The Royals was greenlit for a second season, soon after the first dropped. But now mid-day has learnt that the leading lady, Bhumi Satish Pednekkar has left the show. The Netflix drama, which marked Zeenat Aman’s OTT debut, is expected to take a different turn from where the first season ended.

A source close to the production says, “When you do a romance, it is the story that leads. When the show came out, what resonated [with the audience] was the family — Ishaan [Khatter], Sakshi [Tanwar], Zeenat, and the world of The Royals — which feels different. We left season one at an unresolved romance. There was no decision to carry it forward. There was no fight with Bhumi. The makers are simply letting the story lead forward organically in the second season.”

Pednekkar has moved on from the series and is now prioritising darker, layered material. Sources say the actor is in talks for a courtroom drama backed by the makers of Haq (2025).

“Bhumi is also set to feature opposite Imran Khan in what insiders describe as his long-awaited comeback film for Netflix. The project, currently under wraps, has been in development for some time. She is also expected to begin working on Daldal 2, a project that aligns more closely with the intense space she has increasingly gravitated towards in recent years,” adds the source.

Pednekkar, who faced criticism after the first instalment, admitted in her Sit With Hitlist interview on mid-day that the backlash deeply affected her. “The noise became so loud that I couldn’t hear my own creative voice anymore. When you are told every day that you ‘don’t look like yourself,’ it starts to seep in. I felt numb.”

Sources close to the production maintain that the season two is being designed as a natural continuation of the world established in the first season, even if the central love story no longer remains the priority.

From his unforgettable comic timing as Aakhri Pasta in Housefull to early hits like Tezaab, Apna Sapna Money Money and Aankhen, Chunky Panday has carved a niche in Hindi cinema with a career that has seen many turns. In Manali shooting for his upcoming film Rahu Ketu sometime back, Chunky, in an exclusive conversation with us, talked about his new project, a long-lost film that never released, his experience working on The Royals, and watching the women in his life, wife Bhavana and daughter Ananya steal the spotlight in their own ways.

Chunky spent considerable time shooting in Manali in the early monsoon for his new film Rahu Ketu. Telling us about his time spent there, the actor said that this was his second film shoot in Manali, the first one never being released.

“I came back to Manali after ages to shoot. I had done a film here 35 years ago, and I was so excited to come back here for this film. That film, based on a novel by Shashi Tharoor called Bollywood: Show Business, never released,” recalled the 62 year-old actor.

The actor also shared his experience of shooting Rahu Ketu in Manali. “Manali is beautiful, I’d love to come here in winters when it snows. The weather was perfect then in June-July. It was crowded at that time, but very beautiful. It is sad to see how badly it is affected due to floods. I hope and pray that people there are safe. They were so good to us when we were there.”

Lately, Chunky has been happily soaking in the success of the women in his life. Speaking of his wife Bhavana, who found fame after her stint in Fabulous Lives Of Bollywood Wives, he shared, “I was with Bhavana in Paris after the show released. A group foreigners stopped and wanted a photo with her. They were so excited to see her and actually handed me the camera to take a picture of them with her. I was so happy seeing that fandom for her and thought to myself that ‘this is like the ultimate moment’.”

“First I was Chunky Panday, then I became Ananya’s dad and now I’m known as Bhavana’s husband. So I’m loving it. I think I’m enjoying Ananya’s success and whatever success Bhavana is getting now more than I’ve enjoyed my own success. When I was successful, I was too busy working to enjoy it. But this is something I really enjoy. I love being known as Ananya’s father or Bhavana’s husband, it makes me so proud of these women in my life, who have an identity of their own,” said the Don actor.

Speaking of a cherished moment that came from a tribute and not a trophy, the actor shared one of the most emotional moments during an awards function in Mumbai. “The whole theme was fan moments where actors paid tribute to someone they had always admired. Ananya came on stage, did a little number and said she wanted to pay tribute to someone who always made her laugh. I whispered to Bhavana that she’s probably going to call out SRK’s name. But she started the segment with a Neelam song, and I thought maybe it’s for Neelam. But then, she broke into my songs one after the other. I was just stunned with the realization that my daughter was paying a tribute to me,” said the actor.

Seen in the web show The Royals, Chunky again portrayed a flirtatious comic character, one which he has often portrayed on screen. When asked if he views being typecast as limiting he said, “On the contrary, I love to be stereotyped! I’m flattered, in fact. Yes, there definitely is a comfort in playing roles that one can master well. However, I felt so nice doing The Royals. I felt like a star doing it..”

