After a whirlwind year featuring Maamla Legal Hai, Gullak, and now Chumbak, actor Anant V Joshi is ending 2026 on a high note Eetha.

Joshi calls it great phase of his career, “Of course it’s amazing, koi plan nahin thha, just like that the entire year gave me what actors wish for years.”

Reflecting on the projects, Joshi admits that the success didn’t come from a calculated strategy. “Of course it’s amazing, koi plan nahin, just like that the entire year gave me what actors wish for years,” he says. For an actor who has balanced gritty series and light-hearted roles, the consistency has been a pleasant surprise.

“It feels like a dream because with Maamla Legal Hai, Gullak, and now Chumbak, the kind of acceptance that everyone has received, iise badi himat aur umeed mili hai.”

With the first season of Chumbak out, the question of a third season arises. “While there is no official announcement, par ayega. We discuss it on our WhatsApp group every day, so now we know the next season will come soon. The consistent response that we are getting all the DMs, all the messages makes it feel like we will bring another season very soon.”

Joshi notes that the show’s open ending was a deliberate choice. “Yes, that was intentional. That means you can plan ahead, depending on how you get the response.”

“So, all the three series, two of them are already franchises. We will start to work on the next chapters in 2027; maza ayega.”

Known for slipping into distinct personas, from Parsi and Marathi characters to the eccentricities required for playing Chief Minister Yogi, Joshi says it's all about observation. “The most fun thing about being an actor is that he can live in some art and life... changing voices and adapting dialects is a very beautiful process,” he says.

He recalls working with maker Aatish Kapadia, who demanded full commitment to a character’s voice. “He didn’t want me to play a regular guy for Freddy; he said, ‘I want you to go ahead like full throttle.’ They wanted to create characters like Rosesh and Hansa that will be remembered for their voices and style of speaking.”

Ultimately, for Joshi, acting is a human endeavour rooted in watching the world. “I rely majorly on observations,” he adds, “because humans are mimicking in the animal kingdom, that is very natural.”

Joshi is set to close the year on the big screen with Eetha, starring alongside Shraddha Kapoor. It’s a transition he is eagerly anticipating. “A theatrical release is very special because of that response, that nervousness, how it’s going to be at the box office... it gives a perfect theatrical release,” he explains. 

After a year defined by OTT successes, he views the shift as a natural progression. “I think it’s a creative role, it’s not a medium role. In India, the love for the silver screen is always there.”

On his co-star Shraddha Kapoor in the film, he adds, “She is a gem of a person, very humble. Most of my scenes are with her, and that actually made me a bit nervous initially, but once we started working, things were on a roll. I can say it’s a pivotal role irrespective of its length. Marathi character thha, toh it was more appealing for me.”

While he admits to missing the specific culture and food of his home region during the festive season, he has developed an appreciation for Mumbai’s energy.

“I think Bombay is one of those cities where festivals are very strong. When you go to markets, I have seen the ronak in Mumbai, and it’s heartwarming. But having said that, I love Dusshera in Uttarakhand it has a distinct way of celebration, aur main usko sanjon ke rakhna chahta hoon hamesha.”

With the public interest in her life, Shehnaaz Gill often becomes the subject of nasty rumours and reports too. The actor, last seen in the Punjabi film Singh Vs Kaur 2, has faced linked up rumours and has often been the subject of trolling. But she has quite a fun take on how to deal with such rumours.

“The ones making headlines, I can understand their intention as they want views, warna wo bechare news kaise bechenge agar kharab headline nahin lagayenge. If I have a slip of tongue and that becomes the headline, I just pray ki becharon ko views aa jaye meri wajah se. Itni achi baaton se to kuch faayda nahin hua hai, par kisi ka to bhala ho,” she quips.

Ask her where this quirkiness comes from and she says, “Khoon Punjabi hai na, to comedy karti nahin hun main, comedy lagti hun. People find it fun and they like it. I don’t try to do it, it just comes naturally.”

Elaborating on how she manages to stay true to her nature and not get influenced by the voices around her, Shehnaaz Gill says, “I have never let someone overpower me and tell me how to talk, walk or behave in front of the media. I was told a lot of things, but I believe, jo ho wahi raho. If you stay true to yourself, people will accept you, otherwise the whole industry is that way. They can rather watch them but you. Everyone is different and has their individual personalities, and they should stay true to that.”

The impact of being true to herself has been that people relate to her more. Explaining with an example, she shares, “On one single day, I was at the airport and two people said the same thing to me. Ek tu aur dusri Shraddha Kapoor, in dono ladkiyon se milne ke liye hum marr rahe the. Once was a coincidence, but twice the same thing got me curious. I asked them why they took both our names in the same breath and they told me, ‘Aap jo ho waise hi rehte ho, aap apni bhasha ko pyaar karte ho and wo bhi waise hi hain’. I thought that if two people are thinking that way, how many people would be thinking the same too.”

But does she feel Punjabi media treat her better than Hindi media? “Punjabi media used to treat me casually too, but I don’t know what changed. Now everyone there comes and hugs me and tells me that they will give me special treatment because I have won their hearts. Hindi media gives me love too, but there is a different connection I feel with them,” she responds.

