Actor Randeep Hooda and his wife, actor-entrepreneur Lin Laishram, marked their second wedding anniversary with a heartwarming surprise and announced that they were expecting their first child. In a joint post on Instagram, they wrote: "Two years of love, adventure, and now… a little wild one on the way (Tiger Face, red heart and infinity emojis)." They tied the knot in a traditional Meitei wedding ceremony in Imphal on November 29, 2023.  

With the baby due this month, Hooda and Laishram are preparing for the birth of their child. They recently posed for their maternity shoot and shared exclusive images with 

Talking to THR, Lin says, “Looking at myself in the mirror and knowing I’m carrying a life inside me feels like witnessing a miracle. Of all the roles I’ve embraced in life, becoming a mother is the one that has taught me the true meaning of strength, because creating life is the greatest power a woman holds.”  

Having earlier experienced a miscarriage, the couple is over the moon and awaiting the due date. She adds, "I’ve pushed my body as a sportsperson, shaped it as a model, expressed through it as an actor, and built dreams as an entrepreneur. But pregnancy has shown me a completely different kind of strength. This journey has given me a deep respect for every mother and for every woman trying to become one. The female body is extraordinary in the way it creates, grows, and nurtures life.” 

Exclusive | A Glimpse Into Randeep Hooda and Lin Laishram’s Maternity Shoot 

For sitar player Rishab Sharma, the story of his musical journey already reads a little like a film script. It begins not in concert halls or grand music academies, but inside his father’s shop, where the young musician spent his days surrounded by visiting maestros. 

“I was just a young musician with my sitar in my dad’s store,” Sharma recalls in the League of Excellence powered by BMW India. “All these great maestros would come in and teach me a little bit.” Each encounter left behind a small lesson—a phrase, a rhythm, a musical idea. “I was like this musical piggy bank for them,” he says. “One raga here, one taal there, one sargam here.”

Those early, informal exchanges would quietly shape the musician he would become. Instead of a single rigid lineage, Sharma’s understanding of classical music grew through fragments of guidance from many different artists. 

The experience also left him with a sense that his life, shaped by these chance encounters, carries a narrative worth telling.

“I do want to make a movie inspired by my life,” he says. It’s not an immediate plan, but a long-term goal. “Eventually, when I have more significance to my story.”

For now, Sharma is still in the middle of living it. The musician admits that the scale of his journey has often exceeded his own expectations. “I stopped dreaming after a while. Because even when you dream, you fall short of what the universe has to offer you.” The statement is less about giving up on ambition and more about remaining open to possibility—allowing life to unfold in ways that cannot always be planned, he says.

The sitar continues to be Sharma’s way of connecting with audiences across cultures and spaces, from traditional stages to new digital platforms. His ultimate ambition, he says, is simple. “I want to play the sitar for each and every soul on this planet.”

Rishab Sharma on His Unlikely Journey: 'I Want to Make a Movie Inspired By My Life'

Indian sitar player Rishab Sharma has emerged as one of the most recognisable young faces of contemporary classical music, bringing the centuries-old instrument to audiences far beyond traditional concert halls. In recent years, the musician has built a wide following through live performances, digital platforms and collaborations that place the sitar within modern contexts.

For him, the act of making music begins with something far more inward: self-reflection. “Music is deeply personal and it is a reflection of oneself,” he says in the League of Excellence powered by BMW India. Sharma believes authenticity is what ultimately resonates. “I’ve never made music with the intention of, oh I want to make cool music, I want to target a particular audience,” he explains. “Once you start, it’s a rabbit hole.”

Sharma’s philosophy has shaped not just his artistic process but also the purpose behind his performances. Through his initiative 'Sitar for Mental Health', the musician has been using classical music as a space to spark conversations around emotional wellbeing—an area that still carries significant stigma in India. The idea, he says simply, “is to bring conversation around mental health.”

Yet even naming the project was not straightforward. Sharma recalls facing resistance from those around him because of the discomfort attached to the word itself. “There were a lot of fights at home, when I was naming it Sitar for Mental Health, because the word ‘mental’ itself has so much stigma around it,” he says. 