He went on to add, “When I did the character Aakhri Pasta in Housefull, everyone just wanted me to do similar roles. Similarly, when I had done a Nepali character, many people wanted to cast me as a Nepali in their film. It’s very flattering when that one thing clicks. But, I always try to break the image and give a little different taste to the audience. And that’s why in Rahu Ketu, I’m playing a villain.”

Ask if he would change anything about his career trajectory if given a chance, the Tezaab actor shared, “If I went and changed the course of my career, maybe the chances were I would not meet Bhavana, and the chances are that Ananya and Rysa wouldn’t be born. So, I would not want to change anything in my life,” he said.

“I was a very last-moment addition to The Royals. They called me up and asked me two things: ‘are these dates available? And do you know horse-riding?’ And I lied about both,” he chuckled. “I was a horse rider in my first film. But it had been almost 40 years since I got onto a horse. And here I had to play polo with Ishaan Khatter, who had been practicing it for two months. I was surprised that the role fell into my lap. I hope they consider me for a second season as well. My character is a very integral part of the story,” he added.

Chunky Panday has had two releases in the last two months with The Royals and Detective Sherdil. In the former, he got to explore a romantic track with actor Sakshi Tanwar. The actor admits that while love stories of the senior generation are rarely made on screen, he feels glad to be a part of one.

Talking about developing chemistry with Sakshi, he says, “I was a little awkward doing romantic scenes, not that there were any love making or hot scenes. I am a fan of Sakshi and her work, and when I got this chance, I jumped at it. But there was a bit of awkwardness because romance is not my cup of tea.”

The 62-year-old adds, “I struggled a bit, but the director, DOP and even the producer were women, so there was a lot of female energy on set and they kind of got that romance out of me. But I admit I’m not good at it.”

The actor reveals that while the audience found his romance sweet, his wife, reality TV star Bhavana Pandey had an unexpected reaction: “People told me I looked sweet, but my wife was laughing when she saw me. She couldn’t imagine me being romantic. She is always critical of my work.”

Chunky got a chance to perform live on stage with daughter (actor) Ananya Panday at a recent award show as she paid a tribute to him. And it was a surprise for him. “She started talking about someone who made her laugh since she was a child. So, I thought she was talking maybe (actor) Shah Rukh Khan. Then she burst into a (actor) Neelam song from one of my films, so I thought maybe she’s doing a tribute to Neelam. Then suddenly it turned into all my songs, and I got so excited. For me that was like a lifetime achievement award,” Chunky ends.

He was once the heartthrob of an entire generation, fondly dubbed Bollywood’s chocolate boy. Now, Dino Morea is back on screen as Salad — yes, Salad — in a vibrant web series that blends style, sass, and serious acting chops. But don’t be fooled by the quirky name. Short for Salahuddin, Salad may be a side dish for now, but he’s setting the stage to become a principal character in season two.

In this free-flowing chat, the actor opens up about making a strong impact in a limited role, his passion for fitness, why appearance still matters in showbiz, and how he’s maintained that famously enviable physique — all while keeping things light, fun and absolutely real. Here’s Dino, unfiltered.

(Laughs) That’s a great question. Honestly, I would’ve loved to be dessert! But yes, the name — Salad — is actually short for Salahuddin. So they just went with ‘Salad’. And I guess, appetiser, setting things up for the next season.

Thank you for saying that. I did the show because I found the character really interesting, especially how he has been written for season two. In season one, he appears in maybe three episodes. But I loved the flamboyance, the quirkiness and the madness. It was short, but I wanted to make an impact — and I think I did. And yes, I believe the character has great scope if developed well in the next season.

Firstly, thank you. That’s kind. I’ve always taken care of myself, even as a child playing lots of sport. As I got older, I realised how important health really is. We’re in a visual medium — acting isn’t just about performance, appearance matters too. I make sure I look after myself. Fitness, fun, laughter — that’s my mantra.

The most important thing is to start. Even if that’s just walking. Then, gradually move to light jogging, resistance training and weights. As we age, our muscle mass reduces, testosterone levels drop, joints weaken, so resistance work is vital. Therabands, push-ups, pull-ups, squats, all help. No gym? No problem. Do it at home. Just begin.

