Thirteen years after The Bachelorette India: Mere Khayalon Ki Mallika, Mallika Sherawat is returning to reality television with The Traitors. While she has consistently turned down several reality show offers over the years, the actor says the psychological format of the Karan Johar-hosted series finally convinced her to step back into the unscripted space.

Mallika reveals that reality television was never on her radar after The Bachelorette. In fact, she says she has repeatedly declined offers from popular shows, including Bigg Boss and Khatron Ke Khiladi. "Initially, I was very apprehensive about Traitors. I didn't want to do any reality show. It didn't excite me as an actor. But then Ankita (Anthony, manager) really convinced me. She said, 'Just see it. After watching season one, if you don't like it, we'll decline. But don't say no without seeing it'. I watched it and I loved it."

Explaining what drew her to the format, she adds, "For me, Traitors was more like a psychological thriller. It wasn't about who's dancing better or who's the loudest voice. It was about instinct and strategy. I felt that in this show, it's not your voice that's your biggest weapon, it's your silence that's your biggest strength. Observing human nature, seeing people laugh with you over breakfast and then discovering by evening that they lied or backstabbed you—that whole psychological aspect excited me as an actor."

As for Bigg Boss, she remains firm about her decision. "The format doesn't appeal to me. I don't think that as an actor I can bring any value to it. Bigg Boss is something I don't feel passionate about. If there is something I don't want to do, then no. I have enough money. I've been very sensible with money and I'm well taken care of. I don't have to work to earn money. Money works for me now."

Having spent over two decades in the entertainment industry, Sherawat says The Traitors fascinated her because it stripped away performance and exposed personalities. "I feel the game gives you a mask and all the players have to see the person behind the mask. Also, the format is such that it makes you do things you might not do in real life because you want to win and stay relevant. The game plays you."

While she enjoys observing people, Mallika laughs that manipulation isn't one of her strengths. "I get manipulated easily. I cannot manipulate people. I'm a Haryanvi Jat. I'm too straightforward. I'm very honest."

PQ: I've been in the industry for over 20 years and I'm still taking care of myself. I'm still evolving. I'm still learning acting. Over these years, what has really stood with me is authenticity, honesty and discipline."

PQ: "People make assumptions. Since 20 years, people are making assumptions, but people who make assumptions are not paying attention. They meet my image before they meet me. Why Traitors is so special is because, for the first time, people are going to experience the real Mallika."

Reports suggest Mallika is the highest-paid contestant on The Traitors. While she stops short of confirming the exact figure, she doesn't shy away from acknowledging that the speculation isn't entirely off the mark.

"The speculation is right," she says with a laugh. "Why apologize for making money? People who say money is never the reason are lying. When you're independent, whether you're a man or a woman, money is always important because you have bills to pay and a lifestyle to maintain. Yes, I know my worth and I won't work for a fiddly amount. I won't even lift my finger out of bed for that. This is my message to every girl and every boy—know your worth. Don't settle for less. Trust me, if they want you, they will pay you."

Calling herself a self-made woman, she adds, "I like making money. I like working and I like buying my own diamonds."

Looking back at The Bachelorette India, where she didn't find a life partner, Mallika says she has absolutely no regrets about taking up the show. "Why would I? I bought two houses from that show, and now I get the rent," she quips and concludes.

India is central to the next phase of growth for Netflix, global co-CEO Ted Sarandos said, in the backdrop of moderating subscriber additions in mature Western markets.

While Netflix has an estimated 20-25 million paid users in India, against a global base of more than 325 million, he sees the country offering enormous headroom for expansion and being crucial for the firm to succeed globally.

Sarandos told Javed Farooqui and Vinod Mahanta in an interview that India’s deep appetite for entertainment, thriving creative ecosystem, rising smartphone and connected TV penetration, and affordable internet make it one of the most strategic markets for the platform. Edited excerpts:

When we launched Sacred Games, we introduced a new model of premium, cinematic television to India. It was ambitious, lavish and unlike anything on Indian TV then. Looking back, I think we should have invested in both high-end scripted shows and reality formats simultaneously.

