Ever since actor Deepika Padukone’s exit from Sandeep Reddy Vanga’s Spirit was revealed last year, speculation has continued over the reason behind her departure and the subsequent fallout between the actor and the makers. Reports that she had sought a fixed eight-hour shift had also added fuel to the speculation. Now, Pranay Reddy Vanga, co-producer of the film and Sandeep’s brother, has claimed that Deepika demanded a 10% share of the film’s profits, which led to Sandeep discontinuing the casting.

Elaborating on the reasons behind her departure, Pranay told NTV Telugu, “First was remuneration, second was timings. There were other reasons as well... It was Sandeep’s call.” He added, “She demanded 10% from the film’s profit. Soon after, everything went overboard. See, she can ask for anything... But the economics (budget) should also work out.”

On the fallout that followed, Pranay said, “Once we started looking for other options, they started leaking everything… We discussed the story and character with her. Things discussed internally should not be revealed, but she leaked all of them. That is why we are disturbed.”

Months after Deepika’s exit, Sandeep posted a cryptic message on X (inset above) which many assumed was aimed at the actor. A day later, he announced actor Triptii Dimri as the new female lead opposite Prabhas.

We reached out to Deepika’s team, but did not receive a response till the time of going to press.

Will Katrina Kaif return to the big screen with Sandeep Reddy Vanga’s ‘Spirit’? Well, the industry chatter is that the actor has been approached for a cameo in the Prabhas and Triptii Dimri-starrer. However, contrary to reports suggesting that the deal is finalized, mid-day has learnt that Kaif is keen on setting a few ground rules before saying yes.

A source indicated that the conversation between Kaif and Vanga is at an early stage. “The cameo comes at an important point in the film. She was offered the role a week ago and has not given her final answer yet,” said the source.

The role will require approximately five days of shooting. Yet, the sticking point appears to be the filmmaker’s demanding work schedule.

The source added, “As a new mother, one of her concerns is the long shifts Vanga is known for. Since it’s only a five-day commitment, there have been discussions around making the schedule more flexible, including comfortable work hours. However, nothing has been finalized.”

mid-day reached out to Kaif’s team, who didn’t respond till press time.

Seven years after Kabir Singh became one of Bollywood’s most discussed films, Nikita Dutta still finds herself revisiting its impact. The actress, who played Jiya Sharma in the blockbuster which released on June 21, 2019, says the film continues to remain relevant, because conversations around it never seem to end.

Nikita says, “For me, it was a career-defining moment. After 2019, the way filmmakers looked at me and approached me changed completely. I give this film almost 99 percent of the credit for that.” 

Ironically, despite the success of the Telugu original Arjun Reddy, Nikita wasn’t convinced the Hindi remake would become such a phenomenon.

“I actually thought the opposite. We’ve seen films work brilliantly in the South and then not perform the same way in Hindi. So I didn’t expect Kabir Singh to become a hit. It taught me that sometimes you need to trust the filmmaker more than your own instincts.”

Talking about stepping into Jiya Sharma’s shoes, Nikita reveals, “Jiya was an actress, so in some ways I was just playing a subtler version of myself. Sandeep Reddy Vanga sir asked me to watch Arjun Reddy, and when I met him, all he wanted to know was whether I liked the film and the character. There were no lengthy discussions about character graphs or detailed preparation.”

Yet playing Jiya wasn’t as easy as it looked, largely because the character spoke so little. “When you don’t have dialogues, everything depends on your expressions. This was the first time I was trying that kind of subtle performance.”

The film’s success also left a lasting impact on her personally. “A big success changes you. It gave me confidence and self-belief. I suddenly felt there was something I was genuinely good at. That’s a very powerful feeling for an actor.”

Whenever a big-ticket movie locks its release date, there is almost always a ripple effect. This time, it’s got to do with Prabhas’s Spirit and Salman Khan’s next with director Vamshi Paidipally, the working title of which is SVC63. Spirit, helmed by Sandeep Reddy Vanga, was announced as a March 5, 2027, release. But now according to multiple trade sources, it has been postponed to December 1, 2027. What’s the trigger? Khan’s actioner.

An industry insider told mid-day, “Salman locked Eid 2027, which will fall in early March, for his next with Nayanthara. Once that date was taken, it didn’t make sense for Spirit to arrive in the same window. Vanga’s films rely heavily on sustained buzz and clean runs. So, the delay is a calculated move, not due to production issues.”

