Manoj Bajpayee has begun filming in Lucknow for director Sudhir Mishra’s forthcoming historical drama, in which he will portray Mahatma Gandhi for the first time in his career. The project went on floors with an outdoor sequence in the city on Friday, September 4. Currently carrying the working title Gandhi and My Mother, the film will explore a lesser-known 21-day period from the later years of Gandhi’s life rather than attempt to cover his entire journey. Anubhav Sinha is producing the film through Benaras Mediaworks, while NH Studioz is presenting it. Saurabh Shukla is also part of the principal cast. A final title and release date have not been announced. First Sequence Filmed in Lucknow’s Narhi Area Reporting from the production location established that filming began in Narhi, near Lucknow Zoo. The opening schedule included a young girl and a recreation of Gandhi’s public movement. Period costumes, vintage vehicles and old-style signboards were used to transform the location into a setting resembling the 1940s. Production is expected to continue in Lucknow until October, according to producer Anubhav Sinha. Earlier information had suggested that filming would begin in Kolkata. The launch of principal photography in Lucknow therefore represents a change from or an addition to the locations discussed during pre-production. The complete filming itinerary has not been officially disclosed. Manoj Bajpayee Undergoes Physical Transformation Sinha said Bajpayee had lost considerable weight in preparation for the demanding role. The actor is also following a restricted diet and a particular lifestyle as he works on the physical and psychological requirements of portraying Gandhi. “Manoj has lost considerable weight for the film and is currently in the ‘Gandhi zone’,” the producer said while discussing the start of filming. No official character image has yet been released. Claims about the precise extent of Bajpayee’s transformation should therefore remain limited to what the producer has confirmed rather than being assessed through unofficial photographs. The performance marks new territory for Bajpayee, whose career has included politicians, police officers, gangsters, intelligence operatives and complex ordinary men, but never Mahatma Gandhi. Not a Conventional Gandhi Biopic The film’s most distinctive element is its narrow historical focus. Mishra has described it as an examination of 21 days during India’s transition to independence, when political power was moving towards Delhi but Gandhi made a different choice. “This new film focuses on an important yet lesser-known chapter of history the 21 days in the life of Mahatma Gandhi during India’s independence,” Mishra said while announcing the project. According to the filmmaker, Gandhi’s decision to move away from the emerging centre of political power was not a retreat. The story will instead examine how he reconsidered his path during a decisive period for the country. The director has also called the project “a film within a film,” involving the dilemma of an actor and the difference between Gandhi’s position in his own time and the way he is perceived today. That description suggests the film will not function solely as a straightforward reconstruction of historical events. It may also examine the responsibility and difficulty involved in representing Gandhi for a contemporary audience. The precise narrative framework, however, has not been fully revealed. Sudhir Mishra’s Personal Connection to the Story Mishra’s interest in the subject has a family connection. His mother, Durga Devendra Nath Mishra, met Gandhi when she was a child and later had several conversations with her son about the experience. The filmmaker said his mother was both fascinated by and angry with Gandhi. Her father had joined the freedom movement under his leadership, giving the family its own relationship with the political and personal consequences of Gandhi’s decisions. Before his mother died in 2022, Mishra promised her that he would make a film about Gandhi. He began developing the screenplay after her death. This background explains the working title Gandhi and My Mother, although Sinha has confirmed that the production is searching for a new title. Sudhir Mishra and Anubhav Sinha Reunite The project reunites Mishra and Sinha after Afwaah, released in 2023. Both filmmakers have repeatedly engaged with political institutions, social conflict and the relationship between individuals and systems. Mishra’s filmography includes Hazaaron Khwaishein Aisi, Dharavi and Is Raat Ki Subah Nahin. Sinha’s recent work as a filmmaker and producer has similarly examined questions of discrimination, political tension and social responsibility. Their collaboration makes the decision to avoid a broad, chronological Gandhi biography particularly notable. The tighter 21-day structure offers space to study a moral and political choice rather than merely reproduce familiar milestones from history. The Celebrity Hour Take Manoj Bajpayee’s transformation will inevitably attract attention, but the film’s real test lies beyond physical resemblance. Gandhi has been interpreted repeatedly on screen, making another conventional biopic difficult to justify purely through casting. Sudhir Mishra appears to be approaching that challenge by reducing the historical canvas and introducing a film-within-a-film framework. That could allow the project to explore not only what Gandhi did during those 21 days, but also why portraying him remains complicated in present-day India. Mishra’s family connection gives the story another layer. His mother’s mixed feelings of admiration alongside anger suggest a perspective that may resist both unquestioning reverence and easy dismissal. The next meaningful updates will be the final title, Bajpayee’s authorized first look, and a clearer explanation of the specific historical period being dramatized. Sources & Verification This report was prepared using the film’s original announcement, statements from Sudhir Mishra and Anubhav Sinha, and verified reporting from the Lucknow production location. Bajpayee’s casting, the 21-day narrative, Saurabh Shukla’s involvement and the start of filming are supported by attributable production information. The working title remains provisional, while no release date or complete synopsis has been announced.

Late actor Mukul Dev is reportedly set to appear posthumously in Udta Teer, the upcoming spy comedy starring Ayushmann Khurrana and Sara Ali Khan. If the casting information is confirmed by the film’s producers, the project could become Dev’s final big-screen appearance after Son of Sardaar 2. The development was first reported as an exclusive by Bollywood Hungama, which cited an unnamed source familiar with the production. According to the publication, Dev filmed his portions in 2024, before his death in New Delhi on May 23, 2025. Dharma Productions and Sikhya Entertainment have not, at the time of writing, publicly announced Mukul Dev as part of the film’s cast. His presence and the description of Udta Teer as his final screen appearance should therefore be treated as reported information rather than an officially confirmed production detail. What Has Been Reported About Mukul Dev’s Role? The report claims that Dev’s character shares a confrontation with Ayushmann Khurrana’s character. His track has been described as combining comedy and action while contributing meaningfully to the larger story. These character details come from an unnamed source quoted by Bollywood Hungama. The publication has not identified the source, and no trailer, poster, official synopsis or cast announcement released so far has revealed Dev’s role. It would consequently be premature to describe the length or importance of his appearance with certainty. What the report does establish is that his scenes were allegedly filmed during an earlier phase of production in 2024. Why Son of Sardaar 2 Was Considered His Last Film Following Mukul Dev’s death at the age of 54, Son of Sardaar 2 was widely discussed as one of his final projects. The comedy, headlined by Ajay Devgn, reached cinemas after the actor’s death and featured him in a supporting role. The newly reported Udta Teer appearance changes that understanding. If the footage remains in the completed film and no other unreleased performance emerges, Udta Teer would become his final theatrical appearance by release chronology. However, “final film” can carry more than one meaning. It may refer to the last project an actor filmed, the final completed performance, or the last movie to reach audiences. The available report does not establish whether Udta Teer was the final production Mukul Dev worked on. It only indicates that it is another unreleased film containing his performance. What Is Confirmed About Udta Teer? Udta Teer is a spy comedy led by Ayushmann Khurrana and Sara Ali Khan. It is written and directed by Akash A Kaushik, who makes his feature directorial debut with the project. The film brings Dharma Productions and Sikhya Entertainment together again following earlier collaborations including The Lunchbox, Kill and the series Gyaarah Gyaarah. Its credited producers are Karan Johar, Adar Poonawalla, Apoorva Mehta, Guneet Monga Kapoor and Achin Jain. The original announcement positioned the movie as a humour-driven family entertainer that turns familiar spy-film conventions into a comedy caper. The film was initially dated for September 11, 2026. Its theatrical release has since been moved to October 9, 2026, according to the latest publicly available release information. Mukul Dev’s Career Crossed Languages and Genres Mukul Dev worked across Hindi television and films as well as Punjabi and several South Indian-language productions. He made an early film appearance in Dastak in 1996 and later became familiar to audiences through projects such as Yamla Pagla Deewana, Son of Sardaar, R… Rajkumar and Jai Ho. His brother, actor Rahul Dev, confirmed through a family statement that Mukul died peacefully in New Delhi on the night of May 23, 2025. He was survived