Five days after a tragic accident claimed the life of a crew member on the set of Love & War, filmmaker Sanjay Leela Bhansali resumed the period drama’s shoot at Royal Palms in Goregaon on June 22. We’re told the latest schedule, which already faced months of delays, commenced under heightened safety measures.

In the wake of the accident that happened around 3 am on June 17, Bhansali Productions has apparently put an immediate stop to all night shoots of the Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal-starrer until further notice.

The demise of carpenter Chandradhari Yadav, 42, who was working on the film’s set when he allegedly suffered an electric shock, has naturally affected the crew.

A source from the set told mid-day, “The electric wire was loose and he got a shock. After the accident, the makers have decided that no night shoots will be conducted going forward. They have also ordered additional electrical inspections, mandatory safety audits before every shift, and stricter monitoring of on-set work conditions to prevent such an incident in the future.” 

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Following an accident that led to the death of a carpenter on the sets of filmmaker Sanjay Leela Bhansali’s upcoming film Love & War on June 17, Bhansali Productions has offered compensation of Rs. 40 lakh to the victim’s family.

The incident took place in the early hours of June 17 at Royal Pump Studio in Mumbai’s Film City, where 42-year-old carpenter Chandradhari Singh Yadav died after suffering a severe electric shock. Preliminary findings suggest a short circuit may have caused the electrocution.

FWICE general secretary Ashok Dubey says, “Humne Rs. 50 lakh kaha tha aur humne apni taraf se prayatna kiya hai for Yadav’s family to get maximum compensation. Unhone (production team) hume bataya hai that insurance se bhi Rs. 10-15 lakh direct victim ki family ko mil sakta hai.”

The film body’s chief advisor Ashoke Pandit adds that members are urging the administration to “form a joint committee to get an audit for old structures and check on safety measures”.

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We’ve been in talks with the production team since the day of the accident. Humne apni taraf se prayatna kiya hai for Yadav’s family to get maximum compensation.

- ASHOK DUBEY, FWICE GENERAL SECRETARY

An accident on the set of Love & War at Royal Pump Studio in Goregaon (East) claimed the life of 42-year-old Chandradhari Yadav, a carpenter and member of the Film Studio Setting and Allied Mazdoor Union (FSSAMU), at around 3 am on June 17. According to union representatives, the incident prima facie appears to have resulted from a short circuit, although the exact cause of death will be determined only after the post-mortem report is released. Chandradhari is survived by his wife and two daughters.

FWICE (Federation of Western India Cine Employees) and FSSAMU jointly approached the producers of the film seeking financial assistance and support for the bereaved family, following which Bhansali’s production house offered Rs. 40 lakh to Chandradhari’s family.

However, FWICE president Birendra Nath Tiwari believes the tragedy raises larger concerns about working conditions on film sets.

He says, “Apart from monetary compensation, we have requested the producer to take responsibility for the children’s education. Workers are often made to work far beyond the prescribed eight to ten hours, and there is a limit to how much a person can physically stretch themselves at work. Once the post-mortem report comes, we will decide our next course of action. No matter how big the producer is or how big a film is being made, workers’ lives cannot be put at risk.”

Ashok Dubey, honorary general secretary of FWICE, says, “Chandradhari had been working continuously on the set for the past three days and had been on duty from 7 am until 3 am on the day of the incident. According to those present, he suffered an electric shock and was rushed to hospital, where he passed away. We have also written to Mr Bhansali requesting employment for his wife in his production house.”

The incident has prompted industry bodies to once again call for mandatory safety protocols, defined working hours and government oversight on film sets.

Ashoke Pandit, president of IFTDA and chief advisor to FWICE, says, “We have repeatedly urged producer bodies, studios and government authorities to conduct regular audits of sets, electrical wiring and cabling, considering that 150 to 200 workers are often present on a set. There are lives at stake and significant investments involved in building these sets. Mandatory compliance with fire, electrical and structural safety norms and comprehensive SOPs is the need of the hour. Unfortunately, our appeals have not received any response from the authorities.”

The cameras are ready to roll again for Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal. After a brief pause, Sanjay Leela Bhansali’s Love & War is set to return to the sets on June 18 for the film’s grandest sequences yet. mid-day had earlier reported about remainign shoot (Climax caught in a calendar clash – April 5).

The upcoming schedule centres on an elaborate song sequence, featuring nearly 200 dancers alongside the lead cast. “It’s being designed as a spectacle. It was originally to kick off on June 8, but is now starting on the 18th at Royal Palms,” reveals a production insider.

The sequence will be shot over multiple days on a specially constructed set, with extensive rehearsals already underway.

The insider adds, “The choreography, costumes, and production design have been in preparation for weeks. The scale is enormous, even by Bhansali standards. Every frame has been meticulously storyboarded, which is why the shoot was pushed by two weeks.”

Like Shraddha Kapoor aptly pointed out, Aneet Padda is the perfect blend of cuteness and acting, but that doesn’t mean she lacks fierceness. The ‘Saiyaara’ breakout star is reportedly playing both a goddess and a demoness in Maddock Horror Comedy Universe’s (MHCU) ‘Shakti Shalini’. After months of gruelling shooting that began in March this year, the film has now entered the final leg of production.

The current outdoor schedule is expected to continue through May, with the team aiming to wrap principal photography by the end of the month before shifting focus to post-production and VFX work. The makers are in no hurry to lock the release date yet.

A source close to the film says, “The idea is to finish the film properly and then spend enough time on the VFX. If everything goes as planned, they’re looking at a January 2027 release.”

Since Sanjay Leela Bhansali’s ‘Love & War’ is scheduled to release on January 21, the source says, “The makers are tentatively looking at the first half of the month. [But the final] call will be taken post the release of ‘Cocktail 2’, from the same stable.”

