After a year of back-to-back appearances across film and streaming, actor Mona Singh has confirmed she will feature in a new cyber-crime drama produced by Rajkumar Hirani, marking the filmmaker’s debut as a showrunner on an OTT series.

, Singh confirmed that she will star opposite Vikrant Massey in the yet-to-be-announced show. The project carries a personal resonance for the actor: she made her film debut in Hirani’s blockbuster 

(2009), and the collaboration now comes full circle more than a decade later.

Exclusive | Mona Singh Confirms Role in Rajkumar Hirani’s OTT Debut Alongside Vikrant Massey

is a silly, nerdy, affectionate mash of sci-fi and horror tropes, about a gang of goofs encountering an alien presence near Lonar Lake in Maharashtra. The five-part series — starring, directed, produced and bravely released for free on his channel by the creator Ashish Chanchlani  — has amassed close to 145 million views collectively so far. 

Chanchlani’s fan base has lapped it up, praising his technical finesse and depth of ideas. The concluding episode, called Conqueror, certainly punches above its weight, featuring alien beatdowns and a cool animated sequence about a foiled planet called Thera (an anagram of Earth). There is an allegory in there about environmental collapse and fascist mind-control, alongside jokes about 

Chanchlani, 32, geeky but level-headed, son of theatre owner Anil Chanchlani, says he’s recovered 50 per cent of 

’s budget from YouTube revenue, and is hoping to recover more from the brands he’ll draw on the back of the show. “I was misquoted as saying that our budget was the same as 

. It's not ₹15 crores. It’s closer to a small DIY indie film,” he clarifies. 

, Chanchlani spoke about his array of influences, building an Indian sci-fi universe and his upcoming projects. 

The show’s centrepiece is the imperialist alien monster Xarg, whom we meet in the final episode. What was the process of designing him? 

Chida’s FX Studio in Mumbai created the prosthetics for the alien. They've worked on films like 

. There’s a sequence in the Hollywood film 

(2003) where a school bus is attacked and the creature reveals its face for the first time. It’s one of the most disturbing things I’ve ever seen. That kind of visceral disgust really stayed with me. I wanted to evoke a similar feeling when the alien in our film removes its mask—a sense of something deeply unsettling, almost repulsive.

We’ve grown up seeing lovable, friendly aliens—whether it’s Jadoo or PK—but I didn’t want that. I didn’t want a humanised alien. I wanted something truly creepy, layered, almost squishy and gooey in texture. I was also inspired by the kind of prosthetic work you see in 

 James Gunn creates these tactile alien worlds, like the planet of Xandar. So I took a leaf out of his book. 

, though you have denied a direct influence. 

I’m honestly pissed off by the constant comparisons to 

, where the alien is attacked, was written in 2023, whereas the 

finale came out in 2025. No offence to that show, but telekinesis is hardly something it invented. It goes all the way back to 

 in the 1970s, and has been explored in countless films since, including the 

universe. Even an Indian television show like 

My influences came largely from Marvel—films like 

 in there. And tonally, I was very inspired by Jordan Peele’s 

. I watched it alone in an empty theatre in 2022 and thought it was outstanding. It didn’t get the appreciation it deserved. Jordan Peele really hit it out of the park with that film—I consider him a guru. In fact, he too started out with sketch comedies before becoming a feature director. 

. Why is the Hindi film industry so reluctant to embrace sci-fi concepts? 

You won’t believe the kind of responses I got when I was pitching 

. People kept telling me, ‘This won’t sell. Our audience doesn’t want this—they want masala.’ And I kept saying, ‘This is masala. What are you talking about?’ Funnily, ever since 

happened, I've been hearing about seven alien projects getting greenlit. All of them are about dangerous aliens attacking India. So now it’s become a formula. And they will destroy it too. 

The bigger issue is that there’s a tendency to underestimate the Indian audience. We tend to think that ‘nerds’ are limited to Mumbai suburbs like Bandra or Andheri. That’s just not true. I have met a 40-year-old Ola driver in Bihar who knew what 

 is. There are nerds in Kashmir, in the Northeast, in the smallest towns down South. So we need to start respecting them. 

? Will you fund it independently or seek out a platform?  