by his daughter, Sia Dev. Rather than being limited to one type of character, Dev moved between comic parts, antagonistic roles and supporting performances-a range that makes his reported presence in a spy comedy consistent with the versatility of his wider career. The Celebrity Hour Take The real significance of the report lies in the possibility that viewers have not yet seen Mukul Dev’s last completed performance. Posthumous casting stories require precise language. Until Dharma Productions or Sikhya Entertainment confirms his participation, it is responsible to describe the appearance as reported—not official. It is also safer to call Udta Teer a possible final big-screen appearance rather than definitively labelling it his last-ever work. If the report is accurate, the film will carry an emotional dimension beyond its comic-spy premise. The eventual trailer and complete cast credits should provide the first production-backed confirmation of whether Dev appears and how prominently his work has been retained. Sources & Verification Mukul Dev’s death was verified through the family statement shared by his brother Rahul Dev and contemporaneous news coverage. The title, lead actors, genre, filmmaker, producers and revised release date of Udta Teer were cross-checked against the film’s announcement coverage and updated release information. Mukul Dev’s reported casting, filming period and character details originate from a Bollywood Hungama exclusive relying on an unnamed source; they have not yet been independently confirmed by Dharma Productions or Sikhya Entertainment.

The Bombay High Court has directed the Central Bureau of Investigation to register an FIR and conduct a substantive investigation into the circumstances surrounding celebrity manager Disha Salian’s death in June 2020. The order was pronounced on September 2, 2026, by a division bench comprising Justice Sarang V. Kotwal and Justice Ranjitsinha Raja Bhonsale in a petition filed by Disha’s father, Satish Salian. The court directed the officer in charge of the CBI’s Mumbai region to appoint a suitably experienced and senior officer as the investigating officer. Mumbai’s Malvani police station must hand over all necessary papers and articles connected with the case. The ruling marks a major procedural change after two rounds of inquiry by Mumbai Police. Crucially, however, the High Court has not concluded that Disha was murdered, accepted the allegations against any named person or declared anyone an accused. What the Bombay High Court Ordered The operative portion of the 44-page order contains several specific directions: A senior and suitably experienced CBI officer must be appointed to investigate the case. The investigating officer must record Satish Salian’s statement and register an FIR. The CBI must investigate every aspect of the circumstances in which Disha died. No person can be treated as an accused unless the investigating officer finds sufficient grounds, based on collected material, to raise reasonable suspicion. The investigation must proceed under the Bharatiya Nagarik Suraksha Sanhita, 2023. If evidence discloses an offence, the appropriate report must be filed before the competent court. If no offence is established, the CBI may file the appropriate summary report. Satish Salian will have the right to challenge such a report through a protest petition. Malvani Police must transfer the relevant records and articles to the CBI. The court rejected the request that it directly supervise the investigation, observing that there was no reason at this stage to doubt the CBI’s ability to conduct a fair, impartial and effective inquiry. Why the Court Considered a Fresh Investigation Necessary Disha Salian died following a fall from a residential building in Malad during the night of June 8–9, 2020. Mumbai Police initially examined the death through Accidental Death Report No. 85 of 2020 under Section 174 of the Code of Criminal Procedure. According to the High Court order, the first inquiry concluded in October 2020 that Disha had died by suicide and that no foul play was involved. That conclusion was accepted by the relevant police authority in February 2021. Following a Maharashtra government communication in December 2023, the matter was examined again. The second inquiry reached the same conclusion in April 2026, and its summary was accepted in May 2026. The High Court distinguished these inquiries from a regular criminal investigation. It explained that proceedings under Section 174 of the CrPC have a limited purpose and cannot be equated with an investigation into a cognizable offence following registration of an FIR. The bench observed that the inquiry had unfolded in two stages over approximately six years and said the police investigation raised “more questions than it answers.” It therefore found an FIR-based investigation necessary. Discrepancies Identified in the Court Order The High Court referred to multiple issues in the existing records while making it clear that these observations were not final findings of fact. Among the matters identified for further examination were: the timing of the spot panchnama; inconsistencies concerning the timing and contents of the accidental-death report; CCTV material showing police officers at the building before certain events recorded in the official timeline; questions arising from witness accounts and evidence collected from the location; aspects of the injuries documented during the post-mortem; correspondence concerning the amount of blood found on articles sent for forensic examination; a discrepancy between references to swabs and smears in medical and forensic records; questions concerning the handling of Disha’s clothes; and the delayed seizure and examination of her laptop and mobile phone. The court said these circumstances required a proper investigation but repeatedly cautioned that its observations should not influence the CBI’s eventual conclusions. Some of the issues—including the interpretation of injuries and forensic material—will require expert examination. The order itself does not settle what caused the discrepancies or what they ultimately prove. What the Court Has Not Decided The direction to register an FIR does not amount to a judicial declaration that a murder, sexual offence or conspiracy occurred. Satish Salian’s petition contained serious allegations and named individuals whom he wanted investigated. Those claims remain allegations. The High Court deliberately avoided making adverse findings against any person and left the assessment of evidence entirely to the CBI. The bench expressly stated that nobody should be treated as an accused merely because they were named in a complaint or court proceeding. An individual can be treated as a suspect or accused only if the investigating officer finds adequate material creating reasonable grounds for suspicion. This distinction is particularly important because the case has been surrounded by political claims, online speculation and unverified narratives since 2020. Mumbai Police’s Position Before the Court The Maharashtra government, through the public prosecutor, defended the earlier inquiries. As recorded in the judgment, the state submitted that both police exercises concluded that Disha died by suicide and that investigators found no evidence of foul play. It also argued that Disha’s parents had not initially raised suspicion against another person in the statements recorded after her death. The state further maintained that the medical and forensic records supported the conclusion reached by police. These were submissions made before the court; the bench nevertheless found the inquiry under Section 174 inadequate for resolving the issues appearing in the record. The CBI investigation must now examine the evidence independently rather than begin with a predetermined conclusion of either suicide or homicide. What Happens Next in the Disha Salian Case? The CBI’s Mumbai-region head must first select a senior investigating officer. That officer will record Satish Salian’s statement, register the FIR and obtain the case material held by Malvani Police. The agency will then be free to examine witnesses, police documentation, medical and forensic records, electronic evidence and any other relevant material. It may apply, add or remove legal provisions based on what the investigation produces. Two broad outcomes are contemplated by the order. If the CBI finds evidence of a cognizable offence, it may proceed against the person or persons supported by that evidence and file the appropriate report before a court. If it concludes that no offence is made out, it may submit a closure or summary report, which Satish Salian can contest. The Celebrity Hour Take The most important aspect of the judgment is not that the High Court has endorsed a particular theory about Disha Salian’s death it has not. The significance lies in the court’s conclusion that the earlier accidental-death process was insufficient and that an FIR-based investigation is now required. The order attempts to balance two competing concerns: a family’s right to a proper investigation and the right of individuals not to be publicly branded guilty without evidence. Responsible coverage must preserve that balance. The CBI direction creates a new investigative process; it does not provide a licence to recycle unverified allegations as established facts. The evidentiary findings of the agency, and their assessment by a competent court, will determine what happens next. Sources & Verification This report was prepared primarily from the Bombay High Court’s 44-page order in Satish Salian v. State of Maharashtra and Others, Criminal Writ Petition No. 1612 of 2025, pronounced on September 2, 2026. The operative directions, earlier police findings, parties’ submissions and issues identified by the bench were checked directly against the judgment. Contemporary court reporting from established legal and news publications was used to verify procedural context. Allegations in the petition have not been presented as proven facts.