At one point, he softened the title to 'Sitar for Mindfulness', hoping the gentler phrasing might feel more acceptable. But the change didn’t sit right with him. “After the inaugural show, I realised I’m not feeling this—it defeats the purpose,” he says. He eventually reverted to the original name, embracing the discomfort that comes with confronting difficult conversations. “You have to have those awkward conversations at home.”

The response from audiences has reinforced his decision. Sharma often meets listeners after performances who tell him his music has affected them in deeply personal ways. “Some people come up to me after my shows and say, ‘Your music has changed my life,’” he says.

Those moments, while gratifying, come with their own sense of weight. For Sharma, they are a reminder that the relationship between artist and listener can extend far beyond the stage. “It feels like a huge responsibility,” he admits. “I have to keep doing what I do, and keep doing it better.”

Rishab Sharma on His Show 'Sitar for Mental Health': 'It Feels Like a Huge Responsibility'

A debate around working hours in the Indian film industry has resurfaced after Deepika Padukone recently suggested that new mothers should be allowed to work eight-hour shifts. Her remarks sparked a wider conversation online and within the industry about the long-standing culture of extended shoot days, with several actors voicing support for the idea of more flexible schedules.

Film shoots in India have historically run for long stretches depending on production demands. While many male actors have managed to establish an 8-hour shift, women in the business have had to fight harder to set the same boundaries. 

, actors Kareena Kapoor Khan, Kalyani Priyadarshan and Ananya Panday addressed the debate and shared their perspectives on how working hours are negotiated within the industry.

Kapoor Khan emphasised the importance of setting expectations early in a project. “Everything needs to be really well-planned and you have to be very clear right from the beginning. I will say, ‘This is what I can do,’ because I have two children. I need to come back. Obviously, even if you’re married, have children and as a woman, if you do not want to give that time, you should be able to have that freedom to say, ‘This is what I want. I can only work this number of hours.’ It’s fine to say that way before a film starts,” she said.

Priyadarshan pointed to the realities of demanding shooting schedules, particularly in the Malayalam film industry, while acknowledging incremental progress. “The Malayalam industry is 16-hour shifts. We just brought it down to 12 hours and I think it’s a huge win for our industry. Cinema can’t be boxed into fixed hours, but I think we all deserve respect and rest and support,” she said.

Panday described the issue as one that ultimately requires negotiation between actors and producers rather than a uniform rule. “It’s a discussion, and I think the film should be the priority. It’s okay to have a conversation with your producer, to find a balance. It’s a private conversation to have, and it’s something that can be worked around. There’s no hard and fast rule. Everyone is allowed to have that conversation,” said Panday.

Kareena Kapoor Khan, Kalyani Priyadarshan and Ananya Panday on 8-Hour Work Shift Debate Sparked by Deepika Padukone

There are tribute concerts, and then there are evenings that are collective acts of remembrance. At ‘Letters to Lata Didi’, held on March 7 at Jio World Gardens in Mumbai’s BKC district, Shreya Ghoshal did something deceptively simple: she sang the songs of Lata Mangeshkar and let the music do the talking.

For Ghoshal, the tribute was deeply personal. Speaking exclusively to 

, the singer reflected on Mangeshkar’s enduring influence. “Lata Didi’s voice has been the soul of Indian music for generations. For me, like for millions of singers, she has been the greatest source of inspiration and guidance. 

 is such a beautiful way to remember her, through music, memories, and heartfelt tributes. Even today, her voice continues to guide and inspire us, reminding every singer of the purity, discipline, and emotion that music truly deserves.”

Across the evening, Ghoshal sang through a discography that stretched from the instantly recognisable to the forgotten gems. Classics like 

 drew the loudest responses, while the setlist also made room for more underrated songs. At one point, responding to a request from cricket legend Sachin Tendulkar, she performed 

The concert drew a distinguished crowd. Among those in attendance were singers Sonu Nigam, Nitin Mukesh and Usha Mangeshkar, who later came onstage to bless Ghoshal. Composer Anandji Virji Shah of the legendary duo Kalyanji–Anandji was also present.

Midway through the evening, the scale of the concert shifted. Ghoshal sat down alongside her band members and launched into a softer, almost conversational stretch of songs, including 

. In an era when concerts increasingly favour spectacle and maximalism, Ghoshal’s instinct is the opposite. Her shows often feel like extensions of the musical 

that shaped India’s listening culture. They are gatherings where songs are shared rather than performed.