The success of Lock Upp shows audiences also love dramatic, cliffhanger-driven unscripted entertainment. Netflix serves more than a billion viewers with very different tastes, and our job is to offer the best version of whatever they come for, scripted or unscripted.

We also learnt that every market has different needs, with some genres underserved and others already well served.

India has always been a fascinating entertainment market. Audiences are value-conscious, not just price-conscious—they’ll pay for the best if they consistently get it.

Many American companies try one big idea and move on. We took a different approach, investing continuously across genres and delivering fresh programming at scale.

With over a billion global viewers, we learnt you need enough choice to delight people every time they pick up the remote. Netflix isn’t a visitor in India’s entertainment ecosystem; we’ve become a leader in one of the world’s most complex markets.

There is a big appetite for entertainment in India and a large consumer base. I think those people have generally been underserved since there aren’t enough screens for as many people who want to watch a movie.

We are trying to solve it through different screens like TV and mobile. That’s why I think the market is so attractive and the principles of entertainment are exactly the same.

But let’s use the new technology to help solve a problem in India, which is being able to quench an appetite for more content and more entertainment.

Live sports are an important opportunity, but our strategy isn’t to chase full-season league rights. We’ve been building our live technology globally and will expand it market by market. Our focus is on unique Netflix events rather than becoming another broadcaster.

In the US, we’ve chosen marquee occasions like NFL games on Christmas and MLB’s Home Run Derby instead of entire seasons. The idea is to bring a younger, more engaged audience and a different creative approach that adds value to leagues, rather than simply driving up rights prices.

That’s the model we’re more likely to replicate elsewhere, including India. It would be very unlikely for us to get the whole season of cricket. An eventisable event, a tournament—those are the kinds of things.

It’s all of those. We’re a business, so revenue and profit matter because they fund continued investment. But cultural impact matters, too, and you can feel it when a local show like Lock Upp dominates social media and becomes part of the national conversation.

Success isn’t about a single hit. It’s about consistently entertaining audiences while building a sustainable business. Our ability to keep investing in India ultimately depends on our ability to keep entertaining India, creating a virtuous cycle of growth and reinvestment.

India has been an important testing ground for Netflix, including our first mobile-only plan, which has since influenced markets globally. But our approach here is no different from anywhere else: the key is delivering value, not just lowering prices. Every time someone presses play, they decide whether Netflix is worth paying for.

India keeps us honest because audiences have high expectations and demand compelling content that justifies the subscription.

Reed Hastings (Netflix co-founder) instilled an extraordinary level of focus from the beginning. For years, Netflix was a one-product, one-price company, and that discipline built a very strong foundation. As we’ve grown, we’ve been able to add multiple price points, products, partnerships and content formats without losing that focus.

We started with one premium scripted series, House Of Cards. Today, we make scripted shows, unscripted entertainment and stories across every imaginable language.

India reflects that evolution because there isn’t one India—it’s like a world in itself, with different languages, cultures and lifestyles.

You are trying to appeal to the world when you are appealing to India. There could be no Netflix globally without India. You can’t be successful without it.

We never looked at India as a market we could simply buy. That strategy has eaten companies around the world. The most exciting projects attract multiple buyers and bidders, which is good for the creative community. We’re certainly not in a phase of doing this cheaper or skimming the market. India still demands the level of investment it takes to win.

But we haven’t just thrown money at it. What you see on screen is spectacular, and that’s the approach we’ve taken since we first came to India.

I think there’s enormous headroom for both.

We want Netflix to be desirable, but not unattainable. Ultimately, consumers decide whether we’re delivering value.

It’s very easy to cancel Netflix—it’s just one click—so we have to earn consumers’ trust and admiration every day. That’s what keeps us focused on delivering great entertainment.

We report a global P&L rather than market-wise numbers, but we’re very happy with the economics of our India business. We’ve never been in the loss leader business. That’s why we stayed away from expensive rights like NFL football and still built a large business.

Very. I’m impatient by nature, but I’m thrilled with our progress over the past decade. We’ve built a strong slate across films, series and now unscripted programming. Shows like The Great Indian Kapil Show and Lock Upp have been particularly impactful, proving we can succeed in formats many thought we couldn’t.

