If ever there was a persona perfectly in tune with his songs, it must be Bappi Lahiri, the man who introduced disco to Hindi films, his young-at-heart, popular music as unmindful of disapproving purists as he may have been of those who raised eyebrows at his gold chains and dark glasses.
The singer-composer, who was just 69 when he died in a Mumbai hospital on Tuesday night, embodied an irreverent pop cool all his own with both his appearance and songs, primarily through the 80s and 90s that saw hits such as “I'm a disco dancer”, “Koi yahaan naache naache” and “Jimmy Jimmy”. There were many others too – “Yaar bina chain kahan re”, “Kaliyon ka chaman”, “De de pyaar de”, “Jawaani jaaneman” and “Tamma Tamma” among some of them. The swagger in the many numbers inseparable from the singer and creator, whose career spanned five decades of melodies.
In what is a credit to the longevity of his music, Lahiri's songs are some of the most repurposed or remixed in Bollywood, being used in Anurag Kashyap's Gangs of Wasseypur: Part 1, for instance, as well as in the gay romance Shubh Mangal Zyada Saavdhan.
If Mithun Chakraborty was the star of the 80s, Lahiri was the voice behind him, and the music behind his dancing steps. The two memorably collaborated on Disco Dancer, Prem Pratigya, Wardat, Suraksha, Guru, Kasam Paida Karne Wale Ki, and Commando.
Indian Bollywood playback singer Asha Bhosle (L) and music composer and singer Bappi Lahiri (R) attended the 10th Newsmakers Achievers Awards ceremony in Mumbai on May 1, 2019 (Photo credit: SUJIT JAISWAL/AFP via Getty Images)
Lahiri, who introduced the disco era to Bollywood, also ventured into politics when he joined the BJP in 2014. He is survived by his wife Chitrani and two children - daughter Reema, also a singer, and son Bappa Lahir, a composer. He tried to make a bid in electoral politics when he contested the Srerampur Lok Sabha seat in West Bengal but lost to Kalyan Banerjee of the All India Trinamool Congress. It was but a chapter in a life devoted to music for the most part.
Born Alokesh Lahiri in Jalpaiguri, West Bengal, into a family of musicians, Lahiri's inclination towards music started at the early age of three when he started learning the tabla. His parents Paresh and Bansari Lahiri were both well-known musicians and singers, much like their son later on in life.
Kishore Kumar, who sang "Pag Ghunghroo" and "Chalte Chalte" for him, was his maternal uncle. Lahiri pioneered synthesised disco music in Indian cinema through the 70s to the 90s and continued to give hits in the 2000s too with the hits "Bambai Nagariya" from Taxi No 9211, and "Ooh La La" from The Dirty Picture (2011), both directed by Milan Luthria. More than anything else, it was his personality which was like a pop icon, said Luthria.
"He was the only composer who took on the Big Threes in the 70s and 80s -- Laxmikant-Pyarelal, RD Burman, and Kalyanji-Anandji. In the 1990s, there was Anu Malik, but Bappi da held his own," Luthria told PTI.
Lahiri, who created several classics for Amitabh Bachchan, also lent his voice to Abhishek Bachchan in AR Rahman's composition "Ek Lo Ek Muft" from Mani Ratnam's Guru (2007).
He also was one of the singers who crooned "Tune Maari Entriyaan" from 2014's Gunday as filmmakers wanted to hark back to the music of the 80s and who better than Lahiri to recreate the era that he ruled.
While the shiny moniker of 'Disco King' weighed heavy over his music, he proved his versatility with softer numbers, including in "Chalte Chalte" and ghazals "Kisi Nazar Ko Tera Intezaar Aaj Bhi Hai" and "Aawaz Di Hai" from Aitbaar.
He also looked westwards to increase his musical reach. Lahiri dubbed in Hindi for singing icon Elton John for the 2017 spy comedy Kingsman: The Golden Circle and for Jemaine Clement in the 2016 animated film Moana. He also composed and sang "Shona" (Gold), the Hindi version of "Shiny".
When portions of "Kaliyon Ka Chaman" were included in the 2002 song "Addictive" by American singer Truth Hurts, copyright holders Saregama India, Ltd. sued Interscope Records and its parent company, Universal Music Group for more than USD 500 million. A Los Angeles federal judge subsequently barred further sales of the CD unless and until Lahiri was listed on the song's credits.
In 2017, his classic song “Jhoom Jhoom” was featured in the Hindi promotional clip of Marvel Studio's Guardians of the Galaxy Vol. 2.
Bappi Lahiri attends the live concert celebrating 50 years of Bollywood play back singer Amit Kumars musical career, in Mumbai on December 9, 2015. AFP PHOTO / AFP / STR (Photo credit: STR/AFP via Getty Images)
Lahiri also gave music to films in Bengali, Telugu, Tamil, Kannada, and Gujarati. He began his career with the 1972 film Daadu. His first Hindi film as a composer was Nanha Shikari in 1973. It was the 1975 Hindi film Zakhmee that got him noticed with songs such as "Aao Tumhe Chand Pe Le Jayen" and the Holi song "Zakhmee dilon ka badla chukane". The film brought him to Chalte Chalte, Surakshaa, and others as his disco beats became popular among the youth, earning him the title of Disco King in India.
Disco may have gone out of style in the later years of Bollywood music but the singer, in an interview with PTI in 2019, said he was grateful to have voiced for some of the biggest stars of their era. "I feel so proud to have had this journey and to have worked with all the extremely talented people in the industry. Simply put, my life is Dilip Kumar to Ranveer Singh. From Dharm Adhikari to Gunday, I've done it all,” he told PTI.
