72nd National Film Awards 2026: Historic Ceremony Moves to Gujarat The 72nd National Film Awards are being presented today, September 22, 2026, at Ekta Nagar in Gujarat, with President Droupadi Murmu conferring the honours on winners from Indian cinema's 2024 awards cycle. This year's ceremony marks a significant change in the history of the National Film Awards. For the first time in the current era, the presentation ceremony has moved outside New Delhi and is being held at Ekta Nagar, near the Statue of Unity. The Ministry of Information and Broadcasting has announced that future editions will also be taken to different parts of the country. Among the biggest moments of the ceremony is veteran Kannada actor Anant Nag receiving the Dadasaheb Phalke Award for 2024, India's highest cinema honour. The award recognises his contribution to Indian cinema over a career spanning more than five decades. Anant Nag to Receive the Dadasaheb Phalke Award Anant Nag is the central figure of this year's National Film Awards ceremony. The veteran actor, who has worked extensively in Kannada and Hindi cinema, has been selected for the Dadasaheb Phalke Award for 2024 in recognition of his outstanding contribution to Indian cinema. The Ministry of Information and Broadcasting announced that President Murmu would present the honour at the Gujarat ceremony. Nag's career spans more than five decades and includes work across multiple Indian-language film industries. Nag has also publicly expressed his gratitude for the recognition and dedicated the honour to Karnataka, according to recent reporting. Mammootty and Kartik Aaryan Share Best Actor Honour The Best Actor in a Leading Role category has resulted in a tie between two performers from different language industries. Mammootty has been honoured for his performance in the Malayalam film Bramayugam, while Kartik Aaryan has received the same honour for his performance in the Hindi sports drama Chandu Champion. The official announcement from the Ministry of Information and Broadcasting confirms that the two actors share the award. For Mammootty, the recognition adds another National Film Award to an already distinguished career. For Kartik Aaryan, the honour recognises his performance in Chandu Champion, in which he portrayed Paralympic gold medallist Murlikant Petkar. The shared award also reflects the linguistic breadth of the National Film Awards, with major performances from Hindi and Malayalam cinema being recognised in the same category. Yami Gautam Wins Best Actress for Article 370 Yami Gautam is being honoured with the Best Actress in a Leading Role award for Article 370. The official National Film Awards announcement confirms that Article 370 also won Best Feature Film, making the film one of the major winners of the 72nd edition. The film, directed by Aditya Suhas Jambhale, was produced by Jio Studios and B62 Studios. Its recognition at the National Film Awards places both the film and Gautam's performance among the major achievements recognised for Indian cinema's 2024 cycle. Editorial verification note: Some secondary coverage has incorrectly referred to the film as Article 376. The official Ministry of Information and Broadcasting record clearly identifies the winning film as Article 370. The Celebrity Hour follows the official record. Article 370 Leads the Major Feature Film Honours Article 370 has been named Best Feature Film, while several other major 2024 releases have also received National Film Awards. Amaran - Best Direction for Rajkumar Periasamy Kalki 2898 AD - Best Popular Film Providing Wholesome Entertainment Swatantrya Veer Savarkar - Best Debut Film of a Director for Randeep Hooda Captain Miller - Best Feature Film Promoting National, Social and Environmental Values The awards also recognise films across numerous Indian languages and filmmaking traditions. A Landmark Venue Change for the National Film Awards The location of this year's ceremony is almost as significant as the awards themselves. The National Film Awards have traditionally been presented in New Delhi. The 72nd edition is being held at Ekta Nagar, formerly known as Kevadia, Gujarat, with the Statue of Unity providing the backdrop. The Ministry of Information and Broadcasting has described the move as part of a broader initiative to take the National Film Awards beyond the national capital. The government has indicated that future ceremonies will be organised in different states and cities. The change also underlines the awards' attempt to represent India's regional diversity, with films from several languages and regions receiving recognition in this edition. The 92 Awardees Being Honoured The 72nd National Film Awards recognise achievements in Indian cinema for the year 2024 across feature films, non-feature films and writing on cinema. According to official government information, 92 winners are being honoured at the ceremony. The non-feature film honours include Bhangaar, which won Best Non-Feature Film, while Ram-Nami was selected as Best Documentary. The awards also include recognition for technical crafts, regional cinema and writing on cinema. How to Watch the 72nd National Film Awards Live The ceremony is being held on September 22, 2026, at Ekta Nagar in Gujarat. The event is being made available for viewers through Doordarshan's digital platforms, with coverage and live-streaming information announced ahead of the ceremony. News reports have indicated that the DD National YouTube channel is carrying the live presentation. The Celebrity Hour Take The 72nd National Film Awards stand out for two reasons: the breadth of the winners and the decision to move the presentation ceremony beyond Delhi. The recognition of Anant Nag with the Dadasaheb Phalke Award provides the ceremony with a strong career-honour moment, while the shared Best Actor award for Mammootty and Kartik Aaryan brings together two performances from different linguistic industries. Yami Gautam's Best Actress award and Article 370's Best Feature Film victory further underline the strong showing for the film. Perhaps the most important institutional change, however, is the venue. By taking the ceremony to Ekta Nagar, the National Film Awards are beginning a new approach to where India's biggest national cinema honours are presented. The government's stated plan to rotate future ceremonies across states could make the awards increasingly connected to different regional film cultures. Sources & Verification This report was prepared using official information released by the Ministry of Information and Broadcasting and Press Information Bureau, including the official 72nd National Film Awards winner announcement, the government's ceremony backgrounder and its announcement regarding the Gujarat venue. Recent reporting from All India Radio, The Indian Express, India Today and other established publications was used to cross-check the ceremony timing, venue and latest event developments. Where secondary reports conflicted with the official record, the Ministry of Information and Broadcasting's published award list was treated as authoritative.

Katrina Kaif is one of Hindi cinema’s most recognisable stars, but her mother, Suzanne Turquotte, has spent years living far removed from the celebrity lifestyle associated with her daughter. Based in rural Tamil Nadu near Madurai, Suzanne has dedicated much of her life to education and community work, including her involvement with Relief Projects India and Mountain View School. The lack of regular electricity and internet access in the area is not the reason she moved there. It is one of the challenges of the rural environment in which she has chosen to work and live. The story dates back to 2008, when Suzanne relocated from London to Tamil Nadu and began developing community programmes focused on children and families in rural areas. Relief Projects India says it was founded that year and initially operated free evening tuition centres for children attending government schools. Why Did Katrina Kaif’s Mother Move to Tamil Nadu? Suzanne’s move was connected to her commitment to social work rather than a career in the entertainment industry. Relief Projects India describes itself as a grassroots nonprofit working in and around Usilampatti in Madurai District. Its work has expanded beyond education to include health awareness, child protection, women’s empowerment and support for rural families. Over time, Suzanne became closely associated with the organisation’s education work. She is listed by Relief Projects India as a co-founder of Mountain View School and an education adviser. Katrina has spoken publicly about her mother’s work on several occasions. In an earlier interview, she described Suzanne as a teacher who was happy living and working in Madurai and connected her mother’s charitable work with the values she grew up around. What Is Mountain View School? One of the most significant parts of Suzanne’s work is Mountain View School, an English-medium school established in 2015 in E. Puthupatti, Usilampatti Taluk, Madurai District. According to the organisation’s current website, the school now has 305 students enrolled for the 2025–26 academic year and serves children from rural farming communities. It currently provides education from LKG through Grade 5, with plans to expand further. The school began on a much smaller scale. Relief Projects India says its first nursery had fewer than 30 children from economically disadvantaged villages. It subsequently received recognition as a nursery and primary school, with enrolment growing substantially over the following years. The school is not presented simply as a charity-funded institution. Its stated objective is to provide children from rural and lower-income families with access to quality English-medium education and broader opportunities. The organisation currently says the school employs more than 40 members of the local community, including teachers, support staff, drivers and maintenance workers. Why Does Electricity Become an Issue? The recent discussion around Suzanne’s lifestyle has focused heavily on electricity and internet access. Katrina has previously explained that her mother’s village does not have uninterrupted electricity. She said power can be available for only around 12 hours and that internet connectivity can also be unreliable. As a result, there have been occasions when Katrina could not communicate with her mother through FaceTime and had to use a conventional phone call instead. In another conversation, Katrina described the lack of electricity as particularly difficult during the hot weather