohit has begun pre-production on the film. He will call action on it in July and plans to wrap it by the last quarter of 2026. Ajay is also finalizing another movie, which he plans to start by November-December.”

Among many Indians stranded in the UAE during the bombings in the midst of the ongoing US Israel Iran war was actor Lara Dutta Bhupathi. After posting an emotional video on social media about the situation she was facing in Dubai, the actor is now safely back in India. Excerpts from her conversation on The Right Angle with Sonal Kalra:

I normally don’t put out videos like that, as you don’t want to create panic. But I was undertaking a dangerous journey back with my daughter (Saira, 14), and we didn’t know what was awaiting us. I had this 1% thought that this could possibly be the last thing that ever goes out.

My daughter has been playing tennis since she was seven, and three years ago, we made a choice to move to Dubai to allow her to train with an elite coach who’s based there. Saira and I were on our own because (husband) Mahesh (Bhupathi, tennis player) was away in London for work when this war broke out. Until the time you actually have bombs being intercepted overhead, it doesn’t feel like it’s a close reality. However, the UAE government is doing an incredible job of keeping everybody safe.

So we chose to take a flight from Fujairah. We hadn’t left the house until then. The only instructions we were given were to stay indoors. We lived just about 10 kms away from the Jebel Ali Port, which was being bombed every day. So we decided to take a chance, as I wanted to be with my husband and my family. We drove two hours to Fujairah, and just a day earlier, Fujairah port and the oil refinery had been bombed. It was scary. I was joking with my co-star Akshay Kumar that I felt like I was part of Airlift 2.

Even at the airport, you could hear these booms, and you were just hoping that nothing was struck. Hats off to the airlines, as well. I am very sure my daughter is going to have some amount of trauma after this experience.

Veteran actor Mumtaz believes the passing of actor Feroz Khan in 2009 may have been a turning point in the relationship between her daughter Natasha Madhvani and son-in-law, actor Fardeen Khan. According to her, the emotional impact of losing his father might have led to misunderstandings between the couple.

Fardeen and Natasha are separated but not officially divorced. They parted ways in 2023 after 18 years of marriage. While Natasha currently lives in London with their children and Fardeen continues to stay in Mumbai, the two remain connected as co-parents.

Speaking in an interview on Sitaron Ka Safar, she said “When Feroz passed away... he (Fardeen) was very attached to his father... So I don’t really know what happened at that time. Natasha shifted to London for the children’s education. After that, I’m not sure what misunderstandings arose between them. But that’s when some problems began.”

She praised Fardeen for the way he continues to support his family. “He is a very sweet guy. Even today, he goes to London to see the children. Natasha was unwell, and he went ten times to check on her. I never expected that men these days would do so, but he looked after everything,” she added.

What is Bollywood’s newest star, Ahaan Panday, doing after the smashing success of Saiyaara? Moving full-throttle into his second film, an action drama to be helmed by Ali Abbas Zafar.

mid-day has learnt that the director is headed to the UK in December for a month-long recce before the shoot kicks off in February 2026.

Sources tell us that the action drama, produced by Aditya Chopra, will be primarily shot in London, Birmingham, and Manchester, with some portions planned in Leeds.

A source breaks it down further, saying, “Ahaan’s Saiyaara made upwards of Rs 550 crore globally. That has given Ali and Aditya Sir the confidence to go all out with his second film. For most part of December, the director will scout for locations in London, Manchester, Birmingham, and Leeds that will add to the storytelling when they are presented on the big screen. Almost 80 to 90 per cent of the movie will be shot in England.”

We’ve heard that Panday is simultaneously prepping for the project, especially since this will be his introduction to the action genre.

The source adds, “His debut film presented him as a devoted romantic hero. With the second venture, Aditya sir wants to project him as an action-romance star. He has been undergoing hand-to-hand combat training and weapon training.”