Now, Vanga appears to have chosen a date that brought him luck the last time around — December 1, which was Animal’s (2023) release date. Spirit, which pairs Prabhas with Triptii Dimri, is currently in production. Sources indicated that the filmmaker is sticking to an aggressive shooting schedule of the cop actioner, aiming to wrap principal photography by early 2027 regardless of the new date.

A source revealed, “Vanga wants enough room for editing, background score, and readying it in Hindi, Telugu, and other languages. The latest move shows that big-ticket offerings are increasingly averting clashes unless unavoidable.”

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Besides ‘Spirit’, Prabhas has the sequel to ‘Kalki 2898 AD’ in production. Director Nag Ashwin recently kicked off the latest schedule in Hyderabad, with the superstar expected to shoot the film’s core portions through May

Such is the popularity of Animal (2023) among Ranbir Kapoor’s fans that they’ve kept their eyes peeled for Animal Park. As the superstar recently united with director Sandeep Reddy Vanga for a virtual press meet, ahead of the blockbuster’s release in Japan on February 13, the duo talked about the way ahead for the franchise.

Expressing his excitement to play two characters — Rannvijay and his cousin Aziz — in the sequel, Kapoor said, “I can’t wait to get back on set with Sandeep and play these characters. Sandeep and I keep chatting through the week or month and keep discussing different ideas.” Vanga, who is currently helming Spirit, shared that Animal Park will go on floors by mid-2027.

Besides Rockstar (2011) and Barfi (2012), Animal has become a career-defining movie for Kapoor. The actor admitted that Vanga’s faith in him convinced him to say yes to a “scary character”. “Before this, I was always playing the lover boy and coming-of-age characters. When Sandeep narrated Animal to me, I found the character extremely scary to approach for an actor like me. But [thanks to] his confidence, I believed I could do it,” he said.

Ranbir Kapoor said he felt a deep bond with Japan, thanks to his late grandfather Raj Kapoor. “I have such a deep connection with Japan. One of my grandfather’s most popular songs around the world is ‘Mera Joota Hai Japani’,” he reasoned, adding that he now wants to take his daughter Raha to the country. “I cannot wait to show Japan to her.”

As the debate around fixed work hours in the film industry continues, actor Radhika Apte has lent her voice to the demand, saying it is “not possible” for her to work without clearly capped shifts. The conversation gathered momentum earlier this year after reports suggested actor Deepika Padukone was ousted from filmmaker Sandeep Reddy Vanga’s Spirit after asking for fixed eight-hour shifts as a new mother.

Radhika, who became a mother last December, says that the real problem lies in how workdays quietly stretch far beyond what contracts promise. “I will not be able to work unless the producers now agree to 12-hour shifts. And by 12 hours, I mean including travel, makeup and hair. Otherwise, we are basically working for 16 hours,” the 40-year-old tells us.

Explaining the math, the actor points out that actors are often on set for a minimum of 14 hours, with extended shifts, followed by long commutes. “You can’t be away for 16 hours. Otherwise, you will never get to see your child,” she says, adding how many shoots also lack weekly offs and even proper lunch breaks.

The actor, seen in the films Last Days and Saali Mohabbat this year, shares, “A lot of work came to me this year, but I’m not taking up anything till April... I will not be able to work on most projects because a lot of people won’t agree to this.”

With Deepika Padukone’s exit, one might have assumed Sandeep Reddy Vanga’s upcoming film Spirit would be delayed. Instead, the Prabhas and Triptii Dimri-starrer is now likely to release in August 2027, significantly earlier than its initial December 2027 date. According to industry sources, the shift follows strong advice from distributors to avoid a clash with Marvel’s Avengers: Secret Wars, scheduled for December 17, 2027.

“[The distributors] told the makers very clearly that clashing with Avengers: Secret Wars is not sensible. That film will dominate globally. An August release gives Spirit the space it needs,” a source informed mid-day.

To meet the advanced deadline, the production team has fast-tracked the film, with calendars being reworked. A source close to the project confirms that shooting began on November 26.

“The shoot kickstarted in Hyderabad with Prabhas joining the sets on Thursday [November 27] evening. He will film till December-end, followed by a New Year break. The next schedule is slated to kick off in Mexico in early 2026. They might rework a couple of sequences to match the speed — from Prabhas’ dates, the action choreography, to the stunt prep — [will be reorganized]. The intention is to protect the film’s scale.”

If all proceeds as planned, Spirit may secure an uninterrupted box-office run, positioning it as one of 2027’s biggest Indian releases.

