Akshay Kumar starrer Sooryavanshi was slated to release in March 2020, but the film was postponed due to the pandemic. The makers then decided to release it on 30th April 2021. But, due to the second wave of Covid-19, the lockdown was announced in India, and once again theatres were shut.
Another film of Akshay, BellBottom, is also ready for a release and was slated to hit the big screens on 28th May 2021. But, the release date of the film has been postponed.
Today, Akshay has given a statement about the films’ release dates. The actor has stated, “I’m humbled at the excitement and eagerness of my fans regarding the release of Sooryavanshi and Bell Bottom, and want to thank them from the bottom of my heart for all their love. However, at this point, it is purely speculative to say that both films will release on Independence Day. The producers of both films are working out the release dates and will make announcements at the right time.”
Well, there have been reports of both the film getting a direct-to-digital release. However, there’s no official announcement about it.
A few days ago, while talking to us about the release date of BellBottom, producer Deepshikha Deshmukh had stated, “We are going to wait and see how things panned out. We are in the middle of a pandemic and we are still figuring what we want to do. But hopefully, we’ll see some clarity soon.”
BellBottom also stars Vaani Kapoor, Huma Qureshi, and Lara Dutta. Meanwhile, Katrina Kaif plays the female lead in Sooryavanshi.
Aishwarya Rai Bachchan’s return to the Cannes red carpet in 2025 wasn’t just about fashion, but a mix of poise, heritage, and a small moment of real-life awkwardness that she turned into grace.
For her second red carpet appearance this year, Aishwarya arrived in a dramatic black gown paired with an ivory Banarasi brocade cape. The cape, handwoven in Varanasi, bore a powerful Sanskrit verse from the Bhagavad Gita. It was a rare and classy mix of traditional craftsmanship meeting high fashion, with spiritual thought stitched into the very fabric.
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But red carpets aren’t always smooth. While posing with Helen Mirren and Cara Delevingne, Helen accidentally stepped on the flowing cape, causing it to slip slightly from Aishwarya’s shoulder. Cameras captured the moment, one that could have easily become a wardrobe mishap. Instead, Aishwarya responded with calm. A soft alert to Helen, a smile, a quick adjustment, and she was back in pose as if nothing had happened. Helen apologised immediately, and the two moved on with mutual respect and warm gestures.
The dress itself, titled Heiress of Clam by designer Gaurav Gupta, was no ordinary outfit. It shimmered with silver, gold, and charcoal accents meant to reflect a cosmic design. Embellished with micro-crystals, the gown caught light like stardust. Aishwarya’s makeup was minimal and powerful, with classic red lips, soft waves, and a dewy glow that added to the timeless feel.
Aishwarya Rai’s cosmic black gown glows under Cannes lightsInstagram/gauravguptaofficial
The highlight, however, wasn’t just the sparkle or the silhouette, it was the message on the cape: “You have a right to perform your actions, but not to the results.” That choice in fact rooted her red carpet moment in something deeper than surface glamour.
Fans on social media couldn’t get enough, praising her style, grace, and the way she navigated the cape incident. Some joked that Helen cleared the way for Aishwarya’s look to shine; others called her the true “red carpet queen.”
In a festival filled with international stars, Aishwarya managed to leave a mark that wasn’t just about fashion but also about dignity, culture, and quiet strength. After nearly two decades of representing India at Cannes, she continues to do it in her own way: unapologetically, beautifully, and on her own terms.
Perhaps the biggest Bollywood celebration this year is the 50th anniversary of the iconic film Sholay, which smashed box-office records when it was released in 1975.
But what most Hindi cinema fans may not realise is that another film released that same year (technically) made a bigger profit – with a much higher return on investment. In that regard, it remains perhaps the most profitable Bollywood movie in history.
Hindu devotional drama worked miracles at the box office IMDb
That micro-budget film, Jai Santoshi Maa, achieved something so miraculous it has never been replicated. The second-highest box-office grosser of 1975, it earned more than all-time classics released that year, including Deewaar, Dharmatma and Chupke Chupke – all led by superstars. Despite having no big stars, no lavish sets, minimal marketing and being made on a shoestring budget, the Hindu devotional drama worked miracles at the box office after its release on May 30, 1975.
Eastern Eye marks the landmark film’s 50th anniversary by revisiting its remarkable story and impact, one largely forgotten over time.