because air conditioning is not available when there is no power. She also acknowledged that her mother has continued living in those conditions because of her commitment to helping people. It is important to distinguish this from saying that Suzanne has deliberately rejected electricity altogether. The available accounts describe limited or intermittent electricity in the rural location, not a complete permanent absence of electricity. Suzanne’s Work Goes Beyond the School Mountain View School is only one part of Relief Projects India’s activities. The organisation says it currently works across 25-plus villages and runs 10 free evening tuition centres. Its programmes also cover adolescent development, women's empowerment, health awareness, life skills, career guidance and child protection. It says its community programmes have reached more than 14,000 people. The organisation’s history shows that its work has evolved over nearly two decades rather than being a recently created celebrity-linked initiative. An older Relief Projects India report, for example, documented its work in rural communities through health camps, awareness programmes and education initiatives. Its 2019 annual report recorded 185 students at Mountain View School at that time, illustrating how the institution has grown over the years. Katrina Kaif Has Supported Her Mother’s Work Katrina has also publicly supported the school. In 2020, she shared information about Mountain View School and appealed for support for its expansion. At that point, she described the school as having been built with her mother's charity and said it was providing English-medium education to children from less privileged backgrounds. Katrina has also visited the school. In 2022, she shared photographs and videos from a visit in which she spent time with the children. Her brother Sebastien was also involved with the school. More recent reporting has also said Katrina contributes financially to her mother’s work, although the precise amount of any current contributions has not been independently established from the primary sources reviewed for this report. A Different Picture of the Kaif Family’s Childhood Suzanne’s approach to life also helps explain why Katrina has previously spoken about growing up without the kind of luxury associated with her later career. Katrina has said that her childhood was relatively frugal and that her mother’s charitable work exposed her and her siblings to communities facing poverty from an early age. That background adds context to Suzanne’s decision to continue working in a rural environment even after her daughter became one of Bollywood’s leading actors. Rather than moving towards the lifestyle that might naturally accompany her daughter’s success, Suzanne continued working with rural communities and remained connected to the school and charitable organisation. What Relief Projects India Is Working Towards Now The organisation’s current plans show that its work is still expanding. Mountain View School currently runs through Grade 5, while Relief Projects India says it intends to expand the institution to higher grades in phases. Its immediate expansion plan includes additional classrooms and infrastructure required for middle-school recognition. The organisation has also outlined a longer-term ambition to provide education through secondary school, allowing children who entered the institution at a young age to continue their education locally. This makes Suzanne’s story more substantial than the headline about a celebrity’s mother living without modern conveniences. The more important detail is the institution and community network that has developed around her work since 2008. The Celebrity Hour Take Suzanne Turquotte’s story is noteworthy because it exists almost entirely outside the conventional celebrity narrative. The most useful context is not simply that Katrina Kaif’s mother lives somewhere with limited electricity or internet. It is why she is there and what has been built around that decision. From a small network of tuition centres, Relief Projects India has developed into a rural community organisation, while Mountain View School has grown from a small nursery into a school serving more than 300 students. Katrina’s public comments also make clear that she recognises how difficult her mother’s lifestyle can be. But the available evidence suggests that Suzanne’s continued presence in rural Tamil Nadu is closely tied to her long-term involvement in education and social work. For readers discovering the story through the electricity and internet angle, the wider record provides the missing context: this is a nearly two-decade-old commitment, not a recent decision to live without modern amenities. Sources & Verification This report was prepared using the official Relief Projects India website and its published information about Mountain View School, organisational history and current programmes. Historical details were cross-checked against Relief Projects India’s published reports and established media coverage of Katrina Kaif’s public comments and visits to the school. The description of limited electricity and internet access is based on Katrina’s previously reported statements; it should not be interpreted as meaning the village has no electricity at all.

India’s wait for its first gold medal at the 2026 Asian Games in Aichi-Nagoya ended on Day 4, with the women’s cricket team delivering the country’s biggest result of the day. Harmanpreet Kaur-led India defeated Sri Lanka by 147 runs in the women’s T20 final to retain the Asian Games cricket title. The victory took India’s medal tally to seven -one gold, four silver and two bronze. The cricket final was not the only significant result for India. The men’s kabaddi team continued its title defence with another commanding win, while Indian athletes remained in contention across shooting and several other disciplines. Smriti Mandhana sets up India's first gold India chose to bat first in the women's cricket final and produced a formidable 216 for 3 in 20 overs. Smriti Mandhana provided the foundation with a superb 79 off 45 balls, while Shafali Verma contributed 48. Richa Ghosh then supplied the late acceleration, finishing unbeaten on 49 from 22 deliveries. Sri Lanka faced a daunting target of 217 and struggled to build a sustained response. The Indian bowling attack kept taking wickets at regular intervals, with Deepti Sharma claiming 3/6. Shafali Verma and Shree Charani also played important roles as Sri Lanka were dismissed for 69 in 15.4 overs. India's 147-run victory secured its first gold of the Aichi-Nagoya Games and also marked a successful defence of the women's cricket title won at the previous Asian Games. Kabaddi team keeps its title defence on track India's men's kabaddi team produced another emphatic performance, defeating South Korea 63-31 in a Group A match. The defending champions established control early, leading 34-14 at half-time before extending the advantage after the break. The result was India's second consecutive victory in the group following the opening win over Japan. India's next Group A assignment is against Bangladesh, followed by a meeting with Chinese Taipei. The result also keeps India's campaign firmly positioned around its objective of defending the Asian Games title. Shooting remains an important part of India's medal campaign Shooting continued to be one of India's major sources of medals during the early part of the Games. Before the cricket gold, shooting had already contributed a substantial share of India's medal haul. The Day 4 programme again featured several Indian shooters across mixed-team and skeet events, keeping the sport central to India's medal prospects. Among the athletes attracting attention was Elavenil Valarivan, who entered the mixed-team 10m air rifle event alongside Parth Mane. The Indian contingent also had representation in men's and women's skeet, adding another layer to the day's shooting programme. India's medal tally moves to seven The cricket victory changed the complexion of India's campaign. At the beginning of the day, India had six medals and was still searching for its first gold. By the conclusion of the women's cricket final, the tally stood at: Gold: 1 Silver: 4 Bronze: 2 Total: 7 The gold came from women's cricket, while India's earlier medals had largely come from shooting, alongside a bronze in mixed martial arts. The result also meant that India's women's cricket team successfully defended the title it won at the previous Asian Games. More Indian athletes remain in contention The end of Day 4 did not mark the end of India's medal opportunities. The Indian contingent continues to have athletes competing across shooting, weightlifting, badminton, kabaddi, hockey, boxing, equestrian and other disciplines. The following days are particularly important for athletes such as Manu Bhaker and Mirabai Chanu, who are among India's prominent competitors in shooting and weightlifting respectively. The wider schedule also includes continued action in badminton, hockey and kabaddi. The Celebrity Hour Take The most important development from India's fourth day at Aichi-Nagoya is not simply the addition of a gold medal to the tally. It is the manner in which the medal came. India's women's cricket team entered the final as defending champions and produced a performance that left little uncertainty about the outcome. A 216-run total followed by a 69-run dismissal of Sri Lanka turned what could have been a closely contested final into a one-sided contest. At the same time, the men's kabaddi team continued its own title defence without losing momentum. For India, therefore, Day 4 provided two different but significant signals: the women's cricket team delivered the campaign's first gold, while the men's kabaddi side maintained its position as a serious contender in its competition. The medal table will continue to change as more events reach their decisive stages, but the first gold has already given India's Aichi-Nagoya campaign a clear turning point. Sources & Verification This report was independently researched using current coverage of the Aichi-Nagoya Asian Games, cross-checking the women's cricket final score, India's medal tally and men's kabaddi result across multiple reports. The cricket result was verified through separate match reports, while the kabaddi score and group-stage position were independently cross-checked. The article does not treat scheduled future events as completed results. References to upcoming medal opportunities are identified as forthcoming competitions.