The expansive orchestra recreated the lush textures of Mangeshkar’s recordings without overwhelming them. When Javed Ali joined Ghoshal onstage for duets including 

, the atmosphere briefly took on the warmth of an old radio broadcast come to life.

The emotional peak arrived with the finale, 

. Ghoshal appeared visibly moved, but her voice did not tremble till the last note. The audience teared up with her. It was one of those rare concert moments where applause felt almost secondary to the silence that preceded it. 

The experience was brought together through a collaborative creative effort promoted by Nexperience Entertainment and Events Plus, produced by BTOS Productions, and conceptualised by BTOS Productions, Angshuman Ghosh and Perseid Pictures.

But the evening’s real architecture belonged to the songs themselves — and to the memory of a voice that continues to guide the musical sensibility of this country.

Exclusive | Shreya Ghoshal on Remembering Lata Mangeshkar at the ‘Letters to Lata Didi’ Concert: 'Her Voice Still Guides Every Singer'

is upon us, finally. On Monday, Yash Raj Films (YRF) announced the new theatrical release date for its upcoming action thriller. Headlined by Bhatt and Sharvari, the film also stars Anil Kapoor and Bobby Deol in pivotal roles. 

is directed by Shiv Rawail, who previously helmed YRF’s acclaimed Netflix series The Railway Men. The studio confirmed that the film will arrive in cinemas on July 10.

is positioned as a high-octane action thriller within the studio’s expanding YRF Spy Universe. The film was earlier scheduled for a December 25, 2025 theatrical release but was later moved to April 17, 2026. According to the studio, the delay was due to additional time required for the film’s visual effects work.

In a statement issued earlier, a YRF spokesperson described Alpha as an “extremely special film” for the company and said the team wanted to ensure that the movie is presented in “its most cinematic self.” The spokesperson added that the production required more time to complete its large-scale VFX and action sequences.

was teased in a post-credit sequence in 2025's 

. In the scene, a gruff Bobby Deol appears on screen, tattooing the sign of Alpha — the first letter of the Greek alphabet — on a young girl’s arm. He tells the girl (likely a younger version of Bhatt’s character) that 'Alpha' means "the fast, the fastest, the strongest.” He goes on to profess that in every jungle, the Alpha rules, and that, in due time, the little girl will do the same.

, directed by Sanjay Leela Bhansali. Bhatt said at the BAFTAs, “It's a complete quintessential Sanjay Leela Bhansali movie with love, drama, and all of that. I mean, a lot of years of hard work and love and honesty went into making this movie. As it does with every movie. I'm curious actually, to see the response to both the films. I can never tell while I'm in it. When it's out there, just hand it over to the world.”

'Alpha': YRF Announces New Release Date For Alia Bhatt-Sharvari's Spy Universe Film

Singer and producer SP Charan announced the re-release of his production 

. It will hit screens again this Friday, the 13th of March, nearly 15 years after the cult classic was first released. The film was the directorial debut of auteur Thiagarajan Kumararaja, and it gained a terrific following among cinephiles online, even though it had a lukewarm theatrical performance. Charan wrote on X, “For everyone who kept asking. Some films don’t age, they become cult classic. The critically acclaimed, National Award-winning Aaranya Kaandam returns to big screen March 13.”

In February, the acclaimed director Thiagarajan Kumararaja announced his upcoming film, 

. The film would mark his reunion with Vijay Sethupathi since 

 (2019), for which Sethupathi won the National Award for Best Supporting Actor. Their upcoming film features a power-packed cast, with Malavika Mohanan, Raj B Shetty, and Kishore in key roles.  Although the production for 

 has begun, details regarding the story and the release date remain under wraps. Taking to social media, the makers unveiled a poster for the film, with a simple caption: ‘Shoot Begins!’ This, alone, was enough to send fans into a frenzy, who observed that the poster was reminiscent of Alfred Hitchcock’s signature style. 

