Violinist L Subramaniam with wife Kavita Krishnamurti. Pic/Jatin Kampani

“We sang Sanskrit shlokas with a Kazakh choir. That was really special,” says Kavita Krishnamurti, still sounding delighted by the memory. “They wanted me to sing a couple of film songs too, and they enjoyed those. Their own dancers even performed to my husband’s violin concerto.”

The performance came during the Lakshminarayana Global Music Festival, founded by violinist L Subramaniam in memory of his father. Invited by the Astana Symphony Philharmonic, the couple spent 10 days performing in Aktobe, Kostanay, Kokshetau and Astana, presenting everything from Indian classical compositions to Hindi film music.

One of the highlights was Navagraha Symphony, built around the nine planets. “We did five planets on Sanskrit shlokas, and their choir sang the Sanskrit with me,” she says. “It became a beautiful musical exchange.”

Away from the concert hall, Kazakhstan left an equally deep impression. “They have wonderful folk music, with dombras and beautiful percussion instruments. Their music feels close to nature. It reminds you of mountains and rivers. We hope to collaborate with the orchestra again.”

“It has been almost 54 years since I entered the profession,” says the singer, whose first film recordings date back to the early 1970s. Yet before Bollywood came the world of advertising, where she became one of India’s most recognizable jingle voices.

“The post-college years, when I was singing jingles, were among the happiest of my life. We worked very hard, but everyone felt like family.”

That phase, she believes, shaped her more than any award ever could.

“Sometimes you had to sing the same jingle in 14 different languages. The writers would stand around you, everyone watching the clock, and you had to switch instantly from one language to another.”

The pace taught discipline. “You learnt how to hit the very first word, how to emphasize the product name and still keep the emotion. It became an excellent training ground for film songs.”

The Nirma jingle remains the one audiences mention most often, although another composition still surprises her. “People also remember a literacy campaign song, Poorab se surya ugaa..., composed by Ashok Patki. Many tell me they still remember it.”

Krishnamurti’s catalogue spans romantic ballads, classical pieces, qawwalis and dance numbers, but she insists it was never part of a career plan.

“I didn’t choose to be versatile,” she says. “Initially, romantic songs didn’t come my way. Then Hawa Hawai happened and suddenly I was offered many energetic songs. Later came Saudagar and romantic music.”

Working with hundreds of composers, she says, naturally expanded her range. “Every music director expected something different. Singing in different styles and different pitches probably made me versatile.”

The biggest change, she believes, lies in the recording studio. “We used to record live with 100 or even 120 musicians. Those six or seven minutes had to be perfect because there was very little that could be corrected later.”

Digital recording has made music technically flawless, she says, but something else has faded. “I feel the emotional approach was much stronger then. I also miss the meaningful lyrics and the way actors performed songs through lip-sync. When Madhuri Dixit, Sridevi or Shabana Azmi appeared on screen, the songs acquired another life.”

Although Mumbai remains home, Krishnamurti believes the city’s aspiring singers can no longer depend solely on Bollywood. “There are so many talented singers today, but only a few can break into films. I pray independent music becomes much bigger in India, because then artists can build careers through their own music.”

She stops short of offering advice to younger singers. Instead, she wishes they had the opportunities her generation enjoyed. “I only wish there were composers like R D Burman, Laxmikant-Pyarelal, O P Nayyar or Naushad creating those kinds of songs for them.”

If her music continues to thrive on streaming platforms and social media, she sees it as proof that melody has a longer life than technology. “Good melody, good lyrics and good singing cannot disappear from people’s hearts.”

More than five decades after she first stepped into a recording studio, Krishnamurti is still finding new audiences, whether in Mumbai or halfway across the world with a Kazakh choir singing Sanskrit. For a singer whose career began in Bombay’s jingle studios, it is a reminder that music has always travelled farther than language.

When Mamta Sharma first heard that Chatni was returning to the big screen, it took the singer back to one of the happiest phases of her career. She previously performed the number, titled Kaise Bani Kaise Bani — The Chatni Song, alongside Salman Khan in Dabangg 2 (2012). Recreating it for Ajay Devgn’s Dhamaal 4 felt like reliving a cherished memory.

“Very few people get a chance to redo their own track, and that too in another iconic franchise,” said the singer enthusiastically.

The opportunity came unexpectedly. Sharma recalled that she got a call from Raj Chanana, assistant vice-president at T-Series. “Aditya Dev [composer]] had recreated it. The moment I heard the track, it brought back so many memories. I’ve been singing it on stage for so many years that it has become [another] Munni to me,” she smiled.

For Sharma, however, the song is inseparable from Khan and the Dabangg universe. Days after recording the track for Dabangg 2, she shot for it with the superstar — an experience that fulfilled her childhood dream.

“The first posters I put up in my home were of Salman sir and Madhuri [Dixit Nene] ma’am. Then suddenly, in 2010, I was working with him. I still remember how he held my hand and spun me during the song. I was so happy that even during breaks, my hand would remain in that position,” laughed the singer, who has several party numbers and a collaboration with lyricist Nikhat Khan in the pipeline. “Keep your dancing shoes ready,” she teased.

One look at Madhuri Dixit Nene, Indian cinema's timeless icon, and you're struck by her seemingly effortless perfection, the radiant smile, unmatched grace, and captivating screen presence. Yet, a conversation with her reveals a different perspective. The celebrated actor believes that true strength lies not in perfection, but in embracing one's flaws.