The actor goes on to add, “When people tell me that they feel inspired from my journey and they relate to me, I feel so special. I have received so much love that even I feel I must have done something right.”

Shakuntalabai Nagarkar

The teaser of Maddock Films’ Eetha has become quite popular. This Hindi film, is based on the life of Vithabai Bhau Mang Narayangaokar, the Marathi Tamasha Empress. Who was this Vithabai?

“She was a tigress, a real tigress,” says Lavani artist Shakuntalabai Nagarkar, winner of the Sangeet Natak Akademi Award, “Today, when you see us dancing, making sensual gestures, you call it bold. But Vithabai was the true height of boldness. All of us used to dance till the ninth month of pregnancy. But after childbirth, we would take the usual three weeks of rest. Vithabai, after delivery, did not rest even for three hours. She tied her ghungroos immediately and got on stage. People like you would say, ‘Oh poor woman!’ But what poor woman? She wanted to prove only one thing—that a woman is not even a hair’s breadth less than a man! Those were truly great days. Money was scarce, but art flowed abundantly.” 

Was the past of Tamasha really so glorious? And what is its reality today?

For centuries, the Marathi dance form that has ruled the Marathi mind is Lavani, and the performance that entertains while also pricking the conscience is Tamasha. These forms belong to Mahar, Mang, Bhatu Kolhati, Dombari, Kalvat, Gondhali, Ghadshi and many other communities. Some of these communities are Dalit. Some are Muslim. Some are nomadic. Some are matriarchal. Lavani-Tamasha looks at the subject of sex with the most direct, simple, and unapologetic way. For these very reasons, the elite’s gaze upon it has always remained clouded, and social respectability has always stayed away from them.

Once the evening meal was over, what called the villagers were the sounds of the paypeti (large harmonium played with both hands and both feet), dholki and tuntuna, along with the ringing of ghungroos. “Earlier, whether in villages or in cities, the means of entertainment were gossip and folk arts,” says Tamasha artist Mirabai Punekar, “And in Maharashtra, Tamasha and Lavani are the queens of folk arts!”

When night fell, the programme would begin with many gans, gawalns, batawni, rangbaji—that is, Lavanis—and other songs and dances, and after midnight, the much-awaited Vag, the folk drama, would begin. Its themes could be mythological, historical or social. Characters would enter one by one, and the audience would sink into the story. Before dawn, when the Vag-natya ended, people would head off to their work.

“Mostly men came,” says Mirabai, “Occassionally, women and children also came. Our songs and stories were all packed with raw, naughty humour!”

This was the Dholki Fadacha Tamasha. Marathi cinema made it very popular after 1950. But there is another place where Lavani was performed even before this Tamasha tradition, and that is the Sangeet Bari. In his book Marhati Lavani, M V Dhond writes that references to kolhatnis and kasbinis—women who entertained men through song and dance—go back to the 13th century. Lavani is truly an ancient art rooted in Maharashtra’s soil.

Sangeet Bari refers to small, intimate gatherings where Lavanis are performed for a limited audience. These are small rooms where the paypeti, tabla and dholki players, along with the artist women, perform for four or five gathered men. The artists here are from matriarchal communities. Even today, there are nearly 50 such theatres along the highways of Western Maharashtra and Marathwada. In the Lavani performed here, Nazaakat and Thehraav (delicacy, subtlety, and poise) are central. “Because of such spaces, the semi-classical form called ‘Baithakichi Lavani’ was born and could flourish,” says music scholar Dr Ashok Ranade.

At present, Lavani seems to be getting a fresh lease of life through TV channels, cinema, events, YouTube and Instagram. Many film stars are seen performing Lavani. New choreographers and self-proclaimed stars are emerging. In all these spaces, only one reduced version of Lavani appears again and again—as a traditional “item number.”

Vigorous movements of the body, especially the waist and chest, winking, biting the lips, spins, jumps, acrobatics and a super-fast beat—this is what Lavani is, isn’t it? The answer is yes. Lavani can be this too, but it is not limited to this alone. It can be much more.

“Real lavani is when you perform in harmony with the words, with eye contact and feeling,” says Sangeet Bari artist Shabanabai Ashturkar, “We can play many forms of Lavani — Khadi Lavani, Baithakichi Lavani, Thaayichi Lavani, Khandeshi Lavani, Chhakkad, Social Lavani, Zagdyachi Lavani and more.”

Lavani is not merely performed; it is played, like a game. In it live thrill, freedom, resolve, improvisation, and above all, the active participation of both sides. “We don’t memorise Vag or Batawni; we remember the broad points,” says Tamasha artist Mandarani Khedkar, “Our real skill is in responding on the spot, while reading the response of both fellow performer and audience. We must hold the person before us for hours — otherwise they will drift to the next troupe, won’t they?”

This is the difference between Lavani-Tamasha and modern art forms. There is no invisible fourth wall borrowed from Western traditions; instead, there is an open exchange between artist and audience.