The film will be scored by none other than veteran composer Ilaiyaraaja, who will be reuniting with Kumararaja after they collaborated on Kumararaja's segment in 

 (2023), where the composer worked on the director's episode, 

. Nirav Shah, who will be the cinematographer on 

, has also collaborated with the director on 

(2023). The screenplay has been written by Andrew Louis, and the lyrics have been written by Yugabharathi. Since his debut, Thiagarajan Kumararaja has made a short in the anthology series 

SP Charan Announces Re-release Of Thiagarajan Kumararaja's 'Aaranya Kaandam'

Actor Trisha Krishan has chosen to respond to a statement made by actor Parthiban at a public event recently by posting her disapproval at his “crude words.” 

She took to X to write, “I was informed by the organisers of a recent event that my name and picture were included at the last minute at the request of an individual conveyed through his assistant. A microphone doesn’t make a comment intelligent or humorous. It just makes stupidity louder. Crude words without knowledge say more about the speaker than the person they’re aimed at.” The post has so far received thousands of likes and shares voicing support for the actress.

At an awards event in Chennai, the organisers asked Parthiban about Kundavai, the character Trisha played in Mani Ratnam’s 

Responding to this, Parthiban said, “This Kundavai should be kept at home for a few days. Don’t let her come out.” Shortly after, clips from the event went viral. He posted on X in response to this issue and wrote, “What happened has gone all wrong. There's no way but to regret!” (SIC)

Trisha has been in the news ever since she made a public appearance with Vijay at a wedding recently. Pictures of the Tamil superstar-turned-politician Vijay attending a wedding reception with Trisha broke the internet. The duo were photographed at producer Kalpathi S Suresh and Meenakshi Suresh's son's wedding reception in Chennai on Thursday, March 6. This is their first public appearance together amid Vijay's divorce proceedings. A few days ago, Vijay’s wife initiated divorce proceedings against him, accusing him of long-term infidelity.  Sangeetha Sornalingam, Vijay’s wife of 27 years, filed a petition seeking divorce on grounds of alleged infidelity, claiming that the actor was involved in an extramarital relationship with a female actor. She has reportedly been living separately from Vijay for the past two years.

Trisha Responds To Actor Parthiban’s Remark; Parthiban Expresses Regret

Content creator and actor Dolly Singh has joined the cast of the independent feature 

, alongside actors Sanjay Mishra and Rajesh Tailang. The film will be directed by 

 (2021) filmmaker Smita Singh and written by Anand Raaj. Production is scheduled to begin in mid-March.

The project is being developed as a community-based film, with its makers building an audience around the story before its eventual release. According to the team, the film is rooted in the everyday rhythms of the Indian hinterland and seeks to involve local communities in the filmmaking process.

Speaking about what drew her to the project, Singh said the script’s tone was a key factor in her decision to come on board. “It was primarily the story. It’s fresh yet deeply nostalgic, reminding me of the kind of cinema I truly miss,” she said.

Singh also spoke about the opportunity to work with Mishra, whom she described as one of the actors she has long admired. “I’ve been a huge admirer of him—not just as a phenomenal actor, but as a person,” she said. “There’s something incredibly special about him; the way he speaks, the way he tells stories, and the simplicity he carries remind me of my childhood and the kind of people I grew up around.” She added that sharing the screen with him felt “almost magical”.

“In many ways, he’s a towering figure for me. The thought of acting alongside him is surreal. Of course, I hope I do justice to our scenes together, but above all, I’m deeply excited and grateful. It truly feels like a dream come true, and I can’t believe it’s happening so soon,” Singh said.

The actor added that the film’s approach to storytelling also appealed to her. “I was drawn to the team’s vision of making it a genuine people’s film, rooted in the Indian hinterland and closely connected to the lives of ordinary people,” she said.

According to Singh, the filmmakers have spent time on location to understand the culture and community where the story is set, working closely with locals during the development process while operating within the constraints of an independent film budget.

Exclusive | Dolly Singh on Working with Sanjay Mishra in Smita Singh’s 'Arjun Bewakoof': ‘He’s a towering figure for me’

Veteran Hindi film actor Anupam Kher has joined the world of Prabhas's upcoming Telugu film 

. Mythri Movie Makers, the film's production house, made this announcement to mark Kher's birthday on March 7. 

 Ji a very Happy Birthday It is an absolute honour to have you as part of the 

 battalion ‍ Wishing you a happy and a healthy year ahead," their post on X read. 