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‘Shakti Shalini’ marks a reunion for Aneet Padda and Vishal Jethwa, who previously shared the screen in the film, ‘Salaam Venky’ (2022)

Every collaboration has its own destiny. In 2024, filmmaker Sanjay Leela Bhansali and South star Ram Charan planned to join forces for a period drama based on author Amish Tripathi’s Legend Of Suheldev, but the project didn’t materialize. Is second time the charm? That’s what the duo is hoping. mid-day has learnt that Charan will headline Bhansali’s next production, a historical adventure drama set in a jungle.

A bit of digging revealed that the project has its roots in Rowdy Rathore 2, which Bhansali was to produce.

A source told us, “Originally K V Vijayendra Prasad had written the script for Rowdy Rathore 2, but that didn’t shape up as expected. So, taking that material as the starting point, the story was rewritten by Gullak 2 and Shakti Shalini writer Durgesh Singh. The story is essentially a jungle adventure drama, but set in the past. The script has been adapted to suit Ram’s personality. It will be helmed by a top Bollywood director.”

It’s being mounted as a pan-India film, to be made in Hindi and dubbed in Telugu, Malayalam, Tamil, and Kannada. The source added, “Bhansali and Ram Charan were earlier in talks for the story of Maharaja Suheldev. While that didn’t work out, this is an equally ambitious project.”

Aditya Dhar’s Dhurandhar The Revenge entered the Rs. 1,000 crore club on its third Sunday, the fastest Indian film to achieve the feat after Pushpa 2 (2024). Even as the film continues its strong run, a section of viewers labelled it ‘propaganda’.

Reacting to the criticism, actor and Lok Sabha MP Ravi Kishan says that the film franchise “revived the industry and brought out facts in cinematic brilliance”.

“Calling it a propaganda film is very wrong! Actors from the South supported it openly; everyone should do that,” Kishan opines, adding, “A new trend has started of calling films propaganda; log yeh ek naya kabootar pakad liye hain!”

The actor, recently seen in Maamla Legal Hai Season 2, compares the franchise to the 1975 blockbuster Sholay: “The writer picks topics from real news and incidents, and the team cinematically presents them on the screen. The truth needs to be brought in front of people.”

While the 56-year-old was not a part of the franchise, he has “no regrets”. “Someone somewhere must be writing a Dhurandhar for me. Log chal ke aate hain, main reng ke aaya hoon after 35 years and 750 films,” he laughs, adding, “But I’d like to work with Aditya or (filmmaker) Sanjay Leela Bhansali, like I got to work with (filmmaker) Karan Johar in (upcoming film) Naagzilla.”

When filmmaker Sanjay Leela Bhansali sets his mind on something, he refuses to settle for anything less than perfection — and perfection takes time. Since his ambitious period saga Love & War was announced in January 2024, the film has stayed in the news — not just for its star-studded cast of Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal, but also for its persistent delays.

Originally slated for a March release this year, the film remains incomplete. Bhansali recently shared that only 10 per cent of the shoot is pending. However, scheduling conflicts loom at large. “Ranbir has Ramayana: Part Two, and Vicky has Mahavatar in the line-up. Nitesh Tiwari wants to wrap up the second part to begin post-production, because July onwards time will be dedicated to the promotions of Ramayana: Part One,” says a source.

Kaushal, who was expected to bulk up for Mahavatar, but was busy with Love & War shoots all through 2025, has now finally set that plan in motion. As a result, Love & War will only resume filming in the second half of 2026, adds the source.

What remains? The climax. Despite a recent health scare, Bhansali is determined to meet the January 2027 deadline. “He has been working non-stop for the last two years. The team is reworking timelines. Post-production is progressing alongside to save time. Sanjay is certain that the film will release on schedule and exactly how he envisioned it,” another insider reveals.

Three decades in, and Rani Mukerji isn’t looking back, she’s looking ahead. With 71 films, a fiercely individual journey, and a National Award arriving right on cue, she stands as both a rarity and a reinvention in motion. In an industry quick to sideline women post marriage and motherhood, she’s quietly rewritten the rules, choosing honesty over hype, and substance over noise. At 30 years, this doesn’t feel like a culmination. If anything, it feels like a reset. On the new episode of the Bombay Times Lounge, which dropped this week on the Bombay Times YouTube channel, Rani reflects on the road behind and the road still unfolding.

It feels like I am starting a new journey, because obviously, when I see my earlier films, I don’t look the same. Also, now with my daughter turning 10, I think I’ll have more time to devote to films. I constantly want to reinvent and bring across a Rani to my audience that they haven’t seen before. I’ve been so fortunate that directors, writers and producers have thought of me for these amazing characters that I’ve got to play for the last decade, and that’s the decade where I got married and had a child. Fortunately, that didn’t come in the way of a director choosing me for a role. So, in a way, the audiences and the industry have helped me shatter the glass ceiling. They always say that once you go the family way, it’s the end of the road for an actress. But that’s not always true.

Having said that, while I love being an actress, I enjoy the whole part of being a housewife. I enjoy the fact that I’m a mother to my daughter. I enjoy that I get to look after my husband (Aditya Chopra). It gives me immense joy to see my husband and my daughter support me in my journey in films, as this kind of support is so important for every woman. I know there are so many women who probably want to go out there and work, but don’t have the kind of support they wish they had. So, I’m very grateful for what I have, and I always tell myself to not ever take these things for granted.

I always give importance to the story that needs to be told, without thinking about the box office and other things that come with it. The audience always connects with honesty, irrespective of the genre. The problem happens when stories are adulterated just for the benefit of the box office. Audiences are sensitive enough and instinctive, they can sense a good story and a good film. They are looking for genuine stories, so it is important to be honest about what you are doing.