Our goal is to be the first place you check and the last service you cancel. That means constantly finding new creators, investing in skills, and strengthening India’s creative ecosystem while generating significant economic impact.

I’m sure it’s coming down the road, but we’re not there yet.

AI will be a step change for entertainment, much like the shift from 2D hand-drawn animation to computer-generated animation, which ultimately created a bigger industry and more jobs.

At Netflix, hundreds of projects already use AI for tasks such as pre-visualization, helping filmmakers plan complex shots, improve safety and reduce risks on set.

AI is also transforming post-production and visual effects, making high-quality effects affordable for films that otherwise couldn’t have justified the cost.

De-ageing actors, for instance, has become dramatically cheaper and better than it was just a few years ago.

Every time there is technological advancement, that has been the worry. And it generally doesn’t prove to be true. In fact, it opens up a world of opportunities that people didn’t imagine before that new technology. I mean, there are still directors who want to shoot on film.

Ever since the first glimpse of Ramayana dropped, the film’s costumes have become a talking point. Social media has been abuzz with debates over its modern styling, with many questioning why Sita (Sai Pallavi) is seen wearing blouses, unlike traditional depictions of mythological characters. Memes comparing Kaikeyi’s look (Lara Dutta) to television serial characters have also gone viral.

Costume designers Rimple and Harpreet Narulah, known for their work in films such as Padmaavat and Heeramandi: The Diamond Bazaar, aren’t surprised with the scrutiny.

“We knew conversations and comparisons were inevitable,” says Rimple, adding “An epic like Ramayana has lived in our collective consciousness for generations. There will always be opinions about the casting, costumes, visual effects and what people believe is right or wrong. We were prepared for that. What has kept us grounded is our honesty towards our craft.”

Addressing the biggest criticism — Sita’s blouses — Rimple says, “When I close my eyes and think of Goddess Sita, I don’t think about archaeological authenticity. I wanted my Goddess, the one sitting in my mandir, to look like the image that has lived in my consciousness. That was a deliberate choice.”

She adds that there are no surviving costume references from the Treta Yuga that can conclusively say what people wore.

“Research is the foundation of costume design, but interpretation is what makes it art. There aren’t preserved garments from that period that we can simply recreate. We’ve all grown up seeing calendar art, miniature paintings, temple imagery and Raja Ravi Varma’s interpretations. Ramayana itself has been interpreted differently across cultures and countries. This is our interpretation,” she explains.

Talking about Lara Dutta’s Kaikeyi look, Harpreet shares, “The green in her costume represents motherhood, while the deep maroon reflects the emotional strength and darkness of the decision she has to make. She is torn between her own son and Ram. Every colour was chosen with intention. Sometimes people react too quickly before understanding the thought behind it.”

He signs off saying, “This is our attempt to make an ancient epic speak visually to a new generation. There’s thought behind every thread. We want to appeal to viewers — don’t decide before you see it. Watch it, experience it and then form your opinion.”

TV sitcom Taarak Mehta Ka Ooltah Chashmah completed 18 years on July 28, making it one of Indian television’s longest-running fiction shows. As the sitcom enters its 19th year, producer Asit Kumarr Modi reflects on its journey, the philosophy that has shaped it over the years and why it has resisted the temptation to reinvent itself for short-term gains.

He says, “When people tell me that they have grown up watching the show, that they watch it together as a family, or that it has brought happiness during difficult times, I feel we have achieved something far bigger than success. Completing 18 years is a blessing, and I am deeply grateful to our viewers, our cast and crew, and the channel for believing in this journey.”

Looking back at what has sustained the show for nearly two decades, he credits its unwavering focus on its original purpose.

He shares, “I believe the biggest reason is that the show has never lost sight of its purpose. From day one, we have wanted to create stories that make people smile, bring families together and reflect everyday life. Our humour comes from relatable situations, not exaggeration. Along with entertainment, every story carries a positive thought or a social message that people can connect with. We have evolved with changing times, but our core values of positivity, togetherness and clean family entertainment have remained unchanged. I think that honesty is what has kept audiences connected to us for 18 years.”