, will release in two parts, with the second instalment planned as a prequel. The film is directed by filmmaker Hanu Raghavapudi, best known for 

. The makers, last year, unveiled the film’s title poster, showcasing Prabhas as an Azad Hind Force soldier. Director Hanu Raghavapudi has confirmed that the film - based on real historical events - will be released in two parts.

"We're portraying one world of Prabhas in this movie, and the second instalment will explore another dimension," Raghavapudi said, speaking about the scale and scope of 

. "There's abundant material from our colonial past — stories that ended tragically but could've been fairy tales in another reality. I've also woven in a few real-life experiences that inspired me personally."

 (2022). Naveen Yerneni and Ravi Shankar are producing his next under the banner of Mythri Movie Makers. Imanvi plays the female lead in her debut Telugu outing, while Vishal Chandrasekhar is composing the music.

 in January, is gearing up for Sandeep Reddy Vanga's 

 sequel. Kher, on the other hand, was last seen in 

, a film which he starred in and directed. His last Telugu film was in Pawan Kalyan's 

'Fauzi': Anupam Kher Joins The Prabhas Film

, the sequel to Ranveer Singh’s record-breaking action film 

, was released on Saturday at 11:01am, following a social media announcement by the makers a few hours earlier.

In a tweet teasing the launch, the team described the upcoming preview as a “4 Minutes Of Pure Adrenaline Rush Trailer,” confirming that the clip would drop shortly after the announcement. Singh had revealed the precise release time a day earlier on his official social media handle.

Clocking in at three minutes and twenty-five seconds, the trailer leans heavily into the franchise’s established tone — featuring heightened action, stylised violence and a steady stream of confrontational dialogue. While the first film’s trailer focused on introducing its ensemble of central characters, the sequel shifts its attention to a new figure: Jaskirat Singh Rangi.

According to the film’s official synopsis, the story traces the chain of events that compel Rangi to assume the identity of Hamza Ali Mazari. The narrative then follows his rise as he operates deep inside Pakistan, expanding the geopolitical stakes of the franchise.

Directed, written and produced by Aditya Dhar, 

 is backed by Jio Studios and produced by Jyoti Deshpande and Lokesh Dhar under B62 Studios. The trailer’s score has been composed and produced by Shashwat Sachdev.

The sequel arrives after the commercial success of 

, which released on 5 December 2025 and went on to gross more than ₹1,354 crore worldwide within 75 days, including over ₹1,000 crore in India.

Unlike the first instalment, which was released only in Hindi, 

 will open simultaneously across multiple languages — Hindi, Telugu, Tamil, Kannada and Malayalam — significantly expanding its theatrical reach.

The film is scheduled for a worldwide release on 19 March 2026, coinciding with the festivals of Gudi Padwa, Ugadi and Eid. Paid preview screenings will be held a day earlier, on 18 March.

The sequel is also expected to benefit from a relatively clear release window. Actor Yash’s action thriller 

 recently shifted its release to 4 June 2026, while the Hollywood science-fiction adaptation 

, starring Ryan Gosling, is reported to have moved its India release from 20 March to 27 March.

 largely unopposed in its opening week at the box office.

'Dhurandhar: The Revenge' Trailer Drops: Ranveer Singh Returns in Aditya Dhar’s Sequel Ahead of March 19 Release

 entered the world of films with a clear-eyed understanding of the industry. Having grown up around cinema, she has seen its volatility firsthand. “We all saw the ups and downs of our parents [in the industry]," she tells 

"We’ve all seen how it can destroy a person when things aren’t going right, but we still choose to be here because of our love for cinema," she shares. "It keeps me sane.”

That love informs the way she approaches her work, even today. For Priyadarshan, filmmaking is a collaborative exercise, and her time working behind the camera has shaped how she approaches her work on sets. “I think it gives me a different kind of empathy for everyone on-set," she shares. 

"When delays happen, I'm very aware that no one has planned for this, and I'm happy to wait in my van for hours on-set if something goes wrong.” In fact, she reveals, her experience working in production has also impacted the way she performs in front of the camera. "

I’m a very private person, I have massive stage fright," she confesses.

However, knowing what she knows about the chaos of a film shoot, she no longer feels conscious about all the eyes on her during a take. 

“Everyone on set is focused on their work, and that helped me loosen up on set," she says. "I just surrender to my director, and the process is different for each film as a result.”