The biographical devotional drama Hanuman Ansh, released in theaters on August 7, 2026, has emerged as one of the year's most talked-about indie success stories. At the center of the film's unexpected triumph is actor Shobhit Srivastava, who performs on screen under the name Shobhinaw Satyaa. Portraying the revered saint Neem Karoli Baba (born Lakshman Das), Srivastava delivers a serene and deeply grounded performance that has resonated with audiences across North India. However, the journey to portraying one of India's most beloved spiritual figures was far from conventional. Srivastava originally arrived on the set of Hanuman Ansh not as an auditioning actor, but as part of the film's crew. From Behind the Lens to the Lead Role Born in Khairabad in Uttar Pradesh's Sitapur district, Shobhit Srivastava pursued formal dramatic training at the Opulent School of Acting and Films in Lucknow before honing his craft at the prestigious Film and Television Institute of India (FTII) in Pune in 2016. Despite his formal acting background, Srivastava initially built a steady career behind the scenes in Mumbai and Lucknow. His industry experience spanned script supervision, continuity management, and assistant direction across various television and streaming formats, including work on Zoom TV broadcasts and web productions like Ragini MMS Returns. Following a personal loss in his family, Srivastava returned to his home state of Uttar Pradesh and signed on as an Assistant Director for Hanuman Ansh. While managing day-to-day production duties, his quiet demeanor and screen presence caught the attention of writer-director Dr. Vishal Chaturvedi. Chaturvedi encouraged Srivastava to audition for the central role of Lakshman Das. Following an intense five-hour screen test, Srivastava was officially cast to lead the feature. Spiritual Roots and On-Set Authenticity Written, directed, and produced by Dr. Vishal Chaturvedi, Hanuman Ansh draws inspiration from Chaturvedi’s book Divine Detour: That Changed My Life. The narrative follows 13-year-old Lakshman Das after the passing of his mother, tracing his wandering meditation, devotion to Lord Rama, and ultimate realization that spiritual devotion finds its truest expression through selfless human service. Rather than focusing solely on supernatural miracles, the film highlights foundational values of compassion, community feeding (bhandara), and unconditional love philosophies that earned the saint the moniker "Ansh of Hanuman" (Fragment of Hanuman) among villagers. To maintain spiritual discipline on set, the cast and crew reportedly maintained strict abstinence from alcohol and non-vegetarian food throughout the shooting schedule. Box Office Impact and Franchise Future Produced on a modest budget estimated between ₹1.8 crore and ₹2 crore by SWAMbhu Media Network and Holy Cow Home Productions, Hanuman Ansh defied box office expectations. Distributed by Panorama Studios and Cinépolis, the film surpassed ₹12 crore to ₹13 crore in theatrical earnings during its run, bolstered by organic word-of-mouth and vocal support from Bollywood personalities including Varun Dhawan and director Aditya Dhar. During a press briefing in Agra in late August 2026, director Dr. Vishal Chaturvedi and Shobhit Srivastava officially announced Hanuman Ansh Part-2. The upcoming sequel will expand on the saint's later years and deeply explore his connections across the Braj belt stretching from Firozabad to Mathura via Agra. The Celebrity Hour Take Shobhit Srivastava’s transition from an Assistant Director managing continuity sheets to leading a surprise hit illustrates a healthy evolution in Hindi cinema. In an era dominated by high-budget VFX spectacles, Hanuman Ansh proves that grounded regional narratives anchored in earnest performances still hold significant audience appeal. For Srivastava, opting for artistic sincerity over sensationalism has turned a behind-the-camera assignment into a career-defining breakthrough. Sources & Verification This report was prepared using regional news coverage, trade reports, public filings, press conference announcements from Agra, and biographical records regarding the film's cast and crew. Key details surrounding production budgets, casting background, and release schedules were verified across primary promotional releases and published journalist reports.