While many long-running television shows have relied on leaps or dramatic twists, Taarak Mehta Ka Ooltah Chashmah has consciously taken a different route.

Asit says, “Our success mantra has always been simple: stay true to the story and the characters. We have never believed in changing the essence of the show just to create momentary excitement. Life itself keeps changing every day, and we find our stories in those everyday moments. We observe society, understand what people are experiencing and present it with humour and positivity. Audiences have stayed with us because the relationships and emotions they see in Gokuldham Society feel genuine and familiar.”

Rivva Kishan, who was recently seen in the reality show Alliance, carrying the surname of actor-politician Ravi Kishan comes with both privilege and pressure. Rivva says, "I had a front-row seat to what this profession really demands. People often see the success, but I saw the years of discipline, resilience, and hard work that went into building it. Watching my father navigate different industries and constantly reinvent himself taught me that longevity is earned every single day."

She adds, "I'm incredibly proud to be Ravi Kishan's daughter, that's a part of my identity I'll never shy away from. But I also know that as an actor, I have to create my own voice, make my own choices, and earn my own place."

She adds, "There will always be expectations, whether because of my surname or because people are curious to see what I bring to the table. I've learned to see that as motivation rather than pressure. For me, success isn't about stepping out of my father's shadow; it's about standing confidently in my own light."

Addressing the perception that star kids have it easy, she says, "I'm aware that my surname opens conversations. Being Ravi Kishan's daughter is something I'm deeply proud of. I've never looked at this journey as something I have to distance from my father, nor as something I can simply inherit. His legacy belongs to him; my responsibility is to build my own. If I succeed, I want it to be because I consistently delivered. And if I fail, I want to learn from it and come back stronger not because someone protected me from failure. Yes, there are privileges, and I'm grateful for them. But there is also pressure, scrutiny, and a constant need to prove yourself."

On whether she sees herself working in Bhojpuri cinema, the industry her father brought to the forefront, Rivva says, "I don't like to look at cinema through the lens of language alone, I look at it through the lens of storytelling. India is home to so many incredible film industries, each with its own culture, voice, and audience, and I'd love the opportunity to work across them if the right stories come my way. Of course, Bhojpuri cinema will always hold a special place in my heart because it's a part of my roots and my family's journey. If a truly exceptional script comes along, one that has depth, sincerity, and something meaningful to say, I would absolutely love to be a part of it. I'm very comfortable with Hindi, and it's naturally a space I connect with. But as an actor, I don't want to limit myself."

Making her movie debut in 2020 with Sab Kushal Mangal, it's been six years, Rivva has not done any other work. Ask why audiences haven't seen her as frequently after her debut, and she replies, "Every actor has a different journey, and mine has taught me the value of patience. After my debut, I did receive opportunities, but I also realized very early on that I wanted to be part of stories that genuinely moved me and characters that challenged me as an actor."

For Disha Patani, the excitement of an international film wasn’t about the scale or the spotlight. It was about stepping outside her comfort zone. The actress, who is a part of Holiguards Saga – The Portal Of Force, says she is drawn to projects that make her grow, whether it’s action or comedy.

She shares, “It all happened quite organically. I got the opportunity to audition, and like any other project, I just focused on doing my best without thinking too much about where it was coming from or how it was going to pan out.”

Disha adds, “There were multiple rounds before everything was finalized. What excited me the most was the chance to work with people from different parts of the world and be part of a completely different filmmaking environment. It pushed me out of my comfort zone, and that’s something I always look forward to as an actor.”

While the film gave her a taste of working on a global production, she says acting itself doesn’t change across borders.

“The scale was definitely different, but once you’re on set, you have to prepare, perform and trust your director. I think people imagine it feels very different, but honestly, the nerves are exactly the same whenever you begin something new,” she says, adding, “There were moments when I looked around at the cast and crew and realized I was part of an international production, and that was special. But I didn’t want to think too much about the pressure of it. I just wanted to enjoy the experience and learn as much as I could.”

Though she continues to be seen as one of Bollywood’s glamour icons, she says that isn’t how she defines herself as an actor.