Singer Arijit Singh created history on Friday becoming the first Indian artist to headline a stadium concert in the UK. Performing at the iconic Tottenham Hotspur Stadium in London, the singer drew in thousands of fans, who sang along as he delivered a two-hour-long set featuring some of his most popular tracks, including Saiyaara, Jhoome Jo Pathaan, Rasiya, Ami Je Tomar and Sapphire.

Fans flooded social media with videos and pictures from the night, hailing Arijit as “The King of Asia.” But the historic night ended on a dramatic note. Just as Arijit was singing Deva Deva from Brahmastra, the power was cut at exactly 10.30pm, as stadium authorities enforced the strict local curfew.

Videos showed a darkened stage, fireworks going off, and the crowd shouting in disbelief as the singer was unable to bid goodbye. Some also pointed out that Arijit’s late arrival may have contributed to the shortened set.

“Noise pollution is taken seriously in the UK... Rules are rules. I wish this had happened in India, too,” a fan posted.

(L) Priyanka Chopra with Nick Jonas' parents. (R) while promoting Selfiee Akshay Kumar entertained everyone in the private jet with his singing

In 2009, Abhishek Bachchan broke a Guinness World Record by racing to five cities in twelve hours to promote Delhi-6. Years later, in 2016, Priyanka Chopra was juggling shoots for Bajirao Mastani (2015) in Mumbai and Quantico in Los Angeles.

How do the A-list celebrities do it all? One answer: private charters. No long security queues. No baggage belts. No waiting for boarding announcements or getting mobbed at terminals. Just a curb-to-cabin glide that turns a 180-minute airport ordeal into a mere 15-minute pit stop.

“Post-pandemic, we’ve seen a significant surge in celebrity clientele, especially across India, the Middle East and Europe,” says Raaghav Belavadi, founder of private jet operator Hype Luxury. “Celebrities are leveraging private jets for everything from spontaneous business trips and wellness escapes to quick weekend retreats,” he adds.

Sachit Wadhwa, co-founder of Book My Charters, agrees. “There was a time pre-COVID when one could count on fingers the celebrities that chartered… today, even younger actors, musicians, DJs and influencers fly private.”

From bespoke biryani on board to Gulfstream G700s fitted with sleek aesthetics, the skies have never been more exclusive nor more crowded with famous names. Here’s a front-row seat to the rarefied world of celebrity air travel, where time, privacy, and personalization rule the flight plan.

Charter operators say private flights offer unmatched ease and privacy – “you can take off and land whenever you want, there’s no crowds. It's seamless, flexible and contactless travel."

The only requirement? A minimum of three hours’ notice. “We at least need a 3‑hour heads up to arrange for the pilots, the crew, engineers and fueling the aircraft,” Maria explains. In Mumbai, general aviation (private charters) is unavailable during 8–10 am and 5–7:30 pm due to peak commercial traffic.

Once aboard, celebrities avoid delays and distractions. “The car is out and ready on the tarmac. The talent gets out of the jet, gets into the car, and the car is going to the hotel,” says Maria.

Saved hours translate into productivity or rest. “Celebs are using their time on board very productively. Even two hours saved adds up. They conduct meetings, read scripts, or just catch up on rest while flying,” adds Sachit Wadhwa of Book My Charters.

For vacations, celebrities often prefer to bring their pets, and with private charters, animals fly freely in the cabin, not locked away in cargo. “There are some certifications that need to be done before getting the pet onboard. Usually, the pet is carried in a cage until it reaches the aircraft. Once the aircraft takes off, we release the pet and they can enjoy the flight,” shares Akash Nale of Flyyo. This shift reflects a global trend: flying pets in the cabin significantly reduces stress compared to cargo or cramped carriers under seats.

"Food and beverage," says Sachit, "is a big part of the experience." Many celebrities — particularly on Delhi–Hyderabad routes — request signature dishes from favourite restaurants mid-air. One client, despite spending over Rs 50 lakh on a Delhi-Goa return flight, requested poha and Haldiram bhujia instead of a gourmet English breakfast - a surprising but welcome request, says Akash Nale of Flyyo.