Allu Arjun and Atlee's upcoming film Raaka has achieved a Guinness World Record before reaching theatres, but the milestone has little to do with box-office numbers or advance bookings. Instead, the film has made its mark through a technically demanding real-time motion-capture production feat. According to Guinness World Records, Raaka holds the record for “Most People Motion-Captured in Real-Time”, after 37 performers were captured simultaneously for the production. The record was officially recognised on September 15, 2026. The achievement provides one of the clearest indications yet of the scale of the visual-effects work being undertaken for the Allu Arjun and Atlee collaboration. What Guinness World Record Did Raaka Set? The record is specifically for the largest number of people motion-captured simultaneously in real time. Guinness World Records lists the achievement as 37 people and credits Sun TV Network Limited and V. Arunkumar, professionally known as Atlee, for the record associated with Raaka. The official record information identifies the achievement in Mumbai and dates it to September 15, 2026. Allu Arjun and Atlee were subsequently presented with the Guinness World Records certificate. The distinction is important because motion capture is not simply a matter of recording performers on a conventional film set. The technology translates physical movement into digital performance data that can later be used to create or animate computer-generated characters. How 37 Performers Were Captured at Once The scale of the session is what makes the achievement particularly notable. According to reporting on the production process, 37 performers—from a four-year-old child to a 70-year-old performer—were captured simultaneously within a single motion-capture volume. The technical team had to track the movements of all participants while maintaining accurate data capture. The setup involved 92 optical motion-capture cameras. The production also used systems for facial capture, synchronisation, calibration, networking and real-time visualisation through Unreal Engine. These components were required to allow the performers' movements to be captured together without losing track of individual performances. In practical terms, the achievement was therefore not simply about putting 37 people in front of cameras. The challenge was getting the technology to accurately distinguish and record the movements of all 37 performers during the same session. The Record Was Set Before It Was Publicly Revealed One interesting detail is that the record and its public announcement did not happen simultaneously. The motion-capture exercise was conducted earlier in 2026, while Guinness formally certified the achievement on September 15, 2026. The makers then announced the milestone publicly. That explains why Raaka can now be described as having created a Guinness record well before its theatrical release. The achievement was therefore part of the film's production process rather than a promotional stunt created after filming had finished. Sun Pictures Confirms the Film's Core Team The production house's official website identifies Raaka as an upcoming film featuring Allu Arjun, directed by Atlee and produced by Sun Pictures. Deepika Padukone is also listed in the official cast information. Sun Pictures has separately published an announcement celebrating the Guinness recognition, describing the development as a major milestone for the production. The official material also confirms the project's transition from its earlier working title AA22xA6 to Raaka. Sun Pictures' announcement accompanying the new title focuses on Allu Arjun's look for the film. Why Motion Capture Matters for Raaka The Guinness record offers useful context about the kind of filmmaking technology being used on Raaka. The film has been presented as a large-scale project involving substantial visual-effects work, although the makers have kept many story details confidential. The motion-capture record confirms at least one aspect of the production: the filmmakers are using technology capable of handling a large number of performers simultaneously. This is particularly relevant for a film where digital environments or computer-generated characters may require performances to be translated into visual-effects assets. However, the record itself does not confirm specific plot details, the identities of characters being created through motion capture or the extent to which the technique will appear in the finished film. Those details should not be inferred solely from the Guinness achievement. The Earlier Record Shows How Large the New Achievement Is The Guinness World Records website's publicly accessible historical page lists an earlier record of 19 people motion-captured in real time, achieved by Audiomotion Studios and Vicon Motion Systems in Oxford in March 2015. The Raaka achievement of 37 performers therefore represents a substantial increase over that previously displayed record. Guinness notes that records can change and that its public database does not necessarily immediately display every updated record. The current record information associated with Raaka is therefore the relevant reference for the newly certified achievement. Allu Arjun and Atlee Receive the Recognition The Guinness certificate was presented to Allu Arjun and Atlee following the certification. Allu Arjun described the achievement as a milestone for the entire team and credited Atlee's direction, the technical crew and Sun Pictures' support. Atlee similarly acknowledged the production team's work behind the record and said the recognition was particularly meaningful because Guinness World Records had been something he had known about since childhood. These comments are attributable statements from the filmmakers rather than independent assessments of the film's eventual quality. What We Know About Raaka So Far Sun Pictures' official information confirms the basic creative team, but many details about Raaka remain closely guarded. Confirmed Film: Raaka Lead actor: Allu Arjun Director: Atlee Kumar Producer: Sun Pictures Female lead listed by the production house: Deepika Padukone Guinness record: Most People Motion-Captured in Real-Time Number of performers captured simultaneously: 37 Record certification: September 15, 2026 Motion-capture setup: 92 optical cameras, according to production reporting Not Established by the Record The Guinness achievement does not, by itself, establish the film's complete plot, the identities of the motion-captured characters, the exact extent of the VFX work or the final release date. Some reports have pointed to a 2027 release, including December 2027, but an official release date was not identified in the Sun Pictures material reviewed for this report. That distinction is important as production information around a large-scale film can change before an official date is announced. The Celebrity Hour Take The Guinness recognition is significant because it provides a concrete technical achievement at a stage when much of Raaka remains under wraps. Rather than relying on speculation about the film's story or scale, the motion-capture record gives audiences something measurable: 37 performers were captured simultaneously in real time, using a production setup involving 92 optical cameras. It also suggests that Atlee's collaboration with Allu Arjun is being built around technology-intensive filmmaking rather than conventional live-action production alone. Whether that technical ambition ultimately translates into a distinctive cinematic experience will depend on how the captured performances, visual effects and storytelling come together in the finished film. For now, however, the Guinness certificate gives Raaka a verified piece of production history before the movie has even reached theatres. Sources & Verification This report was prepared using Guinness World Records' official record information, Sun Pictures' official Raaka pages and announcements, and established Indian publications for additional technical details about the record-setting motion-capture session. The number of performers, certification date and record category were cross-checked against Guinness-related reporting. Release-date information has not been presented as confirmed because an official date was not found in the primary sources reviewed.

Actor Manoj Bajpayee has approached the Delhi High Court seeking protection of his personality rights, raising concerns over the alleged unauthorised use of his image, voice and identifiable aspects of his persona. The matter came before Justice Purushaindra Kumar Kaurav on September 21, 2026. Senior Advocate Swathi Sukumar appeared for Bajpayee. According to the proceedings reported by LiveLaw, the actor's petition concerns not only conventional commercial use of his photographs but also newer forms of artificial intelligence that can reproduce a person's voice or personality traits. The case is noteworthy because it places a familiar celebrity-rights dispute in the context of rapidly developing AI technology. What Manoj Bajpayee Has Raised Before the Court One of the issues brought before the court involves H2PG Designs Private Limited. Bajpayee's side alleged that photographs of the actor were being used in a manner that suggested he was wearing suits made by the company. A separate allegation concerns the use of AI technology to recreate Bajpayee's voice. His petition also raises concerns about AI chatbots allegedly using elements associated with his personality. These are allegations made in the legal proceedings and should not be treated as findings against the defendants. The court has not, at this stage, made a final determination on the allegations. Why the Delhi High Court's Jurisdiction Came Up The choice of Delhi as the forum was also discussed during the hearing. Justice Kaurav questioned why Bajpayee had approached the Delhi High Court when the actor is primarily based in Mumbai. His counsel submitted that some of the defendants are located in Delhi, providing the basis for invoking the court's jurisdiction. The court also asked Bajpayee's counsel to compile previous interim and final orders concerning personality-rights disputes. Counsel was further asked to place material before the court showing how similar matters have been handled by other High Courts. That direction could be important because Indian courts have increasingly been asked to deal with disputes involving the commercial exploitation of a public figure's name, likeness, voice and identity. AI Is Expanding the Personality-Rights Debate Traditional personality-rights disputes often centred on unauthorised photographs, names, merchandise or advertisements. Generative AI has expanded the problem into areas such as synthetic voices, digitally recreated faces and AI-generated representations. The Delhi High Court has already considered several cases involving public figures seeking protection against unauthorised use of their identity. LiveLaw's account of Bajpayee's hearing notes earlier proceedings involving figures including Tabu, Allu Arjun, Mohanlal, Kajol, R. Madhavan, Jr NTR, Yuvraj Singh and singer Jubin Nautiyal. The court has also previously dealt with disputes involving AI-generated or digitally manipulated content. In another personality-rights matter, singer Jubin Nautiyal raised concerns involving AI-generated voices and images. The emerging legal question is therefore broader than whether someone has simply copied a celebrity photograph. AI can potentially create new material that appears to originate from, or be endorsed by, a recognisable individual even when that person was never involved in its creation. What the Court Has Asked For The September 21 hearing did not produce a final ruling on Bajpayee's claims. Instead, the court asked his counsel to place previous personality-rights orders before it and explain how other High Courts have approached comparable disputes. The hearing also touched on whether such matters, particularly uncontested cases, could be handled through a more streamlined process. The proceedings will therefore continue to develop as the court considers the legal material placed before it. The Celebrity Hour Take The significance of Bajpayee's case lies in the point where celebrity rights and generative AI now overlap. A photograph can be copied, but AI technology can potentially go further by generating a voice, conversation or visual representation that resembles a real actor. For performers whose voices and faces are central to their professional identity, that creates questions about consent, commercial association and the boundaries of digital reproduction. Bajpayee's petition is consequently part of a wider legal conversation already taking place in Indian courts. Its eventual outcome could provide further guidance on how existing personality-rights principles apply when technology can reproduce recognisable elements of a public figure without that person's direct participation. For now, however, the allegations remain before the court, and no final finding has been made on the claims raised by the actor. Sources & Verification This report was independently prepared using contemporaneous coverage of Manoj Bajpayee's September 21, 2026 Delhi High Court hearing, primarily the detailed account published by LiveLaw, with additional cross-checking against India Today and other current coverage. The report distinguishes the allegations made on Bajpayee's behalf from matters that have been judicially established.