The film was written with its limitations in mind, using minimal sets and focusing on emotion IMDb
Struggling actor Vijay Sharma made the leap to directing with this deeply religious drama. At a time when Bollywood was dominated by action films headlined by big stars, he secured only a modest budget – thought to be around `500,000 (£5,000) – from low-profile producer Satram Rohra.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names. Kanan Kaushal, previously seen in minor supporting roles, was cast in the lead. Anita Guha, who had some success in the 1950s but was mostly inactive by the 1970s, was brought in for a guest appearance as the divine title character.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names Scroll.in
Bharat Bhushan, once a major star in the 1950s and early 60s but by then largely forgotten, took on a role out of necessity. Trilok Kapoor – younger brother of Prithviraj Kapoor and uncle to Shammi, Raj and Shashi – was also struggling for work and joined the cast.
What the film lacked in glamour, it made up for with a powerful, spiritually resonant soundtrack. Composer C Arjun and lyricist Kavi Pradeep, both relatively obscure at the time, delivered career-best work despite budget constraints.
Unable to afford Lata Mangeshkar or Asha Bhosle, they turned to their lesser-known sister, Usha Mangeshkar. They did, however, manage to get Manna Dey and Mahendra Kapoor to sing one song each. The film was written with its limitations in mind, using minimal sets and focusing on emotion.
The film became a case study in how faith can fuel fandomIMDb
The story followed a pious woman who remains devoted to the goddess Santoshi Maa despite enduring severe hardship, poverty and abuse from her in-laws. Her unwavering faith is ultimately rewarded when the goddess intervenes to restore justice and peace.
When the film was ready to be released, no major distributor would take it. A smaller company finally agreed to give it a limited release, and then something extraordinary happened. It's simple storytelling, emotional arc and devotional songs struck a deep chord with audiences. Unlike the more extravagant mythological films of earlier decades, Jai Santoshi Maa was intimate, emotional and spiritual.
It felt less like watching a film and more like experiencing a prayer. What the film lacked in advertising, it made up for with astonishing word of mouth. Its appeal extended beyond the religious – the emotional story of a woman’s resilience resonated especially with female viewers.
Songs like Main To Aarti Utaru Re Santoshi Mata Ki had entire theatres singing along. While wealthier audiences flocked to watch star-studded blockbusters, grassroots viewers embraced everything about this modest devotional film, especially its message of hope.
Cinema halls screening the movie were transformed into makeshift temples, with patrons arriving barefoot, applying vermillion on their foreheads and distributing prasad after screenings. In some places, audiences performed prayers before the film began. Prasad counters even appeared inside theatres – unheard of in Indian cinema until then.
There were female-only screenings and reports of coconuts being broken at theatre entrances. In rural areas, entire villages organised trips to the nearest towns to catch a glimpse of the goddess on screen. Traditional moviegoers were replaced by worshippers, many of whom wept during the film and sang bhajans in the aisles.
As one historian recalled, “Watching Jai Santoshi Maa wasn’t like watching a movie – it was like participating in a collective act of worship.”
Cinemas that had initially rejected the film scrambled to secure it, leading to a dream run across India. When Sholay released a few months later, it crushed most of the competition, except Jai Santoshi Maa, which continued its successful run. In fact, had Sholay not been released, the devotional drama would likely have earned even more.
While record-breaking films like Sholay returned 10 to 15 times their investment, Jai Santoshi Maa reportedly earned over 100 times its budget. One journalist wrote, “Sholay gave us fire and bullets, while Jai Santoshi Maa gave us faith and devotion – and the box office bowed to both.”
Despite its massive earnings, reports suggest the producer was cheated by distributors and saw little profit. Yet the legacy of Jai Santoshi Maa went far beyond box office success.
Following its release, Santoshi Maa temples sprang up across India. Calendars, posters and religious books featuring her image flooded markets.
The film became a case study in how faith can fuel fandom, inspiring similar devotional films and later mythological television serials.
Lead actress Kanan Kaushal became so adored that fans often greeted her with reverence. Anita Guha, who played the goddess, was so strongly associated with the role that she was referred to as “Santoshi Maa” in public, with some people even seeking her blessings.
In an era dominated by big budgets and big stars, Jai Santoshi Maa remains a timeless reminder that faith and storytelling can achieve what no spectacle can. It had no brooding heroes, no bullets, and not a single superstar – but it accomplished something no other film has matched.
Remakes and similar concepts followed, but none could replicate its divine success. As director Vijay Sharma later said, “We thought it would do okay in devotional circuits. But the response was something else – a tidal wave of emotion and faith.”