For early flights, the norm is plant-based or South Indian breakfasts, while lunch usually consists of light options like hummus or a tikka platter.

When fans see paparazzi photos of Bollywood celebrities breezing through Mumbai’s Kalina airport, they often wonder how stars manage to travel without luggage. "Staff bring the luggage hours earlier because screening takes time. The celebrity just walks through the terminal straight to the aircraft,” Sachit explains. Still, Maria adds, “Security check is compulsory for everyone travelling, even at private terminals.”

A round trip from Delhi to Mumbai and back onboard a Legacy 650 charter typically costs between Rs 15 lakh and Rs 30 lakh, the range depends on customization, timing, and additional services involved. For events, shoots, or promotions, travel costs are often covered by production houses or event organizers.

None of the Bollywood celebrities owns a private jet, confirms Maria and Sachit. All reports about A-list actors owning charter aircraft are false. There is only one South Indian celebrity who owns an aircraft. Ajay Devgn, during an interview with BookMyShow Unscripted, debunked the rumours of owning an aircraft, "No, not at all. I was planning to buy it and had secured one deal too. But it didn’t go through. So, it is not true.”

Celebrities avoid commercial flights because they crave privacy away from the public glare. “Bollywood is an area of interest for almost everyone… Everyone wants to see what a star is eating, how he behaves when the cameras are not rolling,” explains Sachit, adding, “Privacy and being discreet are the most important aspects of our business. They need time to switch off. Our job is to provide that.”

For celebs who fly private, discretion is built in. As Maria says, “The crew is trained in a way that they will never ask for a selfie or autograph.” Some operators even require crew to sign NDAs. Raaghav adds, “Each movement is orchestrated by operations teams in partnership with airport authorities and private security firms, ensuring zero exposure and complete peace of mind for our clients.”

Private jet travel in India also means dedicated terminals – Kalina in Mumbai and the General Aviation terminal in Delhi – where celebrities can arrive just 10–15 minutes before departure. “With these terminals, celebrity travel is more discreet,” says Sachit.

Celebrity entourages also vet aircraft safety before flying. “Even before the unfortunate Ahmedabad crash, people would enquire about the safety, ‘When was the maintenance done…’ Charter aircraft are regularly serviced and engineered, taken care of just like any commercial aircraft,” says Maria Charles of Skyline Charters.

“Of course, they ask about the safety, and we provide properly maintained aircraft. We have a maintenance agency, and they are taken care of.”

Akash adds, “There are certified engineers who do the necessary checks after every flight. If a minister is flying, the engineer has to be onboard for safety measures.”

For long-haul international routes, especially US-bound, celebrities typically opt for first-class commercial flights, reserving private charters for domestic legs or short-haul travel. As Sachit Wadhwa of Book My Charters explains, “If someone wants to travel from New York to Miami, they would use a charter plane because commercial flights often have luggage restrictions. So, we manage those travels too.”

Many operators offer seamless India–London service, often with a single refuel stop. “We have aircraft that can fly non-stop from India to London and we even do trips to the USA with one stop. That stop is never more than 45 minutes. You just refuel, get fresh food on board, and then take off. Sometimes celebrities don't even realize there's a stop because they sleep through it. They stay onboard during refuelling,” adds Sachit.

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Actor-dancer Lauren Gottlieb, who married long-time partner, London-based creative Tobias Jones, on June 11 in Italy, admits she’s still adjusting to this new chapter in her life.

“It still feels very new. I keep stumbling and saying ‘my fiancé,’ and then I catch myself — ‘Oh wait, my husband.’ I’m getting used to the term ‘Mrs’. It’s surreal but also grounding,” she tells us.

Their love story had an unconventional start. “Everyone thinks I slid into his DMs to flirt,” she says, adding, “But I was looking to collaborate with artistes on visual effects content. I saw a video he had created and thought, ‘That’s exactly the kind of work I want to do.’”