Earlier, Lavanis were written on many aspects of the body and bodily relations. Love before marriage, love after marriage, a kink, a sudden encounter with an old lover, the pull toward another man even while loving one’s husband, the ecstasy of union, menstruation, premature ejaculation, lack of erection, and excessive erection, among many other themes. Even today, some of these Lavanis survive in Sangeet Bari.

At an event in the Madras Music Academy, when Shakubai performed a Lavani on menstruation, scholars remarked, “There were once many Javalis on this very subject. In fact, all of this existed in our Dasi Attam. Your Lavani has preserved it well; we lost it in the name of respectability and sanitisation.”

At an NCPA programme, an 85-year-old woman, moved by the same Lavani, said, “Watching this today, I realized how simple and natural this act is. But our secrecy and false ideas of purity have given it a bad taste.”

In classical dances, many movements are considered prohibited, but in Lavani they are celebrated. “When traditional Lavani artists move the waist, chest, lips and tongue, it appears alluring, but when others do the same, it appears vulgar,” observes Vaibhav Arekar, a Bharatanatyam dancer. The reason lies in years of practice and inherited culture. For generations, Lavani has been absorbed into their bodies, so it comes naturally to them. But when someone imitates it and tries too hard to appear “sexy,” it becomes repulsive or ridiculous.

Another hallmark of Lavani is that the artist sings and often dances at the same time. When traditional performers do both, one wonders how they never tire or even lose their breath. But that too is part of the craft — the discipline of practice.

Gholvane is truly the soul of Lavani – comparable to what gatabhava is in Kathak or viniyasa in Bharatanatyam. Taking a single line and unfolding its many layers, bringing a character or scene to life through that process—that is gholvane. When such a moment or a word, is repeated again and again, it doubles the joy of the performance. How can this joy be experienced through a four-minute film Lavani or a thirty-second reel? For that, one must make time and experience live Lavani at leisure in an intimate set-up.

Tamasha has also done another important thing over the years: fearlessly questioning those in power and attacking social evils. “We are artists, how can we be timid?” says Padma Shri Raghuveer Khedkar, “We criticize the government openly, point out their mistakes, suggest reforms. We attack superstition and the ills of society. But all this comes with a layer of humour. First, the audience laughs heartily, then they think, and sometimes they even act.”

Pollution, environmental destruction, water scarcity, corruption, female foeticide, dowry deaths, rape, casteism and religious discord—countless Lavanis and Vags have been written on such themes. But what is the condition today? Is all this still alive?

Khedkar’s face falls. “Some of it survives. But honestly, we have reached a point where most people don’t want Vag or Batawni. They are too busy with their mobile phones. They only want beautiful, young girls dancing on recorded tracks.”

There has been a decline in these traditional art spaces. The Vag is fading; Baithakichi Lavani is becoming rare; and except for a few Sangeet Bari theatres, DJ music has taken over elsewhere. “Earlier, artists were safe; today, even with bouncers in place, there is still anxiety in our minds, and such incidents have happened too,” says Khedkar.

And yet, all is not lost. “How can it end?” asks Mirabai, “Art is in our blood. We simply cannot sit still. What we need is a discerning audience with good habits and good taste.”

And truly, this art and these artists need dignity — but just as much, if not more, we need their free and powerful expression. If their status rises, our own inner world will flourish too. Lavani must be given respect, yes, but not by sanitizing it. Its eroticism, rawness, boldness, ease, humour, directness, and cheekiness must remain intact.

A healthy society needs all kinds of arts. Just as a meal becomes nourishing and satisfying when it includes every flavour and variety, life too becomes richer when it holds all rasas and emotions. In today’s mechanical, technology-driven age, where division, hatred, violence and war are gaining ground, this becomes even more essential. The answer lies in bringing such traditional artists and their stories to the public. Films — and now reels and BTS content — have that power.

A film like Eetha will certainly give Lavani-Tamasha visibility beyond Maharashtra, but the real victory will come when this visibility moves beyond cinema and traditional artists are seen more often performing live, in their original flavour and form. This will benefit not just the artists, but us as well — and this will be the truest salute to Vithabai.

Through B Spot Productions, the author has revived Lavani for new audiences through productions such as Lavani Ke Rang, Love and Lavani and Rang Birangi Lavani, narrated in English and Hindi

The title of Laxman Utekar’s upcoming film Eetha, featuring Shraddha Kapoor in the role of legendary lavani and tamasha artiste Vithabai Narayangaonkar, became a talking point a couple of days ago. According to reports, Mohit Narayangaonkar, a member of Vithabai’s family, has objected to the title and demanded that the late artiste’s full name be included in it.

The film and cultural department of a Maharashtra-based political party also urged the makers to change the film’s title, adding that there was no problem with the film itself.

However, Vithabai’s eldest daughter, 75-year-old Mangala Bansode Karavadikar, also a well-known tamasha artiste and a President’s Award recipient, has clarified the family’s stance. “We have no objection to the film’s title. I have spoken with Mohit and have requested him to not give out any further statements on the same. The title is appropriate because in those days, people from the villages where my mother performed would often call her Eetha,” she shares, adding that she had also told Utekar about this when he consulted her during the making of the film.

“I have been performing on stage since I was seven years old and have heard people address my mother by that name,” she says, adding, “We are happy that through this film people will come to know about my mother and how dedicated she was to her craft.”

