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

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

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

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

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

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

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

- DHARNA DURGA

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

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

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

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

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

Actor Shahid Kapoor has played brooding men before, but as O'Romeo releases today, he appears surprisingly at ease. Calm, measured, almost detached from the chaos his character brings to screen. Excerpts...

In spirit, I would say yes to the latter! But from a professional POV, no. I don’t think any artist can give themselves to something unless they connect with it. When the connection is not there, there is always something missing in the product. In O'Romeo, of course it’s the titular part; I play Ustraa. And with Vishal Bhardwaj, it’s always a world that he creates. Ustraa’s attitude is that of Romeo. If, as creative people, you don’t connect, it is wrong for you to do the film. If you won’t be honest, it is unfair for everybody else. I very much connected with this film. I had one preset in my head before I met him, and I was very clear that at this stage in my career, I don’t want to do a film that is too experimental or a film meant for a smaller, intellectual audience and not for a wider audience, who have a simpler mindset and whose approach to filmmaking is that they go to theatres to get entertained. There’s the cinema you love and the cinema that people love. The whole endeavour has been for years to find a Ganga-Jamuna moment between them, to meet a middle ground. This film is an attempt at achieving that; it’s meant for an intelligent audience but also very much like a typical, mass audience.

When Saurabh Sachdeva first heard director Shazia Iqbal narrate Dhadak 2, he had tears in his eyes. That reaction was enough to convince her he was invested — and ready to play Shankar — the quietly menacing casteist killer in the Siddhant Chaturvedi and Triptii Dimri-starrer.

Produced by Dharma Productions, Zee Studios, and Cloud 9 Pictures, the film is an official adaptation of Mari Selvaraj’s 2018 anti-caste Tamil drama, Periyerum Perumal. While Sachdeva had the source material to draw inspiration, he brought his interpretation as well.

“I would discuss [the character’s] lifestyle and [equation] with his wife and daughter with the team. While his actions are violent and brutal, I thought I didn’t need to make the character aggressive. He should be more timid and busy with life otherwise. He won’t be in-your-face with his violence, like threatening or scaring someone. Shazia and I were aligned on the fact that he would be passive, until he acts. Then, he would be very aggressive,” he says.

Sachdeva is elated with the response to the movie, calling it an important film to have come out of Bollywood that he would have celebrated it even if he wasn’t part of it. “Even if I wasn’t in the film, I would have been happy. I’m getting calls from directors and producers because they are genuinely impressed,” he shares.

He points out that caste-based discrimination is far from limited to small towns. “I was discussing with my family about big buildings having service lifts. [It shows] that we still have [caste-based discrimination] in big societies. It is not just happening in small towns. But we are so oblivious and don’t want to see these things.”

The actor is equally proud of his student Dimri, whom he met before her debut in Laila Majnu (2017). “I love how people are liking her work. She is going to show more of her beautiful colours in her upcoming projects. I remember how introverted she was when I met her. She used to work with a wall [around her]. But she was very vulnerable and receptive. I have seen her growth, which is magical. I believe it’s her vulnerability that makes her look even more beautiful,” he says, adding that it warms his heart that Dimri hasn’t let success go to her head.

Animal (2023) might have catapulted Triptii Dimri to mainstream popularity, but it is in films like Dhadak 2 that she feels at ease. Through the story of two lovers, portrayed by Siddhant Chaturvedi and Dimri, Shazia Iqbal’s directorial venture takes a hard look at casteism prevalent in the country. In a way, it is along the lines of Dimri’s early movies Bulbbul (2020) and Qala (2022) — each a piece of art that also has a social message. Does she find it hard to strike a balance between these and mainstream films, especially since she hails from a non-industry background?

“You have to not think about it too much because then you will take away from the story,” she starts. “There is always a reason behind saying yes to a project. Most of the time the reason is not that the film will have a good box-office run, or that it will get a lot of eyeballs. It is because the character excites you. As outsiders, you don’t get opportunities again and again. Today we have this film, tomorrow we’ll have another, but after that, you have to work hard for the next because if you go wrong twice with your films, you are gone. That is the reality. So, you have to have full faith in the story and your characters, and keep the peripheral noise out of the window.”

What made her say yes to Dhadak 2 was her character and the film’s messaging. Working with Iqbal turned out to be the cherry on the top. “For me, she is Vidhi [her character]. She is not afraid to speak her truth. There is so much to learn from her because she makes you feel empowered,” says Dimri.