I wouldn't be able to make a Season 2 for YouTube unless and until I have a lot of revenue in the next few years. I’ve started writing the second season, and the vision is much bigger now. With the first season, I had to work within limitations—cut corners in some places—to deliver something engaging. This time, I want to scale it up properly, which is why I’m keen on partnering with an OTT platform. I’ve been in conversations and there’s been genuine interest, so I’m meeting the right people to take it forward.

That said, the core of the story will remain deeply personal. The conflict will always be rooted in the characters—I’m not interested in creating moments just for shock value. I do want to explore this universe further. Right now, I’m focused on a new narrative direction. I would love to introduce a female character in Season 2, and the writing will not be like a YouTube sketch.

What are some other ideas and projects you are working on? 

I want to make a strong, modern horror film. Not horror-comedy or something set in the 1920s. I’m talking about elevated, atmospheric horror of the kind A24 makes, but set in India. I already have a story written that I want to direct and act in. Beyond that, I’m also very drawn to space exploration narratives. I had been developing an idea about a human forming an unexpected bond with an alien. But I scrapped it after reading 

Apart from my own stuff, I’m acting in a project by TVF (The Viral Fever). It’s not your typical TVF show. I’m primarily attached as an actor, but I might also be involved as a producer or creative producer. I’m definitely helping with the writing, and it’s a really exciting project. I think people who liked 

Exclusive | Ashish Chanchlani on 'Ekaki' and Beyond: 'I Am Working With TVF Next'

Harish Shankar is reuniting with Telugu superstar 

 after more than a decade (the duo last collaborated in the hit 2012 film 

 ). All these years later, there have been various changes. The filmmaker isn't just filming with an actor, but an actor who is also a Deputy Chief Minister. But what hasn't changed is the spark and the extreme hard work that has sustained this combination. 

, even as he's in the middle of long nights at the post-production table.

What was it like working on ‘Ustaad Bhagat Singh’?

It has been quite a while since Telugu audiences have seen a 

 commercial entertainer. This film is a wholesome entertainer for the festive season. It does have a little bit of comedy. It has goosebump moments, high emotions and action sequences. 

We also hear the film will feature the lighter side of Pawan Kalyan. Could you speak about that?

It has been quite a while since we have seen Pawan Kalyan sir laughing on-screen. He has been doing serious and intense roles. This film offers the other side, which hasn't been seen in a decade, I think. He has a great sense of humour so you will see that, suave body language, lighter moments and laughs. 

 directors like yourself shape superstars in very interesting ways. Nelson did that with Rajinikanth, Anil Ravipudi did that with Chiranjeevi, and now you with PK. How challenging is it to balance a star’s aura and imbue freshness into the film in these cases?

There are a couple of challenges. In today's era, where regions are stretched and markets are growing, it doesn't offer a complete picture. The only offerings are to fans. If you want to have a huge hit, the film should be watched by all kinds of audiences and all hero fans. While keeping in mind the histrionics and fan satisfaction, we do have the responsibility of taking the film to all kinds of audiences. That is challenging. Especially when you do "hero worship" films, there are chances of completely giving into fan moments and deviating from family audiences. 

How was Pawan Kalyan able to manage his time between filming and his position as the Deputy CM?

He has a pre-planned work schedule. If you know that your hero is coming at 

 in the morning, and he comes at 2pm instead, your work might get disturbed. But when you know the exact timing, it makes things easier. He managed his schedules so well. His timings were previously given to us, and we planned to shoot accordingly. 

Kalyan sir has taken extreme stress travelling from Mangalagiri, Andhra Pradesh [his office] to Telangana to shoot and manage his cabinet meetings. One morning, he was here; he would leave in the afternoon and come back to Telangana 

 night. I would like to take this interview to thank him once again because he took on extreme pressure and worked so hard. In this way, God has been very kind to me, and he [Pawan Kalyan] has been very kind to me.

Could you recall some of Pawan Kalyan’s early films that you grew up watching?

BHEL colony. I used to jump in the crowd just to have a glance at him because I was a little short at the time. From those days to now, standing beside him and saying action is a big improvement in my life. 

 has been brought forward and is now facing a clash with 

. But you look at it as a celebration and not a competition...