Vithabai Narayangaonkar was honoured with medals from the President of India in 1957 and 1990. She was also conferred the title of Tamasha Samradni by the Government of Maharashtra.

It began in 2024 and has continued well into 2026 — Kriti Sanon’s successful run at the movies shows no signs of slowing down. It started with Teri Baaton Mein Aisa Uljha Jiya, followed by the heist comedy Crew and a darker turn in Do Patti. 2025 brought the intense love story Tere Ishk Mein, and now, the breezy Cocktail 2.

When we point out that she seems content staying out of the rat race and away from social media rivalries, she says she is “actually very competitive”. She says, “When I see someone doing well, I feel like I also want to do well. Competition motivates me to do better. I feel like it also comes at a certain point in your career that you have a sense of security with yourself.” Things changed for the better, especially in 2021, she adds: “The validation that Mimi (2021) gave me, whether from the audience or through the National Award, made me feel like I had finally proved my talent and could now explore more... I am very critical of myself. So, I am always wanting to do better than what I have done before. It’s boring to be in a race with someone else and it just doesn’t give you peace.”

It’s a mix of both. I think any actor craves for that moment and day. Fortunately, this is a role that is very glamorous but also has its layers. I got lucky.

I knew that there would be comparisons, and thankfully, this was not a sequel but a franchise. It’s just the vibe of Cocktail (2012) that was being taken forward in Cocktail 2… and the fact that it was one boy and two girls. Apart from that, there was absolutely no similarity; the story and the conflicts are completely different. I feel like Ally, my character, was not Veronica (Deepika Padukone’s character in Cocktail), and that’s what excited me. If I were doing a remake, then I think the pressure would have been way more.

At the end of it, we all want to be loved, so I feel that’s a similarity. But I also feel even though she is really bindaas and free-spirited, in her heart, she really cares. The empathy part of it was interesting for me, and I connected with it.

There have been so many coming from everywhere. Whether it’s Sajid (Nadiadwala, producer) sir or Sabbir (Khan, director) sir, who have seen me in my debut film Heropanti (2014), and now after this journey of about 12 years, playing a role like this; both sent me long, lovely messages. That was very emotional because when I did Heropanti, I was a baby who knew nothing and just learned everything on the job. The only thing that hasn’t changed is that I used to ask a lot of questions back then. And I am curious even now.

That also happens where sometimes it’s like, ‘Oh now I don’t want to spoil it, it’s a good run going on,’ But when you try different things like when I did Mimi (2021), a lot of people told me ‘Why do you want to play a mother right now’ or ‘Surrogacy is such a serious topic’ or ‘It’s too soon to take something on your shoulders’. The fact that I didn’t listen to it and went with my gut feeling gave me what it did (her first National film award).. So, that made me feel that okay, ‘I need to feel it from inside’. I need to really feel hungry towards doing a certain film. I need to feel challenged by the character and not repeat myself. When Tere Ishq Mein (2025) happened, it was such an intense film; it was emotionally and physically draining. As an actor, by the end of that film, I couldn’t do another intense project immediately. Fortunately, I had Cocktail 2 that came to me, and I was like, ‘This is a breath of fresh air and I would love to do this next.’

Yes. Aapko agar ek hi tarah ka khaana baar-baar denge toh aap bhi bore ho jaoge na? So, as an audience also, you want different kinds of cuisines and different genres of films. I think what we started thinking is ‘Oh, action is working. So, let’s make action films.’ But at the end of it, people want something that is engaging and different for them to not wait for the film to stream on OTT. People should have FOMO, ‘we have to go to a theatre and see it’. That experience needs to happen. Earlier, when OTT was not there, it took six months for a film to come on TV. So, there was a little more urgency to watch it. Now, mediocrity is not going to work.

I am excited to find a script. Genuinely, I have not signed anything, and I am not in a hurry. Right now, quality over quantity for me, for sure.

Spider-Man: Brand New Day is coming. I’m excited about that. Dune: Part Three, too. Then there’s Eetha. Laxman Utekar sir is directing, the teaser is fab. It’s Laxman sir in his full element and avatar with Shraddha (Kapoor, actor). It looks very powerful.

That will happen when it happens. I am not in a hurry. I think everything has its own time.

Mumbai Police’s Anti-Narcotics Cell (ANC) is set to file a chargesheet next week against Mohammad Salim Mohammad Suhail Shaikh alias Lavish, a close aide of fugitive drug kingpin Salim Dola, in connection with a 2022 drug manufacturing and distribution case.

Shaikh, who was deported from the UAE, is alleged to be a key operative in an international narcotics network linked to the Dawood Ibrahim gang. According to police sources, the chargesheet will detail the trafficking syndicate, including manufacturing units, supply chains and financial routes.

The names of celebrities Nora Fatehi, Shraddha Kapoor and her brother Siddhanth Kapoor, as well as social media influencer Orhan Awatramani alias Orry, had surfaced during the investigation. The chargesheet is expected to reference Siddhanth Kapoor and Orry, both of whom were questioned by the ANC last year.