Ever since actor Deepika Padukone’s exit from director Sandeep Reddy Vanga’s Spirit and director Nag Ashwin’s Kalki 2898 AD sequel, there has been a lot of conversation around work shifts. Now, while promoting her upcoming film Revolver Rita in Hyderabad, actor Keerthy Suresh explained why work shifts in the film industry are ideal for actors and technicians. Here’s what she said.

Keerthy told the press that she has worked various shifts throughout her career, sometimes even from 9 am to 2 am the next day. While shooting for Mahanati, she also worked on five other films, she revealed. But, she emphasized that for health reasons, it would be ideal to have an 8-hour shift.

Explaining what a day looks like for most actors, she said, “For a 9 o’clock shift, if I have to be there by 7:30 am, I have to start from home at 6:30 am and wake up by 5:30 am. And when you pack up by 6-6:30 pm, you leave by 7 pm to go back and change. By the time you reach back home, it’s 8:15 pm. We change and go to work out by 8:30 pm, and by the time you’re done, it’s 10 pm. You shower, have dinner, and it’s already 11p m. Now, I have to wake up at 5:30 am after sleeping at 11:30 pm.”

She added how in Malayalam and Hindi, actors and technicians work longer hours with less time to sleep. “We say 8 hours of sleep is good, but we hardly get to sleep for 6 hours. And this is in an ideal 9-6 shift. Imagine us shooting for more hours, imagine the technicians reaching sets before and packing up after us,” she explained, adding, “In Tamil and Telugu, we usually have a standard of 9-6. But in Malayalam and Hindi, they work for 12 hours. In Malayalam, they work without breaks in continuous schedules, and it’s difficult. They sleep 3-4 hours, and lightmen in Kerala sleep 2-3 hours.”

Animal (2023) may not be the only franchise that filmmaker Sandeep Reddy Vanga is building. Even before his next, Spirit, with Prabhas has gone on floors, the buzz is that the filmmaker is developing the cop action film as a franchise.

According to industry sources, filming of the Prabhas and Triptii Dimri-starrer is slated to begin in February 2026. Insiders say that discussions are underway about embedding a cliffhanger at the end of Spirit, thus setting the stage for the second chapter.

A source tells mid-day, “The makers are planning to build a world centred on Prabhas’s cop. They are exploring whether the first part can end at a cliffhanger and leave the audience eager for what comes next.”

After The Raja Saab hits the screens in January, the actor will face the camera for Vanga’s directorial venture. The first schedule will be conducted in Mumbai, after which the team will head to international locations, including Mexico, Thailand, and Indonesia. The source adds, “A look test was done some time ago, and the makers have zeroed in on two distinct avatars for Prabhas. There is a flashback scene, which will be shot in the Mumbai leg.”

(L-R) Raj Vasudeva and Adil Hussain in ‘Mercy’. Pics/Instagram, Youtube

There is an allure to quieter cinema, the kind that satiates the soul. That’s what Adil Hussain seeks with every project. And achieves too. A case in point being his latest indie film, Mercy, which won the Best International Feature Award at the London Independent Film Festival earlier this week. “I play a sort of conscience keeper,” says Hussain of his character, Father Joel, in the Mitul Patel-directed drama. “He resolves people’s crises — moral, emotional, or spiritual.”

Despite its recent international win, Mercy is yet to release in India. The senior actor is disappointed that meaningful stories are often overlooked in the Indian market.

“Such films don’t meet the market’s appetite for gloss and spectacle. The market is dominated by big-budget, flashy storytelling, leaving little space for quieter cinema. People assume films like Mercy will come to streaming eventually. Meanwhile, social media floods them with shallow entertainment. People have become lethargic about seeking stories that touch them deeply,” he reflects.

Hussain — who has championed quality stories with Life Of Pi (2012), English Vinglish (2012), and Mukti Bhawan (2016) — notes that meaningful cinema can survive only if both creators and the audience make conscious efforts.

“Unless distributors, producers, and OTT platforms collectively push to promote such films, they’ll keep getting lost in the noise of short-form entertainment and cheap thrills. We must not forget that true art entertains the soul, not just the senses.”

In his four-decade career, the actor has built a rich filmography. His appearance in Kabir Singh (2019), however, was a departure from his usual projects. Later, he expressed regret about being a part of the movie, leading director Sandeep Reddy Vanga to state that Kabir Singh brought Hussain more fame than his other “art films”. He also threatened to replace Hussain’s face with an AI version of him in the movie. 