It felt surreal. I think it was saved for this moment, probably because my daughter was old enough to understand what this means. The only regret I feel is that my dad, who was always my cheerleader, was not there to see it. My National Award has made my fans and well-wishers happier than me, as they have rooted for me all these years.

The change happened instantly. Seeing that little baby, that little piece of your heart and soul, changes everything in a moment. When you talk about the concept of love at first sight and falling in love with someone instantly, I feel the whole concept started when a mother had a baby. Seeing your baby for the first time changes that concept of love at first sight for mothers. That love for your child is unconditional, and it’s something you can’t describe. It could also be a one-way love because you don’t know how much the baby will love you back and for how long (laughs). But really, for me, love at first sight happened with Adira.

Sanjay Leela Bhansali’s Black. I think Black taught me to be grateful for the little things that we take for granted – like how we are able to see, talk, hear and walk. The film taught me to be grateful for the gift of being alive.

It was such a happy moment, as it was something that we both were so excited about. I started my journey in the movies with Shah Rukh Khan, and to receive my first National Award standing next to him – that in itself was an honour for me.

Recently, Adira wrote a letter to me where she declared me “the best mom in the world”. For me, that’s the best compliment, and nothing beats that.

Bobby Deol.

Shah Rukh Khan.

After critically and commercially acclaimed collaborations in Hum Dil De Chuke Sanam (1999) and Devdas (2002), composer Ismail Darbar and filmmaker Sanjay Leela Bhansali had a fallout. The rift was reported to have emerged after Bhansali dropped Ismail from his web series Heeramandi: The Diamond Bazaar, over an article describing Darbar as the “backbone” of the project.

Now, Darbar said he felt “betrayed”, since he had spent a year and a half working on the music. “He betrayed me, not once, but twice. He committed to working with me, and then didn’t do so. I had worked on Heeramandi for 1.5 years, and he didn’t tell me before replacing me,” Darbar told Subhojit Ghosh.

The composer added Bhansali tried to reconcile, inviting him to the show’s premiere, but did not attend. “I respect him a lot because he gave my family and me a lot of love. We had a good bond till Heeramandi, he called me from the front to invite me to the show’s premiere. He had told me that he didn’t call anyone else but me, but by that time, my heart had already broken. If Sanjay and I had done Heeramandi, we would have created history,” Durbar said.

This comes days after Bhansali was reported to have been hospitalized due to chest pain, even though his family denied the claims, calling it a ‘routine check-up’.

Mumbai: In a shift mirroring a long-established trend in Western markets, a growing number of Indian composers and singers are launching their own music labels, signalling that music is increasingly being viewed as an asset class by both artists and investors, executives at independent labels, music licensing platforms and industry analysts said.

Most recently, Tamil composer Anirudh Ravichander launched Albuquerque Records, his own music label.

Over the past six to seven years, at least eight prominent artists have set up similar ventures, including Salim Merchant, A R Rahman, Badshah, Armaan Malik, Sanjay Leela Bhansali and Arijit Singh. The move reflects a broader push by artists to retain control over intellectual property and capture a larger share of long-term revenue streams.

“Over the past four to five years, India’s music industry ecosystem has become fairer and more transparent. Singers and composers have realized that music has genuinely become a very valuable asset class which they can monetize in different ways,” explained Gaurav Dagaonkar, co-founder and CEO of Hoopr, a leading platform for music licensing.

A favourable revenue structure involved in functioning as a label is a key reason why artists are launching their own labels.

“It is a great time to be an independent artist. Today, seven out of the top ten songs on audio streaming platform Spotify are non-film songs, which shows the growing importance of independent artists in the music ecosystem. By launching a label, an artist gets the share of labels in royalties. They also own perpetual rights to their creations. This is a much better deal for them,” said Shivansh Jindal, CEO, Merchant Records, a label launched by music composer duo Salim-Sulaiman.

Apart from streaming, publishing, licensing platforms, YouTube and other digital avenues, music labels earn revenues from royalties (from audio streamers as well). The revenue structure of royalty payment is as follows: 50% goes to labels, and the remaining 50% of royalty revenues is equally shared by composers and lyricists. Singers earn revenues from payments either by composers or labels and from concerts. So, when composers or singers launch their own labels, they earn 50% of the royalties earned by labels, in addition to their own share of earnings.

Increasingly, labels fetch attractive valuations in the long run, music licensing players said.

“Today, private equity investors and HNIs are interested in music assets. They want to now invest in intellectual property. And music is good for long-term monetization," shared a CEO of a leading platform for music licensing. "Also, labels, when acquired by private equity investors, can generate 10 to 25 times returns on investments. Emerging labels are good candidates for acquisition by large labels as well,” he added.

“Beyond the acquisition of music IPs, these strategic investors have realized that music assets provide almost consistent revenues from various digital avenues available in the music ecosystem. One must also bear in mind investing in labels can be a way of portfolio diversification for these investors,” he explained.

In launching one’s own label, artists gain creative freedom under their own labels. “A label frees artists from the constraints of film music. They can create music the way they want to. Independent artists also nurture new talent through their labels. So, in a way, they give back to the industry what they have rightfully earned through their labels,” said Aditya Kalia, an independent music business professional.

- On average, singers generally earn between 2 lakhs to 10 lakhs a song

- Singers earn from concerts—a strong revenue source.

- Royalty Revenue Structure: 50%--labels, 25%--composers, 25%--lyricists

- In launching labels, composers gain more than singers as their share goes up to 75% in royalties.

- Singers gain 50% of royalties in launching labels apart from perpetual rights to creations

- Globally, more composers than singers launch labels.

- Film Music fraught with uncertainty as stories do not demand songs and films flop

- Young artists reinvest money earned from concerts and digital avenues to launch labels

Sanjay Leela Bhansali builds his on-screen world perfectly and patiently. Love & War is no exception. Word in the industry is that the Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal-starrer, which went on floors in November 2024, still has 70 days of filming left.