According to Lavish, film producer duo Abbas-Mustan, rapper Loka and NCP leader Zeeshan Siddique were among prominent personalities who attended his parties in Mumbai, Goa and Dubai.

“At this stage, there is no substantive evidence to establish their (celebrities’) involvement. Statements made by an accused require independent corroboration,” a senior officer said.

“I have never been involved in such activities. I was, in fact, surprised to see my name on television. I did not pay much attention to it because I have never attended such parties, nor is it part of my lifestyle. Therefore, it is essential that any allegations are verified before being made,” Siddique, a former legislator, told Mumbai Mirror on Friday.

The case traces its origins to an August 2022 operation by the ANC, in which a Mumbai-based man was arrested with mephedrone, leading to the unravelling of a larger drug distribution network. Further investigation pointed to handlers operating from Dubai, with hawala channels allegedly used to transfer proceeds.

A major breakthrough came in March 2024, when a mephedrone manufacturing unit in Sangli district was busted, resulting in the seizure of drugs and assets worth over Rs 250 crore. Investigators believe the facility was linked to a network allegedly controlled by Dola and his associates.

Subsequent raids in Mira Road led to the recovery of 3 kg of MD and Rs 3.68 lakh in cash. Further investigations revealed that 30 kg of MD had already been distributed to operatives in Surat.

Among those arrested was Parveen Bano Ghulam Sheikh, who was allegedly found in possession of 641 grams of MD, Rs 12.2 lakh in cash, gold jewellery and a mobile phone.

During interrogation, she is said to have confessed to acting under instructions from Dubai-based accused Dola and Salim Sheikh, along with their Indian associate Sajid Mohammad Asif Sheikh alias Dabs.

The probe also revealed that the syndicate allegedly sourced raw materials from industrial hubs in Gujarat, manufactured drugs in interior Maharashtra, and transported consignments using luxury vehicles to evade suspicion. The network is believed to have supplied narcotics across Mumbai and nearby regions, with funds routed abroad through illegal channels.

Officials said the chargesheet will primarily focus on establishing the role of Shaikh and other accused in the narcotics network, including their alleged links to international handlers and organised crime syndicates.

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When making a biopic on Tamasha artiste Vithabai Bhau Mang Narayangaonkar, it’s only fitting that you wrap the film with a song. That’s exactly what actor Shraddha Kapoor and director Laxman Utekar did. On May 5, Eetha — the biopic that plays out between 1940 and 1990 — reached its finish line with a massive montage song, featuring Kapoor and a crowd of 800 people, shot in Bhor, Maharashtra.

“The final song has a montage that chronicles the journey of Shraddha’s character from a young woman to her brush with fame and finally how she falls on hard times. Like the remaining numbers, this too has been choreographed by Vaibhavi Merchant,” said a source.

With that, it was the end of the 60-day schedule that began in March. Over the subsequent weeks, they shot in Madh Island in Mumbai, Solapur, Aundhewadi, Satara, and Nashik.

As his directorial Aashiqui 2 clocked in 13 years on (April 26), Mohit Suri revisited the journey of the film that lives in the heart of the audiences.

Getting emotional about this milestone, Mohit told Mumbai Mirror, “I think the reason this film has resonated for so many years is because all of us who worked on this film — Aditya Roy Kapur, Shraddha Kapoor, the music directors and me — we all were at that stage of our careers where we were not chasing success but we had something to say emotionally. We had seen failure. Mithoon (singer-composer) and I had success with Murder 2, but Aditya and Shraddha wanted to prove themselves as they had not seen success despite being part of big films. Ankit Tiwari, who was new, sang the song Sun Raha Hai Na Tu. Jeet Ganguly (singer) was trying to do something outside his comfort zone.”

Reflecting on the phase they were all in at that time, Mohit said, “All of us went out with the intention of doing something we had never done. The pressure of the success of Aashiqui 1 was upon us, but we all went out to make a good film. Success was the cherry on the cake. I believe that when you say something with your heart, the world listens.”

He further added, “Every year no matter what happens and where she is, Shraddha always messages me on this day. We might miss our birthdays by a day or two, but we never miss this day and we thank each other for where we are today.”

Even as ‘Stree 3’ is currently being written, word is that Shraddha Kapoor has been approached by director Amar Kaushik and production house Maddock Films to headline another of their movies, ‘Mahavatar’. We’ve heard that the actor is the top choice to play the female lead opposite Vicky Kaushal, who portrays Parashurama in the mythological epic.

Discussions with Kapoor are said to be underway. If things work out, Kaushik will take the project — easily one of the most ambitious rolled by the banner — on floors after June.

A source told mid-day, “Shraddha fits the brief perfectly. The team was keen on someone who brings star value and presence. Plus, the Vicky-Shraddha pairing will be fresh, and the makers are confident this combination will resonate with the audience.”

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

Weeks of rest later, work has come calling Shraddha Kapoor again. The actor, who is bringing Tamasha artiste Vithabai Bhau Mang Narayangaonkar’s story to the screen with Eetha, resumed filming for the biopic on January 4. Before this, director Laxman Utekar had called for a five-week break since the leading lady suffered a toe fracture in November 2025 (Intermission just as the show starts, Nov 22).