Fate intervened when work brought Lauren to London. “I had booked not just one but two jobs there. It was meant to be,” says the 37-year-old.

It was during this time that their dynamic shifted. “It was Tobias who confessed his feelings first,” she recalls. “We were shooting something together when he took my hand and said, ‘I love you.’ I knew then that life might get more complicated — more cities, more distance — but I had always wanted real, true love.”

Her parents were initially cautious. Lauren explains, “I think they were just waiting to meet him. He wasn’t trying to impress anyone, he was unapologetically himself. Once they saw that, they were in. My parents have always said it’s going to take a very special person to be with me. I’m a lot — I’m spicy, high energy. And he gets me.”

Looking ahead, Lauren reveals plans to celebrate with friends who couldn’t attend the Italian wedding. “There is definitely going to be a party to celebrate our wedding,” she confirms. “My Indian friends couldn’t attend the wedding in Italy, which was sad. I want to do something special here.”

Motherhood has a way of shifting priorities, but for Radhika Apte, it’s also pulled back the curtain on a long-ignored truth: Is the Hindi film industry compatible for mothers? Being a hands-on parent Radhika is also trying to hold space for her creative life. Excerpts of the interview are as followed...

Now a mother, Radhika describes this phase as both overwhelming and extraordinary. Ask her if becoming a mother has changed her creative lens and Radhika, as candid as she gets, replies, "Five and a half months is a very small time to give you that answer. I'm still in the thick of it," she answers as she speaks to us from London.

"We live in London, we believe in doing stuff on our own. So, we have zero help. We have no nanny, no night nurse, no cook, nobody. We do everything on our own. So, it's been very hectic, but we like it. Babies famously don't sleep. Every day is different, to be honest with you. It's been incredible and it's been very hard at the same time so far. You do look at world from a very different lens because you have a child now," she adds.

However, while she is still finding her foot as a mother, she has deduced something on the work front. "With work, what has definitely changed, is now I've realized that how we work in India is just never going to be a possibility for me. Because in India a normal shift is minimum 12 hours. That doesn't include makeup. So, with hair and makeup it's about 13 hours, plus the travel. And no shoot finishes on time. That's 15 hours plus when it doesn't finish up on time. I've shot mostly for 16 -18 hours in my life. And that's just never a possibility anymore. I can't do it because if I do that, I'll never get to see my daughter. So, I've just realized that that's impossible. So, I must have different terms in my contracts now and a lot of people are going to have problems with that. That's made me wonder - there's so many women on film sets. We talk about gender equality and there's so many women in lots of departments. Then I want to know how many of them have children. Because it's assumed in our culture that it's okay for men not to see their children. But mothers can't afford to do that. So not a lot of mothers with babies can possibly work in our industry. Unless they have their babies dragged on set. So, I was just like, 'Wow, this is going to have to change how I work'. I have two projects that I'm about to sign and I'm gonna have to change how the contracts read. But that's really been an eye opener for me," the Andhadhun actress elaborates.

Through it all, Radhika finds strength in the shared load at home—something she and her partner, musician Benedict Taylor, have committed to wholeheartedly. "We're trying to find a balance. I realize that it's a longer process because every day is different. However, cliched this line is, it's actually true. Every single day is different. The baby's needs change, the baby's sleep changes, your emotion change. Everything changes every day. But we are trying to find that. We both have not given up what we need, and we give each other time to do that. I don't feel like I've just completely gotten myself buried under mother duties. I'm not completely sacrificing my entire self for it. And my partner and I share everything, like absolutely everything. We're so equal in, in how we are raising her. It's been really lovely to learn to get to know your partner better," she states.

Fresh off a wave of festival acclaim for Sister Midnight, Radhika shares, "We’ve had really great reviews everywhere. It’s actually very validating." She admits she is "Not sure how it will do theatrically". "I'm very excited to see what happens because it's so different," she signs off.