We were supposed to release it on March 26. As 

 got postponed, all the distributors and exhibitors have requested my producers and me

to release a Telugu film on Ugadi. They want to start a Telugu commercial entertainer on Ugadi. Keeping trade circle requests in mind, my team and I, including Thaman, have taken the excess pressure and anxiety to release the film earlier. For the last 24 hours, Thaman and I have hardly slept. We have been working day and night, and also doing promotional work.

I know this is going to be a tough task, but we have to achieve it because it is collectively going to do good for the industry. Having said that, I have a huge 

, I have been a great admirer of his work. It is not at all a competition... but a celebration.

Exclusive | Harish Shankar on ‘Ustaad Bhagat Singh’: ‘A Side Of Pawan Kalyan Sir We Haven’t Seen In A Decade’


Prem Chopra is 90. One of Hindi cinema’s most essential, prolific and lasting villains, he has seen most of his on-screen heroes pass on before him — Jeetendra and Amitabh Bachchan may be the two exceptions. In November last year, Chopra was diagnosed with severe aortic stenosis (a heart valve condition) and underwent minimally invasive surgery. He injured his knee some years ago while attending a function in Dubai. He now walks with a cane, politely waving off offers for assistance, with a straight-ahead look to allay assumptions of frailty.  

 meets Chopra at his 14th-floor duplex in Mumbai’s Pali Hill, where he’s lived since the ’70s (Chopra’s preferred term is ‘penthouse’). It’s a spacious, old-school apartment, with a deck and a swing. In the bedroom, Uma Chopra, his wife of 57 years, is wrapping up her afternoon siesta. Old statuettes line the decor — on display is a 1976 Filmfare trophy for Best Supporting Actor for 

Ask what an average day looks like and Chopra confirms it is characteristically unhurried. “I wake up and do some light exercise,” he says. “Television is a major engagement for someone my age. I watch all the cricket matches. Whenever I can, I visit my friends at the Otters Club or the Khar Gymkhana. It’s a calm, restful life.”

He’s warmed up to technology and stays happily busy on WhatsApp. One of his close WhatsApp pals is Amitabh Bachchan. “Ever since I fell ill, every morning there is a message from him: ‘Get well soon, Prem’. ‘Prayers for you’. 

 (I told him, buddy, I have recovered). But he persists sweetly.”

Chopra was hospitalised around the same time as Dharmendra, who passed away at 89 in November last year. The actors were lifelong friends, both born in pre-Partition Punjab (like Dharmendra’s character in the 2026 film — his last — 

, Chopra’s ancestral home is in Lahore, Pakistan).

Chopra’s dearest memory of working with Dharmendra is from the 1973 spy thriller 

. He’s mentioned this in his biography, 

 written by his daughter Rakita Nanda, and published in 2014. The title is of course a nod to his now-iconic line from the film 

(1973). That defining one-line has been parodied to death in popular culture, a verbal chestnut beyond taste and time.

“In one scene, I had Dharmendra and Rekha tied up in my villain’s lair. There were six ferocious dogs with me, three on either side. As I started laughing maniacally, the dogs stood up, scaring the hell out of me! Dharmendra was cracking up off camera. He was a jolly fellow!”

Chopra has acted in close to 400 films; the majority of them were villainous roles. He fell into the typecast with the runaway success of 

 (1964) and never looked back. He’s made his peace with his legacy, though it wasn’t always thus. In his prime, he could not attend weddings and family functions without spooking female guests. “My father had to explain to them that I am a good person,” he says with a laugh.

He narrates a story about English actor Sir Laurence Olivier playing Lago (in Shakespeare’s 

) on the British stage and, for his pains, being pelted with a shoe by an audience member. Chopra has his own shoe story, too. As a child, Nikhil Nanda, father of actor Agastya Nanda, and Uma Chopra’s niece’s son, once got so mortified that he refused to enter his grandaunt’s home. He had seen “Prem Chopra’s shoes”— a visual shorthand for danger in several films.

The times, Chopra agrees, have changed. “Audiences are more emancipated now. They appreciate complex performances, even in commercial films.”

Chopra has travelled widely, for leisure and for work.