Broach the subject, and Hussain, with his usual grace, admits, “It’s my fault that I did not read the script. I was travelling extensively with Mukti Bhawan then and didn’t have the time to go through the full script or watch the original Telugu version [Arjun Reddy]. I even told my manager to quote five times my usual fee, hoping they’d back out — but they agreed.”

He eventually accepted the role after reading what he thought was a “brilliantly written” scene. However, his perception changed after watching the film. “I found it misogynistic. When I saw the film, I thought, ‘What have I done?’”

He, however, emphasizes that his regret was personal, not accusatory. “It’s not about what Sandeep Reddy Vanga has done — it’s my responsibility. I could have said no. Several women friends expressed disappointment. It was important for me to say I regret doing that film.”

Deepika Padukone has finally addressed the controversy surrounding her demand for an eight-hour workday, which reportedly led to her exit from director Sandeep Reddy Vanga’s Spirit and director Nag Ashwin’s Kalki 2.

Speaking to CNBC-TV18, the actor highlighted that while “male superstars” have worked similar hours for years, it “never made headlines”. “By virtue of being a woman, if that’s coming across as being pushy or whatever, then so be it. But it’s no secret that a lot of superstars, male superstars, in the Indian film industry, have been working for eight hours for years, and it’s never made headlines,” she said.

The 39-year-old added that many male actors even refrain from working on weekends: “I don’t want to take names now and make this into a whole thing. They do not even work on weekends.”

Deepika also commented on the broader state of the film industry, describing it as “a very disorganized industry”, and emphasizing that “it’s time we brought in some system into this culture”.

When asked about navigating change in her own way, she responded, “I am someone who has always fought my battles silently, and for some strange reason, sometimes they become public, which is not the way I’ve been brought up. To fight my battles silently and in a dignified way is the way I know.” 

Ranbir Kapoor rang in his birthday with more than just cake and candles — he gave fans a front-row seat to his life and line-up of movies. During an Instagram live session, the actor dropped big updates: from Animal Park rolling in 2027, to Ramayana, and his much-awaited reunion with Alia Bhatt in Sanjay Leela Bhansali’s Love & War. The session flowed easily – with the actor talking about his big-screen ambitions to the everyday happiness of being with family.

Ranbir gave an update about Sandeep Reddy Vanga’s much-talked-about sequel to Animal. The actor revealed that Animal Park is expected to go on floors in 2027. “Sandeep has been interacting with me on the idea, the music and the characters. It’s just crazy and I can’t wait to be on set,” shared the actor who turned 43.

The actor also gave everyone a glimpse into his personal life, sharing how he spent the day with wife Alia Bhatt and daughter Raha. “Raha made me a promise that she would give me 43 kisses, and I got that. She made me a beautiful card, which really moved me. It’s been a perfect birthday,” Ranbir said with a smile.

On his birthday, Ranbir took a quick vacation with Alia, Raha and mom Neetu Kapoor, and daughter Raha.

“Had a wonderful birthday last night. The last two days have been great because I was with mother, Alia and Raha. I couldn’t have asked for a better birthday,” he shared.

The live chat wasn’t just about films — it was also about what truly inspires him. Ranbir revealed his current mu-sic playlist and said that Barbaad from Saiyaara is a song that “resonates deeply” with him. He also praised the soundtrack of Kalyani Priyadarshan’s superhero film Lokah , describing it as “just excellent.”

When quizzed about his long-discussed directorial ambitions, Ranbir admitted he’s closer than ever to making it happen. “I am dying to direct a movie. I’ve actually started a writer’s room recently and I’m working on two ideas. It’s definitely on my to-do list in the next couple of years,” he shared.

On Brahmastra 2, he assured fans that Ayan Mukerji is busy writing the script and updates will follow soon.

Deepika Padukone’s character Sum-80 was central to the story of Kalki 2898 AD (2024). Can one imagine the sequel without the actor? The makers can, and are doing so. On Thursday, they announced that Padukone will not return for the sequel of the sci-fi action film that was headlined by Prabhas and her. Vyjayanthi Movies, the studio behind Nag Ashwin’s ambitious directorial venture, kept its statement brief but pointed.

An excerpt from it read, “Despite the long journey of making the first film, we were unable to find a partnership. A film like Kalki 2898 AD deserves that commitment and much more”.

Understandably, the development has created ripples across the industry. This comes four months after Padukone was dropped from Sandeep Reddy Vanga’s Spirit, reportedly over the actor’s request for stipulated working hours — an ask that many sections felt was justified for the new mother. On Kalki 2, multiple factors apparently led to the split, one being the request for eight-hour workdays.