The love triangle is currently being shot at Film City in Goregaon, Mumbai. A source close to the production told mid-day, “We have over two months of shoot remaining, with six songs yet to be filmed. Nearly 35 days have been blocked only for the songs. As with any Bhansali film, these aren’t quick tracks; they have been envisioned as elaborate sequences mounted on a grand canvas. These period-specific songs will need a lot of prep before being filmed.”

Naturally, the delay in completion has impacted its release plans. Love & War was earlier targeting an Independence Day release. However, Aamir Khan recently announced that his production, Lahore 1947, will arrive in cinemas on August 13.

“Independence Day was an attractive window, but Love & War’s team would have to race against time to meet that deadline. Plus, with Lahore 1947 booking the date, it didn’t make sense to crowd the space. Bhansali would prefer a clear run for his love story,” added the source.

The movie’s new release date is yet to be finalized.

“There can be no music without Arijit Singh," an emotional Mohit Suri told mid-day, reacting to news that sent Indian music lovers into collective shock. On Tuesday night, in an Instagram post, the two-time National Award-winning singer announced his retirement from playback singing. "There is not one reason behind this. I have been trying to do this since a long time. Finally, I have gathered the right courage. One of the reasons were simple, I get bored pretty quick, that’s why I keep changing arrangements of the same songs and perform them on stage," he wrote.

For more than a decade, Arijit was Bollywood's go-to guy for any track in any genre. When a film needed longing, his voice delivered it. When a love story or heartbreak had to feel intimate, his timbre did the work before the lyrics even began. By the mid-2010s, Bollywood leaned heavily on Arijit. Across Hindi and multiple regional industries — including Bengali, Marathi and Telugu — he has recorded over 800 songs, including alternate versions and live-session recordings. Few playback singers in recent decades have occupied that much sonic space.

His dominance carried serious commercial weight. Industry experts estimate his net worth in the range of Rs. 414 crore (roughly $50 million), built on recording fees, tours, streaming royalties and brand associations. Annual earnings reportedly touched Rs. 70 crore in recent years.

Days before announcing his exit, Arijit released Maatrubhumi for Salman Khan’s Battle Of Galwan. A stunned Himesh Reshammiya, who composed the song, told mid-day, "I have always said that Arijit Singh understands the soul of the music composer and the melody; he is fabulous. I wish he changes his stand on not singing for films, love him both as an artiste and a human being."

While he may not take up fresh playback gigs, Arijit still has a few recorded songs lined up for 2026. One of them is Hum Toh Tere Hi Liye The from O'Romeo, composed by Vishal Bhardwaj with lyrics by Gulzar. Another is Sunhari Kirne from Gandhi Talks, composed by AR Rahman.

While he might not be taking up any fresh playback gigs, Singh still has a few recorded songs set to release in 2026. One of them is Hum Toh Tere Hi Liye The from O’Romeo, composed by Vishal Bhardwaj with lyrics by Gulzar, a romantic track filmed on Shahid Kapoor and Triptii Dimri. Another is “Sunhari Kirne” from Gandhi Talks, composed by A.R. Rahman, which is one of the year’s most musically anticipated soundtracks.

A top suit at Sony Music, tells mid-day, on condition of anonymity, “This changes the ground beneath us more than people realize. For years, when a film album came in and there was one song, the one the trailer would lean on the one streaming platforms would push and the first question in the room was always, ‘Can we get Arijit?’ I speak for producers and insiders when I say there was built-in trust. People outside think this is just about replacing one voice with another. It’s not that simple because that's a once-in-a-generation artist. He became the sound of modern Hindi film. When that disappears, you’re filling a big void. And that’s scary when crores are riding on streaming numbers. There’s also habit to undo. Directors, actors, even lyricists were subconsciously writing for how his voice would feel. Without that anchor, the room will be quieter. Everyone second-guesses more. We’ll discover new singers, of course. But it will be hard to replace that voice.”

Industry veterans understand Singh's decision. Mahesh Bhatt, with whom Singh did a large volume of his early work, told mid-day, "I remember the first time I saw Arijit Singh very clearly. It was at the music launch of Aashiqui 2 at Super Sound in Khar—the old place, full of dust, wires, and hope. His name was announced and he was called to the stage to sing Tum Hi Ho. A shy, self-effacing young man walked up, almost apologetically, with no sense of entitlement. He didn’t claim the song; he offered it. And in that moment, something entered the bloodstream of the nation. That song didn’t just become popular, it became personal. What made Arijit Arijit was never just his voice. It was his refusal to perform himself. His singing carried no ego, no demand to be noticed. He stepped aside and let emotion speak.  So when someone asks me if I would miss his voice, life has taught me to answer this way: I have learned to say goodbye to people I love without removing them from my heart. Chaplin once said something to that effect, and it has stayed with me. Even if Arijit chooses silence, his voice will not leave us. And I don’t believe he is turning away from music—only from noise. If he sings only for himself now, that is not withdrawal. That is an artist exercising his deepest privilege. Voices like his don’t vanish. They remain long after the song ends."

Aashiqui 2 director Suri, with whose words we started, gave us an insight into his long-time collaborator's psyche. Singh first fame with the film he made and even in his last hit Saiyaara, Singh had a large role to play Suri tells us.

"I don't remember a time when he wasn't creating something. Before playback, he was an assistant. In some early music sessions of my career, I remember Arijit clicking pictures of Pritam and me at the studio. He would spend a lot of money buying a expensive camera and then tell us, these pictures are for us to remember history. Of course, I am going to miss him a lot but that said, I also understand his decision.