 (1979) was shot in Cairo, Lisbon, Venice and Rome. He’s enjoyed trips to Beirut and Oslo, though London remains his favourite city of all to visit. “It gives you the feeling of being in a bigger Mumbai. Whenever I am in London, I don’t go to see the pictures. I go to the theatre.” He’s seen Sammy Davis Jr. and Dustin Hoffman on stage. “They were such hardworking, extraordinary actors,” he says, betraying a pang for his days as a young theatre actor in Shimla.

Tea arrives. Chopra pops a cashew nut into his mouth, chews it slowly and meaningfully. Jaggery is spooned into the tea. “Cheers,” Chopra says. It’s hard to square this grandfatherly figure with the Chopra of his biography in his suits and sideburns, enjoying post-shoot drinks with Dharmendra and Rajesh Khanna. Pressed for a drinking story, Chopra gladly obliges.

“Shashi Kapoor, Shammi Kapoor, Amitabh Bachchan and I were once in Delhi for a shoot. We kept drinking into the night. When someone parted the blinds, it was morning! We had a 9 a.m. shift so we ran immediately.”

He also reminisces about another old friend and fellow actor, Rajesh Khanna. In the twilight of his stardom, following a string of flops, Khanna became a heavy drinker, Chopra says. “He lost the topmost position in Hindi cinema. There was a lot of frustration. You cannot avoid ups and downs in this profession. He couldn’t adjust.”

(2023), playing a quietly fearsome Sikh patriarch named Dalbir Singh. He’s adored by a younger generation for his performance in 

, also with Ranbir Kapoor (“Great guy, very respectful”). Chopra says he was approached by director Vivek Agnihotri for a cameo appearance in a streaming project, which he did. Beyond that, he’s refused film offers in the last few years. His health is a consideration, but also the quality of roles. “Unless something truly extraordinary comes, I don’t feel like doing it.”

He’s amassed enough lifetime achievements awards to have a sense of humour about it. “I have one more Lifetime Achievement Award to receive on 8 March. It’s hard to turn down the poor chaps when they ask me.”

There’s a lull as we wind up the interview. “I have no regrets,” Chopra says, unprompted. He stares at the crowded skyline outside the window. I expect a wistful epiphany, some words of wisdom to live by. Instead, Chopra is sharp and matter-of-fact. “That’s Sanjay Dutt’s house, by the way,” he points out.

While in Goa recently, this reporter came upon a poster of Chopra’s 1980 Indo-Russian film 

at a restaurant, Kopi Desa Agonda. In the flashy Soviet-era co-production, Chopra, regally costumed, complete with a plumed headdress, plays the caliph of an imaginary Central Asian nation, and is memorably hoodwinked by Dharmendra and Hema Malini during the song “Jadugar Jadoo Kar Jayega.”

“It was a superhit film in both nations!” Chopra exclaims at the mention.

To read more exclusive stories from The Hollywood Reporter India's March 2026 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

Exclusive | Prem Chopra on Life, Movies and Friends: 'Every Morning, There Is a Message From Amitabh Bachchan'

, the Marathi film directed by debutante Jeejivisha Kale, has been slowly and steadily warming up the audience. “It has been said about Marathi cinema that it is a word of mouth phenomenon. I had only heard of it before. Now I am experiencing it,” Kale tells 

. “We have had our shows increase in the last five days—not just the number of screens, but also the number of shows per screen. People are watching the film again, taking their mothers and spouses and friends.”

The film follows the fragile but full-bodied bond between three women, the mercurial and ailing Hemalata (Bharati Achrekar), in Pune, and her two daughters—Sarika (Sonalee Kulkarni), her younger daughter and caretaker and Swati (Nehha Pendse), the elder daughter, married, working, and in Mumbai. When Hemalata falls seriously ill, all three are brought together under one roof and old resentments flare up, alongside tender nostalgia, and a mystery that threatens to unsteady their sense of self. 

A single child, Kale knew that she would make her directorial debut with a film about siblings. “When my father was sick, I felt very alone, with no one to turn to. I come from a nuclear family,” Kale shares. This seed sprouted and with a rough plotline sketched with characters, she went to writer-director Nikhil Mahajan—whom she considers a mentor—to write the screenplay, padded with Prajakt Deshmukh’s dialogues.

In a conversation, Kale breaks down her decisions and expands on her directorial intuitions. 