In a candid conversation with Bombay Times, Madhuri spoke about her recent film, Maa Behen, directed by Suresh Triveni, and how Hindi cinema's portrayal of mothers has evolved over the years. Excerpts...

When we think of mothers in Indian cinema, the first name that comes to mind is Nargis ji in Mother India. Then there are iconic performances by actors such as Rohini Hattangadi in Agneepath, Nirupa Roy in Deewaar, and Rakhee Gulzar in Karan Arjun and Ram Lakhan. These characters were powerful and memorable, but they were also idealized. Mothers were often placed on a pedestal. They couldn't do anything wrong. They were expected to sacrifice everything for their children. What struck me about Maa Behen was its realistic approach. My character isn't the ideal mother or wife. She's independent, chaotic, and imperfect. Despite belonging to a dysfunctional family where everyone is constantly at odds, she deeply loves her children and will do anything for them when it truly matters.

As you mentioned, there's a moment when she tells her daughters, "Main jail jaaungi toh tumko lekar jaaungi." That's not something you'd traditionally hear from a cinematic mother. Characters today feel more real and relatable. These are women you encounter in everyday life. Everyone is flawed, and flaws are wonderful. We all have rough edges, and I'm glad cinema is finally embracing that reality.

Beauty lies in the eye of the beholder. And honestly, imperfection is power. I don't believe perfection truly exists. No one can be perfect. My journey has always been about striving for excellence, about trying to give my best in everything I do. The pursuit itself is what fascinates me. The process of constantly learning, improving, and challenging yourself is far more meaningful than achieving some impossible standard of perfection.

There is certainly a sense of freedom in the OTT space because you're not bound by commercial expectations. It is more relaxing. You're not worrying about how many crores a film or series will earn. The pressure of delivering a blockbuster doesn’t hang on your head. Instead, the focus shifts to creating something meaningful and engaging, something audiences genuinely enjoy watching. The goal is to tell compelling stories and create content that feels relatable and authentic.

I want to explore characters that are different from anything I've done before. I enjoy challenges, whether it's learning a new dialect, stepping into unfamiliar territory, or portraying someone completely unlike myself. Anything that pushes me out of my comfort zone and makes me feel vulnerable, fascinates me as an actor. That's where growth happens. I have no reservations about playing any role, as long as it is well-written and offers something meaningful to explore.

Good times have been raining on feminist screenwriter Pooja Tolani in the month of June. Fresh off the success of the dark comedy Maa Behen, she hosted the Mumbai screening of her directorial debut, Razaa on June 27. Co-produced by Maa Behen director Suresh Triveni, the short stars Geetanjali Kulkarni and Bhumika Sharma.

An excited Tolani informed mid-day that Razaa premiered at the Short Shorts International Film Festival in Tokyo and has been “making festival rounds since June 2025”. “But this is the first time we held a private screening.”

Even as praise pours in for both projects, Tolani has moved on to new stories. “There’s one feature and one series, and both are in nascent stages of development,” she said.

Asked whether it is easy to be a feminist writer in the industry, she said, “I feel it depends on who you are working with and what you are working on. Our industry is still trying to figure out how to make women feel comfortable, from basic things like washroom facilities to pay parity. There are [writer] rooms where if you call out something incorrect gender wise, you are sometimes scoffed at, joked about, or told, ‘Baap rey, jhanda gadhne aagayi’. But I have been fairly lucky to have worked with people who are feminists.”

“I used to joke about this with Suresh that my biggest achievement in life is that I made Madhuri Dixit say ‘Mujhe pet mein gas ho rahi hai’ on screen. I will sleep peacefully now. It was great fun to work with Madhuri, to use her image [of a diva] and also break it.”

Surprise was Ravi Kishan’s first reaction when he heard director Suresh Triveni’s narration of Maa Behen. “Even after doing so many films, I had never played a character like Gupta ji before,” marvelled the actor. The novel character became his incentive to play the middle-aged man attracted to his neighbour Rekha, essayed by Madhuri Dixit Nene.

The cherry on the top was the authenticity with which a North Indian small town was shown in the Netflix crime comedy, also starring Triptii Dimri and Dharna Durga.

“I know these areas. The small-town humour has been missing from Hindi cinema, and when [Bollywood] depicts it, it feels a little fake. You can’t fool me when it comes to this world. I know what kind of comments are passed when a woman is walking alone, or how people wait for her to step out when her husband is not home,” said Kishan.

Matching him, beat for beat, to bring the story alive was Dixit. Impressed by his co-star’s professionalism, Kishan said, “No matter what, she will be on set by 6 am. She is present at every moment. I might have given some trouble to our director, but Madhuri ma’am is calm like a river.”

He deeply cherishes her professional attitude, especially having worked with actors who lacked it. “I have many stories of co-stars, who aren’t like that. If provoked, I will give out names,” he laughed.

After grabbing attention with the delightfully cheeky title of their upcoming Netflix film Maa Behen, actors Madhuri Dixit, Triptii Dimri and Dharna Durga, along with director Suresh Triveni, landed in Delhi for a fun and candid conversation at HT City Stars in the City with Sonal Kalra, Chief Managing Editor, Lifestyle & Entertainment, Hindustan Times. Here are some highlights from the session:

For Triptii, sharing screen space with Madhuri was still a pinch-me moment. “This is my second film with ma’am after Bhool Bhulaiyaa 3, but we didn’t get much time together then. During Maa Behen, we became friends and I’m very proud of that. Main toh bahut show off karti hoon, ‘Main Madhuri ma’am ko personally jaanti hoon. I talk to her every day’,” she laughed.