“I’ve never looked at glamour as something separate from my work. It’s just one aspect of what I do. Of course, as an actor, you always hope people notice your performances as much as everything else. That’s why I’m trying to choose roles that let me explore different emotions and sides of myself. At the end of the day, the audience decides how they see you, but all I can do is keep challenging myself and let my work speak over time.”

Talking about comedy, Disha, who was recently seen in Welcome to the Jungle, says, “Comedy is definitely tougher than it looks. With action, you train and prepare physically, but comedy depends so much on timing and instinct. One second too early or too late and the moment doesn’t land. In this film, I was surrounded by actors who have incredible comic timing, so every day felt like a learning experience.”

Working with the film’s large ensemble cast brought an added sense of spontaneity to the set, she says. “With such a huge cast, there was always something unexpected happening on set. People would improvise, someone would crack up and those moments brought so much energy. It made every scene feel fresh.”

Rasika Dugal has consistently portrayed women who resist easy definitions. From Beena Tripathi in Mirzapur and Safia in Manto to Neeti Singh in Delhi Crime, her characters inhabit the grey areas of human behaviour rather than fitting neatly into ideas of right and wrong. She believes audiences today are increasingly drawn to emotionally honest women over idealised ones.

Rasika, who will be seen reprising Beena Tripathi in Mirzapur: The Movie, says, “I’ve never consciously looked for morally ambiguous characters, but rather for characters that reflect the complexity of real people. Human beings are contradictory, inconsistent and constantly evolving. That’s what fascinates me as an actor. If I can understand why a character makes a particular choice, even if I personally disagree with it, I know there’s something worth exploring.”

The actress also sees a meaningful shift in the way women are being written on screen.

She says, “For a long time, female characters were expected to embody virtue, sacrifice or perfection. Today, women are being written as flawed, selfish, ambitious, vulnerable, manipulative, compassionate and courageous, often all at once. That’s a far more honest reflection of life. We don’t have to agree with every decision a character makes to empathise with her journey.”

The conversation, she feels, isn’t just about how women are written, but also about what audiences now value in a protagonist.

She says, “As actors, we’re often told to make characters ‘likeable’, but I think being interesting is far more important than being likeable. The people we meet in real life are rarely perfect. They surprise us, disappoint us, inspire us and frustrate us, often all at the same time. Audiences don’t want idealised women anymore; they want real women. They want to see people who make mistakes, carry regrets, grapple with their circumstances and continue moving forward despite their imperfections.”

Expanding the range of stories women get to inhabit remains one of the changes she hopes continues to gather momentum.

She shares, “If the stories I’ve been fortunate enough to be part of have contributed, even in a small way, to expanding the way women are represented on screen, I consider that a privilege. I hope we continue telling stories where women aren’t expected to symbolise perfection but are simply allowed to be fully human.”

The Bombay High Court has restrained media organizations and online platforms from referring to the 'Ashirwad' bungalow in Bandra, once owned by late Bollywood superstar Rajesh Khanna, as "cursed," "haunted," or "unlucky".

Justice Arif S Doctor, in an interim order passed on July 24, said that such descripitons were prima facie defamatory, and violated the plaintiff's fundamental right to live peacefully and in dignity.

Shashi Shetty, a businessman who purchased the iconic bungalow some years ago, moved the court after coming across numerous articles, posts and videos on the internet that labeled the property as "haunted," "cursed," and "ill-omened".

Senior advocate Birendra Saraf, representing Shetty, told the court that he constructed a new house after demolishing the original bungalow, but did not change the name. The new house is also called Ashirwad, the lawyer said.

The petitioner pointed out that the website Indiadotcom recently published an article titled '19 Real Haunted Houses in India That Will Give You A Cold Sweat', in which Ashirwaad Bungalow was also listed.

The judge held that the owner was "wholly justified" in seeking an interim relief. "The material, in my prima facie view, is clearly defamatory of the plaintiff so as to suggest that he lives in a haunted and so-called cursed bungalow," the order noted.

Further, it would also clearly impinge upon the Shetty's "right to live peacefully and in dignity", the HC said. The judge also noted that none of the respondents appeared before the court to justify or defend their publications.