Talk to me about writing and casting the sisters—Sarika (Sonalee Kulkarni) and Swati (Neha Pendse). They look so unlike each other, but there is also this headstrong instinct that makes them feel like they belong to one family. How did you find the actors, and through them, the characters? 

There was no strategy behind casting them. I intuitively felt that my Swati was Neha. She also decided to financially back the film. Then, the family had to be built around her. While working on Raavsaheb (2024) I saw Sonalee perform a scene where is doing multiple things while also paying attention to someone in front of her with deep focus. I realized I found my Sarika. It was a lightbulb moment.  

We workshopped the characters, and that intuition I had was positively reciprocated by the actors.  

This role was made for her. It is important for the actors to know where to stop being emotional, so the audience begins their emotional journey. Someone with great control on comic timing, like Bharati, would only be able to hold this rein tighter. 

What about the men? On the one hand there is Swati’s husband, Malhar (Pushkaraj Chirputkar), who is a bit of a loser, constantly asking her for money, and then there is Gandharv (Nipun Dharmadhikari), Sarika’s business partner, who becomes the incarnation of all that is perfect in men. Was this contrast conscious? 

Malhar is a victim of his situation. He is unable to look at it objectively. Both Sarika and Malhar have been harrowed by the pandemic—their careers have suffered. But Sarika is not someone who gives up. She is angry because she has a lot to give and the world around her is always crumbling. 

Malhar, like a lot of men, gives into his pessimism. You see Malhar deteriorating. He is not able to get over himself as a failure. Someone who wants to do more, but is just unable to act on it. That is his tragedy. Gandharv is objectively the greenest flag in the film. He understands that women are humans who don’t need to be put on a pedestal, and can be called out. He is not very reactive, and has no romantic interest in Sarika. He is just there. Such examples are few in cinema. 

Something that itched here—and this is a spoiler—is that sexual desire is seen as threatening in the film. Either it is the creepy boss or the paedophile. There isn’t space for safe erotic desire being expressed in this film. Was this conscious? 

This film doesn’t speak about desire, so I didn’t see it in that way. It talks about how women need to find power within themselves, and exercise their own agency. When you are born into a woman’s body, being desired is an invariable consequence. So maybe the question didn’t even arise in me.

Unfortunately, since I am talking about the lecherous gaze and paedophilia, it is coming under the umbrella of sexuality and desire, but where we are coming from is agency, consent, and power dynamics and how only a woman can take a stand for herself.

before that—there is a spate of Marathi movies led by female characters, some of which are doing well commercially. You have been an AD, working in Marathi cinema since 2014. Do you see any shift towards cinema that anchors the female perspective in different ways?

Marathi cinema has always had strong female characters. You cannot go without mentioning Smita Patil who played a lot of powerful roles. Alka Kubal, too, has done a lot of leading roles in feature films, of a different flavour, and was one of the successful Marathi actors, still very well respected. 

Women are represented really well in Marathi cinema. 

is only an addition to it. It is not a strategic decision to get women into our movies, nor necessarily progressive stance. It is just how we intuitively look at the world. I don’t remember ever feeling like I am not part of the world, when I watched Marathi films. I never felt like “this was a change”. But, perhaps, the kind of stories are changing, with different dimensions of womanhood being explored. 

'Tighee' Director Jeejivisha Kale: 'Marathi Cinema Has Always Had Strong Female Characters'

For Vijay Sethupathi, looking back at his career is acknowledging the number of full circles he seems to have completed. Moments that seemed like mere life experiences years ago have now become the foundation for his work across multiple Indian film industries.

Now known for his versatility across films in different languages, Sethupathi questioned how far cinema could take him initially. Early in his career, he expressed this concern to director M. Manikandan (who also directed his latest project, 

) while working with him on a short film.

, he recalls telling the director, “As a technician, you could go anywhere in the world and work. But as a South Indian face, I didn't think I could cross the Tamil industry as an actor.”

However, the bridge to his future had started building years before that. During a stint working in Dubai, he remembers his boss giving him an ultimatum: “Count the money in your hands and learn Hindi quickly.” At the time, he spent about six months learning the language. What he never realised was that it would eventually help his entry into Hindi cinema.