The actor believes that knowing Iqbal has changed her perspective. “I have been an introvert. I have seen and faced things, and not raised my voice against them. For 30 years of my life, I have kept quiet about so many things. I never had the guts to tell people that it’s wrong. I told Shazia that I want to be like Vidhi; that by the end of this film, I should have the courage to speak my truth without being scared of anyone or the outcome. Now, I do stand up for the right things. This film made me open up a lot more,” she shares.

In her kitty, Triptii Dimri has highly anticipated films, including Vishal Bhardwaj’s next with Shahid Kapoor, and Sandeep Reddy Vanga’s Spirit opposite Prabhas. Working with Bhardwaj has been “life-changing”. She says, “There are movies that push you to grow. This has been one such experience that helped me re-mould myself.”

Stepping into the world of Dhadak 2, which examines casteism in the country through the story of two lovers, can be an emotionally demanding experience. Siddhant Chaturvedi, who plays a Dalit man in Shazia Iqbal’s directorial venture, says that shedding the character was an all-consuming process as well. “It took at least six months for the character to completely leave me. In those six months, I didn’t take up any work. I was just travelling,” says the actor.

“[Such stories] leave an impact on you. It pushed me to an extent where I always desired to be, as an actor. That’s why I wanted to stay with it. At the same time, when I was dubbing for it recently, it all came back and I tried to finish dubbing as soon as possible because it haunts me.”

Chaturvedi, who stars opposite Triptii Dimri in the love story, was aware of the emotional weight of playing a Dalit character, especially as someone who does not share that lived experience. His approach involved understanding the world and drawing parallels with his life, he says.

“I won’t say there is a process to it, or try to be pseudo about it. I could say that I locked myself in the room for four days, but no, this character wouldn’t come like that. You have to understand the world first. I was not a cricketer in Inside Edge; I was not a rapper [in Gully Boy, 2019]. If it’s not a lived experience, I draw parallels. I try to go as close as possible to that in my own life, take out certain emotions, and try to match them. When I read a script, I don’t want to see the character from a lens of sympathy because then you’re adopting a third-person view. This is not a life I’ve lived, and I’ll never be able to achieve that fully. What I do is I never fall in love with my characters,” he reflects.

Every actor aspires to be bankable at the box office, but Chaturvedi’s metric is different. “People like us, who come from outside the industry, are grateful to be getting work. We’re always searching for stories that move us. Since we have lived a life before Bollywood happened to us, we’re drawn to stories that reflect that life. Both Triptii and I have made it here on our own, and that journey grounds you. There is always a little voice that tells us, ‘This feels right, this does not’. In the end, we follow our morals and instincts.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Over the past few weeks, rumours have been rife that the shoot of Vishal Bhardwaj’s Arjun Ustara has halted, sparking speculation about the fate of the project. However, a bit of digging has revealed that the chatter is baseless. mid-day has learnt that work on the Shahid Kapoor and Triptii Dimri-starrer is progressing as per schedule, with the shoot underway in Bandra, Mumbai.

“The cast and crew are filming daily. There is absolutely no question of the shoot being stalled,” says a source from the unit.

So, what exactly sparked rumours that the gangster film’s shoot had ground to a halt? The postponement of a special song perhaps, indicate insiders. It turns out a special dance number was to be shot in early April.

“The shoot was deferred as the dancers we wanted weren’t available, and the song’s look and vibe weren’t working out at that point. That shoot has been rescheduled,” adds the source.

Bhardwaj took Arjun Ustara, also starring Randeep Hooda, on floors in January 2025. Since then, the actioner has been constantly in production, barring a two-week gap that preceded the ongoing schedule. 

Another insider notes, “There was a two-week break before the latest schedule began in the last week of April. The song was supposed to be shot during that time, but had to be held up. That may have led to these rumours. But everything else is moving as planned. In June, we have a long schedule in Europe, starting with Georgia.”

The project is expected to be wrapped up by June-end.

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

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

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

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

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

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

Filmmaker Vishal Bhardwaj's eyes light up at the mention of Arjun Ustara, the period drama he is currently shooting. While he had initially planned the movie with the late Irrfan Khan, Shahid Kapoor has now stepped into the role, marking the actor-director’s fourth collaboration after Kaminey (2009), Haider (2014) and Rangoon (2017).

“Both of us are excited to come back together. The shooting has been terrific,” says Bhardwaj. The director is equally impressed by Triptii Dimri in their maiden collaboration. “Triptii is so lovely, and such a fine actor. This is the first time I’m working with Nana Patekar and I’ve been thinking, ‘Why did I not work with him before?’”