A source tells mid-day, “It wasn’t unreasonable from Deepika’s perspective because she has a young child and wants a work-life balance. But on a film like Kalki, an eight-hour workday translates to about six hours of camera time. Kalki is heavy on action and VFX, and that sort of schedule is hard to accommodate.”

An insider close to the production reveals that the decision makers at the banner, planning to roll Kalki 2 by the year-end, knew that any uncertainty around schedules would burden the expensive film. The insider says, “Kalki 2 is a multi-hundred crore film with an ensemble cast, and enormous technical and logistical challenges. Any uncertainty around a lead actor’s time can derail the entire chain.”

Another point of contention was money, according to multiple sources. It is heard that Padukone’s team proposed a fee hike from her compensation for the first film. “The studio felt the combination of higher fee and limited hours made the project unworkable.” Reports suggest that the studio also had reservations regarding the actor’s entourage costs. 

Negotiations not materializing is common in the movie business. What stood out starkly in this case is Vyjayanthi Movies’ step to publicly announce the parting of ways on social media. Apparently, the decision was rooted in caution.

A source shares, “The production house was clear that they didn’t want a repeat of the media showdown that happened during Spirit. Kalki is a prestigious film for them, and they didn’t want multiple narratives to surround it.”

mid-day contacted Padukone’s team, Vyjayanthi Movies, and Ashwin, who didn’t respond till press time.

Ammy Virk, who recently completed a decade as an actor, says, “Ab senior si feeling aa rahi hai”. Grateful for the love, the 33-year-old, who began his career as a singer, shares singer-actor Kishore Kumar inspired him to try acting.

Reflecting on his 10 years in the industry, Ammy takes pride in his box office success. “You need your first few films to do well to mark your footing, and thankfully, mine did. Other than back-to-back hits, even today, my success ratio is 80-85%, which is rare. I have grown steadily and even ventured into films not typically linked with Punjabi cinema,” he shares.

Alongside stars like Diljit Dosanjh and Ammy, Punjabi artistes have found a pan-India presence and are thriving in Bollywood. Ask Ammy about this shift and he says: “Now we are being approached to play heroes and not just a Sardar in Bollywood. Till a decade or so ago, Sardars were used in Hindi films just for comedy or gags. We questioned why that was the only image shown. Over time, makers realised the potential of Punjabi stars and started casting real Sardars, which brings authenticity.”

He points to Animal (2023) as an example: “Vanga (director Sandeep Reddy Vanga) sahab cast actors from Punjab as (actor) Ranbir Kapoor’s cousins. Today’s writers and directors don’t think the way typical Bollywood used to. They are vying to get as close to reality. They also want ki aise characters se us region ki khushboo aaye.”

Unlike Punjabi, Ammy’s Hindi films haven’t been hits. Bhuj: The Pride Of India (2020) and ’83 (2021), underperformed, and his latest releases, Bad Newz and Khel Khel Mein (both 2024), were average. Yet, he remains confident: “The Mumbai industry knows my calibre and potential. The timing of my releases was dicey, but if given a chance, I will prove myself. Film success fluctuates, but an artiste’s talent doesn’t. Bas rate upar neeche ho jata hai.”

Fatima Sana Shaikh has had a busy July with two back-to-back releases — Metro…In Dino and Aap Jaisa Koi. Both the films explored love in different ways. Talking about her tryst with love stories, the actor quips, “I’m living my love life through my films.”

In both the films, her character was battling for a relationship of equals. Ask about it, and she says, “Equality in a relationship is very important. I wouldn’t want my partner to change me or vice versa. Two people get attracted to each other because of who they are. That’s why it’s important to first respect each other, and once that happens, everything is fine.”

In Aap Jaisa Koi, she stars alongside R Madhavan, a character with a patriarchal mindset. Fatima asserts that “it’s not only women”, but also men who suffer because of it: “So many men are in toxic relationships. But when they come out with their stories, they are ridiculed. That is also due to patriarchy, as [the belief is that] boys are not supposed to cry and they can’t complain. So, even men face the wrath of patriarchy.”

The recent feud between actor Deepika Padukone and filmmaker Sandeep Reddy Vanga over the film Spirit raised a debate that when female actors make demands, they are termed unprofessional. Ask Fatima if she feels that women taking a stand for themselves ruffles the feathers of male bigwits, and the 33-year-old agrees.

But she adds that things are changing: “The understanding of what a woman thinks is changing, as there are more working women now. The perception about how a woman should be like and what kind of roles she should do is also changing. Now, we can imagine a woman as a villain too. Earlier, there would only be men antagonists.”