I stick to home-cooked food mostly. Fresh vegetables, good oil, fruits. Avoid processed food. Sugar? I call it poison, avoid it. Alcohol and aerated drinks too. I do binge sometimes on pani puri, sev puri, gulab jamun, all of it! But in moderation. And I balance it with exercise. You can indulge, but you have to pay for it, with effort.

There are no shortcuts to good health. No growth hormone, no instant fixes. It’s a process. Your journey is yours alone. Social media isn’t real. You’re not racing against anyone else, it’s just you versus you. Exercise, eat well, and watch your body change naturally. It’ll make you happy. Don’t do it for validation, do it for yourself.

“I have off days! I sometimes skip workouts. I sometimes binge. But I make up for it. Life is about balance. Soul food is important too. Eat what makes you smile, then get back to routine. And once you start, once the dopamine hits, you won’t feel like stopping. It’s addictive in the best way,” says Morea.

Actor Bhumi Pednekar’s latest outing — web show The Royals — has seen a mixed response, while she has received some criticism for her appearance. But she does not feel bogged down by it.

“When women do parts where they have to look glamorous and good, that work is not taken seriously,” the 35-year-old opines, adding, “There’s a standard feeling: ‘Yeh toh heroine hai, isko bas achcha dikhna hai’. But uske bhi aage cheezein hoti hain!’”

The actor’s goal is to break this preconceived notion with her body of work: “(I do) parts where you’re not just purely objectified but have an opportunity to dig deep and explore various layers.”

The show, alongside her film Thank You For Coming (2023), was a stark departure from her previous roles rooted in rural stories. Sharing that she did feel pigeonholed, Bhumi shares, “Even though I’ve done romcoms, they were like more in the B and C centre character space. But I’ve evolved as an actor and as a person. It’s not like I was seeking these parts; they’ve come to me organically.”

With the web show, Bhumi believes she has balanced the blend of vanity and performance. “You need a certain level of performance for romance, which I delivered in the show... If my character doesn’t have agency, I won’t do the part. And I can proudly say that my character had that,” she concludes.

She is someone who cannot justify her existence by doing only one thing; that is why she dabbles in several forms of art, confesses actor-comedian-writer Sumukhi Suresh, when we get on a call with her as she preps for her stand-up in Dubai. The actor, who was recently seen in Netflix’s The Royals, plays assistant to Bhumi Pednekar’s character. The role, originally written for a male actor, was transformed by Suresh, who made it her own by adding her unique flavour. In conversation with mid-day, Suresh talks about the reaction to the show, how it helped pull more audiences for her stand-up special Hoemonal, and why she didn’t have the heart to ogle at Ishaan Khatter’s shirtless avatar. Excerpts from the interview.

The first time the role came to me, it was a male part and the character was called Keertan. I was excited to play the part. It was cool if a boy’s role was becoming a girl’s — I didn’t mind that. It was a smaller role, but since they brought me on board, they gave me the liberty to improvise a lot, and it ended up being a longer schedule. It became quite fun eventually, and I had a blast doing it. Imagine how good the writers are, to allow an actor — to trust them — to improvise for a fiction show. That is quite a feat.

The show is getting a lot of eyeballs. In fact, I was in the immigration line to go to Dubai for my show Hoemonal, and someone asked me if I was Keertana from The Royals. I said yes, and told her to come to my show. I see it this way: if it gets more people to my shows, then that’s amazing for me.

You may have seen the final product, but we all saw Ishaan work hard to do what he did. We all felt, “Haaye bechara, kitna kaam kar raha hai.” But I did ogle at Milind Soman and Dino Morea. I also got to dance with Dino. I’m going to carry that memory with me to the next three shows. I’ll do a bit on it. After Dubai, I’m performing in Ahmedabad, and my last Hoemonal show is in Mumbai.

I love acting. I did Pushpavalli because I wanted to act, so I thought I’d write it. I would have acted in Pushpavalli even if someone else had written it. Naveen Richard and Sumaira Shaikh were also the writers, so it was perfect. If other people are casting me — that’s the dream — then I can just act and enjoy myself.

Acting really frees my spirit. I enjoy being in front of the camera; there’s a certain amount of freedom to it. It’s exciting to play someone else. Writing, for me, is more of a discipline — it’s something I’m learning, and hopefully I get better at it. Writing is the legacy I want to leave behind. Stage is what fuels me — it’s where we fail more than we succeed. We bomb a lot and get a lot of silences, and that really humbles you.