Bhardwaj is also the composer on his films. He notes a renewed interest in the value that music brings to a movie today, saying, “There was a time when a film became a hit with a hit song. Then no matter how hit the songs were, a film didn’t work if it wasn’t good. Now, again, a film will work if the songs are a hit. Tauba Tauba [Bad Newz , 2024] is cited as an example where the song and step worked, so the film worked. I don’t know if that’s true.”

On Monday, Netflix India unveiled its star-studded slate for 2025 that includes Aryan Khan’s directorial debut The Ba***ds Of Bollywood, Dining With The Kapoors, and many anticipated offerings. But Triptii Dimri and Vijay Varma’s Afghan Snow was conspicuously missing from its roster. The spy thriller, produced by Karnesh Ssharma’s Clean Slate Filmz, was reportedly delivered to the OTT giant in December 2023. So, why is it nowhere close to reaching the audience yet?

According to multiple industry insiders, Netflix has assumed control of the project from Sharma and is now considering making some changes to the thriller that has been directed by Anshai Lal, who previously helmed Phillauri (2017) and Mai (2022).

An actor from the show, on the condition of anonymity, said, “Afghan Snow has been given to Netflix, and the team is contemplating re-editing the show and even shooting additional parts as they deem fit. I’m told it will release later this year. Many titles will be added to the streamer’s slate beyond the ones announced on Monday.”

After its successful collaborations with Netflix on Bulbbul (2020) and Qala (2022), Sharma’s production house had greenlit Afghan Snow for the OTT platform. Sources say that after the series was completed in December 2023, there were some creative differences between the makers and the streamer. With the project in limbo over the past year, crew members apparently also struggled with delayed payments.

A unit hand revealed, “Our payments took very long to get cleared. While some got the full payment eventually, for many of us, the final tranche will come upon release. We were expecting the show to be announced on Monday evening.”

With this series stuck and Sudip Sharma—who had made Kohrra (2023) with Clean Slate Filmz—announcing its second season independently, rumours about the production house undergoing major changes have gained credence. An insider said, “The production house has been practically defunct for the past year. It will be re-launched soon with a new name.”

Mid-day reached out to Netflix and Clean Slate Filmz for a comment on Afghan Snow’s fate. Both didn’t respond till press time.

Filmmaker Anurag Basu’s battle with blood cancer started in 2004, when he was told he only has a few weeks left to live.

On World Cancer Day today, the 54-year-old shares how he gave himself ‘targets’ to achieve on his way to recovery: “It started with me wanting to see my unborn daughter’s face when my wife Tani was pregnant. Then it was to walk and touch a stool in the room.”

Anurag emphasizes that awareness is of utmost importance. “Even today, when someone in the family is diagnosed with it, we try to hide it, and not tell others. Jab tak aware nahin karenge, tab tak early diagnosis bhi nahin hoga,” he says, adding, “Life doesn’t get over if you are diagnosed with cancer. You should treat it like common cold... Isiliye main apne cancer ke baare mein khulke bolta hoon.”

Anurag Basu’s next starring Kartik Aaryan found itself in the middle of drama recently as rumours suggested that Triptii Dimri was removed from the film. There were reports that this was because ‘her image’ didn’t suit the role, after a string of bold roles.

Anurag clarifies to us, “Image was not the reason. I’m the last person to judge an actor on the basis of characters they play onscreen. Aashiqui was not even the story anymore... I don’t know the source of these stories.”

He cited dates as being the issue. “Triptii is shooting for a film with Vishal Bhardwaj, and my film goes on floors this month, too. Triptii is still my best friend,” he says, adding, “I don’t know what the film is called right now, the shoot starts this month. We haven’t finalized the female lead, it’ll be announced in a week.”

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It all started with conspiracy theories as to why Hollywood actors and stars of the 2024 movies, It Ends with Us, Blake Lively and Justin Baldoni, were unable to get along during the shoot of the said movie. “Creative disagreement” was the popular term used for it, but what lay underneath was slander, and an effort to put down the other. Soon, social media was rife with conspiracy theories—some experts reading body language of the two stars—some just pondering on why they were both not seen together during promotions of the movie. It was declared: the two couldn’t stand each other.