"Therefore, in my prima facie view, clearly such publications would be wholly unjustified and in the nature of creating sensationalism, at the cost to the plaintiff and for no fault of his," the court held.

The ad-interim relief will continue until the next hearing on August 21, 2026.

Four decades have passed since Sumeet Raghvan first stepped onto a Marathi stage as a child artiste. Since then he has been Faster Fene for a generation of Doordarshan viewers, the affable Sahil Sarabhai, the everyman in Wagle Ki Duniya, a film actor, singer and one of television’s most recognizable faces. At 55, though, he seems happiest back where it all began. His new Marathi play, Hi Dosti Tutayachi Naay, has crossed the 50-show mark and become one of the season’s biggest successes.

Sharing the stage with wife Chinmayee Sumeet after a gap of 12 years, he plays Shashank Saravade, one half of a long-married couple sent to a counsellor in a final attempt to save their relationship. “We had both done plays individually over the years,” he says. “Then this script by Omkar Gokhale came our way. It was multidimensional and had everything that could appeal to an actor.”

The play moves through romance, conflict, humour and heartbreak before taking an unexpected turn. Midway through, Raghvan breaks the fourth wall, bursts into the title song and has the audience singing with him. “I’ve sung live on shows like Sa Re Ga Ma Pa,” he says. “I thought, why not? I love interacting with the audience and the song is a wonderful way to make that connection.”

Music has always been central to his life. “My first love is music. I always carry a harmonium with me.”

Off stage, the production has become a family affair. Raghvan and Chinmayee have produced the play under their banner, Natyaleela Theatres, while their son, Neerad Sumeet, has composed the music.

“It makes me incredibly proud to sing Neerad’s compositions,” says Raghvan. “Chinmayee and I had tried producing Lekure Udand Jhali many years ago, but it wasn’t a good experience because there was no proper accounting for the money. This time everything is organized and transparent. We’ve collaborated with veteran producer Dilip Jadhav and Ashtavinayak Theatres, whose experience has made all the difference.”

For many, Raghvan will always remain Sahil Sarabhai, the perpetually exasperated elder son in one of TV’s best-loved sitcoms. “So yes,” he laughs, “it’s a cross to bear, but it’s a lovely cross to bear. People still call me Sahil. It’s humbling. Many come to watch the play because they remember Sahil, or my characters from Wagle Ki Duniya or Badi Door Se Aaye Hai.”

That affection has followed him into the theatre. Friends from across the industry have attended performances as the act touches upon elements of friendship that resonate with the relationships they share. His Sarabhai family has already been in the audience and, at the 50th show, MNS chief Raj Thackeray and his wife, Sharmila, even danced during the play when Raghvan broke the fourth wall and invited the audience to join in the act.

“Sharmila’s father, Mohan Wagh, produced the first play Chinmayee and I acted in together. The friendship goes back many years. Having Raj dada join the celebrations made it even more special.” Raghvan hopes to have Madhuri Dixit in the audience for the 100th show in October.

The play also allows Raghvan’s character, a political analyst, to comment on the state of public discourse. “We had statesmen when I was growing up. They carried themselves with decorum and dignity. Today, the language used in public life has become so unparliamentary.”

He believes theatre should bridge generations as much as entertain them. “People my age enjoy the nostalgia of Marathi-medium schools, but there is plenty here for a 15-year-old too.”

Among the play’s standout moments is a lengthy drunken monologue that includes an oddly passionate lesson on the correct way to wipe a kitchen platform. “That whole ota kasaa pusayacha moment comes from my mother,” he says.

“Playing drunk is difficult. My benchmarks were Dr Shriram Lagoo and Vikram Gokhale.” For Raghvan, theatre remains the medium that asks the most of an actor. “It keeps you on your toes.”

Looking back on a career spanning 40 years, he credits his parents above anyone else. “They’re ordinary people with nothing to do with this profession. They gave me a calm, sane home to return to. Whenever I see them, my feet naturally stay on the ground.”