Yes, of course. The audience doesn’t care how popular you are. If you’re not good enough, they won’t laugh. When it bombs, it’s really beautiful. It reminds you why you’re doing this in the first place.

The learning itself is a different journey. But just the opportunity, payment terms, and contracts — they’re not the most beneficial for us. The money might be good, but the cash flow is tough. If you want to become a writer, you have to do other things that can pay your bills. I’m fortunate to do stand-up, or act, or post my work on Instagram, which helps me write without the pressure of making money from it.

I feel that every day. As I’m talking to you, I’m having a full-on crisis in my head, wondering if I’m a good actor. It’s both a good and a bad thing. The anxiety of over-performing stays in my head. I like to do something new on a daily basis.

2024: CTRL (Writer) 

2022: Dongri Danger (Director)

2022: Hum Do Teen Chaar (Actor)

2021: Comedy Premier League (Writer and performer)

2020: Pushpavalli (Creator, actor, writer)

2018: Comicstaan (Host and Judge)

Everywhere you go this week, the one man people are discussing is Ishaan Khatter. Some are talking about his washboard abs and the many shirtless sequences in The Royals, others about how droolworthy he is as a romantic hero. Amid all the love pouring in, the actor’s takeaway is simple — “Trust your instincts”. He tells us that he went into the Netflix series, knowing that it would be entertaining. “When reading the script, I went from one episode to the next quickly. Also, it let me explore different facets of myself as a performer — whether it’s the romance, the comedy, or the drama that I tried to bring more of. It gave me all these opportunities in one role, which is rare,” he assesses.

While his chiselled abs became a talking point, Khatter says the emotionality of Aviraaj’s character was beautiful to him. “When people say that, oh, it's one page, it's one minute of screen time. But what if that one line is Rome Burns, that's literally the biggest sequence of your film. The scene where he is going through his father’s stuff, it was not much to look at on the page. But when we shot it, I think we brought that out. My director allowed me to take the lead. There is a deep wound to his relationship with his father because there're so many answers that he never got. And he's still battling it and the inner child in him is still dealing with that. And for me, it was quite simple. Why does he escape? Why he is an escapist is because he's actually deeply emotionally connected and sensitive about his father. And that's why he ran away. And when he ran away, he actually didn't get to be with him in his last moment. So, he has no closure. And the guilt stayed with him. Through the series, you see him get that closure but then also get the shock of his life, obviously. It was essential for you to understand this guy and not just think he's an asshole.”

Director Priyanka Ghose’s rom-com, also starring Zeenat Aman and Bhumi Pednekar, has become widely popular. What does success like this do to Khatter? “It fuels me,” he says, elaborating, “Whatever I do going forward, I don’t want to pressure myself. Let it be the driving force, but not enough to change the way I make decisions. Also, I have to enjoy this moment. I worked my butt off to get here.”

As he revels in this moment, another professional milestone is around the corner. Over the weekend, the actor will head to the Cannes Film Festival for Homebound’s première. Neeraj Ghaywan’s directorial venture, also starring Vishal Jethwa and Janhvi Kapoor, has Martin Scorsese as its executive producer. 

“Homebound has already given us so much. Bear in mind it's not released. Nobody has seen the film. We've just had the process so far. But even when I finished the film, I felt my heart was full. Neeraj is a very special director. His set is a beautiful place to be. It reminds you of why you want to do this in the first place. Because there are some people that just give a damn. And a lot of people don't, unfortunately. He really cares about what he's making. He reminded me of Majid Majidi in many ways. In terms of what he did for me as an actor. Not all directors take the responsibility of your acting. People hire professionals to do their job. And that's the job. But he's equally as invested in what you're bringing. It doesn't just extend to the lead actor of his film. It extends to every little detail. And who he is, is what you see in his films. He's very sensitive. He's very thoughtful. He's very empathetic. He observes those little things about life. And he's able to take you through a journey and convey his thoughts and his worldview and his social commentary in his films with such a light hand that it's never a lesson, it's never preaching, it's never a lecture. It's for you to reflect on and take away whatever you want to take from it. I love him. I, at the drop of a hat, like, will do anything with him.”