Today, those circles are complete. Having started his film journey through a Kannada film, Sethupathi has now worked across Tamil, Telugu, Malayalam and Hindi cinema. He believes that working in different languages is an experience of immersion. “To go somewhere and understand the people, language and culture, to be one among them and know their story, is a different kind of experience,” he explains.

Exploring new cultures is not something he wants to stop exploring anytime soon. He recalls receiving an offer to work on a Gujarati film, and while working on the film 

(2025), he even expressed interest to director Kishor Pandurang Belekar about potentially exploring Marathi cinema. For him, it is the story that matters most.

Watch the full interview with Vijay Sethupathi on The Hollywood Reporter India's YouTube channel.

Vijay Sethupathi: ‘I Didn’t Think a South Indian Face Like Mine Could Cross The Tamil Film Industry’

Having spent 22 years establishing himself in front of the lens, Vijay Sethupathi is increasingly transparent about his interest in taking over the director’s chair one day. He’s already a producer, lyricist and screenwriter, having co-written 

(2015). But in a candid conversation with

, he revealed that while the desire to direct is real, he is refusing to put pressure on it.

“I just want to direct, just to try,” Sethupathi says, talking of his directorial vision stemming from a more personal place. “I want to put my money and make a film. If it’s good, we’ll release it, or I’ll just keep it with me.”

He admits that his view of watching cinema has shifted. “When I started, I used to watch films as an actor. Now I’m trying to understand from the point of view of a director also.” He also recalls always having written short stories, tales that he still narrates to his children today, “I have told them about 10 to 15 stories… Publishing companies have asked for them, but I didn’t give it to them; I thought, let it be for my children.” 

His experience with writing makes him someone who understands the flow of a story, even if he hasn’t found the right one to personally direct yet.

When asked if he has a timeline, the actor said that he is avoiding putting any deadlines on it. For him, the joy of directing comes from the lack of any pressure. “Wanting to direct is to have fun with it. Why should I spoil that by giving it a deadline?” Sethupathi is intent on this opportunity coming his way when it’s meant to, “I am fixing my own deadlines in life."

For him, the transition to directing is a gradual process. There is no genre in mind, no directorial style, only observing the craft and a refusal to turn his passion for art into a chore.

Vijay Sethupathi on the Prospect of Directing: 'I'm Trying To Watch Films From a Filmmaker’s POV'

The production of Thiagarajan Kumararaja’s latest project, 

, marks a significant return for a filmmaker who is known for his incredible vision and long gaps between films. For lead actor Vijay Sethupathi, the experience is defined by his deep appreciation for the director’s unique process.

As the cameras finally roll on their latest collaboration, in conversation with 

, Sethupathi shared, “We’ve started the shoot. It’s going fantastic. I’m enjoying every day.” 

His joy comes from the reverence of watching a master at work. “I love the way this man executes his films.” He speaks of a respect for his craft that is so profound that he even took his son to the sets of Kumararaja’s 

When asked if he often visits directors on set to watch, he said, “No.. some of the directors I love, I just go to sit (on their sets). But I don't spend too much time there because I don't want to spoil their set," talking about how it is a rare opportunity to witness Kumararaja at work, making the situation different.

For the actor, the rapport between a director and actor cannot be forced. His work with Kumararaja relies on a well-established intellectual understanding between the two. However, he is careful to distinguish this from blind faith, asserting that his trust is grounded in the knowledge of a director’s capabilities, sincerity and responsibility. For him, giving in to their vision is possible because he is fully aware of the substance behind it.

While Sethupathi acknowledges the significant gaps between Kumararaja’s films, he believes that the timing is ultimately the director’s. However, he does admit that a group of colleagues have been urging the director for more frequent projects, “I told him, please, hereafter don’t take much time... and it’s not only me,” he remarked.

 brings the Tamil actor together with Kumararaja, following the cult favourite 

 (2019). The film, which has music by Ilaiyaraaja, also co-stars Raj B Shetty, Kishore and Malavika Mohanan. 

Exclusive | Vijay Sethupathi on Thiagarajan Kumararaja's 'Pocket Novel': ‘I Am Enjoying Every Day Of Filming’ 


A month before the cameras rolled on the upcoming JioHotstar series 

, Vijay Sethupathi drove down to Usilampatti, a town an hour away from Madurai, upon getting a call from director M. Manikandan. What awaited was not a table read or rehearsal, but some 

To anyone else, this may sound like a casual hangout, but to Sethupathi, it is work.