An old conversation involving Shweta Bachchan Nanda, Abhishek Bachchan and Aishwarya Rai Bachchan continues to attract attention whenever clips from Koffee With Karan resurface online. But the original exchange was considerably more light-hearted than the headlines surrounding it sometimes suggest. During an episode of Koffee With Karan featuring siblings Shweta and Abhishek Bachchan, host Karan Johar asked Shweta to name what she loved, hated and tolerated about her sister-in-law, Aishwarya Rai Bachchan. Shweta's answer included plenty of praise. She described Aishwarya as a self-made, strong woman and a fantastic mother. The one habit she said she disliked was far more ordinary: Aishwarya, according to Shweta, could take a long time to return phone calls and messages. What exactly did Shweta say about Aishwarya? The exchange took place during the Rapid Fire segment of the sixth season of Koffee With Karan, which featured Shweta and Abhishek together. Asked about Aishwarya, Shweta highlighted her sister-in-law's independence and motherhood before turning to the lighter part of the question. Shweta said she loved Aishwarya because she was a “self-made, strong woman and a fantastic mother.” She then said she tolerated Aishwarya's time management and identified her slow response to calls and messages as the thing she disliked. The remark was about communication habits rather than a serious personal accusation. That distinction is important because the word “hates” comes from the show's rapid-fire format. In context, Shweta was being asked to provide a playful list of likes, dislikes and things she tolerated about a family member. Shweta's praise for Aishwarya was equally significant The negative part of the answer often becomes the headline when the old clip resurfaces, but Shweta's positive comments were actually much more substantial. Calling Aishwarya a self-made and strong woman and praising her as a mother presented a clearly appreciative view of her sister-in-law. The 2019 episode was also notable because Shweta and Abhishek discussed what changed within the Bachchan household after Aishwarya became part of the family. Contemporary coverage reported that Abhishek said the family dynamics had not fundamentally changed, while Shweta observed that roles can naturally change when a new person enters a family. Shweta also said she felt relieved that Abhishek had someone who understood his professional life. What did Abhishek say about Aishwarya? Abhishek was sitting beside his sister throughout the conversation and was asked the same kind of question about his wife. His response was different from Shweta's. Abhishek said he loved Aishwarya because she loved him. When asked what he disliked, he jokingly pointed to her packing skills. He also said he tolerated them. The exchange reinforced the playful nature of the segment. Neither sibling was presenting a serious grievance against Aishwarya; they were responding to a deliberately provocative television-game format. Shweta also had a candid answer about Abhishek The Rapid Fire round did not stop with Aishwarya. When asked what she loved about Abhishek, Shweta praised him as a loyal and dedicated family man, both as a son and as a husband. Her criticism was similarly playful. She joked that Abhishek thinks he knows everything, while saying she tolerates his sense of humour. The contrast makes the Aishwarya answer easier to understand. Shweta was applying the same love-hate-tolerate format to both members of her immediate family. Why does the old interview keep resurfacing? The clip has been revisited by entertainment publications several times over the years. It resurfaced particularly strongly in 2023 after online discussion around an Aishwarya Instagram post involving a photograph of Amitabh Bachchan. At that time, some social-media users connected the resurfaced interview with broader speculation about relationships within the Bachchan family. India Today reported the renewed attention while also documenting what Shweta had actually said during the original Koffee With Karan appearance. The same interview was again covered in 2024 and 2025 as old clips circulated online. Recent September 2026 coverage has once again brought Shweta's comments back into entertainment headlines. The repeated resurfacing illustrates how comments from older celebrity interviews can acquire new relevance when family-related speculation returns to public discussion. The comment should be viewed in its original context There is a tendency for short clips from celebrity chat shows to lose their original context once they circulate on social media. In this case, describing Shweta's comment simply as “Shweta hates Aishwarya” leaves out the other half of her answer. Before mentioning the habit she disliked, Shweta praised Aishwarya's strength, independence and role as a mother. The program itself was designed around spontaneous answers. The “love, hate and tolerate” question encouraged guests to reveal amusing personal habits rather than make formal statements about family relationships. That context matters when interpreting the exchange more than seven years after it originally aired. A look back at Aishwarya and Abhishek's marriage Aishwarya Rai and Abhishek Bachchan married in April 2007. Their wedding became one of the most closely followed celebrity events in India, given their individual careers and the prominence of the Bachchan family. They later became parents to daughter Aaradhya, born in November 2011. The couple have also worked together on several films, including Dhaai Akshar Prem Ke, Kuch Naa Kaho, Umrao Jaan, Guru and Raavan. Their professional and personal association has consequently remained a recurring subject of entertainment coverage, making even old comments from family members likely to attract renewed attention. The Celebrity Hour Take The most useful way to read Shweta Bachchan's old comment is not as evidence of a feud, but as an example of how celebrity soundbites can change meaning when separated from their original setting. The word “hates” makes for an attention-grabbing headline, but Shweta's full response was considerably more balanced. She praised Aishwarya in strong terms and then identified a relatively mundane annoyance: delayed replies to calls and messages. Abhishek's answer about Aishwarya's packing habits further demonstrates the playful character of the segment. For The Celebrity Hour, the important distinction is between what was actually said on the show and interpretations that may have been added later. Shweta's documented comments provide no basis, by themselves, for treating the exchange as evidence of a family feud. The Bottom Line Shweta Bachchan did once reveal what she “hated” about Aishwarya Rai during an episode of Koffee With Karan. Her answer was that Aishwarya could take a long time to return calls and messages. At the same time, Shweta praised her sister-in-law as a self-made, strong woman and a fantastic mother.The original exchange was a light-hearted Rapid Fire conversation, and the available reporting does not establish that Shweta's remark represented a serious conflict between the two women. Sources & Verification This report was independently researched and written by The Celebrity Hour using publicly available coverage of Shweta Bachchan and Aishwarya Rai Bachchan's appearance-related discussions, with particular attention to the original Koffee With Karan episode and contemporaneous reporting of the conversation. The Celebrity Hour cross-checked the key details surrounding Shweta Bachchan's comments, including her remarks about what she admired, tolerated and disliked about Aishwarya Rai Bachchan. Later reports were used only for context on how the old interview resurfaced in entertainment coverage.