There was some truth to the fire, as in the past two week, both Lively and Baldoni have filed lawsuits against each other. Lively’s account, where she accuses Baldoni of sexual harassment, was also reported in the New York Times by Megan Twohey (who has reported on the Harvey Weinstein case) with the headline: “We Can Bury Anyone: Inside A Hollywood Smear Machine”. What took centrestage: the use of social media and the Internet to create a narrative (true or not) of the other. 

But how is Bollywood viewing this? A celebrity manager, on condition of anonymity, says the best way to attack a star is to attack their “image”. “They care for nothing as much as their image. And creative disagreements and celebrity fall-outs are rampant in this industry. For instance, Salman Khan walked out of Sanjay Leela Bhansali’s film after announcing it. Of course, that couldn’t have been pleasant. But what separates that from the Baldoni-Lively case is that neither party went out of their way to pull the other one down. A classic case of a Bollywood smear campaign is what happened to Kangana.”

Actress Kangana Ranaut has publicly admitted to being at the receiving end of the industry’s inability to stomach her. In 2021, she said, “Just last week, I lost more than five lakh followers on Instagram. They gang up on you, boycott you, and if that leaves you happy and content, they ruin your image and brand. That’s how they killed Sushant [Singh Rajput]. That’s how they harass outsiders who don’t need them for work. There are paid smear campaigns happening on Instagram as well… Many derogatory memes and fake information about me are spread. Instagram is also paid as my followers numbers automatically drop, fans who unfollow don’t even realize it... There is a proper investment of troll army, creative budget to make memes, to write lies to spread smear campaigns, movie mafia + political mafia + jaded actors who are rejected lovers, you are jealous of even a fruit bowl...”

These observations were following an incident when Ranaut posted a picture of herself having breakfast, and got trolled. 

A former publicist of Ranaut’s, who worked with her for a year, told us, “This whole impression that Kangana is difficult and a loose cannon, has been created. She is very professional and believes in doing her work and going home. She has a certain political leaning and believes in it strongly, but who isn’t leaning towards the establishment today. Why should she be vilified? Then it all boils down to—is she good at her work? Oh yes, she is. It’s a good question to ask then—why is she not getting films? Some part of the answer is that she has managed to offend her directors. She has wanted creative control and I personally believe, directors allow men the creative control, when women ask for it, there’s an issue. There has been a systematic smear campaign on Kangana—where videos of her using a fake horse have been leaked when every actor does that for period films. Money has been spent on bringing her down. If one wishes to study a smear campaign, they should go through Kangana’s career post 2015.”

The problem happens when a one-off dispute shifts from professional disagreements to personal attacks, with media outlets amplifying unverified claims from anonymous insiders. This pattern is a textbook example of how celebrity feuds are orchestrated and sustained in the digital age. Earlier this week, a slanderous article on Triptii Dimri appeared on a website, which claimed that she was removed from Aashiqui 3 because makers weren’t comfortable with her bold avatar in Animal. In Triptii’s case, the story may be planted by professional rivals who want to cost her an opportunity/or envious of the fact that she is currently shooting for Vishal Bhardwaj’s film with Shahid Kapoor.

But it could be a reach to say this only happens to the women in the industry. An industry veteran pointed out that in 2014, Aamir Khan met Mumbai Police to complain about “false and malicious messages” that were being circulated in social networking sites Facebook, Twitter and WhatsApp to damage his image and reputation of his issue-based show Satyamev Jayate.

“Aamir Khan complained to us about some objectionable messages getting circulated (against him),” a police official had told the press then.

But how do the smear campaigns work, and more importantly, do they succeed in today’s media landscape? Let’s take a closer look at Bollywood’s modus operandi.

Tushar Joshi, entertainment editor of India Today, tells us, “These smear campaigns are age-old in the industry. Sometimes they are direct and sometimes they are proxy. But what is going on in Hollywood is something actors in Bollywood have faced. These campaigns happen via publicists, production houses, actors and colleagues and friends who have agendas different from their rivals. Maybe emails, voice calls haven’t been made public. They might have been exchanged in private to sway the minds of the opinion makers. The only difference is most of what happens in Bollywood happens behind closed doors. With the Baldoni-Lively case out in the open now, new norms are being set.”

Smear campaigns are rarely explicit. They are carefully orchestrated efforts that exploit the vulnerabilities of digital ecosystems. A lot of the battle has moved to Redditt.