Varun Dhawan barely has time to breathe. After wrapping up an elaborate 45-day schedule for Border 2, he is now preparing for the next schedule in Uttarakhand. He will then head to shoot for his father David Dhawan’s entertainer. This yet-untitled project marks the father-son duo’s fourth collaboration after Main Tera Hero (2014), Judwaa 2 (2017), and Coolie No. 1 (2020). Backed by Ramesh Taurani’s Tips Entertainment, the film also marks Kannada actor Sreeleela’s Bollywood debut, featuring alongside Mrunal Thakur and Maniesh Paul.

After wrapping up the Mumbai and Goa schedule, a 45-day schedule has been planned across London and other parts of the UK during May and June. A source reveals that the veteran filmmaker and his team have locked several iconic locations for the shoot, ensuring a mix of grand cityscapes and scenic countryside backdrops.

The source shares, “Varun and the team will be shooting extensively in London, covering popular spots including Piccadilly Circus among other places. There is an elaborate dance number planned which will be one of the highlights of the film.”

The UK schedule will also include a week-long shoot in the countryside, where the team will film key romantic portions and a chase sequence.

“David Dhawan is keen on bringing a fresh, international aesthetic to the film while maintaining his signature humour and energy,” the source adds.

Varun, who has been juggling multiple projects, will fly to London by mid-May after completing his commitments for Border 2 and Sunny Sanskari Ki Tulsi Kumari.

Announce a Salman Khan concert, and his fans make a beeline to see him in action. This time, the superstar’s admirers have even more reason to be excited about his upcoming show. Khan will be joined by Madhuri Dixit-Nene as they headline The Bollywood Big One shows that are scheduled to take place in the UK. It will be held at the Wembley Stadium in London on May 4, and at the Co-op Live arena in Manchester on May 5. Performances by Varun Dhawan, Kriti Sanon, Sara Ali Khan, Disha Patani, Sunil Grover and Maniesh Paul are also part of the line-up.

The shows promise to be a trip down memory lane as Khan and Dixit—last seen on screen in Hum Tumhare Hain Sanam (2002)—will perform to hit numbers from their ’90s offerings. A source says, “They will groove to their chartbusters from Saajan [1991], Dil Tera Aashiq [1993], Hum Aapke Hai Koun [1994], and Hum Tumhare Hain Sanam.”

It turns out their recent recreation of a scene from Hum Aapke Hain Koun on Bigg Boss 17 sparked the idea for the stage show. “In January 2024, Madhuri was a guest on the Salman-hosted Bigg Boss 17 finale. There, the two recreated a romantic scene from Hum Aapke Hain Koun. They have always had great chemistry on screen, and seeing the love pouring in from the audience for the episode, the organisers decided to rope them in.”

The Bollywood Big One shows were originally scheduled for 2023, but were postponed because of logistical issues in the aftermath of the pandemic. The source adds, “Varun, who is currently shooting for Border 2, plans to complete his portions by April and fly out for the show in May.”

Singer Mika Singh has called out actor-couple Bipasha Basu and Karan Singh Grover over his experience of working with them on the OTT series Dangerous (2020), which was co-produced by him.

Speaking on the Kadak podcast, the singer said, “I wanted to cast Karan and a newcomer girl so that the project remains under budget, but Bipasha jumped into it. They didn’t exceed the budget, but the experience was horrible.”

Singh said that the couple created a “lot of drama”: “We took a team of 50 people to London for a month, but it ended up being two months! Karan and Bipasha caused a lot of drama. Since they were a married couple, I had booked a single room for them, but they were like, ‘No way, we want separate rooms.’ Then, they asked to switch to a different hotel, so we did.”

He also claimed that though a kissing scene was a part of their contract, the actors refused to perform it. “They even created issues while dubbing, with excuses like they have a sore throat. I couldn’t understand the drama, especially when they were paid for their work,” he said.