The Traitors 2 ends with a win for the Traitors Krystle D’Souza and Rida Tharana have won The Traitors Season 2, taking home a combined prize of ₹66 lakh after successfully making it to the end of the game as Traitors. The Karan Johar-hosted reality show concluded on Prime Video on September 3, with the finale ultimately turning into a battle of loyalty between the two secret players. The result is particularly significant because the show's central premise gives the Innocents one job: identify and eliminate the hidden Traitors before they can reach the end. This time, the Traitors managed to do the opposite. Krystle and Rida survived the final stages together and ultimately shared the prize. Prime Video's official listing confirms that Season 2 consists of 10 episodes, with the finale released on September 3. The second season premiered on August 13 with 21 contestants and was produced by Dharmatic Entertainment in collaboration with All3Media International, according to Amazon's official India announcement. How Krystle and Rida reached the finale The final stretch of the competition included Krystle D’Souza, Rida Tharana, Shalini Passi, Sahil Salathia, Dalip Tahil and Mallika Sherawat. Mallika was eliminated through a Traitor "murder", leaving the remaining players to navigate the final rounds of suspicion and voting. Dalip Tahil was subsequently eliminated during the Circle of Shaq, bringing the competition down to four. That left Krystle and Rida facing Shalini and Sahil. At this stage, the game became less about simply identifying the Traitors and more about whether Krystle and Rida could maintain their alliance without exposing themselves. Reports from the finale confirm that the two ultimately succeeded, with Shalini and Sahil eliminated before the final reveal. Krystle's final decision changed everything The most important moment of the finale came when Krystle had the power to choose between Rida and Shalini. Had she chosen Rida for elimination, Rida would have been removed from the game, leaving Krystle with the possibility of becoming the sole winner. Instead, Krystle chose to eliminate Shalini and protect Rida. That decision meant the two Traitors remained together and were able to claim the title jointly. In a post-finale Krystle explained her decision and discussed why she did not choose the path that could have resulted in a solo victory. The interview also confirmed that her choice allowed both women to share the ₹66 lakh prize. The moment also gave the finale its biggest strategic payoff: Krystle was not merely trying to survive until the last episode. She had to decide whether the relationship she had built with Rida was worth more than the possibility of taking the entire prize herself. ₹66 lakh prize money to be shared Krystle and Rida will share the ₹66 lakh prize pool as joint winners.The amount was confirmed in multiple post-finale reports. The prize is the final payoff to a season in which the contestants had to build alliances while simultaneously questioning almost every relationship around them. For Krystle and Rida, their ability to keep their Traitor identities concealed until the closing stages ultimately proved decisive. Krystle's Traitor strategy became a major talking point Krystle's gameplay had been noticed even before the finale. During the season, Karan Johar praised her approach, describing her game as "very, very smart" in a moment referenced in the finale coverage. Her success came from maintaining credibility among the other contestants while operating with information that the Innocents did not possess. Rida's position was different. She eventually became part of the winning Traitor alliance and remained beside Krystle when the game reached its final stage. Their shared victory means that the season's central deception ultimately worked exactly as the format intended: the players tasked with hiding their identities managed to reach the end without being exposed. What happened to the other finalists? Shalini Passi and Sahil Salathia were the final Innocents standing alongside the two Traitors. Both reached the closing stages of the competition but were unable to identify the remaining Traitor alliance before the final reveal. Their elimination meant the season ended without an Innocent winner. The outcome also made Season 2 different from a conventional reality-show finale. Rather than one contestant defeating every other player outright, the result depended heavily on the alliance between the two hidden Traitors and Krystle's decision not to turn on Rida at the decisive moment. The Traitors Season 2: From 21 contestants to two winners Season 2 began with 21 contestants and was again hosted by Karan Johar at Suryagarh Palace in Jaisalmer. Amazon's official preview described the season as a game built around trust, deception, hidden identities and shifting alliances. The cast brought together personalities from entertainment, social media, food and other public-facing fields. The format divided the contestants into Innocents and secretly designated Traitors, with the latter attempting to eliminate the former while keeping their identities hidden. The second season ran for 10 episodes, with the finale released on September 3. Prime Video's official episode listing describes the final episode as the point at which the Traitors attempt one last act of deception before the winner is determined. The Celebrity Hour Take The biggest takeaway from The Traitors 2 is that the winning strategy was ultimately built on trust between two people who were supposed to deceive everyone else. Krystle and Rida did not need to eliminate each other to win. Their advantage came from recognising that cooperation offered a safer route to the prize than an unnecessary final betrayal. Krystle's decision to save Rida transformed what could have been a solo victory into a joint one. That also makes the ₹66 lakh result more interesting than the headline alone suggests. The prize money is the reward, but the real achievement was getting two Traitors through a format specifically designed to expose them. Rida and Krystle's victory also reinforces what makes the Indian adaptation different from a straightforward celebrity reality competition: the strongest player is not necessarily the loudest contestant or the most visible personality. In this format, remaining underestimated can be the bigger advantage. For now, the confirmed outcome is clear: Krystle D’Souza and Rida Tharana are the joint winners of The Traitors Season 2 and will share ₹66 lakh. Their route to that result was built around secrecy, alliance-building and, at the most important moment, Krystle choosing partnership over a potential solo win. Sources & Verification This report was prepared using Prime Video's official Season 2 listing and Amazon India's official announcement for the series.The winner, finale date, 10-episode structure and ₹66 lakh prize were cross-checked across multiple sources. The details concerning Krystle's decisive final choice were additionally checked against post-finale interviews and multiple reports.

Rajasthani musician Rapperiya Baalam has publicly objected to the use of his song “Shoorveer” in Mirzapur: The Movie, alleging that the track appeared in the film without his permission or proper credit. In an Instagram video posted on September 5, 2026, the artist said he was hurt not simply because he had allegedly not been consulted, but also because of the context in which the song was used. “Shoorveer” was created as a tribute to Maharana Pratap, while Mirzapur is built around fictional gangsters, violence, and a struggle for criminal power. The musician’s statement establishes his allegation and personal objection. It does not, by itself, determine whether the film’s producers obtained a license from another entity holding rights connected with the recording or composition. No publicly available licensing documents have yet clarified that question. What Rapperiya Baalam said about the alleged use Addressing the Mirzapur team in his video, Rapperiya Baalam claimed that nobody had approached him before the song was included in the film. “The team never took my permission to use the song,” he said, before asking who had authorized its inclusion. The artist added that he would have been open to working with the filmmakers had they contacted him. His objection, therefore, was not to a possible collaboration with the franchise but to what he described as the absence of consultation and consent. He also raised a broader creative concern: a song written to honor Maharana Pratap was, in his view, being used to elevate fictional criminals. Calling the situation hurtful, he described it as disrespectful to both Maharana Pratap and Rajasthan. Rapperiya Baalam indicated that he intends to pursue whatever action he considers necessary, although he did not publicly detail a formal complaint, legal notice, or court proceeding in the video reviewed for this report. ‘Shoorveer’ was released as a Maharana Pratap tribute The original “Shoorveer” was released in July 2020 and was explicitly presented as a tribute to Maharana Pratap. Public music-platform credits identify Rapperiya Baalam as a performer and composer, Rajneesh Jaipuri as a performer and lyricist, and Honey Trouper as another performer. The release is associated with Trouper Records. Those credits are important because music used in a film can involve several distinct rights, including rights in the underlying composition, lyrics, and particular sound recording. Rapperiya Baalam’s statement makes clear that he did not personally approve the use. However, publicly available information reviewed by The Celebrity Hour does not establish the complete contractual ownership or licensing history of every relevant right. It would therefore be premature to declare that a copyright infringement has legally occurred without seeing the agreement under which the filmmakers say the track was used. That distinction does not diminish the artist’s complaint. It identifies the question the producers now need to answer: which version of “Shoorveer” was used, who authorized it, and what rights did that party hold? Have the Mirzapur makers responded? As of the preparation of this report on September 6, neither Excel Entertainment nor Amazon MGM Studios appeared to have issued a publicly accessible response addressing Rapperiya Baalam’s allegations. The absence of an immediate statement should not be treated as an admission of wrongdoing. A response from the producers, music label, or other involved rights holder could materially change the understanding of how the song was cleared and credited. Mirzapur: The Movie opened in cinemas on September 4, 2026. The film is directed by Gurmmeet Singh and written by franchise creator Puneet Krishna. Excel Entertainment’s original announcement described the project as a theatrical adaptation of its Prime Video crime series, bringing back characters played by Pankaj Tripathi, Ali Fazal, and Divyenndu. Why the context of the song matters The dispute has two separate dimensions. The first is contractual: whether every right required for the film’s use of the song was properly obtained. Rapperiya Baalam has alleged that his permission was neither requested nor given, but the full rights chain remains unavailable for independent examination. The second is creative and cultural. Even if a producer possesses a valid license, an artist may still object to the setting in which the work appears. Rapperiya Baalam believes that placing a Maharana Pratap tribute alongside fictional gangsters changes the song’s intended meaning. That concern is subjective rather than a settled legal conclusion, but it is central to understanding why the musician reacted with disappointment instead of treating the placement only as wider exposure for his work. The Celebrity Hour Take This controversy illustrates why music clearance involves more than adding a familiar track to a dramatic sequence. Producers must establish who controls the relevant rights, while clear communication with the song’s creators can prevent disputes over credit, context, and cultural meaning. For independent and regional musicians, screen placement can introduce their work to a much larger audience. But when the artist learns about that placement only after release, as Rapperiya Baalam says happened here, the exposure can become secondary to questions of authorship and control. The most useful next development would be a documented response from the filmmakers or the party that licensed the recording. Until then, the responsible description is that Rapperiya Baalam has made a serious, publicly verifiable allegation, not that copyright infringement has been conclusively proved. Sources & Verification This report was prepared using Rapperiya Baalam’s Instagram statement, publicly available credits for the 2020 release of “Shoorveer,” Excel Entertainment’s official announcement concerning the Mirzapur film adaptation, and coverage from established news organizations. The Celebrity Hour verified that the artist made the allegation but could not independently access the film’s music-licensing agreements or complete rights documentation. No formal legal filing or producer response was identified at the time of writing.