Khatter will watch Homebound’s final cut for the first time at the prestigious film festival. At a time when many Indian actors go to Cannes to walk the red carpet and make news for their fashion choices, he is among the rare ones to head there with a movie.

“A film festival is for the movies. Cinema is primary. My dream was always to go there with a film. I didn’t want to just go there as an attendee. So, it’s a [dream realized].”

Zeenat Aman (right) with Sharma (centre) and Kavya Trehan (left)

A sweeping palace bathed in golden-hour light sees a self-made startup queen storm into a room of chandeliers in a sharp pantsuit. At the other end, a prince in a royal bandhgala looks on. When we sat down with Aastha Sharma, that’s the picture she painted for us of The Royals — Netflix India’s newest offering. “Think what happens when royalty is reimagined with a distinctly modern swagger....” she says.

In the buzzy romantic dramedy created by Rangita and Ishita Pritish Nandy, Bhumi Pednekar plays Sophia, a fiery entrepreneur who falls for Ishaan Khatter’s Prince Aviraj. And in the most inspired casting coup of recent times, Zeenat Aman graces the screen as the matriarch, while the ensemble is packed with names like Sakshi Tanwar, Nora Fatehi, and Lisa Misra, among others. Known for dressing red carpet queens like Aishwarya Rai Bachchan and Kiara Advani, Sharma’s work here is character architecture.

“When people hear ‘royals’, they think of heavy silks and stiff embroidery. But I kept asking myself: ‘what would a 2025 Maharani wear to brunch?’” Sharma says.

That’s where the mood board began, mixing heritage with haute couture, and old money with new mood.

“The aim wasn’t to cosplay the monarchy. It was to create aspirational, elevated looks that reflected privilege, power, and personality. I had met the Nandy sisters, Rangita and Ishita, in 2017. I got a call saying that they’re making a show, Four More Shots. It was an instant connection. Rangita has a very strong sense of style, and we are constantly sending each other styles, trends, and how we can incorporate that in what we do next. And just like that, it’s been eight years,” she snaps her fingers.

Strapped for time with only a month to shoot, Sharma says that best creativity happens on a deadline. “I had just had my baby and I wasn’t sure if I wanted to live in Rajasthan for a few months. But the only person who was locked for the show was Zeenat, and how does anyone pass up the opportunity to style the OG?”

When she read Zeenat Aman’s character, she had goosebumps, Sharma says. “I thought that this is it, this is my dream project. I would get to dress the ultimate icon in a way she’s never been styled before. The day she walked in for the presentation was the first time I met her. We showed her the look board, the mood board. She was all in instantly. She looked at me and said, ‘You’re going to style me?’ I nodded. Then she said, ‘You’re going to make me look like this?’ I said yes. And she just went, ‘Bang on.’ At our first fitting, she looked at herself and said, ‘You know, no one has ever made me look this cool.’ I nearly fainted. She does look incredibly cool and gorgeous. It was surreal. She’s Zeenat Aman. I don’t even need to say anything more. And these weren’t easy clothes to carry off. They were layered, textured, opulent. But as Maajisa, she killed it.”

Each principal character had a clear fashion persona. Bhumi’s Sophia is an outsider. She is unapologetically a disruptor. “We leaned into structured cinched blazers, cigarette trousers, and a muted palette. She is today’s girl and I dressed her in power suits.”

Ishaan’s Prince Aviraj, by contrast, is the reluctant royal. “We always do research, but all I got was images of men dressed in the traditional regalia — for the most part, the same stereotypical portrayal. I had to reimagine it. Here was a character who is a Maharaja by birth but he’s never actually lived that life. He’s grown up in New York, far from palaces and protocol. When he returns, he’s not walking in with a crown on his head or wearing those expected brocades or silks. He’d look like someone you’d see in South Bombay today; stylish, effortless, and contemporary. Yet there’s something about him… The royalty is in his bearing. It’s inborn. We did multiple trials to arrive at that look. There’s a transformation arc in the show, emotionally and aesthetically, and it reflects in his wardrobe too. It was a team effort. Rangita, Ishaan, the rest of us all shaped Aviraj together.”