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Her remarks, made during a recent appearance on the 'Today show'
Sofía Vergara, known for her role in Modern Family and more recently in Griselda, has sparked fresh debate around money and relationships after stating she would only date someone who earns as much as, or more than, she does. Her remarks, made during a recent appearance on the Today show, have drawn attention not only for their frankness but for the broader conversation they prompt about income disparity and relationship dynamics.
Vergara, 52, shared her thoughts while discussing her dating preferences with hosts Jenna Bush Hager and Erin Andrews on the 14 May episode. When asked about what she looks for in a partner, the actress responded: “I want to say the basic stuff, like health and somebody that loves me, and somebody tall, handsome.” She added, “I want somebody that has as much money as me or more, because if not, it's a nightmare. They end up resenting you.”
Her comments, while light-hearted in delivery, touched on a complex issue many couples navigate: how financial imbalance affects emotional and relational health.
The psychology behind income differences in relationships
While public reactions to Vergara’s comment have been mixed, therapists and psychologists agree that income disparity can have real effects on romantic partnerships. Lami Ronit, a wealth psychologist with practices in California and London, told Business Insider that the challenges associated with financial imbalance often run deeper than people realise, particularly when gender expectations are involved.
“Women who are the higher earners often face a double standard,” said Ronit. “They’re expected to succeed, but not so much that it threatens traditional gender roles.” Meanwhile, men are generally socialised to be comfortable in the role of financial provider, and when that role is reversed, both partners may feel unsettled.
This dynamic, Ronit explained, can lead to a range of issues — from subtle tensions to outright resentment. Women may feel pressured to downplay their financial success, while men may experience feelings of inadequacy or diminished identity.
Matt Lundquist, founder and clinical director of Tribeca Therapy in New York, noted that wealth doesn’t necessarily eliminate these struggles. “It becomes a space where individuals’ histories with money and gender expectations play out,” he said. Even in progressive relationships where traditional roles are less rigid, these dynamics can surface unexpectedly.
Dana McNeil, a relationship therapist and founder of The Relationship Place in San Diego, explained that conflicts often arise when the higher-earning partner feels entitled to make financial decisions. “Many wealthy partners may perceive they are entitled to exert more control in the relationship about how money is spent,” she said. “This can create a parent–child dynamic that leads to a loss of autonomy for the financially dependent partner.”
Such imbalances can eventually erode trust and intimacy, even in otherwise healthy relationships.
- YouTubeYouTube/ The Tonight Show Starring Jimmy Fallon store
Managing financial differences fairly
Experts say that clear communication and fairness are key to managing income disparities in relationships. Ronit recommends proportional contributions rather than strictly equal ones when it comes to shared finances. “Each person could contribute a percentage of their income toward common expenses,” she said. This approach acknowledges financial disparity without assigning greater or lesser value to either partner’s role.
McNeil advises couples to keep finances transparent by setting up three bank accounts — one for each individual and one joint account for shared expenses such as rent, groceries or leisure activities. “This setup maintains financial independence while encouraging collaboration,” she said.
Importantly, conversations about money should happen early in a relationship. Lundquist stressed that money forms a significant part of any partnership and should be addressed as such. “At some point, all couples need to confront the reality that a significant part of the partnership is economic and address both the material and symbolic aspects of this,” he said.
He also acknowledged that Vergara’s comments reflect clarity about her own needs and boundaries. “She clearly knows what she wants, and that in itself is a sign of emotional intelligence,” he added.
A broader reflection
While some may dismiss Vergara’s remarks as celebrity talk, they bring to light important questions about fairness, identity, and power within relationships. Financial imbalance is not just a logistical challenge but a relational one that can shape how partners perceive each other and themselves.
The increasing openness with which public figures discuss these topics could help normalise honest conversations around money, a subject many still find difficult to navigate. Whether it’s about shared bank accounts, financial autonomy, or expectations tied to gender and earnings, the core message from therapists remains the same: communication and mutual respect are essential for long-term relationship success.
ASIAN executive Ashwin Prasad has been appointed as the UK CEO of Tesco replacing Matthew Barnes, who has stepped down to pursue other opportunities, the company announced on Thursday (22). Prasad, who is Tesco Group’s chief commercial officer, will assume the role on June 30.
Prasad is currently responsible for the group’s product and customer strategy. He has been a member of Tesco’s executive team since 2020 and brings a wealth of retail and commercial experience to this role.