Madhuri, meanwhile, revealed that the cast bonded quickly during workshops. “My only rule was: besharam bano. Say whatever you want to each other. We had so much fun and I think that translated onscreen.”

Before the camaraderie came the casting challenge. As director Suresh Triveni put it, “The biggest question was, ‘Maa kaun banegi?’”

Recalling how Madhuri signed on, he said, “We narrated the script to her in August 2024. Me and my writer overacted like hell and used all our advertising tricks. In the end, she said, ‘I’m doing it’. After that, she became my trump card. With Triptii, it was, ‘Madhuri Dixit has said yes’. With Dharna, I just said ‘Madhuri’ and she was in.”

Dharna readily agreed: “I was so excited and nervous when I met Madhuri ma’am, like any die-hard fan would be. She said hi to me and I was like, ‘Whoa!’”

While Madhuri has played mothers onscreen before, this one felt refreshingly different. “I have grown-up kids of my own, so there was never any hesitation,” she said. What sealed the deal was the character’s unpredictability. “We always put mothers on a pedestal. Here (in Maa Behen) she says, ‘Agar main jail gayi toh tum dono ko saath mein lekar jaungi.’ I loved that!”

- DHARNA DURGA

It’s hard to build a successful four-decade career like Madhuri Dixit Nene’s in the film industry. Harder even to do so in a country where female stars, as they age, are constantly judged for their appearance. A recent example was the brutal trolling of Aishwarya Rai Bachchan as she walked the Cannes red carpet. When we sat down with Dixit, ahead of the release of her next, Maa Behen, the actor rued that women have no respite from “sexism and ageism.”

“There is sexism and ageism everywhere. Even when you meet people after a long time, they make personal comments like, ‘You have become so fat. Your hair has become so grey.’ But one cannot forget the contribution of the person, and what they have done in the past. You don’t know what’s happening in their lives or maybe they are happy the way they are. Accept people the way they are; remember what she [Rai] represents rather than commenting on her size or age,” asserted Dixit, as she defended Rai.

Dixit has little patience for unsolicited opinions or skewed beauty standards. Instead, she is focusing on what gives her joy — unheard stories and roles that show her versatility. Maa Behen fits right in that plan.

“I had not done comedy in some time. The past few offerings were more dramatic, whether it’s Mrs Deshpande [2025], Maja Ma [2022], or The Fame Game [2022]. I thought this is the right time for comedy,” she said of director Suresh Triveni’s feature.

The Netflix film also stars content creator Dharna Durga. Madhuri Dixit Nene revealed that during the workshops, she ensured that the relative newcomer felt comfortable.

“When I met her the first time, she said, ‘Mujhse nahin hoga,’ with tears in her eyes. I told her to not cry and said, ‘I am also an actor, here to create some magic on the set. Let’s work together.’”

For decades, senior characters in Hindi cinema were relegated to narrow templates: the selfless, sacrificing goddess figure, the widowed mother praying for Karan and Arjun’s return, or Raj and Pooja Malhotra navigating late-life heartbreak in Baghban. Even in lighter films, elders remained affectionate side notes: Amarjeet Kapoor (Rishi Kapoor) in Kapoor & Sons, the loving dadi (Farida Jalal) in Kuch Kuch Hota Hai, or the spirited tipplers Dolly Arora (Dolly Ahaluwalia) and Biji (Kamlesh Gill) in Vicky Donor. Their role was to nurture, advise, or amuse.

Recent films offer a striking reversal. In Vadh, retired schoolteacher Shambhunath Mishra (played by Sanjay Mishra) murders a predatory loan shark and carefully stages the perfect cover-up. Its follow-up, Vadh 2, places him inside prison, navigating the underworld economy that thrives behind bars. In Suresh Triveni’s Subedaar, retired army man Arjun Maurya (played by Anil Kapoor) works as a mafia bodyguard and answers humiliation with violence.

Look further south and Mammootty is rewriting the rules of ageing on screen, first as the unsettling anti-hero of Rorschach (2022) and, more recently, as a calculating serial killer in Kalamkaval (2025).

Women characters have also moved decisively away from the saintly mould. In Vadh 2, Neena Gupta plays Manju, a double-murder convict plotting escape. In the streaming series Mrs Deshpande, Madhuri Dixit portrays a woman imprisoned for serial killings. Triveni’s Maa Behen places another maternal figure in a macabre situation: a mother calls her estranged adult daughters home because a corpse is lying in her kitchen.

The trend has been gaining momentum over the last few years. In Darlings (2022), Shamshu Ansari (Shefali Shah) assists her daughter (played by Alia Bhatt) in the brutal retaliation against an abusive husband and carries her own violent past. Ajji (2017) follows a frail grandmother who carefully plots revenge against the man who raped her nine-year-old granddaughter.

These are neither supporting turns nor caricatured villains. They are central characters: flawed, furious and fully in command of their stories. The greying character is no longer a sentimental aside. Increasingly, they are the story’s driving force.