The show’s creators allowed Sharma the room to design with depth. “When I found out the shoot was happening in Jaipur, I thought, ‘Half my job is already done!’ Jaipur has some of the finest jewellers, people with the craftsmanship we needed for this world. In a show like this, jewellery is everything. These characters are royalty. Even if they aren’t in elaborate clothes all the time, their jewellery needs to speak for their lineage. It has to be exquisite. So I brought Amrapali, Gem Palace, and Rambhajo Jewellers on board. These three were absolute saviours. Because I’ve been in this industry for so many years, I simply picked up the phone and said, ‘Guys, I really need your support on this one.’ And everyone came through wholeheartedly. From Falguni and Shane Peacock to Abu Jani and Sandeep Khosla, they all said yes instantly. I just had to call and remind them, ‘We’ve worked together for so long now I need your real backing.’ And they showed up for me. The styling on this show is massive, but somehow, everything came together beautifully. This show let us have fun. We weren’t restricted by realism. We were creating a fantasy with roots in India’s royal past.”

Of course, comparisons were inevitable. A commoner entering a palace as a misfit, and challenging legacy? Sonam Kapoor and Fawad Khan’s Khoobsurat (2014) walked that line. But Sharma insists this series is painting a wholly different picture.

“Khoobsurat was a fairy tale. The Royals is a satire dressed as a romance.  Moreover, that film is over 10 years old. Royalty, like everything else, has seen a sea of change ever since...”

For Sharma, The Royals is an experience of a lifetime. And who gets to be royal in 2025? “Anyone who walks into a room and owns it,” she smiles.

Hope it’s crown-worthy!

It wasn’t Ishaan Khatter and Bhumi Pednekar, the new pairing, or the curiosity surrounding royal lives that drew us to creators Rangita Pritish Nandy and Ishita Pritish Nandy’s latest show, The Royals. It was to see how yesteryear actor Zeenat Aman marks her comeback on the screen. However, when we confessed that to director Priyanka Ghose, she clarified that they had every intention for the senior actor to have more scenes.

When we said we only began rooting for Khatter and Pednekar’s love story after episode six, she said, “That was by design. I knew that by then people will want them to get back together.”

The Netflix eight-episode series follows the clash between an entitled prince and a tech startup entrepreneur amid a contemporary fairytale setting. In conversation with mid-day, she discussed the casting choices and why she had to hand over direction to Nupur Asthana later. Excerpts from the interview.

When you’re writing a script, writers shouldn’t be limited by restraints. The minute you get to execution level, you know the challenges. You’re aware that you’ll get an actor only for a limited time and shoot only so much. As a director, you have to be clear on what to cut and what to keep. We had written and wanted more of Maajisa, but by the time we cast Zeenat ma’am, we knew her health challenges. We had spoken to her and her management, and learnt that her health would permit her only a few days. So, I worked backwards. We handpicked the scenes and calculated how much screen time to give her. I knew the key scenes she had to be part of, even in the royal ensemble during the charity fashion show. Her scenes with Sakshi [Tanwar] ma’am were non-negotiable — we needed the emotional arc. In the royal gathering, there were earlier scenes for her, but since she couldn’t shoot more days, I had to remove her from them. I shot the polo scenes for three days and the fashion show for two. It was difficult to have Zeenat ma’am sit through all that. I had to finish her parts all at once. The next day, I would shoot the opposite axis to avoid her angle. The intention was more, but the reality differed. Still, we did our best to include Maajisa in the right proportions across the season.

We brought in Nupur to direct episodes four and seven, which we shot last. The schedule had shifted because when we were to shoot in the mahals, it was peak wedding season in January and February. The dates shifted, and by the time we got to episodes four and seven, I wasn’t available. Rangita and I actively went out looking for a director to take over. Nupur had little to shoot in Rajasthan because her episodes were set in Mumbai and Madurai. Even the royal ball was shot in Mumbai. It broke my heart — I had done all the homework — but I had already committed to another project.

That’s like giving away secrets [she laughs]! Across six episodes, the entire schedule was in Rajasthan, then a short one in Goa for the opening episode, and some bits in Mumbai like the Gastronomics competition. I did three rounds of location recces. I picked different palaces because one palace doesn’t offer everything. We needed a bat-pooping corner, a dancing hall, darbar hall, exteriors, a swimming pool, and a polo ground. I went out with my production designer — incidentally, my sister Payal Ghose. The challenge was to make different locations seamlessly look like one palace. Even when we got access, we were only given empty barren halls. Payal dressed them up from scratch. Yuvanath Singh’s [Milind Soman] room was a giant open hall with no artwork or bathroom. Everything was constructed on-site by Payal and her team, including painting the walls.

