Bollywood's biggest rebel has a new complaint: not enough screens. But when did the man who fought entitlement start sounding like he is owed one? Here's more on the curious case of Bandar and Anurag Kashyap's most twisty argument yet.
Homi Adjania's Cocktail, while celebrated for its music and performances, subtly declared Veronica the imperfect woman in the love story. As Cocktail 2 arrives, here's revisiting the 2012 film starring Deepika Padukone, Diana Penty and Saif Ali Khan.
As a man, I find Pranit More and Madhur Virli's jokes deeply humiliating. They offend me, yes, but they normalise the violation of women and make every decent man carry the burden of rebuilding trust.
A viral comedy clip showed a Gurugram man joking about expecting an ROI (return on investment) after spending Rs 370 on a date. The backlash widened into a debate on consent, misogyny and the laughter that helped spread it.
The backlash to Peddi has renewed scrutiny of how Hindi cinema frames women's bodies on screen. The debate has also highlighted how male sexualisation is treated as fleeting fun while objectification of women remains embedded in storytelling.
A Gurugram audience member at Pranit More's crowdwork show recounted pursuing a woman after buying her biryani worth Rs 370 and described how he violated her. But really, have you watched the entire video from the show?
I watched Ram Charan's Peddi alone, and the two men seated beside me kept laughing through Janhvi Kapoor's scenes while repeatedly invading my personal space. If this is how some people react in theatres, perhaps it's time we questioned what we're normalising on screen.
In Maa Behen, Madhuri Dixit's Rekha is hounded for refusing to stop wearing sleeveless blouses. The garment becomes the film's clearest symbol of resistance to widowhood norms and moral policing.
Spoiler, sort of: At some point in Peddi, the camera stops staring at Janhvi Kapoor's midriff and finally looks her in the eye. That's also when the film runs out of things for her to do.
Shilpa Shinde has said she filed a false sexual harassment complaint against producer Sanjay Kohli during their dispute. Doesn't it raise questions about accountability, reputational harm and the effect on women reporting workplace harassment?
Aamir Khan is set to marry partner Gauri Spratt on July 5. The development underlines the contrast between his off-screen life and his long move away from on-screen romance.
If journalists can't ask questions, is it really still called a press conference? Across film promotions, carefully curated interactions are replacing genuine conversations, with stars and PR teams controlling the narrative at every step. The result: plenty of publicity, but very little press.
The problem with the latest 'joke' on Pranit More's stand-up show is not just the fact that it was said, but how it was received: with applauses, laughter, amplification and glorification. Because buying a Rs 370 biryani is not the same as getting a woman's consent.
Ranveer Singh might be entering the best phase of his career yet, but what makes it compelling may also be what is quietly working against him in the industry. Conspiracy theories amid the Don 3 row or just a glimpse of Bollywood's insider reality?
Bollywood replaces actors overnight and calls it "creative differences." But when a star walks away on his own terms, suddenly it becomes a matter of "discipline."
Salman Khan clashed with paparazzi outside Mumbai's PD Hinduja Hospital after being followed and pressed for updates on Maatrubhumi. The episode has revived questions about privacy, consent and the eroding limits of celebrity coverage.
Alia Bhatt's Cannes red carpet appearance this year triggered online claims that photographers ignored her. The reaction shifted attention from the event to a wider fixation on foreign validation and Indian celebrity scrutiny.
Aishwarya Rai Bachchan's absence from L'Oreal's Cannes banners has triggered outrage on the internet. And while it may look like a case of just a face missing from the promotional materials, it is far more layered and deeply emotional. Because, Aishwarya at Cannes is not just red-carpet fashion for India.
The Devil Wears Prada 2 banks on nostalgia but, unlike the first film, is no cultural landmark. The sequel touches upon several contemporary topics, though only superficially.
Deepika Padukone announces her second pregnancy and the internet responds with suspicion, speculation, and scrutiny. Why does everything she does turn into a debate, and what does that say about us?