We all evolve as creative people in our journey and step up to find the next phase of our lives and careers. This isn't a man who will be content with himself. He has the itch of an artist. Anyone who has worked with him tell you he would give different iterations, will sit and understand the story of the film and fit his voice to suit the story. I remember during Hamari Adhuri Kahani, we did three versions of the title track. He asked me how does it end and I told him, it ends tragically. He said there needs to be defeat in the voice then. He was such an important collaborator for any director or music composer. But even at that, he was still working on someone else's vision.

May be he wants to create his own vision for himself. He is also such an immensely secure artist, pure artist as they say. There have been times he has been called in to sing a song, he has heard the scratch and said, 'Please retain what you have, I can't do what they've done'. We did Saiyaara's songs across timezones - I was in Japan and he was in Murshidabad. But after the film, his response for the movie was such an honest take. He loved the film more than Aashiqui 2 which gave him his big break. He has evolved into an artist who values the art more than himself. Wherever he goes from here and whatever he does, he will create music because for the close to two decades I have known him, I have never known him without music. That bond will be inseparable."

Of course, rumours are rife that Singh has moved to filmmaking and is currently shooting a movie in Shantiniketan that he and his wife Koel have written. The jungle-adventure project features Shora Siddiqui and Arijit’s son, with Nawazuddin Siddiqui. Lyricists Siddharth-Garima, who have collaborated with Singh on several hit numbers, are working on his upcoming directorial. Garima tells mid day that they weren’t shocked by Singh’s decision.

“We met him multiple times in the last one year. We saw it coming because there is a very different kind of burnout that an artist can suffer from in the Hindi film industry,” Garima says, adding that when an artiste is made to repeat his or her previous work, it takes a toll.

“When people repetitively ask you to do the same things or sing similar things, it could get to you. We were seeing that point somewhere. He sings with a lot of sincerity even now. We've seen him record and he would take 100 takes for a line in a song. His process is something else. I'm sure that process tires him out. A burnout is very easy in this industry because you have to work tirelessly and endlessly.”

To Garima, there’s also an expectation from the industry that every song should be sung by Singh. He has enjoyed a monopoly of sorts in Bollywood playback singing for over 15 years now. But it’s not something that the sits right with the singer himself, “When Alia Bhatt just came in, everyone was thinking of scripts in which Alia would play the lead. That's how it is here. Everyone makes songs here, mostly thinking, ‘Arijit gaayega’. The first time you make a really melodious number, you are already imagining how it would sound in Arijit's voice? But the kind of person that he is, he comes from a very just background. He's not the kind of person who will think, ‘Sirf main hi main hoon.’ He thinks this shouldn’t happen and there should be more people who should get a chance,” Garima says, to which Siddharth adds that Singh is “a very secure artiste”.

“People talking about him creating a monopoly has never bothered him. In fact, that is a fuel. He's enabling diversity with this decision. We have that equation with him where we make him listen to every song that we record,” the lyricist says.

Singh has lent his voice to several songs written by Siddharth-Garima, including the chartbusters Yeh Laal Ishq (Goliyon Ki Raas Leela: Ram Leela) and Satranga (Animal). Naturally, it’s a huge loss for them as collaborators.

“Sanjay Leela Bhansali always says that he values a written word and believes a singer's job is to communicate to the listener the voice in those words. that voice. When I say, ‘Yeh laal ishq, yeh malaal ishq,’ how does that line reach you? It's a singer's job entirely. And more often than not, we notice in recording rooms, singers are not really singing, not feeling the line enough. Arijit will take it to that point. That's what his contribution has been. He brings his own imagination to the song.”

So, what does Hindi film music look like without his voice, we ask the duo. “The songs that he's already sung are there as his legacy. But the music scene in Bollywood would change. And it would be a huge change. Of course, it comes as a shock to many people. But I feel this is a natural progression. There’s always space for new people. There won’t be another Arijit but there will be more people, who will get a chance. People will start thinking imaginatively,” she says. And this is something even Singh wants from the industry, shares the lyricist.

“What really irritates him is the fact that people are not thinking imaginatively enough. They are just relying on a set pattern that if we have Arijit, we will get X number of listeners. I think that has put him off from the entire scenario that oh, you want a guarantee hit song, you want him to sing that song. What about experimenting? What about thinking outside the box? It’s great for an artiste to take a step back and take into account that what’s happening around him is not okay. There was no reason for him to say that I'm not going to sing Bollywood songs anymore, but he's an extremely honest and honest person to have taken that step,” Garima shares.

But even as fans express their disappointment over the singer’s decision, Garima is sure Singh will make a comeback sometime in future. “I feel there will at some point be a comeback, like how Sonu (Nigam) ji was ruling the charts in the 90s. And then of course, there was a phase in which he faded out and then now he's back fully. So I feel before that would happen, Arijit has taken the wise call of saying, ‘Okay. Let me not create a monotony with my voice right now.’ Let people yearn for it and then probably he'll make a comeback. I'm hoping he would someday,” she smiles.

But there won’t be dearth of Singh’s music, as he is set to launch his own label. “He is going to keep making independent music. So we are going to hear him a lot more on, his own label and all of that. And not many people know but he is a very m good composer. We've written to some of his compositions. You will see him in a different light,” Siddharth says.

With several tentpole releases locking in dates for late 2026 and 2027, chatter around big-screen timelines has only grown louder, and Love & War is the latest to be pulled into it.

A recent update suggested that Sanjay Leela Bhansali’s film, starring Ranbir Kapoor, Alia Bhatt and Vicky Kaushal, had been pushed to 2027 due to filming delays. Fuelling the speculation is the way the film’s release window has been repeatedly discussed in trade circles as the 2026 calendar tightens. The film was earlier linked to an Eid/March window, where it was expected to run into competition from Yash’s Toxic. That title is now set to clash with Ranveer Singh’s Dhurandhar Part 2, leaving the release grid even more crowded. Buzz then suggested Love & War may shift to an August window — a slot that also appears packed with other big titles, including Kartik Aaryan’s NaagZilla and Prabhas’ Fauzi, turning the film’s release plans into something of a musical chairs moment.