Each royal family from different provinces is positioned differently — financially, socially, or politically. On our recce trips, I had met some royals. Through those interactions, I realized every family’s trajectory is different. They might be holding onto a title from the past, but some of them are very affluent doing well after foraying into fashion, polo, politics and other fields. We showed different shades inspired by them.

I knew of Sakshi ma’am through casting coach Atul Mongia, who directed her in Mai [2022] and spoke highly of her. I had to convince her of Padmaja’s arc across the season. This was new to her, and she was skeptical, but that was the challenge she took as an artiste. She was also going through a personal crisis, but I saw a hungry artiste wanting to prove herself. In three days, she found her rhythm. Watching her scenes with Ishaan on camera was a joy.

Ishaan in real life is a sexy, endearing, sensitive man — that was easy to portray. I was surprised no one had tapped into that before. He made Aviraaj far more likeable than he is on paper. If you just read the script, he’s a brat who behaves badly — during the will-reading and post a one-night stand. No one would root for him. But Ishaan brought more to the table. Yes, the ‘eye-candyness’ helps. His shirtless scenes didn’t feel forced and he is comfortable in his skin. I never used an inch of body make-up on him. He carried the trauma of the crown taking his father away and ran from it. Ishaan brought those layers effortlessly.

Was it intentional to show the leading lady as a knight in shining armour instead of a damsel in distress?

Yes, that arc was always in the story — Sophia is the one pulling the royal family out of its misery. Full marks to the women creators who thought of the female character in a wholesome way.

Her impulsiveness was on paper. We leaned into it knowing Bhumi could pull it off without making it overbearing. With any other actor, I’d be skeptical. In India, we don’t easily accept authoritative women. But Bhumi has softness and vulnerability. Sophia is flawed, and only Bhumi could make her likeable. Sophia is Bhumi in real life.

In a decisive move, Netflix India, on May 7, called off the music launch of its upcoming series, The Royals. The cancellation came after India’s military launched Operation Sindoor, striking nine terror camps in Pakistan in the early hours of Wednesday. In a statement, the government said that its military had  targeted “terrorist infrastructure in Pakistan and Pakistan-occupied Kashmir from where attacks against India have been planned and directed”. This comes as a response to the April 22 attack in Pahalgam.      

The music launch of the Zeenat Aman, Bhumi Pednekar and Ishaan Khatter-starrer was scheduled to take place at a Juhu venue yesterday. The event was to be hosted by singer and composer duo Ruuh and Joh, with performances by Neeti Mohan, Sukriti Kakar, Jubin Nautiyal, and Jonita Gandhi, among others. Invitations had been sent out, and preparations were on in full swing before the decision to cancel was made Wednesday noon.

Sources within the production team confirm that the top bosses at Netflix India deemed it “insensitive” to host a celebratory event at a time when the nation is witnessing escalating conflict at the border, and emotions are running high in the country.

“This isn’t the right moment for glamour and red carpets. The optics of hosting a launch while the country is bracing for developments on the frontlines didn’t sit right with the team,” said a source. 

While the series will drop online as scheduled on May 9, all promotional activities have been paused until further notice.

Making the transition from singing to acting wasn’t easy, but Lisa Mishra learnt it all on the job. After foraying into acting with Call Me Bae, the singer will be seen in The Royals, which is led by Zeenat Aman, Bhumi Pednekar and Ishaan Khatter. For Mishra, who is taking baby steps into acting, working alongside such talented artistes was a dream.

“Working on The Royals was like going to acting school. As a new actor, having the opportunity to work alongside Zeenat ma’am, Ishaan, and Bhumi, who are unique in their craft, was enriching. Every day on set felt like a masterclass,” she says.

The Netflix show, produced by Rangita Nandy, was largely shot in Rajasthan. Mishra says when she was not facing the camera, she was studying her co-stars’ performances.

“How they approach each scene taught me so much about the subtleties of the craft. Zeenat ma’am has a nuanced way of conveying emotions with minimal movement— it’s all in her eyes, the slight tilt of her head, and the way she carries silence within a scene. Ishaan finds spontaneity in every take, while Bhumi’s methodical approach brings such honesty to her performance. Every day, I was observing how they broke down complex scenes, and used silence or pauses to convey even more than dialogues could.”