The Deepika Padukone-Sandeep Reddy Vanga controversy over Spirit’s casting has sparked a debate about the industry’s work culture. Chitrangda Singh, recently seen in Housefull 5, is the latest celeb to weigh in on the eight-hour shift issue.

“Deepika is so senior, has the stardom to make demands, and has the privilege to decide whether she wants to be part of a project, depending on whether they accept what she wants. I think it’s a great place to be,” says the actor-producer.

However, the 49-year-old empathizes with the makers of a film: “From a director’s or producer’s point of view, you also have to take care of the business of cinema. I understand that they have certain plans and there’s a schedule as well. So, you’re also running against the few markers you have when it comes to money or time.”

Chitrangda believes that both parties have the right to make their choices, noting the difficulty of balancing personal and professional commitments in an industry driven by constant work and financial pressures — a dynamic unlikely to change soon.

She says, “The personal and professional spaces don’t always overlap that well. So, it’s very difficult to find that kind of balance in a workplace, especially in an industry where ‘work work work’ is everything, even at times more than money. This is the nature of our industry, and I don’t think we can change that overnight.”

Reflecting on her early days as a mother, the actor says she didn’t expect special treatment, believing in taking equal responsibility as a professional.

“When you are there as a professional, you have to show up as a professional in that capacity. At that point, I don’t think I would be okay making an excuse,” she explains. She also acknowledges that those she worked with were considerate and supportive during personal crises. She says, “I have seen makers go out of their way for people when they had family emergencies. So, it’s not fair to villainize either of the parties.”.

As the Hindi film industry debates the feasibility of eight-hour workdays for actors — especially working mothers — actor-director Renuka Shahane is offering a measured perspective grounded in both personal experience and professional insight. The conversation was reignited recently when actor Deepika Padukone’s request for an eight-hour workday reportedly led to tensions with director Sandeep Reddy Vanga, prompting wider industry discussion about on-set schedules, gendered expectations, and work-life balance.

Renuka, whose latest directorial project Loop Line (Dhhaavpatti in Marathi) is set to screen at the New York Indian Film Festival, feels that the issue isn’t as binary as it’s being made out to be. “I don’t want to make a general statement on it because I feel that even some male actors want to minimize work hours, not just female actors,” she says, adding, “Many have come out and said they want more time with their families.”

The mother of two added that she’s known women who work 18-hour shifts on television sets and raise their children alongside them: “That’s a choice they’ve made. There shouldn’t be compulsion — some mothers want or need to work longer hours.”

However, the 58-year-old emphasizes that clear communication and respect between all parties is essential: “This is a creative field that requires collaboration. Unless you’re all on the same page, there’s no point moving ahead. Signing on the dotted line must be mutual. That sense of respect is non-negotiable.”

Loop Line, Renuka’s animated short film, explores the often-invisible discrimination women face at home and in society. It’s an unexpected pairing of format and theme — animation is still rarely used for mature, socially driven stories — but Renuka says the story itself demanded it. “When I was writing, I kept imagining the kind of escapism you see in animation. A mix of live action and animation would’ve diluted the experience. The story chose the medium.”

Actor Deepika Padukone’s exit from director Sandeep Reddy Vanga’s Spirit has been in the news for a while, as she reportedly demanded an eight-hour work shift to be able to spend time with her nine-month-old daughter, Dua. Apart from social media trolls, even Sandeep appeared to take a veiled jab at Deepika’s “professionalism” and accused her of playing “dirty PR games”. While actors Ajay Devgn and Saif Ali Khan spoke about the importance of prioritising personal life, now filmmaker Mani Ratnam, too, has commented on the ongoing debate on shift hours.

“I think it is a rightful demand. I’m glad she’s in a position to ask for it. I think, as a filmmaker, you will take that into consideration when you cast. It is not an unreasonable thing to ask, but an absolute necessity. I think that should be the priority. You have to acknowledge that, understand it and work around it,” he told News18.

Earlier, Ajay had said: “It’s not that it’s not going down well with people. Most honest filmmakers will not have a problem with it.”

Similarly, speaking at the Arab Media Summit, Saif said: “I hate coming home and seeing the kids already asleep. That’s not success. Success is being able to say, ‘No, I need to go home now to catch that half hour with them’.”