Karan Johar is taking Dharma Productions into the world of Indian intelligence history with a new theatrical film centred on Rameshwar Nath Kao, the founder and first chief of the Research and Analysis Wing (R&AW). The yet-untitled film is being developed by Dharma Productions and Leo Media Collective and is scheduled for theatrical release on August 11, 2028. The announcement was made on September 21, 2026, a date that marked 58 years since the establishment of R&AW. Unlike a fictional spy thriller, the project will draw from the life and work of a real figure who was involved in the development of India's external intelligence apparatus. The film is based on journalist and strategic affairs analyst Nitin A. Gokhale's 2019 book, R.N. Kao: Gentleman Spymaster. A Story That Begins Before R&AW R.N. Kao's story does not begin with the creation of R&AW. According to the published material surrounding Gokhale's biography, Kao's career included his early work in the Intelligence Bureau and assignments that eventually placed him close to some of India's most important political and security developments. R&AW was established in 1968, with Kao becoming its founding chief. The organisation was created as India's dedicated external intelligence agency, separating foreign intelligence responsibilities from the Intelligence Bureau's existing structure. The announced film is expected to cover the period from 1955 to 1971, taking the story through the circumstances that led to the creation of R&AW and its early operations. That timeframe gives the filmmakers an opportunity to tell a story that begins well before Kao formally became the head of R&AW. The Book Behind the Film Gokhale's R.N. Kao: Gentleman Spymaster was first published by Bloomsbury India in 2019. The book examines Kao's early years, his Intelligence Bureau career, the formation of R&AW and the agency's formative period. Its contents also cover the East Pakistan crisis, the 1971 war, the Sikkim episode, Kao's later government service and his involvement with India's intelligence establishment. The book's publisher also points to an unusual challenge in documenting Kao's career: much of his professional life took place within a secretive intelligence environment, leaving researchers dependent on personal accounts and material that became publicly accessible only gradually. That makes the upcoming adaptation different from a conventional celebrity or political biopic. The filmmakers are working with a historical figure whose professional record is closely connected to classified intelligence work. Why 2028 Is the Chosen Release Year The film is scheduled for August 11, 2028, placing its theatrical release during the Independence Day period. The timing also connects with R&AW's institutional history. The agency was established in 1968, meaning 2028 will mark 60 years since its formation. The September 2026 announcement was made on the 58th anniversary of the agency's establishment, with the planned 2028 release positioned around that 60-year milestone. The date therefore gives the project a historical context beyond simply launching another espionage film. What the Film Will Cover The currently available information points to a narrative covering Kao's journey from 1955 through 1971. That period includes the background to the creation of a separate external intelligence organisation, the establishment of R&AW and its earliest major mission during the 1971 India-Pakistan conflict. However, the makers have not released a detailed scene-by-scene synopsis. As a result, individual incidents from Gokhale's biography should not automatically be treated as confirmed portions of the screenplay. The distinction matters because the book covers Kao's life well beyond 1971, while the currently announced film description focuses on the period leading up to and including R&AW's formative years. Casting and Director Are Still Under Wraps One of the biggest unanswered questions is who will portray R.N. Kao. As of the announcement, the lead actor, director and wider cast have not been officially revealed. Reports describing possible casting should therefore be treated as speculation unless subsequently confirmed by the filmmakers. For a film built around a real historical personality, the eventual casting will be particularly significant because the actor will have to portray a figure whose public image was defined partly by discretion and limited visibility. For now, the confirmed information remains limited to the production partnership, subject, source book and release date. Dharma Productions and Leo Media Collective Reunite The R.N. Kao project also brings Dharma Productions and Leo Media Collective together again. The companies previously collaborated on projects including Bad Newz and Kesari: Chapter 2. Their latest partnership moves into a substantially different territory, with the new project combining historical material with espionage and political events. According to Karan Johar's comments reported following the announcement, Leo Media Collective has spent the past two years researching and developing the narrative, with the intention of creating a story based on historical facts. The research-heavy nature of the project is particularly relevant given the limited public record surrounding intelligence operations. R.N. Kao Was More Than the Founder of R&AW Reducing Kao's career simply to the creation of R&AW would leave out much of the historical context available in the source material. Gokhale's biography documents Kao's earlier intelligence career, his association with India's political leadership, his role in establishing R&AW and his later involvement with other areas of national security. The publisher's description also identifies Kao with the creation of the Aviation Research Centre, while the book's contents extend into subjects including the 1971 conflict, Sikkim, Pakistan's nuclear programme and the National Security Guard. Whether the film eventually explores these later chapters is not yet known. A Different Kind of Bollywood Spy Story Indian cinema has produced a large number of espionage films, but the R.N. Kao project has a different starting point. Its protagonist was not created for a screenplay. He was an intelligence officer working within a government system during a period when India's security architecture was still taking shape. That creates two parallel storytelling challenges. The first is making a historically grounded intelligence story accessible to a theatrical audience. The second is maintaining a distinction between documented history and cinematic reconstruction. The source material provides a substantial foundation, but the eventual film will determine how much of Kao's institutional work becomes the central dramatic narrative. The Celebrity Hour Take The most notable aspect of Karan Johar's new project is its decision to focus on the formation of an institution through the career of the person who helped establish it. That gives the film a broader historical scope than a conventional character-driven spy thriller. The story potentially connects personal decisions, intelligence work and the creation of a new arm of India's national-security structure. The 2028 release date adds another layer because it coincides with six decades of R&AW's existence. But much of the project is still unknown. There is no confirmed lead actor, director or detailed final plot at the time of the announcement. For now, the confirmed story is that Dharma Productions and Leo Media Collective are developing a theatrical film based on R.N. Kao: Gentleman Spymaster, with August 11, 2028 set as the release date. Sources & Verification This independent report was prepared using the September 21, 2026 announcement concerning Dharma Productions and Leo Media Collective's R.N. Kao film, established news coverage of the project, and Bloomsbury India's publisher information for Nitin A. Gokhale's R.N. Kao: Gentleman Spymaster. The film's confirmed release date, source material and announced historical scope were cross-checked across multiple sources. Casting and director information has not been presented as confirmed because those details remain undisclosed.

Veteran actor Radha has approached the Greater Chennai Police Commissioner with a complaint against her sister and fellow actor Ambika and their brother Mallikarjuna Kunjan Nair, alleging that old signed cheques kept at her Chennai residence were accessed and presented for payment without her permission. The complaint, filed on September 21, concerns five old cheques that Radha says were presented in Ambika’s name for an amount reported by several publications as approximately ₹46 crore. Radha says she immediately asked her bank to stop the transactions after receiving an alert about the cheques. The matter, however, is disputed. Ambika has rejected Radha’s allegations and has given a different account of why the cheques were issued, saying they were connected to a settlement arising from a long-running family dispute. With both sisters offering conflicting versions, the allegations should not be treated as an established finding of fraud. The police inquiry is still developing. How the cheque dispute came to light According to Radha’s complaint, she maintained a current account with IDBI Bank for business-related expenses associated with ARS Garden Studio. She says that, because she frequently travelled, she kept several signed blank cheques at her residence to deal with routine expenses such as employee salaries, utility bills, taxes and garden maintenance. The business was subsequently renamed RR Gardens in January 2025. Radha says she obtained a new cheque book after the change and stopped using the older one, eventually forgetting that some of the previously signed cheques remained at her home. According to the complaint, Radha was alerted by her bank on September 17 that five of those older cheques had been presented for encashment in Ambika’s name. Radha has said she had not handed the cheques to her sister and had not entered into a financial arrangement that would justify the payments. She then instructed the bank to stop payment. What Radha has alleged Radha has alleged that the cheques were taken from her room while she was away from Chennai. She further alleges that her brother Mallikarjuna filled in the details on the cheques and that he and Ambika acted together in attempting to use them. The complaint also extends beyond the cheque issue. Radha has alleged that she has faced difficulties accessing her portion of a family property and that valuables, jewellery, property documents and other records connected with the property remain there. The News Minute reported that Radha has asked the police to investigate the allegations and take criminal action if the accusations are established. These remain allegations contained in a police complaint. They have not been adjudicated by a court. Why reports differ on the amount involved There is an important discrepancy in the amount being reported. Several reports, based on Radha’s complaint, describe the alleged transaction as involving approximately ₹46 crore. However, another account published by Gulf News lists five cheque amounts as ₹11 lakh, ₹13.17 crore, ₹27.73 crore, ₹7 crore and ₹1.79 crore, which together total approximately ₹50.8 crore. Because the publicly reported figures are inconsistent, The Celebrity Hour is using the approximately ₹46 crore figure in the headline and main reference to the complaint, while flagging the discrepancy rather than presenting ₹50.8 crore as an independently established amount. Ambika disputes Radha’s version Ambika has publicly rejected the allegations. According to Onmanorama, Ambika said the five cheques were not stolen or improperly obtained. She claimed that Radha had voluntarily issued them as part of a settlement between the sisters connected to their wider dispute. A separate report from News Today also quoted Ambika as saying that there was no truth in Radha’s complaint. Ambika reportedly said the family dispute involved land, business interests and gold and that she had previously approached the police concerning the broader dispute. Ambika's account therefore directly conflicts with Radha's allegation that the cheques were taken from her residence and misused. That disagreement is central to the developing case. At this stage, neither side's version should be presented as a judicially established fact. A dispute that goes beyond the cheques The allegations appear to be part of a much wider family disagreement involving property and business interests. Ambika has referred to disputes concerning the ARS Gardens property and business interests, while Radha's complaint raises concerns about access to property and documents. Onmanorama reported that Ambika has claimed the dispute involves, among other matters, a share of land connected with the ARS property and business interests in ARS Garden Studios. She also referred to other legal proceedings connected with the family's property dispute. This broader context is important because the cheque allegations are not being raised in isolation. Both sides are presenting the disputed transactions as part of a longer-running family and property conflict. Radha and Ambika’s connection to South Indian cinema The dispute has attracted considerable attention partly because Radha and Ambika were among the prominent sister duos of South Indian cinema during the 1980s. Radha made her film debut in Bharathiraja's Alaigal Oivathillai in 1981 and subsequently appeared in films including Muthal Mariyathai, Amman Kovil Kizhakale, Mella Thirandhathu Kadhavu and Rajadhi Raja. Ambika established a career across Malayalam, Tamil and Kannada cinema, with films including Neelathamara, Andha 7 Naatkal, Vazhvey Maayam, Rajavinte Makan and Mr Bharath among her credits. The sisters also appeared together in several films, including Enkeyo Ketta Kural, Vellai Roja, Idhaya Kovil, Manakanakku, Kadhal Parisu and Annanagar Mudhal Theru. Their shared history in the film industry makes the current dispute particularly notable, but their professional relationship should not be confused with the legal status of the allegations now being investigated. What happens next? The immediate question is what the police investigation establishes about the five cheques, how they came into Ambika's possession, who filled in the details and whether the transactions were connected to an underlying settlement or were used without Radha's consent. The competing accounts mean that the documentary evidence surrounding the cheques, banking records and any relevant property or settlement documents could become important to the inquiry. For now, the available information establishes that Radha has filed a complaint and Ambika has denied the allegations. It does not establish that either the alleged fraud or Ambika's counterclaims have been proven. The Celebrity Hour Take The significant development here is not simply the amount attached to the disputed cheques. It is the fact that a long-running family disagreement involving two well-known actors has now entered a formal police process, with the two sisters offering fundamentally different explanations for the same financial documents. Radha's complaint frames the cheques as old signed documents allegedly accessed without her consent. Ambika's response presents them as instruments voluntarily issued as part of an attempted settlement. That distinction will matter as the matter develops. For readers, the most responsible way to understand the story at this stage is to separate the complaint from proof. A police complaint records allegations and triggers investigation; it does not by itself establish criminal liability. The Celebrity Hour will therefore treat the ₹46 crore figure and the alleged cheque misuse as allegations attributed to Radha, while also recording Ambika's denial and alternative explanation. The Bottom Line Radha has filed a complaint against her sister Ambika and brother Mallikarjuna over five disputed cheques and alleged financial misuse involving approximately ₹46 crore. Ambika has denied Radha's allegations and claimed that the cheques were voluntarily issued as part of a settlement connected to their wider family dispute. The matter remains under investigation, and the allegations have not been adjudicated by a court. Further developments from the police inquiry or any subsequent legal proceedings will be necessary before the competing claims can be independently established. Sources & Verification The central allegations were treated as claims contained in Radha's police complaint, while Ambika's response was separately incorporated to avoid presenting either side's allegations as established fact. The discrepancy between the reported ₹46 crore and the higher total obtained by adding individually reported cheque amounts has also been explicitly flagged.