Sources told mid-day that the unit has now been shooting at Marve Beach near Malad, where the production design team has created a set of a village.

“Among the few sets that were built on the site in November, one reflected the interior of a house, and another, a bustling village. Laxman kept the sets standing until Shraddha healed. Now, they have resumed the shoot of a dance number that sees Shraddha’s character performing on a stage in the middle of a mela. Over 800 background artistes, who will be seen as people milling about at the mela, report to the set every day. Vaibhavi Merchant is choreographing the fast-paced number,” revealed a source.

Playing out between 1940 and 1990, Eetha will spotlight the Pandharpur-born artiste’s unusual rise in the world of Tamasha, her brush with fame, and her eventual financial distress. Currently, they are filming the portions that trace Narayangaonkar in her 40s — a part for which Kapoor has apparently put on weight.

We’ve heard that after this leg is wrapped in February, the actor will have a 10-day break. The source added, “Shraddha will use the time to shed weight. Soon after, she will shoot the portions that chronicle the protagonist in her 20s and early 30s. Originally the project was to be wrapped by February, but due to the fracture and the subsequent delay, the director is aiming to reach the finish line by April.”

As per original plans, pre-production of ‘Luka Chuppi 2’ was to begin in early 2026. But the buzz in the industry is that the Varun Dhawan and Sharvari-starrer has now been pushed by nearly six to eight months. Reason? From what we’re told, it’s director Laxman Utekar’s packed slate.

Utekar, who had helmed Kartik Aaryan and Kriti Sanon-led ‘Luka Chuppi’ in 2019, is currently neck-deep in the shoot of ‘Eetha’, his biopic on Tamasha artiste Vithabai Bhau Mang Narayangaonkar.

A source told mid-day, “Laxman is completely tied up with the Shraddha Kapoor film right now. ‘Eetha’ is demanding his full attention, and he doesn’t want ‘Luka Chuppi 2’ to feel rushed or compromised. After he wraps up ‘Eetha’ by mid-2026, he will train his focus on the rom-com’s sequel.”

The lead actors too have a busy date diary. While Dhawan is expected to begin work on ‘Bhediya 2’, Sharvari is currently filming for Sooraj Barjatya’s ‘Yeh Prem Mol Liya’. The source added, “A final call on the story and timeline will be taken in late 2026.”

November was meant to be showtime for Shraddha Kapoor, who began filming for Eetha, a biopic on legendary Tamasha artiste Vithabai Bhau Mang Narayangaonkar, in Aundhewadi near Nashik (Behind the curtain, before the Tamasha, Nov 6). But last week, director Laxman Utekar had to hit pause on his film after Kapoor fractured a toe on her left foot. 

The injury happened while she was performing the Lavani, a folk dance form that Narayangaonkar was known for.

A source shares, “Lavani music characteristically has fast-paced beats and a quick tempo. In this number composed by Ajay-Atul, Shraddha — sporting a vibrant Nauvari saree, heavy jewellery, and a kamarpatta — had to perform a series of steps in succession, to the beats of the dholki. To look the part of a young Vithabai, the actor has put on over 15 kilos. In one step, she mistakenly put all her weight on her left foot, and lost her balance as a result.”

While Utekar immediately called off the Nashik schedule, we’ve heard that Kapoor was keen to not let the days go to waste. She suggested that they rework the schedule to shoot close-up scenes.

The source adds, “After returning to Mumbai, they began to film on a set at Madh Island, where Shraddha shot some emotional sequences. However, after a couple of days, her pain aggravated and they had to discontinue the shoot. The unit will regroup two weeks later when she has completely recovered.”

November has brought a new person and a new story into Shraddha Kapoor’s life. On November 1, the actor kicked off the shoot of Eetha, a biopic of legendary Tamasha artiste Vithabai Bhau Mang Narayangaonkar, near Nashik. But becoming Narayangaonkar — the famed singer and dancer, who had an illustrious career spanning over three decades — is no cakewalk. Word is that before heading to the set of Laxman Utekar’s directorial venture, Kapoor trained in the dance forms of Lavani and Gavlan for three months.

Sources tell us that Kapoor’s Maharashtrian roots made her Utekar’s top choice for the role. “With her mother Shivangi Kolhapure being Maharashtrian, Shraddha is deeply steeped in the culture. Another advantage was her dancing skill since it formed a big part of Vithabai’s life story. Shraddha picked up Lavani and Gavlan, the two folk dance forms that originated in Maharashtra. They are widely used in Tamasha, which traditionally combines storytelling with singing, dancing, and satire,” says a source. 

Through Eetha, spanning the 1950s to 1980s, Utekar wants to introduce the audience to Narayangaonkar’s life story — how the Pandharpur-born artiste joined her family troupe at a young age and was driven to regain her family’s lost glory when her father fell on hard times. Soon, she tasted success with her performances. Even though she achieved fame and was honoured with the President’s Award in 1957 and 1990, she was reportedly in financial distress in the last years of her life.

Earlier this week, the unit began shooting in Aundhewadi, a village 50 kilometres away from Nashik. Sequences depicting Kapoor as Narayangaonkar in her prime are being captured in the first leg.