Part of the fascination lies in the narrative surprise. Audiences have been conditioned to associate age with passivity or moral authority, not danger. Writer-director Jaspal Singh Sandhu, who created the Vadh franchise, points out that the unexpected nature of the character drives the tension. “When you get something where it’s not expected, it works like a charm. It’s easy to create drama there,” he says, referring to Shambhunath Mishra, the quiet retiree who methodically turns predator into prey.

Triveni believes the disruption itself generates conflict. “An older person as a criminal creates instant tension,” he says. “We don’t associate age with threat or strength, so it surprises us.”

Writer-director-actor Vijay Maurya, whose Mast Mein Rehne Ka (2023) follows two ageing characters who begin breaking into homes simply for the thrill of it, argues that these stories deliberately move older characters away from pity. “In real life, oldies can be quite mad if you just open them up,” he says. “I wanted to push the characters away from sympathy and into adventure.”

The idea that age is just a number is moving beyond rhetoric and into storytelling. Filmmakers say the notion that life ends at 55 no longer reflects how people live or see themselves. Triveni sees a generational shift underway. “The older generation is making a statement: we are not done or down and out yet,” he says.

“Look at social media. You see people in their 60s getting fitter and reinventing themselves. Actors too have stayed relevant. The fuddy-duddy parents we once saw in films are changing.”

That shift is visible on screen. Contemporary cinema is replacing automatic sympathy for elderly characters with agency. The appeal may also lie in the contrast with reality. Off screen, older people often seem to be losing control, whether to automation, online scams or growing dependence. On screen, however, seniors command the narrative. They can be angry, manipulative, even criminal, and still hold the audience’s attention.

For Maurya, that freedom reflects an evolution in storytelling. “The germ of ideas has evolved,” he says. “As a writer, it’s an exciting time because you can go radical with characterizations and people will still connect with them.”

With streaming platforms expanding the range of stories being told, filmmakers expect the shift to continue. Triveni believes changing formats and viewing habits are widening the narrative space for older protagonists. “There’s a cultural shift underway,” he says. “A wider audience means a chance for newer narratives, and those narratives are putting elders at the centre of the story.”

For Sandhu, the real transformation lies in the way characters are now conceived. “The character’s story, not age, is the hero,” he says. “If the actor and the character fit the narrative and entertain you, where does the question of age arise?”

And so, it appears, Hindi cinema is finally letting its elders be fully human — messy, cunning, and occasionally dangerous. They are no longer just waiting for a phone call from their children; they are making the world answer to them.

As kids, sisters Shakti, Mukti and Neeti Mohan would perform in classrooms, parties and their bedroom. (SOURAV SHARMA)

As kids, the Mohan sisters would perform everywhere. In their bedroom, at birthday parties, in classrooms, for friends and family. Their favourite routine: Madhuri Dixit and Karisma Kapoor’s Dance Of Envy from Dil To Pagal Hai (1997). Shakti Mohan and Mukti Mohan took turns playing Madhuri and Karisma. “I was Yash ji [Chopra] and Saroj Khan,” says Neeti Mohan, laughing. They would cut their tights into shorts, and their mother would lend them lipstick and jewellery.

None of them really dreamt of a career in the spotlight. They were a middle-class family in Delhi, with zero ties to film or TV; there was no real path to get there. Yet, 30 years later, Neeti, 46, is a Bollywood playback queen. Shakti, 40, reigns as Indian TV’s go-to dance judge, host and mentor. Mukti, 38, started out as a dancer, before pivoting to acting. She’s been in Thar (2022), Lust Stories 2 (2023) and Gyaarah Gyaarah (2024).

They did it all the hard way: No filmi family, industry contacts or shortcuts. Just three sisters figuring it out together.

The Mohans are often asked how one family ended up with three siblings in show business: Is it in the genes? The training? Something in the water they drank? Even they don’t quite know. Their parents weren’t performers. They weren’t wealthy – their father was a chartered accountant, their mother a homemaker. “But they let us do whatever we wanted, be it singing, dancing or sports,” says Shakti.

In the early 2000s, even in a city like Delhi, that kind of freedom for daughters was rare. The sisters remember people pitying their father for having four daughters. (Their fourth sister, Kriti Mohan, stays out of the spotlight, managing Shakti and Mukti.)

It’s partly why Neeti had a relentless urge to excel. Reason No 2 was her younger sisters. Their father would tell her, “Neeti, whatever you do, your sisters do. No pressure.” Of course, she felt the pressure. “My sisters are like my best friends,” she says. “But they’re also like my children.” So, she leaned into the role, excelling at studies, music, dance, theatre and the National Cadet Corps.

By the time her sisters joined the same school, Neeti was the hostel head, the cultural head, the band leader. Shakti was the “naughty one”; the kind to throw a book at a beehive, just “to see what would happen”. “Teachers would complain to Neeti about me, so I was terrified of her. If she was coming from one direction, I would run in the opposite direction,” Shakti says.

Neeti in turn, made sure her sisters had a spot on stage, and coached them to do well. “I’d tell them to dance to a patriotic song – you’ll get more marks.” The strategy worked. The sisters dominated everything, from dance to basketball. They picked safer futures in college: Neeti studied Philosophy. Shakti planned to take the UPSC. Mukti wanted to pursue a Master’s in Psychology. But that was about to change.

It was the first decade of the new millennium. India was in the middle of a reality-TV boom. Farah Khan, Sonu Nigam and Anu Malik were assessing nobodies face-to-face. Talent shows were carving out a separate path to fame. Music directors were looking for new voices. The showbiz formula was changing.