However, that is not the case. A source close to the production has denied the postponement reports and told us: “The film is very much set to release in 2026.”

The clarification comes after a report in Pinkvilla on Monday claimed the makers were looking at a 2027 release window, citing pending portions of the shoot and the scale of post-production. It also suggested that VFX work and the edit timeline could rule out a 2026 release.

But dismissing the speculation, our source insists: “Bhansali has just completed shooting a song track, and the major sequences for the film have already been shot,” the source adds. The exact release date, however, is yet to be locked.

With inputs by Vishakha Pandit

Where there is Sanjay Leela Bhansali, there are bound to be grand song sequences. In the last leg of Love & War, the filmmaker is gearing up to shoot two dance numbers with lead actors Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal. Sources have told mid-day that the first number, to be choreographed by Ganesh Acharya, will go on floors next week.

An insider revealed, “The song is high on energy, dramatic, and visually lavish as is expected from a Bhansali creation. The shoot will kick off on January 20 with the three leads in Film City, Goregaon.”

The second song, scheduled to be shot on February 9, is being described by unit members as one of Bhansali’s most experimental musical set-pieces to date. It will see the filmmaker collaborate with choreographer Shiamak Davar, who will bring a contemporary spin to the number.

“It is unlike anything Bhansali has attempted before. It’s experimental in form, movement, and staging, with Shiamak bringing a theatrical energy to the sequence,” added the source.

The actors are currently rehearsing for the songs before they report to the set next week.

On a set marked by star egos and a perfectionist filmmaker, many assume the atmosphere would be nothing short of dramatic. However, that is far from the truth on the sets of Sanjay Leela Bhansali’s Love & War. Recent rumours suggest an apparent fallout between the actors — Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal — and the director, allegedly delaying the film’s theatrical release. Industry insiders, however, tell mid-day that the film is progressing exactly as planned.

“The unit is currently on a scheduled year-end break. This was locked months ago,” says a source from the production team. “Bhansali films are mounted on a massive scale, so any pause is immediately seen as a delay.”

An insider familiar with the schedule adds that the remaining shoot will cover “patchwork and VFX because it is a period film, select scenes, and musical portions.” Addressing rumours of frayed equations on set, the source clarifies that “there’s been no fallout”. “These are long, demanding shoots. Ranbir, Alia, and Vicky are fully on board and committed.”

Confirming that Love & War will release as scheduled in August this year, the source explains that the shoot will continue for another three months once filming resumes. “They plan to resume by mid-January until March, with post-production moving along parallelly,” shares the source.

Having completed 13 years in the film industry, Alia Bhatt finds herself at a point defined less by speed and more by intention – also shaped by her journey into motherhood. Looking back, the actress says her relationship with work remains instinct-led. “I don’t really look at my career in phases or milestones. The way I chose films earlier is the same way I choose them now – by trying to do different things, setting myself up for new challenges and constantly putting myself outside my comfort zone,” she tells us.

Meanwhile, life has expanded beyond the set, and what has evolved is the pace. “Of course, the volume and the speed at which I work now are different because I have a child. But it’s a comfortable pace, and I’m happy with it. I like doing one film at a time and giving it all my energy. Earlier, I would do two or three films simultaneously, but I don’t want to do that anymore,” she says.

Alia’s connection with cinema remains deeply emotional. “Movies make me happy. I’m finding ways to stay connected to that magic in different ways now, not just as an actor. I’m also producing content. We’re developing projects that will go on the floor next year, and I’m creatively involved in that process because I consider myself a creative producer,” she says, adding, “When it comes to my career, I’ve always gone by my instinct and gut.”

Her next release, Alpha, marks a shift into the action genre. “I’ve said this before and I’ll say it again – I don’t consider Heart Of Stone an action film for me. It was an action world, but my character wasn’t action-oriented in that sense. With Alpha, the opportunity to actually do action is something I’m supremely excited about,” she clarifies.

Doing the film post motherhood added a new dimension to the experience. “Doing action after having a baby was very interesting because it allowed me to see what my body is capable of. It was such a learning experience, and it gave me a lot of respect for my body,” she adds.

Unfazed by the unpredictability of outcomes, Alia says she doesn’t dwell on success or failure. “Success and failure are not in your hands. What is in your hands is learning, growing and finding a process that nurtures you as an artiste and as a person. Filmmaking is never about one individual. It’s an entire crew coming together to work towards one shared vision,” she concludes.

Alia’s next two films are among the most anticipated. First up is Love & War, which sees her reunite with Ranbir Kapoor, Vicky Kaushal and Sanjay Leela Bhansali. “It’s a very special film. We’ve been shooting it through the year, and it never feels like enough. You always want one more day, one more moment, one more scene where you’re just jamming the energy,” she says.

Working with Bhansali continues to be one of her most cherished creative collaborations. She adds, “Working with Sanjay sir is one of my most treasured experiences because of the way he brings his magic to every single moment. But it’s also deeply collaborative. The energy on set is very quiet and focused. We come in, we work hard and everyone brings something different to the table. Of course, the final magic wand is always in Sanjay sir’s hands. It is one of the most fulfilling creative experiences I’ve had on a film set.”

Reflecting on Bhansali’s Gangubai Kathiawadi, Alia says the film reshaped how she approaches performance. “What I learned on the Gangubai set was to walk in every day with a blank slate and a blank mind. That element of surprise is something Sanjay sir thrives on, and it teaches you to surrender completely to the process.”

Ever since Sanjay Leela Bhansali announced Love & War in January 2024, fans have been eager to get a peek into the world of the Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal-starrer. Well, that may happen sooner than later. Sources have told mid-day that Bhansali is likely to share the first glimpse of the romantic saga in January 2026.