The actor has long believed that the kind of understanding required between a director and an actor cannot be manufactured on the spot; it must develop gradually by getting to know each other. Despite calling it “free time”, the hours he spends with these directors are anything but. 

, comparing the dynamic to a friendship, he said, “If you know somebody for a month, you know you have a subconscious understanding of what that person likes and how he thinks, you know that it will happen automatically.”

His approach to the characters he plays and their stories is deliberately open. Understanding the director’s vision, he reiterates, is always the main focus. Everything else, the choices, instincts, improvised moments, orbits around it or is a result of it. He is, however, careful to distinguish the trust he puts in his directors from blind faith. “It is not blind because I know them. I know their capabilities, their sincerity, their responsibility.”

It is this philosophy that has shaped some of his most compelling performances in contemporary Indian cinema. And nowhere else has it had the time to grow deeper than his relationship with Manikandan, whom he has known since 2008.

n came together, they had a solid foundation of trust. What Sethupathi describes with great admiration, of Manikandan on set, is a director who believes restraint is a creative instrument. “He doesn’t do anything, that’s the magic. He just lets you be,” Sethupathi said. The direction comes in precise, minimal words as casually as one would talk to a friend. He believes Manikandan has cracked the code on how to tap an actor. Their other collaborations include 

What remains between them after all these years is the element of surprise that comes from the ideas that sprout in the moment. “While performing a scene, we can’t really control every nuance, we just take it, and we perform, and whatever happens in between the lines comes automatically”, he adds about still being able to surprise the director, 18 years in.

Exclusive | Vijay Sethupathi on 'Kaattaan' And Working With Manikandan: 'He Lets You Be, That’s The Magic'

When AR Rahman asked Alexander Babu to perform at his concert in Chennai, the standup comedian recalls being transfixed. For Babu, who has been delivering comedy through the sharp and indelible lens of a love for Tamil classical and film music, the answer was a no-brainer, even if the concert day collided with a private family observance. His rendition of Shahul Hameed's 'Rasathi', which was happily lapped up by fans at the venue and on the internet, marked a full circle for Babu.

, the popular comedian talks to us about his admiration for Rahman, writing comedy to reflect the political realities of society and his future work. 

What was it like to perform with AR Rahman?

It was quite surreal. I was moved by the whole thing. My wife has been manifesting that I meet Rahman sir for the longest time. I was called to interview him and was completely starstruck. I know about his generosity. He always sticks to love. He has been very graceful. Beyond music, too, I have always been inspired by how he carries himself. He keeps art above everything, and that is inspiring. I was moved to tears various times during the interview.

I don't know if this made it to the edit, but in a moment in the interview, I said he looked like a saint in the concert's poster. He was referring to the recent trolls and said, "Right now, I am more of a sinner than a saint."

He casually remarked,"Why don't we have Alex come and sing?" I think his team was saying something along the lines of the songs being cut down. He said "Illa, paathukalam pa."

He asked me if I'd be free on the day of the concert, but I had something else on February 14. It was my father's first death anniversary. My whole family was supposed to travel to my hometown and spend a day there. My brother was coming from Singapore. But this flashed into my mind very quickly — my father is a music lover. He introduced MSV and Sirkazhi to me. It was like my father was offering this gift on his anniversary.

My family flew down to Chennai, and I got them VIP lounge tickets. We went to the church in the morning and had our prayers. The evening was about celebrating music. It was an overload of emotions.

(grandfather) was also involved in playing harmonium and singing in the church. But nobody learnt it formally. Nobody knew 

 or pitch. He was in many ways passionate about singing 'Rasathi'-like songs. His throw was like that.

You're accustomed to one kind of stage, but this was different. How was it singing 'Rasathi'?

I've been singing the song since my college days. Like in my Wonderland shows, when I tell audiences that SPB is going to come next, I modulate my voice a little and put on a little accent, the audiences are tuned to hear him.. and then, they hear SPB.