In an email interview, the Reddit account, Bollywood, tells us, “We frequently get requests to post leaks and we do so. So far, we haven’t got commercial deals but it’s only a matter of time until we get there. We list it under unverified goss. We have noticed a lot of gossip on Kartik Aaryan, Akshay Kumar, Ranbir Kapoor, Ranveer Singh and the things that we get told are juicy. Clearly, someone wants to feed these stories to the public. The tabloids have stopped carrying gossip, so we have to. A post can look organic, but it’s often the first step in a much-larger campaign.”

A Bollywood publicist tells us, “Earlier, the approach was subtle. Journalists were given insider tidbits—sometimes, stories were planted by mentioning them in passing. The goal is to create a seed of doubt in their audience’s mind. But now, it has become all about money. Influencers with followers ranging from 5,000 to 50,000 are often paid to post seemingly neutral content that’s actually part of a coordinated campaign. A simple Instagram story about a '“troubling blind item' can snowball into a full-blown scandal.”

“Smear campaigns work because they tap into our collective love for drama. Controversy sells, and people are quick to believe what aligns with their existing biases. It’s classic voyeurism,” says a Bollywood podcaster. But at the same time, a smear campaign has little correlation to a film. There is plenty of hate against Ranbir Kapoor but his film, Animal, made nearly Rs 1,000 crores.

Veteran director Anurag Kashyap had said before that a smear campaign might work for a weekend, but it can’t sustain itself if the audience connects with the work of an actor. At the end of the day, content is king.

In the end, none of the bitterness matters, says trade analyst Taran Adarsh. “The goal is that a film must work. Smear campaigns pique curiosity and fuels the news cycle. But the audience wants a movie, they want to be entertained. Often films have gone through political controversies and personal issues and have powered through because the film is good. Also none of this affects an actor’s brand value. It is a he said/she said story until someone goes to the cinema hall and says ‘oh what a film’. I have to quote a story here. B R Chopra and Madhubala went into a famous trial over a film. She was replaced by Vyjayanthimala and the film did very well despite this controversy. Collections remained unaffected. I had asked Chopra sa’ab, ‘Aapko laga nahi negativity aajayegi’ and he had said, ‘Kaam karma hota hai. Acha kaam kariye and the audience will reward you’. The interpersonal dynamics may be shaken, but cinema will last forever.”

Earlier this week, mid day reported that Triptii Dimri was out of the Kartik Aaryan-starrer Aashiqui 3, which was supposed to go on floors this year with Anurag Basu helming the project. The news came after Dimri had done look tests for the film and even performed for the mahurat shot.

Since then, there have been rumours that the actor was dropped from the film as the makers felt she had become “too exposed” to be cast in the romantic film, which they apparently believed “demanded purity in demeanour from the female lead”. mid day reached out to Basu, who is set to begin another romantic film with Aaryan soon, for a comment on the rumour. The director set the record straight. He said, “That’s not true,” and added, “Triptii knows it too.”

The third instalment of Aashiqui, which is now indefinitely postponed, was produced by Bhushan Kumar. The T-Series head honcho is now producing the yet-untitled collaboration between Aaryan and Basu. The hunt for its female lead is underway, and it’s set to go on floors later this month or early February. 

A source noted, “The rumours around Dimri’s departure also suggested that the makers saw no buzz around the actor post her biggest success, Animal [2023].”

The makers apparently took into account the underwhelming box office result of her “so called” solo releases. Ironically, Dimri’s most recent success was T-Series’ Bhool Bhulaiyaa 3, where she was the lead opposite Aaryan. Sources close to the development inform that Dimri has moved on to Vishal Bhardwaj’s Arjun Ustara, which was also supposed to star Aaryan. However, it is now being headlined by Shahid Kapoor.

“The buzz around Triptii has been at an all time high since Animal’s success. That’s also what made her the sought after choice for Bhool Bhulaiyaa 3. After the romantic comedy Bad Newz [2024] and Vicky Vidya Ka Woh Wala Video [2024], she was kicked about headlining an intense love story by Anurag. With her debut film, Laila Majnu [2018], becoming a success upon its re-release last year, there has been a demand to see her in a romance,” shared a source.

Dimri was looking forward to the full fledged schedule of Aashiqui 3, before gearing up for the release of her Dharma Productions’ film, Dhadak 2, directed by Shazia Iqbal.

Actress Triptii Dimri, known for her performances in films like Bulbbul and Laila Majnu, has finally spoken out about the constant rumours surrounding her personal life. The actress, who is reportedly dating model turned businessman Sam Merchant, chose to not address the speculation directly, instead focusing on the importance of staying true to oneself in the face of intense media scrutiny.