Veteran Bengali actress Mithu Mukherjee, one of the recognisable faces of Bengali cinema during the 1970s and 1980s, has died at the age of 71. She passed away in Mumbai after battling cancer for nearly a year, according to multiple reports published on September 21, 2026. The news was also followed by tributes from the All Indian Cine Workers Association (AICWA) and actor Prosenjit Chatterjee. Mukherjee built a substantial career in Bengali cinema before also appearing in Hindi films. She was particularly remembered for films including Marjina Abdulla, Nishi Kanya, Mouchak, Swayamsiddha and Ashrita. Her career also brought her into films with prominent actors of her generation, including Uttam Kumar, Soumitra Chattopadhyay and Ranjit Mullick. Mithu Mukherjee's Acting Journey Began in the Early 1970s Born in Kolkata in 1955, Mithu Mukherjee entered films at a young age. Her screen debut came with Chitta Bose's Shesh Parba in 1972, where she appeared opposite Shamit Bhanja. She gained wider recognition with Dinen Gupta's Marjina Abdulla, in which she played the title character opposite Debraj Roy. The success and visibility of Marjina Abdulla helped establish Mukherjee as a leading presence in Bengali cinema. During the following years, she appeared in a series of films that became associated with her career, including Nishi Kanya, Mouchak, Swayamsiddha, Hotel Snow Fox, Pratima, Bandhan, Prarthana and Sandhi. Her work also extended beyond mainstream romantic roles. Contemporary retrospective coverage has highlighted her performances with leading actors and filmmakers of the period, underlining the range of the career she built during a relatively concentrated period in Bengali cinema. Her Hindi Cinema Connection Although Mukherjee is primarily remembered for her Bengali films, she also worked in Hindi cinema. Her Hindi film debut came with Dulal Guha's Khaan Dost in 1976. She subsequently appeared in films including Safed Jhoot, Dillagi and Do Ladke Dono Kadke. Her Hindi-film work placed her alongside performers such as Shatrughan Sinha and other established names of the period. Her career therefore crossed two major Indian-language film industries at a time when performers often built strong regional identities while also making occasional appearances in Hindi cinema. Mouchak Remains One of Her Best-Remembered Films Among Mukherjee's Bengali work, Mouchak remains an important part of her screen legacy. The film helped reinforce her image as a prominent actress of the era, while her collaborations with actors including Uttam Kumar and Ranjit Mullick became an important part of her career. A later Times of India retrospective quoted filmmaker Prabir Roy and actor Ranjit Mullick reflecting on her screen presence and acting ability following news of her death. Her filmography also included Swayamsiddha, in which she appeared alongside major performers including Utpal Dutt, another film that has been cited in retrospectives of her career. Ashrita Marked Her Final Film Mukherjee gradually stepped away from the film industry during the 1980s. After appearing in Dujane, she took a break from acting before returning to the screen with Chandra Barot's Ashrita in 1990. The film ultimately became her final screen appearance. Interestingly, Ashrita was not simply another acting assignment. Mukherjee was also associated with the film as its producer, according to available film records. Following Ashrita, she chose a private life away from the entertainment industry. Reports say she largely remained outside the public eye in the decades that followed and had been living in Mumbai for several years. Mithu Mukherjee's Death and Tributes Mukherjee died in Mumbai after a prolonged battle with cancer. Multiple reports place her treatment at Breach Candy Hospital, although accounts differ slightly on the precise timing of her death, with some describing it as Sunday night and others reporting September 21. The consistent point across the reporting is that she died in Mumbai at the age of 71 following an extended illness. The All Indian Cine Workers Association issued a tribute on September 21, describing Mukherjee as a celebrated Bengali and Hindi film actress and highlighting her contribution to Indian cinema. The organisation specifically listed several of her Bengali and Hindi films while remembering her work during the 1970s and 1980s. Actor Prosenjit Chatterjee also paid tribute to Mukherjee on social media. His message described the news of her passing as heartbreaking and said her memory and work would continue to live on. Other retrospectives have also highlighted the reaction from members of the Bengali film community, including Ranjit Mullick, who recalled working with her and spoke about her ability as an actor. A Career That Ended Before the Era of Social Media One distinctive aspect of Mukherjee's career is the contrast between her prominence during the 1970s and 1980s and the private life she chose after leaving cinema. Unlike many contemporary performers whose careers remain constantly documented through interviews, social media and promotional appearances, Mukherjee spent decades largely away from the public spotlight. That makes her filmography particularly important in assessing her legacy. Her work survives primarily through the films she made and through the memories of colleagues and audiences who watched her during the height of her career. The Celebrity Hour Take Mithu Mukherjee's career is a reminder that an actor's contribution to cinema does not necessarily depend on decades of screen appearances. Her active period was comparatively concentrated, but she became associated with a number of significant Bengali films of the 1970s and 1980s and also made a brief but notable transition into Hindi cinema. Her decision to leave the industry after Ashrita meant that she remained largely outside the public conversation for many years. Her passing has therefore prompted a retrospective look at a performer whose most influential work belongs to an earlier generation of Indian cinema. For The Celebrity Hour, the key part of Mukherjee's story is not simply the news of her death, but the body of work she left behind from Shesh Parba and Marjina Abdulla to Mouchak, Swayamsiddha and her final film, Ashrita. Her contribution now stands as part of the cinematic history of both Bengali and Hindi film. Mithu Mukherjee's Legacy Mithu Mukherjee leaves behind a filmography closely connected with one of the most active periods of Bengali popular cinema. From her early debut in the 1970s to her final appearance in Ashrita in 1990, she worked with several prominent names and established herself as a recognisable performer in Bengali cinema while also making a mark in Hindi films. She later chose a life away from the spotlight. Now, following her death at 71, attention has returned to the films and performances that defined her career. Sources & Verification This report was independently researched and written by The Celebrity Hour using current reports from established Indian news organisations, the All Indian Cine Workers Association's September 21, 2026 tribute, and publicly available information on Mithu Mukherjee's filmography and career. The Celebrity Hour cross-checked her age, reported death in Mumbai, cancer treatment, career timeline, major Bengali and Hindi films, final screen appearance in Ashrita, and tributes from AICWA and Prosenjit Chatterjee. Because published reports differ slightly on whether her death occurred late on September 20 or on September 21, the article avoids asserting an exact time of death without a primary confirmation. No unverified social-media reactions, anonymous claims or invented quotations have been included. Where statements from AICWA and Prosenjit Chatterjee are referenced, they are attributed to their publicly available statements.