When Deepika Padukone walked out of Sandeep Reddy Vanga’s Spirit, it exposed the deeply gendered fissures within Bollywood’s power structures. This is an industry where exits by leading men are often romanticized as acts of creative rebellion, like in the case of Salman Khan leaving Sanjay Leela Bhansali’s Inshallah.

The narrative surrounding Deepika’s exit was, however, aggressively shaped with slander. From the very first piece itself, she was branded “unprofessional” for asking for strict eight-hour work days, remuneration in the range of Rs 40 crore, an additional fee if the shoot extends beyond the allotted number of days, and a share of profits, which is customary for male stars. Her male co-star Prabhas, reportedly commands a fee ranging between Rs 100 to Rs 200 crore per film.

Deepika was promptly replaced by Triptii Dimri the next day. Dimri made it to national fame for her extended cameo in Vanga’s last film Animal. And then appeared a news report about how a major bone of contention between Padukone and Vanga was the number of “bold” scenes in the movie.

Vanga lashed back with a tweet, “When I narrate a story to an actor, I place 100 per cent faith. There is an unsaid NDA [Non Disclosure Agreement] between us. But by doing this, You’ve ‘DISCLOSED’ the person that you are... Putting down a Younger actor and ousting my story? Is this what your feminism stands for ? As a filmmaker, I put years of hard work behind my craft & for me, filmmaking is everything. You didn’t get it. You won’t get it. You will never get it. Aisa karo... Agli baar poori kahani bolna... kyunki mujhe jarra bhi farak nahi padtha. #dirtyPRgames I like this kahawath very much :-) खुंदक में बिल्ली खंबा नोचे!” [an embarrassed person tends to vent their feelings by quarrelling].

Padukone, who was attending a Cartier event in Copenhagen the same day, said in an interview, “I think what keeps me balanced is just being truthful, being authentic. Whenever I am faced with complicated or difficult situations, I listen to my inner voice and make decisions that give me peace. That’s when I feel most in equilibrium.”

What followed thereafter was a battle between Vanga supporters and Deepika stans.

Lawyer and activist Devrupa Rakshit tells us, “Watching this play out in the media has been nothing short of whiplash. This goes far deeper than an industry spat, and is a great case study in how patriarchy punishes women who know their worth, and label them ‘difficult’ or ‘replaceable’ the moment they stop playing nice or demand equity. As soon as a woman, no matter how accomplished, dares to set boundaries or ask for compensation comparable to her male counterparts, the system is very quick to remind her where it thinks she belongs. The rhetoric about whether Deepika is ‘worth Rs 20 crore’ is so hypocritical! Why are we even asking that when we rarely interrogate the sky-high demands of male actors, even when they consistently deliver flops?”

She posted about this on her social media, a post liked by Bollywood star Sonam Kapoor. 

Rakshit continues — “The responses to my post were so telling! They made the gender divide painfully clear. For many women, obviously, it resonated deeply, seeing their own experiences of being dismissed for asking for raises, for setting work-hour boundaries, for not overextending themselves just to appear “dedicated” reflected here. On the other hand, a large chunk of men are justifying the hate Deepika is receiving, with arguments like how she’s not a box-office draw, how there are thousands of girls who’d do it for free, or how she should be grateful she’s getting paid at all. There were also comments trying to sidestep the gender issue entirely, by framing it as a purely business decision. We don’t hear these same arguments when male actors charge three to four times more despite flopping repeatedly. At the heart of it is a deep-rooted discomfort with women asserting agency, especially around money and autonomy. This is also why stories like Deepika’s strike such a nerve. If someone with her fame, skill, and track record isn’t ‘allowed’ to ask for better, what hope is there for the rest of us?”

Filmmakers routinely bend over backwards to accommodate male superstars, adjusting shoot schedules, rewriting scripts, and sometimes even shelving projects. Which is why when Rhea Kapoor waited for a year for Kareena Kapoor Khan to make Veere Di Wedding, it made headlines. 

One top female producer, speaking on condition of anonymity, says, “The industry has long known that there are certain directors who maintain control through fear and manipulation. But now we’re seeing that actresses like Deepika are no longer willing to trade dignity for screen time. That’s a tectonic shift. And it threatens the old order.”

This kind of shift isn’t new. The subtext of this exit echoes past incidents, like Anushka Sharma’s push for better roles under her production banner or Kareena Kapoor discussing pay parity and lack of insurance for pregnant women on Bollywood sets. The industry’s patriarchal core is met with fierce resistance from women working here now. An image manager at Matrix the company who reps Varun Dhawan and Alia Bhatt, says, “Deepika has made it clear she won’t tolerate creative environments that don’t serve her. Kareena, too, left Yash-starrer Toxic due to monetary disputes with the makers. The ladies are saying that they won’t be tossed around. They know their worth and won’t short-sell.”