In recent times, he has successfully led the business through supply chain disruptions, as well as driving Tesco's trading strategy and accelerating our digital marketing transition.
Prasad said, “I pick up the reins of a business with strong momentum, a winning strategy and a talented team. I am privileged to be appointed UK CEO and my priority will be to continue offering our customers an unbeatable experience, every time they shop with Tesco. I would also like to thank Matthew for his support and wish him well for the future.”
At Tesco, he wields influence far beyond the aisles of its stores. Under his stewardship, the supermarket group has launched groundbreaking initiatives in sustainable agriculture. The partnership with potato supplier Branston and livestock processor ABP to create two low-carbon concept farms exemplifies his innovative approach.
Prasad was ranked 52nd in the GG2 Power List 2025, published by Asian Media Group, which profiles Britain's 101 most influential Asians.
Born in Suva, Fiji, and raised in New Zealand, he brings a global perspective to his leadership. Educated at Auckland University and Harvard Business School, he cut his teeth in commercial and marketing roles at The BOC Group and Mars Inc. before joining Tesco in 2010.
Prasad’s rise in retail has coincided with some of the most volatile years in modern business history. From Brexit to Covid-19, from supply chain crises to soaring inflation, he has had to navigate Tesco through relentless turbulence.
He credits his father for instilling in him an unwavering work ethic, teaching him that “giving up was just not an option” - a philosophy that would shape his leadership style and career trajectory.
His personal passions – scuba diving, wildlife conservation, and discovering the world’s best food and wine – offer a glimpse into a leader who values both adventure and precision. He admires Satya Nadella, Microsoft’s transformational CEO, for his ability to cultivate a learning organisation rooted in curiosity and empowerment – qualities Prasad himself embodies.
Murphy, said, “Matthew leaves with our respect and sincere thanks for his contribution. Under his leadership, our business has gone from strength to strength. His obsession with customers has made a big impact and we are winning in the market by offering customers unbeatable value. We wish him the very best in his next chapter.
“Ashwin is an exceptional leader with a strong track record for delivering for our customers. His experience leading our product and customer strategy makes him the ideal person to take over as UK CEO."
He added, “Our strategy focuses on being brilliant at the basics whilst stepping forward on big strategic initiatives – by becoming increasingly digital & delivering more personalised customer engagement, through new growth avenues such as Marketplace, and by further developing leading capabilities such as retail media.
"We are pleased to be making strong progress against our growth ambitions, and the newly created role of Chief Strategy & Transformation Officer will set us up even better to continue winning in the future. I am delighted to appoint Natasha, one of our most experienced and capable leaders, into this role.”
In a major shake-up at Tesco, Natasha Adams, currently Tesco Ireland & NI CEO, has been appointed to a newly created role on the executive committee as chief strategy & transformation officer, effective from June 9.
Geoff Byrne, currently chief operating officer in Ireland, has been promoted as Tesco Ireland & NI CEO. All executive roles continue to report to Group CEO Ken Murphy, the company said.
Barnes said, “I have decided to step down to pursue other opportunities. Leading Tesco’s UK business has been a privilege, and I am proud of everything we have achieved together. I believe our colleagues are the best in the industry, and I would like to thank everyone for their support. I would also like to wish Ashwin the very best in his new role.”
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The British Medical Association said the offer for resident doctors was 'woefully inadequate' and announced a ballot next week over possible strike action. (Photo: Reuters)
TEACHERS, doctors, dentists, and prison officers in England will receive a 4 per cent pay rise after the government accepted recommendations from public sector pay review bodies.
Resident doctors will also get a £750 top-up, taking their average increase to 5.4 per cent.
NHS staff on Agenda for Change contracts, including nurses and midwives, have been offered a 3.6 per cent rise, while civil servants are set to receive 3.25 per cent.
Armed forces personnel will get a 4.5 per cent rise, with 3.75 per cent for senior ranks.
The British Medical Association said the offer for resident doctors was “woefully inadequate” and announced a ballot next week over possible strike action.
The Royal College of Nursing described the lower rise for nurses as “grotesque” and said it would consult members on whether to pursue industrial action.
The Department for Education has allocated £615 million to support the pay rise for teachers but said schools would also need to contribute through “improved productivity and smarter spending”.
The National Education Union warned the award was “not fully funded”.
Health secretary Wes Streeting said the nurses’ pay rise was “above inflation”, but the RCN said it would be “entirely swallowed up” by rising prices.