Mumbai’s Dahi Handi celebrations brought film stars and Govinda pathaks together on Saturday, September 5, as Sanjay Dutt, veteran actor Jeetendra, Suniel Shetty and other celebrities attended major events across the city and neighbouring Thane. Jeetendra appeared at the Dahi Handi programme organised by BJP MLA Ram Kadam in Ghatkopar, while Sanjay Dutt attended the Magathane celebration organised by Shiv Sena MLA Prakash Surve and Raj Prakash Surve in Borivali East. Suniel Shetty participated in a separate celebration in Thane. The celebrity appearances were part of a much larger day of festivities in which thousands of Govindas participated in human-pyramid formations across Maharashtra. Jeetendra Attends Ghatkopar Celebration Jeetendra was welcomed at Ram Kadam’s Dahi Handi gathering in Ghatkopar, where music, performances and pyramid competitions formed part of the programme. Speaking to reporters at the venue, the veteran actor credited the organisers’ affection for bringing him back to the celebration. “It is their love that brings me here to the celebrations. They invite me here with so much warmth and love,” Jeetendra said. His appearance attracted attention across generations, adding a touch of Hindi cinema nostalgia to the traditional celebration. Professional dancer Gautami Patil performed at the event, while actor Rajat Bedi was also among those in attendance. Bedi said it was his first visit to the Ghatkopar celebration and indicated that he planned to make a special announcement. No verified details of that announcement were available at the time of writing. Sanjay Dutt Greets a Large Crowd in Magathane Sanjay Dutt attended the Magathane Dahi Handi festival at Devi Pada Ground in Borivali East. Visuals from the venue showed the actor greeting a large gathering as Govinda teams participated in the day’s competitions. The event was organised around the theme of promoting Marathi-language education and preserving Marathi schools. Organisers had announced separate cash prizes based on the number of tiers completed by participating Govinda pathaks, along with incentives for women’s teams. Dutt did not make a substantial public announcement connected to his film career during the appearance. His participation was primarily part of the cultural programme, and no unrelated professional development should be inferred from it. The actor has a memorable cinematic association with Dahi Handi through Vaastav: The Reality, whose festival sequence remains one of the film’s widely recalled moments. His presence at a public celebration therefore carried an additional connection for movie audiences familiar with the 1999 crime drama. Suniel Shetty Joins Thane Festivities Suniel Shetty attended a Dahi Handi programme in Thane, where he addressed the gathering in Marathi and encouraged participants to prioritise safety while attempting the demanding human-pyramid formations. Calling Mumbai his “karmabhoomi,” Shetty spoke about his affection for the city and the global recognition enjoyed by Indian festivals. He also praised the local police and urged citizens to support efforts against the sale and consumption of illegal drugs. His appearance demonstrated how large Dahi Handi events now function as more than pyramid competitions. Many combine religious tradition with stage performances, social campaigns, celebrity guests and public messages from organisers. Women’s Govinda Teams Share the Spotlight All-women Govinda troupes were among the notable participants in this year’s celebrations. Their presence reflected the widening participation in a festival historically dominated by male teams. Dahi Handi commemorates the childhood stories of Lord Krishna, with participants forming human pyramids to reach and break an earthen pot suspended above the ground. In Mumbai and Thane, the tradition has developed into a major public spectacle involving numerous local mandals and competitive Govinda pathaks. Celebrity appearances attract additional public attention, but the teams remain at the centre of the celebration. Their coordination, physical preparation and willingness to attempt multi-tiered formations create the defining moments of the event. Celebrations Also Renew Safety Concerns The scale of the festivities was accompanied by serious safety concerns. Numerous participants were taken to hospitals after sustaining injuries while forming or dismantling human pyramids across Mumbai. A separate tragedy occurred in Malvani, where seven-year-old Rudra Kadam died after part of a brick column collapsed during a local celebration. Preliminary civic information indicated that a rope holding the handi had been secured to the column, which gave way under pressure. The incident was not connected to the celebrity-attended events covered above. However, it underlines why secure installations, protective equipment, trained supervision and responsible crowd management must remain central to every Dahi Handi programme. The Celebrity Hour Take The presence of Sanjay Dutt, Jeetendra and Suniel Shetty illustrates the long-standing relationship between Mumbai’s entertainment industry and the city’s public festivals. Their appearances can broaden attention and create memorable moments, particularly at events that also promote cultural or social initiatives. But celebrity visibility should not overshadow the Govinda teams or the responsibility carried by organisers. Dahi Handi depends on physical skill and community participation, and its success cannot be measured only through crowd size, prize money or prominent guests. The strongest celebrations are those that preserve the festival’s cultural character while treating participant and spectator safety as a non-negotiable priority. Sources & Verification This report was prepared using event footage, remarks recorded at the venues, information released by organisers and coverage attributed to established news agencies. The Celebrity Hour separately reviewed municipal information concerning the fatal Malvani incident. Crowd descriptions were limited to gatherings visible in footage or described by on-ground agency reporting; no unsupported attendance figure has been used.