Next comes the OTT series Chumbak with Aatish Kapadia and J D Majethia, along with another project that could see him learn a new language. That’s not the only change he’s ready for. “I’d love to play a negative role,” he says with a grin. “Maybe... a murderer.”

Most actors speak about fitness in familiar terms: six-pack abs, punishing gym sessions and meticulously counted calories. Anant Joshi’s wellness journey takes a different route. The 12th Fail, Gullak, Yeh Kaali Kaali Ankhein and Virgin Bhasskar actor has discovered that the best exercise routine is often the one you genuinely look forward to repeating. For him, that happened the first time he watched flamenco dancers perform while assisting a Spanish director in Delhi more than a decade ago. Curiosity soon shaped his commitment. Joshi travelled to Seville to learn under flamenco maestros Bettina Castaño, David Pérez, Angelita Gómez and El Rubio, returning year after year to refine his craft. What began as an artistic pursuit slowly transformed his relationship with health.

Today, he says fitness, to him, is about having a body capable of climbing mountains, dancing for hours, surviving gruelling shoots and enjoying everyday life without feeling exhausted. “I don’t train for aesthetics. I train for functionality. I want to stay agile, move well and feel strong enough to live fully,” Joshi says.

Joshi’s weekly routine combines yoga, strength training, body-weight exercises, calisthenics, long walks and three sessions with his trainer. Yet he believes flamenco ties everything together because it demands complete involvement.

Unlike repetitive gym exercises, dance constantly challenges the brain, he explains. Every sequence requires balance, coordination, rhythm, memory and emotional expression, while the body responds with strength, stamina and precision. You are thinking and moving at the same time.

“Flamenco is percussion, storytelling, music and movement all at once. You’re completely present. There isn’t space in your head for anything except the next beat.”

That complete absorption is something psychologists describe as a “flow state”, where concentration becomes so intense that everyday worries temporarily disappear.

Joshi’s approach to nutrition follows the same balanced philosophy. He is predominantly vegetarian, although he occasionally eats meat while travelling if vegetarian options are limited. His staple meal remains a simple Indian thali, and he has consciously increased his protein intake through eggs, paneer, tofu and legumes after recognising that recovery matters as much as exercise.

“I listen to my body more than diet trends. Cooking is another way of caring for myself. It connects directly to both physical and mental health,” he says.

His mornings begin with two glasses of water, followed by black coffee, a single date and a spoonful of peanut butter. Dinner varies depending on his work schedule, but he avoids eating very late. More importantly, he refuses to obsess over every meal. Comfort food has its place, too. During the monsoon he happily reaches for pakoras or samosas, while a good Margherita pizza remains one of his favourite indulgences.

Ask Joshi what matters most in his wellness routine and he answers without hesitation. “Sleep”. He believes recovery determines everything else, from mood to metabolism.

Music also forms part of his recovery routine. It is almost always playing at home, while painting offers another outlet whenever he needs to slow down after work. Recent research from University College London suggests that regular participation in creative activities, including painting, music and cultural pursuits, is associated with slower biological ageing and lower stress levels, reinforcing the value of creative hobbies beyond simple relaxation.

Equally important are friendships. “If something is bothering me, I ask myself whether it’s really worth worrying about. Talking to friends helps because stress grows when you keep it bottled up.” His instinct would be supported by mental health professionals, no doubt. After all, studies have repeatedly shown that strong social relationships protect emotional well-being.

Travel is another essential part of Joshi’s well-being. Walkable cities fascinate him because they encourage curiosity instead of haste. One of his proudest adventures remains cycling from Delhi to Pokhara in Nepal, a journey that tested both physical endurance and mental determination.

His annual trips to Spain have become something deeper than holidays, too. They are periods of immersion that reconnect him with flamenco and, by extension, with himself. He has also found surprising common ground between flamenco and Kathak, collaborating with Kathak exponent Aditi Bhagwat in annual flamenco-Kathak performances for the Embassy of Spain. The dialogue between two traditions reminds him that fitness, creativity and culture need not exist in separate worlds.

Perhaps the healthiest habit of all is choosing movement that brings joy rather than obligation. For Joshi, that rhythm happens to echo from the streets of Seville, but the lesson can begin anywhere.