“The idea always was that the team will put out an asset in January to tease the audience about the world they have in store. It could be an official poster or images from the set, which Bhansali has meticulously created. The audience has already seen the actors’ avatars through leaked pictures. But now, the director wants people to see his vision of Love & War,” said a source.

Even though the first promotional asset will be unveiled in January 2026, there is no word on when the film will arrive in cinemas, after its March 19 release was postponed. Meanwhile, we’ve heard the shoot is nearing completion.

Another source shared, “A few days ago, Alia shot for a wedding sequence with Ranbir in Mumbai. Now, she has only the climax left to shoot with the leads, after which it will be a wrap for her. The male leads, however, will continue to shoot for another six weeks.”

Saregama India has entered into a structured, long-term investment agreement with Bhansali Productions that gives it the option to take majority control of Sanjay Leela Bhansali’s film studio by 2030, while immediately securing rights of all future music created by the banner.

Under the deal, the Kolkata-headquartered music record label and content company will invest Rs. 325 crore in Bhansali Productions through compulsory convertible preference shares (CCPS), the companies said. It will subscribe to 9,960 CCPS of face value Rs. 10 each on or before February 14, 2026.

These preference shares will convert into equity in 2028, at which point Saregama’s stake will be between 28% and 49.9% of Bhansali Productions, depending on the conversion formula.

Following the conversion, Saregama will have the option, but not the obligation, to acquire additional shares to take its holding to 51% by 2030, giving it majority control of the studio.

Pricing for the additional shares will be determined through pre-agreed mechanisms linked to Bhansali Productions’ audited financials.

Alongside the equity investment, Saregama has entered into a music rights agreement under which it will acquire the rights to all future music created and produced by Bhansali Productions.

This provides immediate strategic value to Saregama, regardless of whether it ultimately exercises the option to become a majority owner, amid the ongoing chase for intellectual property in the entertainment industry.

The investment is expected to be earnings-per-share accretive for Saregama by FY27 and to improve margins across both its music and video segments.

“Bhansali Productions’ excellence in storytelling and content creation perfectly complements our leadership in music and entertainment,” said Avarna Jain, vice chairperson of Saregama India.

She said the partnership reflects the company’s strategy of aligning with leading creative talent while delivering long-term shareholder value.

For Saregama, the partnership strengthens two priority areas. It bolsters the video segment of its business and further consolidates its leadership in music licensing, with Bhansali Productions providing access to a steady pipeline of premium original music.

Under the partnership framework, Bhansali Productions will retain complete creative control, while Saregama will provide governance oversight and financial discipline. Bhansali Productions will also retain ownership of the intellectual property of all its films going forward.

Sanjay Leela Bhansali, founder of Bhansali Productions, said meaningful cinema requires time, trust and respect for the creative process. “In Saregama, we have found a partner that understands this philosophy. We share a deep respect for art, music and storytelling that is grounded in tradition and resonates across generations,” he said.

Aligned with its evolving content strategy, Saregama will gradually streamline its in-house film production activities over the next one to two years, focusing on strategic partnerships with marquee creators.

The company currently produces films through its in-house arm, Yoodlee Films.

In FY25, 16% of Saregama’s revenue came from video content, spanning films, digital and short-format programming. Its total revenue for the year stood at Rs. 1,171 crore.

For Bhansali Productions, the capital infusion will support a significant expansion of its content slate across formats, while allowing the studio to retain ownership of its film intellectual property.

The company has a pipeline of more than 10 feature films planned over the next three years. Upcoming projects include Love & War, directed by Sanjay Leela Bhansali and starring Ranbir Kapoor, Alia Bhatt and Vicky Kaushal, and Do Deewane Shehar Mein, a romantic drama directed by Ravi Udyawar and featuring Siddhant Chaturvedi and Mrunal Thakur.

“This is a landmark transaction, coming close on the heels of the Adar Poonawalla–Dharma Productions deal,” said Nitin Menon, managing partner at NV Capital, an investment firm focused on the media and entertainment industry. “Legacy creative brands like Bhansali Productions have strong recall value, and this reinforces the belief that high-quality IP continues to attract long-term capital.”

Over the years, associations have developed between leading film production houses and music labels. Recently, Universal Music partnered with Maddock Films to start a new music label, Mad4Music.

“Strategically, this acquisition makes sense. From the perspective of the industry, consolidation is not necessarily unhealthy,” said Tanuj Garg, partner at film production company Ellipsis Entertainment. “The deal, however, could result in increased concentration of capital among a few players,” he added.

“There is a need for more democratic models for mid-sized and independent producers who churn out equally, if not more, compelling content. This is becoming even more important,” Garg said.

ET had reported on December 2 that several Bollywood studios, including Bhansali Productions, were exploring fundraising amid market volatility driven by changing consumer behaviour, rapid OTT adoption and flat theatrical footfalls.

Despite this, M&A activity in the sector has been limited, making this only the third major Bollywood deal in the past five years.

Founded in 2003, Bhansali Productions has produced some of Indian cinema’s most successful films, including Devdas, Bajirao Mastani, Padmaavat and Gangubai Kathiawadi, as well as the Netflix series Heeramandi.

For FY25, the company reported revenue of Rs. 304 crore, Ebitda of Rs. 60 crore and profit after tax of Rs. 45 crore.

Kotak Investment Banking acted as the exclusive financial advisor to Bhansali Productions on the transaction.

Filmmaker Tigmanshu Dhulia has major problems with the violence, bloodshed, hyper-musculinity and rough anti-hero looks of actors in most action-packed films today. Calling out heroes wearing demon-like looks in superhit films, he is surprised that they are doing well at the box office.