Neeti was 24 when her sisters pushed her to audition for Channel [V] Popstars in 2003. When she appeared on the show, “we were bragging everywhere,” recalls Shakti. She made it to the shortlist – along with three others – to form the pop group Aasma. They released two albums before folding in 2005. But the show had given Neeti a way in, and she wasn’t letting go.

In 2009, she returned to compete on the singing show Music Ka Maha Muqqabla and won again. Then, in 2012, a breakthrough. Neeti sang Jiya Re, from Jab Tak Hai Jaan; and Ishq Wala Love, from Student Of The Year. There were awards. There was recognition. Her sisters believed if Neeti could get there, maybe they could too.

Shakti and Mukti grew up joined at the hip. “People thought we were twins, even though we’re two years apart.” Maybe it was the matching outfits and identical mushroom haircuts. Or the fact that they trained in Bharatanatyam and contemporary dance together, shared the same friends, and – for a while in college – even had the same Tata Docomo phone. So, it was hardly surprising when they entered showbiz together. In 2010, Shakti won Dance India Dance Season 2, while Mukti won Zara Nachke Dikha.

At the time, there was no real career in dancing. “You could either be a back-up dancer or assist a choreographer,” says Shakti. But with a reality TV win, they had the visibility that few dancers did. Shakti went on to judge, host and guest star on more than 20 dance shows. Mukti tried everything from comedy and stunt-based contests such as Fear Factor, to taking a six-year break in 2018 to train in theatre. “I didn’t have to worry about rent or groceries,” she says. Her sisters had her back as she worked her way up to films and web series.

The sisters say that the only downside to fame has been the invasive curiosity that comes with it. “People keep flooding our social media comments with questions about Kriti,” says Shakti. Conspiracy theorists suggest that she’s being kept out of the spotlight. “It’s so bizarre and obnoxious. She has chosen to remain private. She’s living her life. Why does she have to be on stage too?”

Shakti runs a dance studio, Nritya Shakti, for hip hop, ballet, jazz, dance hall, Bollywood and more. Mukti’s performing-arts space Mukti Manch trains aspiring actors. Both sisters acknowledge that their success came from all the people who voted for them on TV. They’re keen to pay it forward.

And, for once, they’re teaming up. Their 2025 show, Mohan Sisters Live, has played in Mumbai and other Indian cities. It’s packed with Bharatnatyam, bhangra, kathak, garba, Latin, hip-hop and contemporary routines. Neeti sings all her hits. There’s even a Madhuri Dixit tribute, making it a full-circle moment.

And just like they did as kids, they’ve shaped every detail of the show. Shakti handled choreography and the show’s Instagram page. Mukti takes charge of design and styling — from sourcing the fabrics for their glittering anarkalis to the bedazzled red JLo-style jumpsuits.

They’re not always in sync. They are sisters, after all. On 5 am flights, “Mukti and I are bouncing around,” says Shakti. “Neeti is quiet because she’s conserving her voice.” Neeti will change her seat sometimes, because she “just can’t keep up with their energy”. On their group chat, it’s the same. Shakti and Mukti flood the thread with GIFs, memes and stickers. Neeti operates in efficient one-word replies, usually to scheduling questions. Her signature response: “Available”.

When it comes to famous sisters, the Mohans admire Destiny’s Child, the Phogat sisters and the Williams sisters. But their favourite sister act of all time? “Us. Definitely.”

After Jalsa (2022), director Suresh Triveni was seeking a light-hearted subject. From that wish was born his upcoming film, Maa Behen. Understandably, when Netflix unveiled its teaser in February, what excited everyone was the enviable casting of Madhuri Dixit-Nene and Triptii Dimri. “The casting was obviously ambitious,” admitted Triveni, when talking about his dark comedy that also stars Ravi Kishan and Dharna Durga.

“We wanted to have three terrific women, and we were clear from day one that we would approach Madhuri ma’am for it. She readily agreed in the first narration. So did Triptii, Dharna, and Ravi Kishan. I was fortunate,” he smiled.

In Maa Behen, Dixit plays a free-spirited mother, at odds with her grounded and inhibited elder daughter portrayed by Dimri. As an ardent admirer of the senior actor’s comic timing, the director wanted to see her in the space. “As a viewer, I was dying to see how beautiful Madhuri ma’am is with comedy. We wanted to see her in that comic avatar, and we chased it.”

With the Anil Kapoor-led Subedaar, and Maa Behen, Triveni has collaborated with two of the biggest 1990’s stars. How was the experience? He was left in awe by their appetite to learn.

“Why we call them the OGs is that they are not done yet. They are still learning. For example, we did at least 14 workshop sessions with the three leads together for Maa Behen. Madhuri ma’am showed up. She didn’t say, ‘Since I have done so much work, I don’t need it.’ She learnt the required dialect. These stars aren’t complacent at all.”

Jaaved Jaaferi believes that while dance reality shows today are brimming with talent, originality seems to be missing. According to him, many shows feel indistinguishable from one another despite evolving formats. “They all look the same. While the formats evolve, the core presentation rarely does. There’s great talent around, but when it comes to the shows, nothing really stands out,” he said.

Comparing the current scenario with the past, Jaaved pointed out how the internet has transformed exposure for dancers. “Today, dancers watch everything online and pick up styles from all over the world. We didn’t have that kind of exposure back then,” he noted.