This is perhaps why Padukone’s brand emerges stronger post-exit. Industry whispers indicate that several directors have approached her since, and she is on the verge of locking Atlee’s next alongside Allu Arjun, for whom this is the next after the success of Pushpa 2. A male screenwriter comments, “This is the era of image-led storytelling. When an actress becomes symbolic of a larger cultural stance, like not tolerating toxicity, she doesn’t need a hit film to stay relevant. She becomes the story.”

And Vanga? He may ride the wave of attention into a successful release, but his penchant for controversial masculinity may have once seemed audacious, now it risks coming across as repetitive. 

A senior publicist believes that this is a classic eyeball-grabbing move by Vanga. “He is playing a long game here. Every time he positions himself as misunderstood or vilified, he strengthens his appeal among a very specific demographic of viewers, mostly young men. And now, he is going after a top actress and accusing her of things like leaking the plot of his film. But nothing about the film is known except the fact that it is a cop thriller.”

Trade analyst Taran Adarsh rubbishes this theory. He says, “When a writer narrates a story, it is meant to be a secret. It’s an unspoken fact. You can’t tell the story. A filmmaker would feel hurt. Even in the 1970s and ’80s, actors would pass on films because of scheduling conflicts. Sholay had multiple casting changes but the story never got leaked. Stars and even directors need to part ways amicably. And no, I don’t believe negativity is publicity because no one wants or benefits from publicity like this.”

Female agency is suffering the most, Kolkata-based sociologist Susmita Bandhopadhyay tells Sunday mid-day. Padukone’s supporters, who made the issue about feminism, gave the issue an ugly turn and worked overtime to run down Triptii, who only took up a new film that someone else was supposed to do.

“Feminism, at its core, is about women pulling each other up. So what’s happening right now is not feminism. It’s a PR show that uses feminists as pawns. What happened to Deepika is unfortunate, but the minute Triptii’s slut-shaming began, it became counter-productive. In the end, it became the classic woman-pitted-against-woman and be it Deepika or Triptii, a woman lost.”

Sandeep Reddy Vanga’s Spirit, which marks the director’s return to Telugu cinema, has been in the news for a while. The film, which stars Prabhas in the lead role, saw a major controversy when actor Deepika Padukone was replaced by actor Triptii Dimri recently. The matter has sparked a heated debate, with some criticizing Deepika for allegedly leaking the film’s plot and putting down Triptii, while others have criticised Sandeep and team Spirit for reportedly labelling Deepika’s demands as “unprofessional”.

A Pinkvilla report detailed the plot of the film, noting that Prabhas plays a cop in the thriller. The report also mentions certain “bold scenes” between the lead pair. Sandeep took to X to imply that the leak had come from Deepika, writing: “When I narrate a story to an actor, I place 100% faith. There is an unsaid NDA between us. But by doing this, you’ve ‘DISCLOSED’ the person that you are.... Putting down a younger actor and ousting my story? Is this what your feminism stands for? (sic).”

Sandeep Reddy Vanga and the production house T-Series recently announced casting Triptii Dimri as the female lead. Sandeep wrote on X: “The female lead for my film is now official (sic).”

Triptii wrote on Instagram: “Still sinking in…. So grateful to be trusted with this journey. Thank you @sandeepreddy.vanga ..honoured to be a part of your vision (sic).”

According to a Bollywood Hungama report, Deepika “refused to shoot for more than 6 hours a day” for Spirit and requested contract amendments, including extra pay for shoot beyond 100 days. Despite reports of her being “unprofessional,” sources close to the actor claimed that her demands were reasonable, given her stardom and new motherhood. The source added that Deepika was trying to balance time for her daughter, Dua, while obliging her work commitments.

Social media users started speculating that Sandeep’s tweet was aimed at Deepika. A user even described the controversy as, “Fake Feminism vs Toxic Misogynist”. Meanwhile, some called out Deepika. One wrote: “Finally, Deepika’s ugly pr game has met its match in Vanga. She leaked the bold scenes bit to get Tripti hate and save herself from criticism for leaving but Vanga won’t have it! (sic).” 

Many were concerned about Triptii. A fan wrote, “Does anyone else feel like Tripti is being slut shamed a LOT? It could be any article or comment about her, and somehow people would connect it to her being a ‘bold’ ‘A-rated’ actress (sic).”