The source elaborates, “Shraddha is seen wearing a saree in kashta style, in the dance sequence that is currently being shot. Stylist Sheetal Iqbal Sharma did extensive research for the period film, including understanding the kind of sarees Vithabai favoured. After the week-long shoot, the team will film in Solapur, Satara, Nashik, and Kolhapur throughout November and December. Art directors Amit Ray and Subrata Chakraborty have zeroed in on all real locations. Barring a 10-day break in December-end, the director wants to shoot continuously till March.”

Randeep Hooda and Mohd Zeeshan Ayyub will be seen in crucial roles. Atul-Ajay have composed for the musical.

In May, rumours were rife that Shraddha Kapoor had exited director Rahi Anil Barve’s Pahadpangira, which was to be produced by Ektaa R Kapoor. Five months on, there appears to be an update on the project. mid-day has learnt that Shraddha is a part of the film, which reportedly explores themes of feminism against the backdrop of the Sati practice. The actor is likely to not only headline the movie, but also be involved in a creative capacity.

Barve apparently plans to begin Pahadpangira’s shoot after completing work on his Netflix series Rakt Bramhand.

A source reveals, “Shraddha, who will begin shooting Laxman Utekar’s next in November, will finalize her commitment to this project after her schedule for 2026 is drawn up. If things go as planned, the film could start by mid-2026. Pahadpangira is a dark fantasy rooted in myth and folklore. She is taken by the story’s originality and believes it can be expanded into a franchise. Besides fronting it, she may serve as a creative producer on it.”

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

“Content doesn’t always have to be strategic. It should come from the heart. It should be who you truly are,” said Shraddha Kapoor while making a compelling case for the need for authenticity on social media.

During an interaction with Adam Mosseri, the head of Instagram, at the WAVES 2025 session titled ‘Enabling Creative Expression: How Gen Z Consumes Content’, the actress urged content creators to lead with heart in a world driven by algorithms.

The Stree actress, known for her genuine and engaging online persona, kicked off the conversation by emphasizing the profound impact of smartphones on content creation. Highlighting how these devices have levelled the playing field, allowing anyone to become a creator and producer, Shraddha said, “Content creation is a new word that has been introduced probably in the last decade. But content creation, is pretty much storytelling, right? And what better country than India to tell a story? We’re so rich in storytelling (traditions) – we’ve grown up with them in our households. We’re all in an incredible place. You see a chaiwala creating content, people creating content in their bedrooms... they don’t need those large setups. It’s an incredible time for content creators in India right now – and I believe it’s only going to get better from here.”

​Shraddha also emphasized the value of genuine, heartfelt content, saying, “Authenticity isn’t just important – it’s the only way. We can all tell when someone isn’t being real. They say the camera doesn’t lie, and it’s true – people connect more deeply when you show all facets of who you are. It should come from the heart. It should be who you truly are.”

Bringing her trademark candour, Shraddha admitted to being a “meme addict”. She said, “I consider myself a meme addict – I’m constantly sending them to my friends and family; we share memes on WhatsApp too. It’s remarkable how quickly trends form and evolve, with each generation finding its own unique voice.” This dynamic and ever-changing landscape presents both opportunities and challenges for content creators, the actress noted.

Filmmaker Mohit Suri has put an end to speculations about working with actor Shraddha Kapoor again, confirming that there are no plans for a reunion. Mohit, who previously directed Shraddha in Aashiqui 2 (2013), Ek Villain (2014) and Half Girlfriend (2017), revealed that he hasn’t “even spoken to Shraddha in months”.

“There is no collaboration. Not with me, for sure,” says the 43-year-old director, addressing the buzz around a possible Aashiqui cast reunion.

Currently immersed in the post-production of his upcoming project, Mohit also clarifies that while Shraddha is reportedly working on a new project under producer Ektaa R Kapoor’s banner, he is not involved in it: “I’m not directing it,” Mohit concludes.

Actor Rasha Thadani, who made her debut last month with Azaad, has grown up seeing the stardom her mum, actor Raveena Tandon, enjoyed sans social media. However, a part of the social media generation, the 19-year-old notes that the rules of the game have completely changed now.

Ask Rasha if the value of stardom has reduced with stars becoming more accessible today and she says, “Social media accessibility has its pros and cons. While the negative fallout is that recognition may be temporary as everyone is easily accessible, the brighter side is that you can interact with the audience more. They can get to know and maybe like you as a person, rather than just liking you for your on-screen persona. So, I think it works both ways.”

Having said that, the debutante notes that being elusive does enhance a star’s appeal: “Look at (actors) Prabhas sir or Allu Arjun sir... when they walk in, there’s fan frenzy. That’s because even if they are on social media, they are not active on it. If they post something, the internet breaks because of the rarity of it.”

Isn’t it true that due to the pressure of being popular on social media, celebrities sometimes project a different personality online? Rasha agrees to that, but says, “If you are trying to be fake, people get to know it. The audience is smart.”