Brad Pitt is back as Cliff Booth, the laid-back but dangerous stuntman from Quentin Tarantino’s Once Upon a Time... in Hollywood. Netflix has released the official trailer for The Further Mis-Adventures of Cliff Booth , revealing a new chapter for the character this time set in 1977, eight years after the events of the 2019 film. The new movie reunites Pitt with Tarantino's character while putting David Fincher in the director's chair. Tarantino has written the screenplay, marking an unusual collaboration between two filmmakers with very different filmmaking identities. Netflix has confirmed that the film will first play in IMAX from November 25, 2026, before arriving on Netflix on December 23. Cliff Booth Has Left Stunt Work Behind The biggest change revealed by the trailer is Cliff's profession. In Once Upon a Time... in Hollywood, Cliff worked primarily as Rick Dalton's stunt double, driver and close friend. The new film moves him into a very different position within Los Angeles' entertainment industry. Set in 1977, the story finds Cliff working as a Hollywood studio fixer, taking on problems and off-the-books jobs that require the particular combination of toughness and experience he has developed over his years around the movie business. Netflix's official description confirms that this is a very different Hollywood from the one Cliff knew previously. The trailer therefore does more than simply bring back a familiar character. It shifts Cliff into a new stage of his life while retaining the character's connection to Hollywood's backstage world. A Darker Side of 1970s Hollywood The trailer introduces a Hollywood where professional problems can quickly become criminal ones. Cliff becomes involved with people from the entertainment business while dealing with situations involving violence, secrets and competing interests. The film's official Netflix listing places it across drama, comedy and period-piece territory, suggesting that the new story will retain some of the tonal flexibility associated with the original film. The setting also allows the filmmakers to explore Hollywood several years after the late-1960s period depicted in Once Upon a Time... in Hollywood. The result is not simply a continuation of the earlier film's storyline. It is another story taking place inside Tarantino's alternate version of Hollywood history. David Fincher Takes Over the Director’s Chair One of the most notable aspects of the project is the change behind the camera. Tarantino wrote the screenplay, but David Fincher directed the film. Netflix's official trailer page identifies Fincher as director and Tarantino as screenwriter. That combination gives the project a distinct creative identity. Tarantino created Cliff Booth and established the character's place within his fictionalised Hollywood. Fincher, meanwhile, brings his own filmmaking approach to a story that moves into darker territory. The collaboration is particularly notable because Tarantino directed the original Once Upon a Time... in Hollywood, while Fincher is now responsible for expanding that fictional world through a character created by Tarantino. Brad Pitt Returns to One of His Most Recognisable Roles Pitt reprises the role that earned him the Academy Award for Best Supporting Actor for Once Upon a Time... in Hollywood. The new trailer shows a visibly different Cliff. His appearance reflects the 1970s setting, but the character's basic personality remains recognisable: relaxed in situations where others might panic, confident in his physical abilities and comfortable operating outside conventional rules. Pitt's return is also important because Cliff was not originally presented as the central character of a conventional franchise. His story existed within the larger relationship between Cliff and Rick Dalton, played by Leonardo DiCaprio. The new film removes that original structure and places Cliff at the centre. The Story Moves Eight Years Forward The timeline is one of the most important pieces of context for viewers returning from the 2019 film. Once Upon a Time... in Hollywood was primarily set in 1969. The Further Mis-Adventures of Cliff Booth moves forward to 1977, creating an eight-year gap between the two stories. That means the new film can treat the original movie as history within Cliff's life rather than simply continuing immediately from its ending. The change also gives the filmmakers a different cultural and professional environment. Hollywood had changed considerably during those years, and Cliff himself is no longer simply functioning as Rick Dalton's stunt double. The Supporting Cast Expands Cliff's New World The film features an ensemble cast alongside Pitt. Netflix lists Elizabeth Debicki, Scott Caan, Carla Gugino, Yahya Abdul-Mateen II, Peter Weller, Matt Groove, JB Tadena, Corey Fogelmanis and Karren Karagulian, among others. Scott Caan plays television star Charlie Peters, while Elizabeth Debicki appears as an agent connected to the story. Carla Gugino and Yahya Abdul-Mateen II are also part of the central ensemble. Timothy Olyphant also returns to the fictional Hollywood universe as actor James Stacy, a character he played in the original film. The expanded cast allows the sequel to construct a new network around Cliff rather than simply recreating the Dalton-Booth relationship that defined much of the first movie. What Happened to Rick Dalton? One question hanging over the new story is Rick Dalton. The original film established Cliff as Dalton's stunt double, driver and closest professional companion. But the new film begins after that partnership has changed. The sequel's premise indicates that Cliff has moved into his own professional life, rather than continuing as Dalton's stunt double. The trailer does not turn the film into a straightforward reunion story, which keeps the focus on Cliff and the new problems surrounding him. For viewers who remember the original movie, that separation is an important part of understanding why Cliff is now operating independently. The Film Has a Two-Stage Release Netflix is giving the movie a significant theatrical window before its streaming debut. The Further Mis-Adventures of Cliff Booth will receive a two-week IMAX engagement beginning November 25, 2026, followed by its Netflix release on December 23, 2026. The IMAX release is particularly notable because Netflix is using the film as part of its expanding theatrical strategy for major productions. For audiences interested in the film's visual presentation, the large-format release also places Fincher's version of 1970s Los Angeles on a substantially larger screen before the movie reaches home viewing. Tarantino Is Continuing Cliff Booth’s Story in Another Medium There is another unusual element surrounding the project. Tarantino is also publishing The Adventures of Cliff Booth , a novel that continues the character's story. The book is scheduled for publication on December 8, 2026, between the film's IMAX release and its Netflix premiere. The novel and film expand the same character in different formats, giving audiences another way to explore Cliff Booth's fictional history. This is also consistent with Tarantino's recent interest in extending his movie storytelling through books rather than directing another feature himself. Why This Sequel Is Different From a Conventional Franchise The Further Mis-Adventures of Cliff Booth is unusual because it does not appear to be built around a traditional franchise formula. There is no fictional universe filled with multiple heroes, recurring villains and a predetermined series of sequels. Instead, the film takes one supporting character from a standalone movie and gives him an entirely new story. That makes the project closer to a character-driven continuation than a conventional franchise sequel. The change in director reinforces that distinction. Tarantino remains responsible for the screenplay, while Fincher interprets the character and story through his own filmmaking style. The Celebrity Hour Take The most interesting part of The Further Mis-Adventures of Cliff Booth is not simply Brad Pitt's return. It is the decision to ask what happened to Cliff after the story that audiences already knew had ended. The original film made Cliff memorable because he was a supporting figure with a mysterious past and an unusually calm attitude toward danger. The new movie reverses that dynamic by making him the centre of the story. Moving the action to 1977 also gives Fincher and Tarantino room to reinvent the character without simply repeating the formula of Once Upon a Time... in Hollywood. The trailer suggests that the new film will retain Cliff's connection to the entertainment industry while taking him into a more complicated world of Hollywood power, crime and personal loyalties. With Pitt returning, Tarantino writing and Fincher directing, the film is effectively combining an established character with a new creative perspective. That makes the upcoming release more than a routine continuation of the 2019 film. What We Know So Far Title: The Further Mis-Adventures of Cliff Booth Lead: Brad Pitt as Cliff Booth Director: David Fincher Screenplay: Quentin Tarantino Setting: 1977 Hollywood Connection: Follow-up to Once Upon a Time... in Hollywood IMAX release: November 25, 2026 Netflix release: December 23, 2026 Key cast: Elizabeth Debicki, Scott Caan, Carla Gugino, Yahya Abdul-Mateen II, Peter Weller and Timothy Olyphant Streaming platform: Netflix Sources & Verification This report was independently prepared using Netflix's official trailer and movie listing as the primary sources, supplemented by current reporting from established entertainment publications for additional cast, timeline and release information. The article distinguishes confirmed production details from interpretation of the trailer and does not treat unverified plot speculation as fact.