Reflecting on the iconic 1990s dance reality show Boogie Woogie, he added, “Our show was original. It wasn’t copied. If it ever comes back, it has to be version 2 — different and fresh.”

Known for his exceptional dancing skills, the actor also reminisced about his memorable dance collaborations with leading actresses of the time. “Meenakshi was very good. Madhuri Dixit too — I remember we had a lot of fun during 100 Days. She was so busy with other films that rehearsals were limited. There was no time to try something extra or new, but I totally enjoyed working with her. Neelam was another actress who matched my steps really well,” he shared.

On the personal front, Jaaved revealed that he would love to direct his son, Meezaan Jafri, someday. “I’ve seen him grow,” he said, adding that he understands his son’s strengths as a performer and would like to explore them creatively at the right time.

Across 15 years, comedian, author and actor Lilly Singh has risen from a glittering digital sensation to a commanding voice in mainstream entertainment. Humour may be her forte, but her conscientious social awareness sets her apart. A fierce advocate for gender equality and the first woman of colour to host a U.S. late-night show, she remains a disruptor who refuses to fit into a mold. In India to film a new season of her podcast Shame Less With Lilly Singh, featuring diverse Indian celebrities, Bombay Times caught up with the pop culture trailblazer and diehard Bollywood fan for some heart-to-heart. Excerpts...

"There is more awareness about the power and reach of digital creators today, but I think there's still work to be done in terms of the respect they get. A lot of times even the biggest of digital creators are viewed by brands or agencies as just numbers or stats or demographics. You won’t describe actors that way”

I know what it feels like to be asked redundant, surface level questions. I have been subjected to, ‘When are you getting married or tell us about your future projects’ grind, so I know what not to ask. I like to go deeper. I like to be asked about my fears, insecurities, anxieties and hope. The beauty of a conversation is like, oh, you said something and I'm hearing it. And now I'm picking your brain on this thing you said. It's less about interviewing people and more about having a conversation. We're expecting some heavy hitters on my show for sure. I am a huge Bollywood fan but we're trying to expand our show to other fields of life so it's not just going to be about actors and actresses.

I was thinking when I was graduating, what do I wish someone had told me? And I think at that age, you really have a delusion around thinking you have things figured out. In your 20s, you're like, I know what I like and don't like, what my career is going to be and who I am as a person. But you really don't. We are constantly evolving in our life. I don't think we ever actually completely know who we are, especially at that age. I am York alumna, and I wanted to give the grads an idea that whatever degree they pursued, might not be their future job. I don't know a single person whose degree is the thing that they're doing. It’s Important to embrace that flexibility.

I do think people understand it more now. I no longer get asked how do you make money on YouTube? How can you have a career? People understand the profession more now. There is more awareness about the power and reach of creators, but I think there's still work to be done in terms of the respect they get. A lot of times even the biggest of digital creators are viewed by brands- or agencies as just numbers or stats or demographics. You won’t describe actors that way. It’s not mentally healthy for people to just be known for their online following. It’s not the right message to send across.

I'm privileged in the sense that it's never personally happened to me. Maybe that's because I have a big online following, so maybe I'm on the other side of that. I think it's a greater conversation, as casting directors, the people that make decisions, they care about way too many things. Like, oh, this show will become too diverse if this person gets cast, or this person doesn't look this way. There are too many factors at play. It should just be about whether this person embodies this part. We need to go back to art a little bit. We've commercialized and made everything into a business.

If I were to invite all the brown people in Hollywood today, I will have a full house. But if you ask any of them if it is easier for them to be cast or make movies, their answer will be no. In fact, in Hollywood diversity has taken a step backwards. It’s even harder than before. There was a period when executives felt guilty about diversity, and they did some diverse stuff, but we have gone back to making movies on white people. I go to the theatre all the time and play this game. I hang on for the previews and make note of how many films have exclusively white people. Five out of eight trailers will only have white people. You don’t need all white casting for stories to be told. So, I do think that we are taking steps backwards. But not to be too pessimistic, I do think that there's a lot of desis in Hollywood now, who are fighting this. Listen, I'm super grateful. I cannot complain about my career. I get to do cool things, but I don't think people realize how hard it is behind the scenes. Everyday, I am fighting with people to get stories made, to get stories made, to get finance, distribution, to get a budget that makes making a movie even possible. Everything is a challenge.

I don't think anyone needs to be anything. People should do what's right for them. In my personal life or career, I've always used comedy. I think it makes things a lot easier. People don’t like to be told what to do so humour helps. Not every joke you tell has to impact culture and break patriarchy. Sometimes it's also just about being human. And people who say, women are not funny enough? They are dumb. You know what's so funny about the women aren't funny remark? It makes me laugh because comedy is subjective. I'm going to find something funny. You're not going to find it funny. It’ fine. When someone goes, oh, you're not funny because I didn't find you funny. Like, baby boy, this is not for you, Ben. I'm not doing this for you. I'm doing it for this person over here. Why do you think you matter?

Female friendship has always been important to me but at 37, sisterhood is everything to me. Because women have unique experiences that not everyone can understand. They see your pain. There’s so much empathy. Female friendship makes me most seen. Growing up, I was never taught this, but we should talk about finances, contract, how did we achieve this or that if we wish to progress together. So many women have inspired me. I mean, my mom is here. Malala Yousafzai is so inspiring. Priyanka Chopra’s fierce foray and transition to Hollywood. She fought battles that most of us don’t even know. Emma Watson’s gender advocacy... I am standing on the shoulders of these women.