She gives an example to make her point. “Why is (actor) Shraddha Kapoor ma’am loved so much on social media? It’s because she is a genuine, humble, kind and pure person, and that reflects. She shares more of who she is, and that works so well for her. It makes even me appreciate her more,” she ends.

Filmmaker Raaj Shaandilyaa shot Vicky Aur Vidya Ka Woh Wala Video with Rajkummar Rao and Triptii Dimri in January, and come October, he is set to release it on the big screen. But the journey on the comedy began seven years ago when the director-writer wrote a script about a couple’s private video going viral.

“While doing Dream Girl [2019], I started thinking about my next. Since Rajkummar was busy, I thought about finishing Dream Girl 2 first. In the meantime, I kept updating the script, and finally, we were ready to roll with it,” shares Shaandilyaa, who had gotten his leading man’s approval even before he fleshed out the material.

To the filmmaker, the idea of people’s personal lives going public spelled both comedy and tragedy. He says, “The idea was that a huge population of our country is coy, yet children are born every second. We are living in a world where any video can go viral within seconds. So, we decided to make a film for the middle class that has a message with a lot of humour and romance. I also wanted to explore the plight of the people at whose expense we laugh. [At the same time], we wanted to explore how people from small towns facing this dilemma would feel.”

Shaandilyaa wanted a fresh face opposite Rao. “We considered Nushrratt [Bharuccha], Janhvi [Kapoor], and Bhumi [Pednekar], but Raj had worked with all of them. We had also thought of Shraddha [Kapoor] but Raj was doing Stree 2 with her. Then we thought of trying Tripti. I had watched her previous work and knew she was a good actor.”

While Dimri was locked for the role, the director wrote another, keeping Mallika Sherawat in mind. “Mallika was surprised that I had thought of her. She loved the narration and said that she was waiting for someone to offer her a [strong and fun] character like that,” he adds.

Comedy is a tough genre not only because it’s difficult to make people laugh but also because filmmakers run the risk of upsetting people. The director, however, is clear that there is a difference between “mazak karna aur udana [to joke and make fun of]”.

“When I am writing, I am conscious that it should be something that the majority enjoys and no one should get hurt.” Having said that, he is also aware that in his line of work, he cannot please everyone.

Braving the downpour, Stree 2 stars Rajkummar Rao and Shraddha Kapoor recently brightened up HT’s New Delhi office with their infectious energy. At HT City’s Stars in the City event, the duo had a lively chat with Sonal Kalra, Chief Managing Editor (Entertainment and Lifestyle), Hindustan Times. During the conversation, Rao candidly shared a boundary in his acting career: “It would be very hard for me to slap a girl in a scene. I wouldn’t be able to do it.”

When asked if he would have taken on a role like Kabir Singh, Rao responded thoughtfully, “Maybe, but I would have had a lot of discussions with my director about that scene. Unless it’s something integral, like breathing for the character, I would get into a big debate with my director.”

The 2019 film, directed by Sandeep Reddy Vanga, was a box-office success, but it also drew significant controversy. Actor Shahid Kapoor’s portrayal of the titular character, criticized for his violent and toxic behaviour towards his love interest, Preeti, sparked much debate. Rao made it clear that the infamous slap scene was a line he wouldn’t cross.

Shraddha Kapoor was all smiles as she engaged with the winners of the HT City’s Stars in the City contest, answering everything from her upcoming projects, music to the big question — marriage. 

Initially sidestepping the topic, she shared, “I am so lucky to receive so much love everywhere — it’s a huge blessing. I don’t know where it comes from, but it’s very humbling. There’s a special connection I have with my fans. Little girls hug me, calling me their ‘big sister,’ and even elderly people tell me I exude positive energy. I just want to say thank you!”

But Kapoor didn’t leave it at that. Addressing the marriage question directly, she added, “As far as marriage goes, I absolutely believe in fairytale love — that’s what I imagine. Whenever that happens for me, I would love to take it to the next level and get married.”

Kapoor, who has always been mum about her personal life, has recently been in the news for a breakup with scriptwriter Rahul Mody, who wrote the 2023 rom-com Tu Jhoothi Main Makkaar, starring her. Fans speculated that the actor not only unfollowed Mody, but also stopped following his sister, the production house and his dog on social media.

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With the unexpected success of Munjya, actor Abhay Verma finds himself in a new phase of his career, admitting, “I only sleep 3-4 hours a day now, but I feel rejuvenated. I never expected to be checking box office numbers on Saturdays!”

The 25-year-old had long wanted to work with Munjya’s producer Dinesh Vijan since seeing his earlier production, Cocktail (2012). He missed an opportunity to work in Angrezi Medium (2020), a regret he still holds.

“I regret not taking that role as it was Irrfan (Khan, actor) sir’s last film. Just standing next to him would have been my biggest award,” shares Verma. The actor passed on the role because he had received an offer for a leading role in another film, which eventually fell through.

Verma’s mention of replacing actors Alia Bhatt and Shraddha Kapoor in Munjya grabbed headlines, and at the film’s success celebration, he met Kapoor, who thanked him for mentioning her in interviews. “She said, ‘Thanks for mentioning me. I wanted to be associated with this project, and when you mentioned my name, it felt good’,” Verma recalls.