'Rasathi', with its folk and modern touches, doesn't fit in any conventional genre. It's so earthy and new. It is such a special song. I've been training for a while, but I'm not on pitch every time I come on stage. I missed a cue for one of the lines. I was lost because at some point I thought somebody else was going to sing! On my stage, there is some leeway. Singing music is very different. Once you take your earplugs off, it feels like you're in a ghost bungalow. I experienced that for the first time.

Tell us about developing an interest in Carnatic music?

My father was fascinated with these complicated songs of TMS like 'Paatum Naane' and 'Isai Tamil Nee Seidha'. My brother would bring me a lot of Yesudas tapes. I also realised there's a structured way to learn anything. I took the Tabla with me to the US and started learning. I was jamming over the weekend in the Bay Area in light music. 

Carnatic training started when I was in my mid 20s. I've been learning on and off. The passion for good music and stand-up took me to all these different crowds.

You speak about being a Christian and learning yoga and Carnatic music. Are people still surprised by this fact about you?

There is still this lack of clarity in the way you interpret things. Like, for instance, sometimes people say, "If you say Om, you don't believe in Jesus Christ anymore." Unless you realise the means are many and the truth is one, that's where anything extreme comes in. Anything extreme doesn't do you any good. I get some comments saying you can't sing other songs. But there's a lot more acceptance. Sometimes I also see what I only want to see.

I have a lot of friends who are priests, who I called to watch my Madurai show. My school teacher, who is a Jesuit priest, came to the show where I was singing 'Mariamma.' I made a call where I made them sing along! There are enough people who see humanity in all these things. We live in a divisive time. 

How important is it to address the hard political realities of our country and society for you as a comedian?

It is important. I didn't start my journey thinking comedy is a tool and that I should do what the world needs. I wanted to get on stage and get claps initially. But somewhere you shift. In troubled times, art keeps the conversation going. You may be trolled, but something happens there. There is some reason why I'm working in this field, and you reflect in your own way. I might never be correct or perfect.

Some people tend to say, 'Stick to comedy, man.' But you realise everything is comedy until it is about you. Everything is a joke until it's about you.

Having said that, art is a huge shield. If I'm attacked, my jokes aren't strong. I have to take the hit and say, "Sorry, I didn't mean to hurt you, but that's how I felt." The followers reduce, which has happened a few times... but we are not here to increase follower count. We are here to speak the truth and not hate anybody.

But you can't force it on every artist. Sometimes I don't force it on myself. When I write something, I ask myself, "Is this what I'd want to tell my children?" and then write it for them. The whole audience is an extension of my family. In a way, this has become a policy.

What you’re doing is very niche, which is comedy with music. How did you realise there would be takers for it?

I was married and had kids by the time I started doing 

 in open mics, which were filled with young crowds. I was writing comedy around girls and makeup and all that. I was trying to write what the guys wanted to hear that evening, but my friends told me, "You write what you want to write about."

Somewhere, I realised I love singing. Also, religion was such a taboo thing, so how do we talk about it? How do we bring in terminology? It's ok to say I am a Christian and talk about what this life is, so that there is conversation about who we are and what we are. There is always diversity that has been driving me. 

During the Harris Jayaraj set, I also sang a few lines; I had fun and it was a huge hit. After that I decided to write about Rahman and Ilaiyaraaja too; that's how 

happened. The apprehension was definitely there. But it just worked and brought in an audience. 

I keep telling myself I need to be ready to fail, but the hard work has to be there. The next set I'm writing about success and its dangers. Success is all about doing something better than other people. But happiness is different and important. 

I not only watch comedy, but many situations make me laugh. That can even be playing with kids and whatever they say... all that cracks me up. I like Gopi Sudhakar in Tamil. I like Robin Williams and can watch Jim Carrey clips any day. And of course, always Crazy Mohan and Nagesh bits.

Can you tell us about your future projects? 

I'm writing my next show. The plan is to start touring before the end of the year. I will start announcing once I get some content ready. I'll also start doing some tester shows.

Can we see you in films because I know you love acting?

I love acting, and this year is a beautiful time if somebody gives me an opportunity. I'll happily go if there is a shorter opportunity, but if there is a role that demands four months; I guess I can't do that because the stakes are high. If I want to tour the US, I have to book theatres a year ahead. If I want to be there in March, I have to premiere in India at least by December, which means the test show should start by September, which means the tour will be complete by August... so I'm already late!

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