Mumbai holds a special place in my heart. I have been here a bunch of time. As a kid I would only visit Punjab when iI would come to India as that’s where my family is. I came to Mumbai the first time in 2013-2014 and it's a core memory for me because I was invited to Mannat and I also met Madhuri Dixit. I have that same giddy feeling now. I love the people here and the jugaad that happens. Everyone genuinely believes that tension nahi leneka, everything is workable. I find that inspiring and amusing because I am always tense. As far as Bollywood is concerned, I am obsessed! I was raised exclusively on Bollywood in Toronto. My first movie, my first concert, all Bollywood. Which is why, when I do auditions in Hollywood now, they're always like, ‘your facial expressions, your timing, it's all a little dramatic’ (laughed). I would love to do a Bollywood film! Karan, are you listening?

Madhuri Dixit Nene faced backlash after her ‘Dil Se… Madhuri’ show in Toronto on November 2, where fans accused organizers of misleading promotion and poor management. Many claimed the event was presented as a concert but turned out to be more of a talk session, with Madhuri arriving nearly three hours late.

Responding to the criticism, the organizers, True Sound Live Ltd., issued a statement against the “misleading social media commentary” They clarified, “The event commenced on time with a high-energy opening act featuring exceptional singers from Indian Idol, exactly as scheduled.”

Atique Sheikh, the event organizer said, “It was a management miscommunication. That’s how some fans must have gotten confused, we can’t have a concert in a small banquet. It was pretty well mentioned that the show was a fan meet. Madhuri ji has worked with us in the past as well and something like this has never happened. She performed on her hit songs. Our idea was to present her celebrated journey in the industry and have a fan interaction.”

Shreya Gupta, tour manager and owner of Crazy Holic, further clarified this situation stemmed entirely from a management error. She revealed, “The audience was incorrectly informed that the event was a concert, while the official contract clearly stated it was a meet-and-greet with fans. The same format was successfully executed in the USA last year with an overwhelming positive response.”

She added, “Madhuri Dixit Nene’s call time for the event was 9:30 pm and she arrived punctually. Her scheduled stage entry was between 9.45 pm and 10.00 pm. There was absolutely no delay or lapse from Madhuri Dixit Nene’s side or ours.”

Actor Madhuri Dixit’s UK-Canada tour opened with a storm in Toronto on November 2, when attendees arrived at the venue expecting a full performance, only to be kept waiting. One attendee posted a Reel, claiming that the event began at the scheduled time of 7.30pm, but Madhuri (58) only took the stage nearly three hours late at around 10pm (see inset).

Several angry fans commented over the alleged format shift: instead of a dance-based concert as advertised, the evening largely consisted of a talk-show style segment, with the actor dancing only briefly. One Instagram user wrote: “Worst show ever, full of lame talks.”

Several fans demanded refunds for the “$200 tickets”, and many walked out before the performance ended. However, some loyal followers defended her, suggesting that organisers should bear responsibility for the event’s execution.

As of now, neither Madhuri nor her team have commented on the controversy. 

In August, the Golden Divas Magical Tour was announced as an eight-city concert across the US headlined by Madhuri Dixit-Nene, Raveena Tandon, and Malaika Arora. But with barely a month left to go before the October concerts, a lot has changed. What had been billed as a celebration of Bollywood’s ’90s dancing divas coming together has now been reduced to solo performances by Arora. While Dixit seems to have dropped out of the Golden Divas Magical Tour and is fronting a solo act, Tandon’s involvement remains uncertain.

Sources close to the project revealed that the decision to cancel the joint appearances stemmed from logistical hurdles. A source told mid-day, “Coordinating the schedules and commitments of the three stars was proving nearly impossible. The timelines, venues, and travel made it unworkable.”

Now, Arora will have solo performances in New York, Atlanta, Philadelphia, Miami, and San Diego between October 3 and 12. Dixit, who has been touring select cities in the US since last year, has added a new concert to her calendar — at Boston on November 3. The event, being promoted as An Evening with Madhuri Dixit, positions her as the sole attraction.

“This is an added show to her ongoing tour, not part of the Golden Divas concept anymore. But it is with the same production company Worldstar,” the source clarified.

Meanwhile, there is no word on Tandon’s participation, with insiders suggesting that the actor — who is currently shooting for a yet-untitled film — may not have free dates.

mid-day reached out to Worldstar, which didn’t respond till press time.

On the morning of April 28, Salman Khan announced on Instagram that The Bollywood Big One, his upcoming shows in the UK, was postponed in the wake of the terrorist attack in Pahalgam on April 22. 

The superstar’s post read, “In light of the recent tragic events in Kashmir, and with profound sadness, we have taken the difficult decision to postpone The Bollywood Big One shows... We feel it is only right to pause during this time of grief.”

Scheduled to take place at Co-op Live Arena in Manchester on May 4 and OVO Arena in Wembley on May 5, the shows were to include performances by Salman, Varun Dhawan, Kriti Sanon, Madhuri Dixit-Nene, and Tiger Shroff, among others. 

mid-day has learnt that the decision was taken by Salman after a long meeting with brother Sohail Khan, organisers Jordy Patel and Farhath Hussain, on Sunday.