Ahsaas Channa has joined the cast of Asur Season 3, moving from being an admirer of the psychological crime thriller to becoming part of its expanding ensemble. Filming is now underway, with Arshad Warsi and Barun Sobti returning to lead the next chapter of the series. Channa has also begun shooting for the new season. Speaking about the opportunity, the actor described herself as one of the show’s biggest fans and said joining its cast felt “surreal.” Her addition is particularly interesting because Asur is a marked departure from several of the youth-oriented dramas and lighter contemporary stories with which she is widely associated. The new role places her inside a darker world built around crime, forensic investigation, mythology and competing ideas of morality. Ahsaas Channa on Joining a Show She Already Admired “I am beyond thrilled to join Asur 3, especially after being one of the biggest fans of the show,” Channa said in remarks released with the casting update. She also expressed her excitement about working with Arshad Warsi, Barun Sobti and Ridhi Dogra. Without disclosing her character or the direction of the new storyline, Channa said the third season would raise the thriller’s intensity. Her statement confirms her participation but does not reveal whether she will play an investigator, a suspect or a character connected to the season’s central mystery. No verified character name or plot description for her role was available at the time of writing. That secrecy is consistent with a series whose suspense depends heavily on hidden identities, moral conflicts and gradual revelations. Returning Cast Led by Arshad Warsi and Barun Sobti Arshad Warsi is set to return as Dhananjay Rajpoot, while Barun Sobti will reprise his role as Nikhil Nair. Their characters have remained central to Asur, which combines conventional criminal investigation with philosophical and mythological questions. Ridhi Dogra, Anupriya Goenka and Vishesh Bansal are also reported to be returning. Shweta Basu Prasad is among the new additions associated with the third season. The precise size of Channa’s role has not been officially detailed. Descriptions of it as “pivotal” have appeared in production-related coverage, but viewers will have to wait for authorised character material before her place in the story can be established. Multi-City Filming Reportedly Planned Production information reported on September 4 states that principal photography began in Mumbai on August 30, 2026. The schedule is expected to move across multiple cities over approximately three months, with filming reportedly continuing until December. These schedule details have been consistently repeated in subsequent coverage but have not yet been supported by a publicly accessible production calendar. They should therefore be treated as reported information rather than a formal filming timetable. A mid-2027 release window has also been reported. However, no specific premiere date has been publicly announced, making any release timing provisional at this stage. A Creative Change Behind the Camera The third season is also expected to introduce an important shift in creative leadership. Gaurav Shukla, who created and wrote Asur, is reported to be directing the new season with advertising filmmaker Shwetabh Varma. Oni Sen directed the first two seasons but is not expected to return in that capacity. If confirmed through the eventual credits, Shukla’s move into direction would give the series’ principal creator greater control over how the new storyline is translated to the screen. It could also provide continuity even as the visual and directorial approach changes. No detailed synopsis has been released, so it would be premature to claim that the third season will follow a particular criminal case or introduce a specific antagonist. Why Asur Season 3 Is a Significant Addition to Ahsaas Channa’s Career Channa has worked across films and episodic entertainment since childhood, later developing a strong identity through youth-focused titles including Girls Hostel, Kota Factory, Hostel Daze and Half CA. Those projects frequently placed her in stories about education, friendship, ambition and the pressures facing young adults. Asur offers a different performance space: a psychologically darker narrative in which characters are shaped by investigation, violence, ideology and moral ambiguity. The casting could consequently allow Channa to move beyond the familiar coming-of-age territory associated with much of her recent work. The nature of that transition will depend on her character, which the team is currently keeping under wraps. The Celebrity Hour Take Ahsaas Channa’s casting is more meaningful than a routine ensemble addition because it brings an actor closely associated with relatable youth dramas into one of India’s more sombre crime-thriller worlds. Her description of herself as an existing admirer of Asur gives the “fan to cast member” story a genuine basis. The more important career question, however, is what the role asks her to do differently as a performer. The reported change in direction is equally worth watching. With the series’ creator expected to become directly involved in staging the story, the third season has an opportunity to maintain its underlying mythology while changing its presentation. Until character details and authorised footage arrive, Channa’s role, the new threat and the reported 2027 release window should all be approached without speculation. Sources & Verification This report was prepared using Ahsaas Channa’s attributed statement about joining Asur Season 3, previously published production information and cross-checked coverage of the cast and filming schedule. Her casting and the return of Arshad Warsi and Barun Sobti are consistently supported. Character details, a final release date and a complete official synopsis have not yet been disclosed

Digital creator Apoorva Mukhija, widely known by her online moniker "The Rebel Kid," has opened up about her decision to step away from a thriving career in India and relocate to New York City. In a personal video address shared with her audience, Mukhija revealed that despite achieving financial independence, major commercial partnerships, and a massive audience, she felt increasingly disconnected from her own life choices. Mukhija disclosed that she packed her life into three suitcases and boarded a one-way flight to Manhattan to pursue a Master of Business Administration (MBA) degree, choosing to start over in a city where she had no prior personal network. "Empty, Demotivated, Stuck": The Internal Struggle Behind Public Success Addressing her followers, Mukhija reflected on the sharp contrast between public perception and her internal reality before her departure. She explained that while her life appeared enviable from the outside marked by travel, professional autonomy, and high visibility her personal experience was dominated by stagnation and loss of agency. "I had absolutely no control over my own life," Mukhija stated, describing a period where she felt "empty, demotivated, stuck," and as though she were reliving the same routine every day. She acknowledged that recognizing her unhappiness required confronting the reality that her existing lifestyle was no longer sustainable for her mental well-being, prompting her to leave behind familiar surroundings and loved ones. From Digital Talent to Enterprise Founder: The Academic Shift Mukhija's decision to pursue higher education in New York is rooted in a strategic desire to transition from being solely a digital personality to understanding corporate fundamentals. Raised in Shahbad Markanda, Haryana, Mukhija holds a B.Tech degree in Computer Science and has maintained a strong academic record throughout her education, scoring a 10 GPA in Class 10 and 95.4% in Class 12. Addressing online speculation regarding her admission to a leading Manhattan business school, Mukhija clarified that her entry was earned through academic merit, professional achievements, and years of managing her own digital enterprise, team, and commercial deals. She explained that while she understands content distribution and brand marketing, she lacked formal training in financial management, equity structuring, and corporate governance. By gaining an MBA, she aims to acquire the operational knowledge necessary to launch and build her own direct-to-consumer enterprise in the future. Escaping Public Scrutiny and the Creator Ecosystem The relocation also marks a conscious effort by Mukhija to step away from the intense public scrutiny and constant cycle of online criticism that accompanied her viral fame. Having faced heightened online backlash and the fatigue of maintaining a curated online identity, Mukhija expressed a desire to build a life outside the digital creator bubble. She noted that living in student accommodation and returning to academic life allows her to form genuine connections detached from social metrics, subscriber counts, and digital performance. Reflecting on the uncertainty of stepping away from a established career, Mukhija emphasized her underlying confidence: "I have what most people don't. Sheer belief that I will figure it out." The Celebrity Hour Take Apoorva Mukhija's decision to relocate and pursue formal business education highlights an important evolution within the digital creator economy. In an industry where creators face immense pressure to maintain relentless visibility to secure brand revenues, stepping away at the commercial peak of one's career is a rare and calculated choice. Mukhija's transition illustrates the structural limits of relying purely on personal visibility without long-term business equity. By actively investing in business management skills to pivot toward venture ownership, she is moving from being a talent-for-hire to positioning herself as a future founder a strategic shift that reflects growing maturity among top-tier digital professionals seeking longevity beyond online trends. Sources & Verification This report was prepared using direct statements made by Apoorva Mukhija in her personal video updates, recent podcast appearances, and publicly available interviews regarding her educational background, academic records, and business plans. The Celebrity Hour cross-checked key details against verified primary statements and independent media documentation prior to publication.