When asked about how she deals with the constant rumours and speculation surrounding her personal life, Triptii admitted that it can be bothersome at times. "Sometimes, yes, sometimes, no. Sometimes you have a chat with yourself and you're like, this is a parcel of the game... You know you're a celebrity now, so people will have interest in your life. People will want to know what you're up to," she reflects. 

She also adds, “Sometimes it really bothers because I love my freedom and I miss the days where I could just walk on the roads without having to worry about anything; without a mask.”

Ironically just last week reports of Triptii holidaying with her partner in Finland made headlines.

The Bhool Bhulaiyaa 3 actress however emphasizes the need for honesty and authenticity, particularly when it comes to social media.

“I try to be as honest as possible because I am not someone who likes to post everything about my personal life on social media and I'm not someone who would post on a daily basis, unless I'm promoting a film. I'm off Instagram most of the times and I get a lot of complaints from my team that you are an actor, you have to be active. How will people get to know you? But I feel you have to be true to yourself. I don't want to lose myself trying to fit into a box. I just want to do what I wanna do and I think that's what's kept me sane till today. If I feel like posting anything I'll post. If I don't feel like I won’t. Half the time I'm posting flowers and my friends are like, ‘Dude, just stop it. It looks so stupid’. But I like those flowers and I want to post them,” the Animal actress concludes.

Earlier this week, it emerged that filmmaker Sooraj Barjatya has found his new Prem in Ayushmann Khurrana. The actor has been roped in for the filmmaker’s yet-untitled next. With the male lead in place, the obvious question is: Whom will Khurrana romance in the family drama? Insiders tell us that Sara Ali Khan and Triptii Dimri are the top contenders for the role.

We’ve heard that the two actors are in discussion for the role, which requires someone who can embody Barjatya’s vision of grace.

An industry insider revealed, “Sara has the charm and mainstream appeal that could align with the Rajshri universe, while Triptii’s nuanced performances in films like Bulbbul [2020] and Qala [2022] make her a strong candidate to bring a layered approach to the character. Ayushmann is already doing another film with Sara whereas it will be a new jodi if he teams up with Triptii. That said, Triptii is busy for a good part of next year with Vishal Bhardwaj’s film on Hussain Ustara and two other projects. Sooraj-ji will meet both actors in January, and a look test will determine the decision. Their chemistry with Ayushmann will also be another factor.”

If things go as planned, Barjatya will take the project on floors in the summer of 2025.

When we get on a call with Triptii Dimri, she is finishing her look test for her next, a film on Hussain Ustara. A collaboration with director Vishal Bhardwaj seems like the perfect way to round off the successful year she has had. Following Animal’s (2023) wild success, the actor sealed her place in mainstream cinema in 2024 with Bad Newz, Bhool Bhulaiyaa 3 and Vicky Vidya Ka Woh Wala Video. It’s a change of pace for an actor who shone in Bulbbul (2020), but she asserts that one cannot undermine the love that mainstream films bring to an artiste.

“I’ve never planned a day in my career. If I go into a narration and connect with the story and character, I say yes. I never think twice if it is a big or small film. I never think, ‘I have done enough commercial films. Now, let me do a Qala [2022] or a Bulbbul.’ For instance, while shooting Bad Newz, we were enjoying ourselves so much that we never thought about whether it would make money,” Dimri says of the comedy that will première on Star Gold this week.

The one thing she cherishes about her success is that it allows her the freedom to fail. That’s something she doesn’t ever want to lose. She elaborates, “I want to do characters that freak me out. No one can predict what will work because the audience’s taste is changing. The biggest example is Laila Majnu [2018]. Six years after no one saw it in theatres, it re-released to packed halls this year. So, all I have is my instinct, and I go into a film with that. I consciously don’t attach a lot of worth to failure or success. I focus on box office as little as I can. Years later, what will stay with me is the experience. I want to be surrounded by passionate people.”

This search for passionate collaborators has landed the actor straight on the sets of a Bhardwaj film. “He was a director on my bucket list. I am fortunate I’ve always had directors who want to know what I am thinking, how I want to approach a character. Vishal sir is clear that he has written the story, but he wants to hear how I will bring it to life. I am a director’s actor,” she states, equally excited about teaming up with Shahid Kapoor for the first time.

“I’ve been a big admirer of his work. He has such a great command over his material. I’m so grateful for the film, this year and for all the good that has come!”