Ajith Kumar is stepping into the spotlight for a very different kind of story. The trailer of Gladiators: In Pursuit of Challenges offers a closer look at the actor’s life away from cinema, focusing on his long-standing connection with motorsport and the demanding world of racing. What makes the documentary particularly personal is the participation of Ajith’s wife, Shalini, and their children, Anoushka and Aadvik. Their appearances provide a rare family perspective on the actor’s racing journey and the risks and dedication associated with his passion for motorsport. Ajith Kumar beyond the film set For audiences, Ajith Kumar has primarily been known as one of Tamil cinema’s leading actors. Motorsport, however, has been an important part of his life outside films for years. Gladiators shifts the focus from his acting career to this lesser-seen side of his life. Instead of presenting racing as a brief celebrity interest, the documentary follows Ajith’s involvement with competitive motorsport and the preparation required to participate at an international level. The trailer includes racing footage, track action and glimpses of the environment surrounding Ajith’s motorsport activities. It also features people associated with his racing journey, including members of his team and motorsport personality Narain Karthikeyan. This gives the documentary a broader sporting context rather than making it simply a celebrity profile. Shalini brings a personal perspective One of the trailer’s most distinctive elements is the presence of Shalini Ajithkumar. Shalini, who has largely stayed away from acting and the public spotlight, speaks about Ajith and his approach to racing. Her perspective provides an understanding of the person behind the racer and the way his family views his commitment to the sport. The appearance of Anoushka and Aadvik adds another personal dimension to the documentary. Their presence allows Gladiators to move beyond racing cars and competition and explore Ajith's life as a husband and father. For a public figure who generally keeps his family life private, these moments are likely to be among the documentary’s most significant aspects. A.L. Vijay directs the documentary Gladiators: In Pursuit of Challenges is directed by filmmaker A.L. Vijay and produced by Shalini Ajithkumar under Golden Trophy Film Production. The project features music by G.V. Prakash Kumar, while Anthony serves as editor. The filmmaking team has also worked with cinematographers and motorsport-focused camera crews to capture the racing environment. The production approach appears designed to place viewers inside Ajith’s motorsport journey rather than simply documenting it through interviews. Why Ajith’s racing journey is worth documenting The appeal of Gladiators lies in the contrast between Ajith’s two professional worlds. Cinema is a controlled environment. Racing is considerably less predictable. Preparation, endurance, concentration and the ability to respond to changing conditions all become essential when competing on a circuit. Ajith’s involvement in motorsport has therefore created a parallel identity for him outside acting. His racing activities have included participation through the Ajith Kumar Racing team, with the team competing in international endurance events. The documentary gives audiences an opportunity to see the work involved behind those appearances. Rather than presenting Ajith simply as a celebrity who races, the trailer positions motorsport as a serious pursuit that has become an important part of his life. Narain Karthikeyan and the racing team add sporting context The presence of Narain Karthikeyan is another notable element. Karthikeyan’s own background in professional motorsport gives the documentary an experienced racing voice. Alongside members of Ajith’s racing team, his participation helps place the actor’s journey within the wider world of competitive motorsport. This distinction is important because Gladiators is not only about Ajith’s popularity. The documentary attempts to show the discipline and competitive environment behind his racing activities. G.V. Prakash Kumar’s music adds another layer Music is also expected to play an important role in the documentary. G.V. Prakash Kumar has composed the music for Gladiators, including the original track “Born to RACE”. The soundtrack is designed around the film’s racing identity and the intensity associated with endurance competition. For a documentary built around speed, pressure and personal determination, the musical score becomes part of how the racing experience is presented to the audience. What the trailer tells us about the documentary The trailer suggests that Gladiators will not be a conventional celebrity documentary built around career milestones. Its focus is narrower and more personal: Ajith Kumar’s relationship with racing. That allows the documentary to explore several sides of the actor simultaneously the competitor on the track, the professional preparing for races and the family man whose passion for motorsport affects the people closest to him. The involvement of Shalini, Anoushka and Aadvik is particularly significant because it provides a perspective that cannot be captured through racing footage alone. The Celebrity Hour Take Gladiators becomes interesting precisely because Ajith Kumar is not playing a fictional racer. The documentary is about a real pursuit that exists outside his film career. That makes the racing footage more than promotional material; it becomes a record of an aspect of Ajith’s life that many cinema audiences rarely get to see. The participation of his family could make the film even more revealing. Their perspective potentially gives viewers a better understanding of what motivates Ajith to continue pursuing motorsport despite the physical and professional demands involved. For Ajith’s fans, the documentary offers an opportunity to see a different side of a familiar star. For motorsport followers, it provides a closer look at a prominent Indian actor’s involvement in competitive racing. That intersection is ultimately what gives Gladiators its identity. When will Gladiators release? The documentary has been announced for a theatrical release. However, an exact theatrical release date has not been officially confirmed as of September 21, 2026. The trailer therefore serves as the latest major look at the project while audiences wait for the makers to announce the release schedule. With its combination of motorsport footage, personal interviews and rare appearances from Ajith’s family, Gladiators: In Pursuit of Challenges is shaping up as a documentary focused less on the superstar image and more on the individual behind it. Sources & Verification This report was prepared using the documentary's publicly announced production details, the trailer information released through Ajith Kumar's team and associated representatives, and independent coverage from established Indian entertainment publications. Key details concerning the director, producer, music, trailer premiere, family appearances, motorsport focus and release status were cross-checked across multiple reports. The documentary's exact theatrical release date remains unannounced as of September 21, 2026.

Saurav Gurjar faces legal action after woman's complaint Actor and professional wrestler Saurav Gurjar, known for playing Bhim in Mahabharat and for his appearance in Brahmastra: Part One – Shiva, has been detained following a complaint by a 29-year-old woman who has alleged that he deceived and harassed her after promising to marry her. According to reports citing the complaint and police proceedings, Gurjar was detained by Gachibowli police at Mumbai Airport on September 20, 2026. He was subsequently produced before a magistrate and sent to 14 days of judicial custody. The allegations are under investigation, and they should not be treated as established facts unless proved through due legal process. What does the woman allege? The woman, described in reports as being based in the United States, allegedly met Gurjar through Instagram in 2021. According to the complaint as reported by multiple outlets, the two subsequently entered into a relationship. She has alleged that Gurjar promised to marry her and persuaded her to leave her job in the United States to pursue a business venture with him. The complaint further alleges that the two lived together at different points in the United States and India. The woman claims that Gurjar later distanced himself when she raised the issue of marriage and that the situation affected her personal and professional life. These are allegations contained in the complaint. There has been no finding of guilt against Gurjar in the information currently available. Police action and judicial custody The case moved beyond a complaint after Gachibowli police detained Gurjar at Mumbai Airport. He was then produced before a magistrate, who ordered 14 days of judicial custody, according to reports on the proceedings. The legal process is now expected to determine the facts surrounding the woman's allegations. At this stage, the available reports do not establish the final outcome of the case. Who is Saurav Gurjar? Saurav Gurjar has worked across television, films and professional wrestling. He became widely recognised on television for portraying Bhim in the 2013 television series Mahabharat. He subsequently appeared in other television projects before making his Hindi-film debut in Ayan Mukerji's Brahmastra: Part One – Shiva, which starred Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Nagarjuna and Mouni Roy. Gurjar also pursued professional wrestling and was associated with WWE, performing under the ring name Sanga. His combination of a large athletic build and acting experience made him a recognisable figure across both entertainment and wrestling audiences. What happens next in the case? The immediate focus will be on the police investigation and the judicial process. The woman's allegations concern an alleged relationship, a purported promise of marriage and subsequent conduct that she describes as deceptive and harassing. Gurjar's legal position and any response from his representatives will be important as the case progresses. For now, the allegations remain allegations. A complaint, detention or judicial remand does not itself establish criminal guilt. The Celebrity Hour Take The case is significant because it involves a public figure and allegations concerning a personal relationship that have now entered the criminal-justice process. However, the distinction between an allegation and a proven offence is particularly important in reporting a case at this early stage. The woman's account forms the basis of the complaint, while the investigation and subsequent legal proceedings will determine what can ultimately be established. The Celebrity Hour will therefore follow the case on the basis of verified developments rather than speculation, social-media claims or assumptions about either party. Sources & Verification This report was prepared by cross-checking the latest available reports concerning the complaint, Gurjar's detention at Mumbai Airport and the subsequent judicial-remand order. The reported details of the woman's allegations have been attributed to the complaint rather than presented as established facts. Multiple reports also independently describe the police action and 14-day judicial custody. The Celebrity Hour has not independently determined the truth of the allegations. Gurjar should be presumed innocent unless and until guilt is established through due legal process.