Taapsee Pannu has said that the commercial performance of one major female-led film can affect financing conversations around several unrelated projects fronted by women. Discussing Alia Bhatt and Sharvari’s Alpha during an interview with Zoom TV, Taapsee claimed that the film’s perceived box-office failure contributed to investors withdrawing from some projects under consideration with her. Her remarks require an important clarification. Taapsee did not identify specific completed offers that were withdrawn, nor did she allege that a casting director replaced her because of Alpha. She spoke more broadly about investors changing their position and projects being shelved when a prominent woman-led film underperforms. The interview was conducted as Taapsee promoted her Netflix action thriller Gandhari, placing her comments within a larger discussion about the financing and scrutiny faced by female-led action films. What Taapsee Pannu said about losing projects Taapsee argued that the commercial failure of a comparatively expensive female-led film is often treated as evidence against the viability of an entire category. “All of our leading actresses who want to do films where we lead the story it impacts all of us,” she said in the Zoom TV interview. Speaking from her experience, the actor added that after a prominent woman-led film fails, her discussions with investors change and some financiers back out. When specifically asked whether she had seen this response following Alpha, Taapsee answered in the affirmative. She described the conversations as being driven by an assumption that if a film led by a major female star does not work, projects centred on other women become an even riskier proposition. She estimated that when four or five potential films are being discussed, one or two can subsequently be shelved because an unrelated female-led title has failed. These remain Taapsee’s claims about private industry conversations. She did not name the affected films, producers or investors, making it impossible to independently establish which projects were discontinued or whether other factors also influenced those decisions. She questioned the different standards for male-led action films The larger argument was not limited to Alpha. Taapsee questioned why an expensive action film led by a woman is expected to be almost faultless, while male-led spectacles are afforded more creative and commercial room for error. “If so much money is invested in a female-driven film, there is an expectation that, forget 19 or 20, you have to deliver 21,” she said. According to Taapsee, even the budgets described as “big” for women-led cinema can be considerably smaller than those allocated to male-led action productions. Yet when such a film underperforms, its result can influence investment decisions concerning several actresses rather than being assessed as the outcome of one particular project. She also acknowledged the reverse effect. A successful woman-led film can prompt producers to search for similar projects, with one hit temporarily opening financing opportunities for other female stars. What is confirmed about Alpha Yash Raj Films’ official website identifies Alpha as an action thriller starring Alia Bhatt, Sharvari, Anil Kapoor and Bobby Deol. Directed by Shiv Rawail and produced by Aditya Chopra, it was released in cinemas on July 3, 2026 as part of the YRF Spy Universe. The studio promoted it as its first spy-universe film fronted by women. Yash Raj Films Taapsee’s remarks concern the industry’s reaction to the film’s commercial performance. Neither Yash Raj Films nor the unnamed investors discussed by Taapsee have publicly corroborated her account of projects being shelved. Without audited, producer-certified figures for the relevant investment decisions, the responsible formulation is that Taapsee attributed a change in investor conversations to Alpha’s failure. It should not be reported as a documented casting decision made by a particular studio. Why Gandhari is relevant to the conversation Taapsee made the comments while promoting Gandhari, another action story built around a female protagonist. Netflix released the film on September 3, 2026. Directed by Devashish Makhija, Gandhari reunites Taapsee with writer-producer Kanika Dhillon. Netflix’s official trailer presents it as a rescue thriller driven by a mother searching for her kidnapped child. Netflix India’s official trailer That context explains why questions about Alpha extended beyond another actor’s box-office record. Taapsee was addressing the financing environment in which her own action-led projects are developed. The Celebrity Hour Take The strongest point in Taapsee’s argument is that Hindi cinema does not always treat a commercial failure as an individual result. When a large male-led film disappoints, the industry rarely concludes that films led by men are no longer viable. A woman-led failure, according to her account, is more readily converted into a verdict on the entire category. At the same time, the claim should not be overstated. Taapsee has not disclosed enough information to verify that Alpha alone caused particular films to collapse. Projects can lose financing for several reasons, including budget concerns, scheduling, script development and changing platform strategies. Her remarks are therefore most valuable as an attributed insider account of investor sentiment not as confirmation of a specific casting dispute between Taapsee, Alia Bhatt or their respective productions. Sources & Verification This report was prepared using Taapsee Pannu’s attributed remarks from her Zoom TV interview, with the wording and context cross-checked through multiple published transcripts. Official material from Yash Raj Films and Netflix India was used to verify the principal details of Alpha and Gandhari. No unnamed shelved project or investor has been treated as independently confirmed.

Salman Khan appeared to lose patience with photographers during a promotional interaction on the Bigg Boss 20 set, asking members of the paparazzi to maintain their distance and reacting sharply to repeated requests for more photographs. The exchange took place in Mumbai while Salman was filming material for the reality show’s new season, which premieres on September 6, 2026. Videos recorded at the set show the actor initially posing for the cameras in a cowboy-inspired outfit before the interaction became tense. Some coverage has claimed that Salman became angry specifically because a photographer called him “Baba.” The available clips do capture the word being used, but they do not establish with certainty whether the form of address or the photographers repeatedly asking him to pose was the main cause of his irritation. What the video shows In footage circulated by paparazzi accounts and reviewed by The Celebrity Hour, Salman can be seen asking photographers to remain at a suitable distance from the stage. During the exchange, he said: “Yeh mera kaam nahi hai. Mujhe camera ke aage aane ki koi zarurat nahi hai.” The statement translates broadly as: “This is not my job. I don’t need to come in front of the camera.” When the photographers continued requesting additional poses, Salman repeated “photos” in an apparently exasperated tone. The footage supports the conclusion that he was irritated during part of the interaction. It does not, however, show a prolonged confrontation or any physical altercation. Importantly, the encounter did not end with Salman completely refusing to engage. Longer accounts and additional footage indicate that he subsequently posed with members of the paparazzi and took selfies with people present on the set. Was Salman angry about being called ‘Baba’? Several headlines have identified the word “Baba” as the apparent trigger. That interpretation should be treated cautiously. A photographer can be heard using the term, after which Salman responds sharply. However, multiple things were happening at the same time: photographers were calling out to him, repeatedly requesting poses and standing close to the stage. The complete sequence does not make Salman’s precise objection entirely clear. It would therefore be more accurate to say that he appeared frustrated during the crowded photo session than to claim definitively that he objected to one particular word. Salman has not issued a separate public statement explaining the exchange. Salman begins filming for Bigg Boss 20 The incident occurred as Salman started work on the new season’s premiere. He later shared photographs from the set on his verified Instagram account with the caption “#BiggBoss20.” In the images, the actor poses against a large golden installation built around the number 20. His costume includes a cowboy-style hat, a dark T-shirt, a vest and denim matching the outfit visible in the paparazzi footage. His own post confirms his presence on the production set, but it does not refer to the exchange with photographers. JioHotstar’s official promotional material states that Bigg Boss 20 will begin on September 6. The programme will stream on JioHotstar at 9 pm and air on Colors TV at 10.30 pm. What has been officially announced about the new season? Salman’s return as host and the September 6 premiere have been confirmed through the show’s official campaign. Promotional material has used the “Tathas-Two” concept, indicating a season built around dual possibilities or second chances. The complete implications of that format are expected to become clearer during the premiere. A number of potential contestants have been linked to the programme in entertainment coverage. Viewers should distinguish those reports from the contestant reveals made through Colors TV and JioHotstar’s official accounts. The paparazzi exchange is separate from the programme itself and offers no reliable information about the contestants, eliminations or events inside the house. The Celebrity Hour Take The verified story is narrower than several viral headlines suggest. Salman did appear irritated, asked photographers to maintain their distance and objected to the continuing demands for pictures. But the claim that being called “Baba” definitively caused the reaction goes beyond what the video proves. The end of the encounter also matters. Salman later posed with photographers and took selfies, changing the context from a complete breakdown between the actor and the media to a brief moment of frustration during a managed promotional shoot. Short clips can make an ambiguous exchange appear more dramatic by removing what occurred immediately before or afterwards. In this case, the responsible account is to describe what the footage shows while leaving Salman’s exact motivation unresolved. Sources & Verification This report was prepared by reviewing publicly circulated footage from the Bigg Boss 20 set, Salman Khan’s verified Instagram update and official premiere information issued by JioHotstar. The sequence and quotations were cross-checked against wire and established news coverage. The claim that the word “Baba” alone triggered Salman’s reaction could not be conclusively established.