For her, it is not stardom that is the end goal—it's agency. "It’s not the popularity that excites me, it’s the freedom," she says. That freedom, as she sees it, is directly tied to power—the power of creative autonomy. 

“I feel like, at least right now, in our country, producers are more willing to back stars than they are willing to back stories," she says. "I think that’s mainly the reason I get the freedom to choose the stories that I want, to give them the kind of backing I’d be able to give them, if I were a star."

Impact, for her, is tied to choice—the ability to support stories she believes in and help move them forward. But she is equally aware that the final word belongs elsewhere. The overwhelming response to 

) reinforced that for her. “The audience, they surprise you at every step.”

Exclusive | Kalyani Priyadarshan on Stardom and Freedom to Choose Her Films: ‘Producers Back Stars More Than Stories in India’

The fate of a film that has been years in the making can be decided in a matter of hours — by Friday afternoon, the verdicts are already out. Months of production, promotion and anticipation boil down to opening numbers and early reviews. In an industry where box office numbers can make or break careers overnight, 

“So much of our validation is just based on a Friday,” she says in a conversation with 

. “It’s for the world to see, and everything is so public. You can’t let it consume you.” The pressure of being in the public eye has been exacerbated by the Internet, she observes, where anyone and everyone is welcome to share their opinion.

The scrutiny, the actor points out, no longer comes from a handful of critics or experts: “Everyone has a take now," she says.  Social media has dismantled the hierarchy of criticism; the comment section is weighed with equal measure alongside the reviews. The noise follows them onto their phones—in the form of reels, reaction videos, fan edits, memes, and anonymous threads, she says.

Reflecting on her early days, she says, "I used to care a lot. I would think for hours about a caption, or a post." Obsessing over every minor detail, she notes, is a losing game. 

Years of being at the receiving end of that scrutiny, she admits, have forced her to learn the art of detachment, knowing when to unplug.

Having been in the industry for quite some time, Panday shares that she now knows how little power that noise actually holds. “People don’t care. You think people care, but they don’t—people have other things happening in their lives.” It’s a grounding reminder for her: today's headline will be forgotten tomorrow.

Exclusive | Ananya Panday on Social Media Scrutiny and Box-Office Verdicts: 'So Much of Our Validation Is Based on a Friday'

In recent years, mainstream cinema in India has seen an increase in the dark and the violent — thrillers steeped in gore, heroes drenched in blood. For Women’s Month,

, Kalyani Priyadarshan and Ananya Panday and asked them: what do they think of the rise of hypermasculine cinema?

Priyadarshan resists reducing this shift to masculinity alone. “I don’t know if it’s the masculinity aspect,” she says. “I believe the audience directs where cinema is going, not producers sitting behind a desk.” For her, the current wave is being propelled by the feedback loop of box-office returns. 

“Right now, this trend, and I call this a trend because I don’t think it is going to last," she emphasises, "It is what’s [considered] practical, and every scene has to be sensational or shocking. You can show spectacle with violence, and people think that’s what’s selling cinema. It scares me a little, but I believe it’s a trend.”

Panday echoes that fatigue. “It feels repetitive in that sense, everyone wants to make what’s working.” In an industry that moves quickly to replicate success, imagination often gives way to formula. When one film breaks out, a dozen more follow its blueprint, she says.

Kapoor Khan also points out the lack of range in mainstream cinema today. “Now I think it’s all thriller, crime, gore, blood. No fun, energy, colour, love, romance," she laughs.

However, they agree, the solution does not lie with either actors or producers alone—there needs to be a combined effort to pave the way forward. "It's a systemic change that needs to happen," says Panday.

For Priyadarshan, a big part of this change lies behind the camera. “I think what worked for 

is that we had an amazing woman writer on the team," she shares. "I wish more movies would have women writers, because I feel a different perspective comes that way. Men write what they know; you can’t blame them. If they try to write for a woman, it will go off, in my opinion.”

Exclusive | Kareena Kapoor Khan, Kalyani Priyadarshan and Ananya Panday on Toxic Masculinity in Films: 'Everyone Wants To Make What’s Working'

In an industry that has long treated youth as the ultimate currency for women, Kareena Kapoor Khan is done negotiating with the mirror.