An insider shares, “Rehearsals had begun and the shows were a sell-out. But on Sunday, Salman called for a meeting at his Panvel farmhouse, where Sohail and Jordy were in attendance while London-based organiser Farhath joined over a video call. The superstar was clear that given the tragedy the country is going through, the timing was not conducive to host such a show. The organizers understood that the move would incur losses as both the venues were sold out, and there was high anticipation among the fans as Salman was to perform in the UK after a long time. But they unanimously agreed that rescheduling the tour was the respectful and right thing to do.”

We’ve heard that the two shows may happen in August, but the final decision will be taken only later. For now, the ticket holders will be issued refunds.

When mid-day reached out to Patel, one of the organizers, he said, “It was a big event, and we had got an excellent response from the audience, but that is fine. The shows will happen only when the time is right. It may be sometime in August, but only after everything settles down. It was a decision taken by all of us as we felt it wasn’t correct to go there and perform when such a big tragedy had taken place in our country. The current sentiment doesn’t allow us to perform. The money will be refunded to the ticket holders.”

For Nora Fatehi, International Dance Day is more than just a celebration — it’s a tribute to the journey that shaped her. She began her career in the entertainment industry as a background dancer, but through hard work and passion, she has evolved into a dynamic performer on stage, who is now also dabbling in singing and acting. Known for setting the screen on fire with hits like Dilbar, O Saki Saki and Naach Meri Rani, Nora reflects on how dance has been a constant force in her life, shaping her from a young dreamer into the performer she is today.

Given that her career revolves around dance, it’s no surprise that Nora feels excited to see the world take a moment to celebrate the art form. She says, “For me, dance is an emotion, a language of expression, and honestly, it’s my soul on stage. International Dance Day is a reminder of how deeply dance connects us — no matter where we’re from, what language we speak or what style we move in.”

Reflecting on how it all began, Nora shares how she was drawn to this art form since an early age. “I’ve always said dance wasn’t just something that I liked, it was in me. As a little girl, I would watch music videos on TV and be mesmerized by how people could express so much without even saying a word. That was the spark. I didn’t grow up in an environment where dance was encouraged as a career, but I knew, deep down, that I was born to perform. The energy, the freedom, the storytelling… it just called out to me. I knew this was my path when I saw the crowd’s reaction to the first time I performed in front of an audience. The connection was magic. I didn’t just want to be a part of the world of dance — I wanted to shake it up,” says Nora, whose music video Snake, which she also sang and appeared in with Jason Derulo set a new benchmark in her international music career.

While Nora is loved for her high-energy performances in hits like Kusu Kusu and Kamariya, she admits that classical Indian dance forms challenge her like no other. “The precision, the grace, the deep cultural history — it demands so much discipline and respect. I’m still learning and never want to stop. Other dance forms like urban fusion, Afro styles, belly dance and hip hop are like speaking a native language — fluid, instinctive, raw,” explains Nora, who also connects with her fans through her campaign Dance With Nora.

Nora made Mumbai her home a decade ago and she’s worked across film industries in India. Recalling the moment she truly felt embraced, she says, “Coming from Toronto and entering this huge, vibrant world of Bollywood was a dream. I felt the acceptance and love from the Indian audience after Dilbar (Satyameva Jayate). People embraced not just the song, but me — my style, energy and persona. I feel incredibly grateful and proud of how far I’ve come."

It would have to be Hrithik Roshan — his energy, precision and effortless style would be a dream to match on screen.

Madhuri Dixit ma’am, as she brings such grace and intensity to her performances. It would be an electrifying clash of styles — her elegance and my fire would be an incredible experience. I think the audience would love it.

Basking in the success of Laapataa Ladies (2023) and his popular OTT show Maamla Legal Hai, actor and parliamentarian Ravi Kishan is all set for his next big project. The actor will soon share screen space with Madhuri Dixit Nene in the upcoming film Ma Behen, which goes on floors in May in Mumbai. The film also stars Triptii Dimri and Dharna Durga.

“Bahut hi adbhut role hai in an entertaining film, and people have never seen me in such a character before,” he shares, brimming with excitement. “Bada rangeen, dilphek, romantic aur rasdaar kirdaar hai yeh!” Directed by Suresh Triveni (Tumhari Sulu fame), the film sees Kishan playing a character from a mohalla who is a big admirer of Madhuri Dixit Nene.

When asked if his real-life admiration for Madhuri will reflect on screen, Ravi laughs, “Madhuri ji has been such a big superstar, and we’ve all admired her for decades. It’s a great feeling. I had the opportunity to work with Sridevi ji, but never with Madhuri ji — so this is a big charm, saubhagya hai ki unke saath kaam karna. Triptii, India’s new sensation, is also part of the film, so God-willing, it’ll be a beautiful project.”

Ravi, who describes himself as being in the best phase of his career, adds, “Laapataa Ladies became a massive hit, and Maamla Legal Hai was widely loved. The industry now sees me as a capable actor. After 34 years of hard work, good scripts and big banners are finally coming my way.”

Reflecting on his journey of over 750 films, he muses, “Log chal kar aate hain, main reng kar aaya hoon, but it’s been anand wala safar.”

Currently, Ravi is working on several high-profile projects, including Son of Sardaar 2, the Bhabi Ji Ghar Par Hai film, Maamla Legal Hai Season 2 and Dhamaal 3, before diving into Ma Behen. On balancing acting and politics, he says, “Yes, I can manage both my constituency work and shooting well. I am grateful to my party for the liberty they give me. In my second term as an MP, I have also put up the most questions in Parliament.