“The problem with today’s films, which are being made in abundance and are being loved by the audience, is with the angry characters! These KGFs, Kantaras and all show too much violence and bloodshed. This maar-kaat started with Baahubali (2015) and is just growing,” says Tigmanshu. He adds, “Bematlab ki maar-kaat rahe hain, khoon baha rahe hain! And, in a series, such films are coming and are being liked by the audience.”

Trying to decode their appeal, he says, “Probably, there is an anger in society and people are not able to vent it out, so they are maybe connecting with these films and liking them. I don’t understand the DNA of such films, but personally, I don’t like it at all.”

The filmmaker adds, “Anti-heroes are fine, but heroes ab rakshas ki tarah lagtey hain and youngsters like it and follow the trend. With such long hair and beards, they just look like rakshas we have seen in Ramayana and Mahabharata. Pata nahi kya ho raha hai!”

On the sidelines, when asked about skipping films like Animal (2023) —which has been singled out for its violence and other factors—he says, “Yes, that is also true and I don’t agree with certain things, but overall I liked the film!”

The filmmaker clarifies that his films, too, are alpha male films but exist within a framework of morality. “Yes, my films are typically alpha male films, and I admit that I can’t make (Sanjay Leela) Bhansali-type films! But, they draw a moral line – they won’t tease a girl, and if they do wrong, it will be for a bigger cause.”

He explains, “My characters are in search of freedom, and they question the authorities. Probably, that has come from the fact that Allahabadis (people from Prayagraj, Uttar Pradesh) don’t fear anybody, and that is a unique character of the people of the city. Since I was a kid, I have liked action, cowboy-type films, and that reflects in my characters, be it Haasil (2003), Paan Singh Tomar (2012) and others.”

Vidhu Vinod Chopra watched the restored version of 1942: A Love Story with veteran screenwriter Kamna Chandra at IFFI, who has also written films like Chandni, and said, “Pehli baar 1942: A Love Story maine aisi dekhi hai jaisa maine socha tha. Uss waqt colour correction hota nahi tha.” 

A day later, during a session titled Unscripted - The Art and Emotion of Filmmaking, Vidhu Vinod Chopra spoke about his films, struggles and with his long time collaborator Abhijat Joshi.

When Abhijat Joshi asked him how his filmmaking style has changed over the last five decades, he said that 1942: A Love Story he can’t make the film now.

He said, “I saw it yesterday for the first time in 8K resolution in the theatre here. But that’s a movie I can’t make anymore. I made it then because I was in love with the woman I married, and that love shows in the movie. For an artist, the right thing is to represent what he’s going through in his work. So my films reflect what I see and feel (at that point) in life. Every film reflects who I am at that point. I was angry when I made Parinda. You can see that violence in the movie. Today I’m calmer.”

He added, “So that film was made at that time because that is who I was. And 12th Fail… when I see the level of corruption in our system, it was a reaction to that. Because, you know, I am personally sick and tired of the level of corruption. I’m sure everybody is trying to make sure that it calms down a bit. But 12th Fail was my attempt at saying, ‘Let’s be honest for a change’. I told Abhijat when I made the film - even if I can convert 1% population, 1% bureaucracy, 1% political system to work honestly instead of dishonestly, I would have succeeded. I react to times. An artist is not independent of the times he lives in. I’m a reflection of society. What I see, my cinema says that, and it says it in that particular style. You cannot impose the Parinda style on 12th Fail or 1942.”

When someone from the audience said she doesn’t understand when people ask her to think commercially about a story, he responded, “How to make the film commercially - even I don’t understand what that means. Meri jo dharmpatni hai, woh jaanti hai cinema ke baare mein. Unhone kaha - ‘Vinod, tu theatre mein mat laga 12th Fail. Teri aur Vikrant ki film dekhne koi nahi jayega.’ Saat mahine tak film theatre mein thi.”

Sharing an incident about how an OTT platform refused to buy 12th Fail, he said, “One of them said - ‘aise log toh ab hain hi nahi.’ Maine kaha - ‘ek toh tumhare saamne hai, main toh hoon.’”

Giving parting advice to the FTII students who were sharing their difficulties, he recited a line from a song in 1942, “Ye safar bahut hai kathin magar… na udaas ho mere humsafar.”

“When Parinda was to be released, all the distributors got together and brought 11 lakhs in cash. They said, ‘We will give you 11 lakhs,’ at a time when I didn’t have money to eat dinner. And they said, ‘Please don’t kill Anil and Madhuri; kill Jackie Shroff. And we will give you 11 lakhs.’ And I said, I can’t do that, because what I’m saying in the film is that violence begets violence. So I cannot change that.”

“There’s a shot - when Manisha is running - kyun naye lag rahe hain ye dharti gagan. When you see this shot, you will see that she is running on a mountaintop, and there are birds on top. Those birds are not digital. There were no birds on that mountain. And I wanted birds. I said, I want the sky full of birds. They said birds don’t come that high. Sanjay Leela Bhansali was my assistant on that film. I said, I need birds. Those guys went at night and spread breadcrumbs on that mountaintop. Because of those breadcrumbs, the birds came. When I saw the birds yesterday, I said, ‘My God. Birds.’ That’s the level of pursuit of excellence. And those birds give me so much joy, 35 years later. It moves me how hard we worked. That is the joy of life.”

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"If I say I have 20 crore now, tomorrow I’ll have 200 crore and I will make a film - what joy is there in that? Beyond your basic needs, money is the same. It’s the same cup of tea I’m drinking that I drank 35 years back. The point is - if the pursuit of excellence drives you then there is joy."

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“The joy comes from honesty, in whatever you’re doing - whether you’re a filmmaker, a writer, a politician, a bureaucrat. The joy comes from honestly pursuing whatever you’re pursuing. So I would request all of you- it’s difficult, but it’s a very happy path. Take it.”