Union minister Chirag Paswan has filed a police complaint against social-media personality Swatantra Bhardwaj, accusing him of misusing the minister’s name while discussing an alleged assault at Delhi’s Jantar Mantar. Paswan, who heads the Lok Janshakti Party (Ram Vilas), also backed the family of the injured man and called for an impartial investigation. His intervention followed the circulation of a podcast clip in which Bhardwaj appeared to speak about the assault and invoke the names of political leaders while discussing why he had not been jailed. The development has moved beyond the original news lead. An FIR concerning the alleged assault was already registered, and Delhi Police detained Bhardwaj in Uttar Pradesh’s Bulandshahr on September 4, 2026. Paswan’s complaint is connected specifically to the alleged misuse of his name and the claims made in the podcast. Bhardwaj has maintained that he acted in self-defense. Delhi Police, meanwhile, has rejected allegations that political intervention influenced its handling of the case. Why Chirag Paswan filed a complaint Addressing the controversy in Patna, Paswan said it was a serious matter for a person to appear to describe a potentially fatal assault publicly and suggested that failing to take action could create a “very wrong example.” Paswan said Bhardwaj had misused his name, along with those of other politicians, and confirmed that he had filed an official complaint. He also urged Delhi Police to investigate the matter fairly. The minister rejected Bhardwaj’s apparent suggestion of a personal relationship. Paswan explained that people often meet public representatives or approach them with requests, but that such an interaction does not prove that the politician personally knows or supports them. According to Paswan, Bhardwaj’s claim of knowing him was “absolutely wrong.” His party said it stood with Sanjay Kumar the man injured during the Jantar Mantar incident and his daughter, student activist Nishu Azad. What happened at Jantar Mantar? The underlying case concerns an altercation during a Cockroach Janta Party protest at Jantar Mantar on June 23. According to Delhi Police, Ghaziabad resident Sanjay Kumar was injured during a scuffle. The FIR alleges that an argument began while Kumar was recording the demonstration and escalated after other individuals became involved. Kumar alleged that he was punched and struck on the head with a hard object resembling an iron bangle or kada. He was taken to Ram Manohar Lohia Hospital, where his medical examination recorded two lacerated wounds. Police initially registered a case at Parliament Street police station under Sections 115(2), 126(2) and 3(5) of the Bharatiya Nyaya Sanhita. Officials subsequently said provisions of the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act were added after further representations. These remain allegations under investigation. The filing of an FIR and Bhardwaj’s detention do not constitute a judicial determination of guilt. Podcast clip brought the case back into focus The controversy intensified after a podcast excerpt featuring Bhardwaj circulated online. In the clip, he appeared to claim that Kumar’s skull had been “cracked,” that the injured man required numerous stitches and that Bhardwaj had avoided jail. He also referred to political figures, including Paswan and Delhi minister Kapil Mishra, while discussing his purported connections. Those remarks led opposition parties and protesters to question whether political influence had affected the police response. Bhardwaj later told NDTV that some of his podcast comments had been made jokingly. He acknowledged hitting Kumar with his kada but claimed that he did so in self-defense after being surrounded and fearing an attack. His self-defense account has not been adjudicated by a court. Delhi Police rejects political-interference allegation Delhi Police has disputed both the podcast’s description of Kumar’s injuries and the allegation of political protection. DCP (New Delhi) Sachin Sharma said the medical report classified the injury as simple and did not support the claim that Kumar’s skull had been fractured. Police said the injury was allegedly caused by a metal bracelet rather than a separate weapon. The force also said Bhardwaj and another accused, Suraj Kumar, were detained at the protest site, questioned and served notices in accordance with the applicable procedure. Officers stated that a chargesheet would be filed before the competent court. Police described allegations of undue political interference as incorrect and unsupported by the case record. That official account differs substantially from the version Bhardwaj appeared to present in the podcast. Determining the facts will require examination of the FIR, medical evidence, witness accounts, available video footage and the accused persons’ defense. Bhardwaj detained in Bulandshahr Police detained Bhardwaj near Dhamra Nara village in Bulandshahr on September 4. The action followed renewed protests outside Parliament Street police station and demands from CJP representatives for stronger charges. The protesting delegation included CJP representatives Saurav Das and Ashutosh Ranka, along with MPs Chandrashekhar Azad and Pappu Yadav. The group had sought the addition of an attempt-to-murder provision, provisions under the SC/ST Act and criminal-intimidation charges. Police agreed to consider the demands according to the available evidence. The SC/ST Act provisions were subsequently added, A separate complaint concerning alleged online abuse and threats directed at Nishu Azad was also raised with police. What has and has not been established Several distinct claims have become mixed together in social-media discussions surrounding the case: An FIR concerning the Jantar Mantar altercation has been registered. Bhardwaj has been detained in connection with the investigation. He has acknowledged striking Kumar but claims self-defense. Police say the medical record describes the injury as simple and does not support a fractured-skull claim. Bhardwaj’s podcast contained references to political connections. Paswan denies personally knowing or protecting him and has filed a complaint over the alleged misuse of his name. Delhi Police denies that political interference affected the investigation. No court has yet ruled on Bhardwaj’s guilt, his self-defense claim or the competing descriptions of the incident. The Celebrity Hour Take The central issue is no longer merely an influencer making inflammatory remarks. The podcast created two separate questions: what happened during the Jantar Mantar scuffle, and whether Bhardwaj’s references to politicians accurately reflected any relationship or intervention. Paswan’s complaint directly challenges the second claim, while his call for an impartial investigation puts political distance between his party and Bhardwaj. The first question must be resolved through evidence, not the exaggerated language of a podcast or political statements issued afterward. The medical record, video footage and witness testimony will carry greater legal weight than claims made for attention online. For publishers, the distinction is equally important: Bhardwaj is accused in an assault case and has been detained, but he has not been convicted. Paswan has sought action and filed a complaint, but that does not prove the contents of either complaint. Sources & Verification This report was prepared using Chirag Paswan’s publicly reported statement, Delhi Police’s account of the investigation, reporting based on the FIR and medical examination, Bhardwaj’s attributed response, and confirmation of his detention in Bulandshahr. Conflicting claims about the injuries and alleged political influence have been attributed to the respective parties rather than presented as settled facts. .