“I don’t care what people say," she says, with her typical candour. Nearly three decades into her career, Kapoor-Khan says she has “been there, done that, seen it all.” While her early career was marked by aspirational, blockbuster cinema, today, she actively seeks out a challenge. “What excites me more is [a challenge], like going bare in 

.” In choosing to go bare-faced, with minimal makeup and styling, she further rejects the emphasis placed on a leading woman's appearance, age and fashion.

Her body, once a national fixation during the “size zero” phase, is no longer a talking point she entertains. “I’ve been a size zero and I’ve been a size ten, and I want to own it,” she says, matter-of-factly.  "Of course, in terms of fashion, and couture, 

I will do and wear exactly what I feel in the moment, but I always want to be known for the actor that I am," she adds. While the noise around women's bodies continues, Kapoor-Khan, it seems, has moved on. "I'm have a blast in my forties!" she exclaims. There is a clear dismissal of the collective panic that often surrounds ageing. For her, ageing isn't a liability, or a call for a rebrand: it is simply a natural progression that is inevitable. "

This is it, it’s 2026, I’m going to be 46, I’m a mother of two, and I believe I look amazing,” she smiles. 

The anxiety around ageing, she suggests, is sustained by denial. “How long are you going to keep running away from ageing?” she asks. In a culture that is bent on preserving a woman's youth, her refusal to apologise for her age—or to hide it—is refreshing. 

Kareena Kapoor Khan on Ageing and Desirability: ‘I Don’t Care What People Say’

 spotlights three actors from different generations — Kareena Kapoor Khan, Kalyani Priyadarshan and Ananya Panday — who reflect on the importance of saying ‘no’, and what it means for women in cinema today.

Kapoor Khan is candid about the culture she entered. “We just did what we were told,” she says. “I’ve seen a transition in that, even though I’ve always been vociferous about the way I’ve felt about things.” The status quo was rarely questioned: yet, she says, she made it a point to prioritise her instincts. 

“I told Farah [Khan], listen, I can’t dance like Hrithik Roshan,” she laughs, recalling a moment where she declined a wide-angle shot during a dance sequence, aware that she would not be able to show up the way she wanted to. “If you know what you want, you should always put yourself first,” she emphasises. “You have to look inwards for yourself, and speak up.”

For Panday and Priyadarshan, this lesson was learned as they observed co-actors on-set. 

“In my first few films, I didn’t know that I could say no,” says Panday. “I didn’t know that I could say that I’m not comfortable doing something, that I don’t want to wear something on-set, or I’m not okay saying a dialogue,” she shares.  “I think sometimes we don’t realise that films are forever.” 

There will always be a record of one’s performance on-screen, she says, and that can have a strong impact on audiences, be it positive or negative. "Even the smallest thing you might say, people are going to watch it for years, and people are going to remember it,” she adds. 

Panday says she learned the art of saying ‘no’ while working with Deepika Padukone on the sets of 

. “I saw how much strength [Deepika] had, and how she conducted herself, if she wanted something, she would ask for it, and she did it in such a graceful way,” she recalls. “I was scared that if I asked questions, the [response on-set] would be, ‘she’s too much’...but when Deepika [asked questions], that taught me a lot.”

Similarly, Priyadarshan learned that self-sacrifice may not be in the film’s best interest while working with none other than Fahadh Faasil. “We often give everything for a take,” she says. “And we don’t like to say no to our directors.” Yet, she says, she has been “very, very lucky” with the filmmakers she has worked with, who have always prioritised her comfort on-set. 

“There are moments where you’re incredibly exhausted, and you give a shot, but you watch the movie and realize your eyes look [visibly tired],” she shares. She recalls a moment when filming with Faasil that taught her that ‘no’ is an option. Despite the natural lighting affecting their performance, she gave her take — however, Faasil politely declined.

Priyadarshan shares, “The light was in his eye, and he said, ‘The light is in my eye, it’s going to look bad on the big screen.’” He took a break, returned once the lighting improved, and completed his shot in one take. Since then, she says, “I’ve learned to say, it’s probably better for the film if I take a break.”

What is clear from their perspectives, is that ‘no’ is no longer a form of defiance: if anything, it’s discernment and self-awareness. In a culture where compliance is expected of women, the three actors have been rewriting the rules of professionalism on-set.

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