Sophie Turner revealed kissing Kit Harington in their new gothic horror The Dreadful was “vile.”
The actors spent eight seasons as siblings Sansa Stark and Jon Snow on Game of Thrones.
Turner, who is also a producer on the film, suggested Harington for the role despite their sibling-like bond.
The film has yet to receive an official release date but features Turner, Harington, Marcia Gay Harden, and Laurence O’Fuarain.
Sophie Turner has admitted that kissing her Game of Thrones co-star Kit Harington for their new gothic horror film The Dreadful was far from romantic. Speaking during her recent appearance on Late Night with Seth Meyers, the actress said the scene was so uncomfortable that both she and Harington were “retching.”
Turner, who played Sansa Stark across eight seasons of HBO’s Game of Thrones, explained that while she and Harington have not shared the screen since 2019, their sibling-like relationship remained intact. That history made their romantic scenes in The Dreadful especially challenging.
Sophie Turner says kissing Kit Harington in The Dreadful was a vile experienceGetty Images
Why Sophie Turner cast Kit Harington despite the challenge
Turner is not only starring in The Dreadful but also serving as a producer. When writer-director Natasha Kermani asked who she envisioned as the male lead, Turner immediately thought of her former on-screen brother.
“I sent the script to Kit, and he came back saying, ‘Yeah, I’d love to, but this is going to be really weird, Soph,’” Turner told Meyers. At first, she didn’t understand his hesitation. “Then I went through the script again and it’s just kiss, kiss, sex, kiss. And suddenly I realised, oh right, that’s my brother.”
Despite the discomfort, both agreed that the script was strong enough to take on the challenge.
For Turner and Harington, the first scene they had to shoot together was a kiss, which proved to be even more awkward than they anticipated. “We put it out of our minds, and then when it came to shooting, we were both retching. It was vile. Honestly, the worst,” Turner said.
She even compared the experience to a scene in her upcoming thriller Trust, in which she had to share a room with cockroaches and rats crawling over her. “And kissing Kit was still worse,” she admitted.
Sophie Turner reveals she and Kit Harington were retching while filming kiss sceneGetty Images
What is The Dreadful about?
Set during the 15th century amid the Wars of the Roses, The Dreadful follows Anne, played by Turner, who lives with her mother-in-law Morwen on the outskirts of society. Their fragile existence is disrupted when a man from Anne’s past, portrayed by Harington, returns and sets off a dangerous chain of events.
The film also stars Oscar winner Marcia Gay Harden, Laurence O’Fuarain, and Jonathan Howard. While an official release date has not yet been confirmed, the gothic horror has already drawn attention thanks to Turner and Harington’s casting.
The Dreadful Poster IMDB
Turner and Harington’s lasting Game of Thrones bond
Both actors became household names through Game of Thrones, where they were introduced as members of the Stark family. Although later seasons revealed Jon Snow’s Targaryen lineage, viewers still saw Sansa and Jon as siblings, making their romantic scenes in The Dreadful all the more different.
Turner herself acknowledged how strange it was, even joking to Vogue earlier this year, “Sorry guys, it’s weird for all of us.”
For fans of the HBO series, the reunion of Sansa Stark and Jon Snow on screen is already generating curiosity. Whether audiences see the chemistry or share Turner’s discomfort remains to be seen when The Dreadful finally premieres.
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Ryan Reynolds teases Deadpool’s Avengers connection with graffiti artwork on Instagram
Ryan Reynolds’ Deadpool will appear in Avengers: Doomsday, but not as an Avenger.
The Hollywood Reporter confirmed his role after Reynolds teased it on Instagram.
The film will release on 18 December 2026, with Robert Downey Jr. returning as Doctor Doom.
Wolverine and other X-Men characters are still expected, though not officially confirmed.
The Marvel Cinematic Universe is preparing for its biggest crossover since Avengers: Endgame, and Ryan Reynolds has just reignited fan excitement. After weeks of speculation, reports now confirm that Deadpool will feature in Avengers: Doomsday. However, unlike Thor, Doctor Strange, or Spider-Man, Wade Wilson won’t be lining up with the Avengers team.
The news follows a cryptic Instagram post from Reynolds showing the Avengers “A” marked with Deadpool-style graffiti, fuelling speculation that Marvel’s most unpredictable hero would return.
Ryan Reynolds’ Deadpool confirmed for Avengers: DoomsdayGetty Images
Why isn’t Deadpool part of the Avengers lineup?
According to The Hollywood Reporter, Deadpool will indeed be part of Avengers: Doomsday, but not as an Avenger. Sources suggest his role will remain separate from Earth’s Mightiest Heroes, keeping in line with his outsider persona.
This approach also makes sense from a storytelling perspective. Deadpool’s chaotic nature and fourth-wall-breaking humour are very different from the tone of the Avengers franchise, making him better suited as a wildcard in the multiverse narrative rather than a core team member.
Reynolds himself has previously joked that Deadpool’s story would “end” if he ever became an Avenger, calling it Wade Wilson’s ultimate dream-come-true scenario.
What role will Deadpool play in Avengers: Doomsday?
While Marvel Studios has not revealed plot details, industry insiders suggest that Deadpool may link the Avengers with the X-Men and multiverse storylines. His last film, Deadpool & Wolverine, grossed over £1 billion (₹10,500 crore) worldwide, making him one of Marvel’s most profitable characters.
Given that the graffiti symbol Reynolds shared resembles the “Void’s Resistance” logo from Deadpool & Wolverine, fans believe his new mission could tie directly into Avengers: Doomsday.
The film’s confirmed villain, Robert Downey Jr.’s Doctor Doom, will unite the Avengers, Fantastic Four, and possibly the X-Men against his multiverse army. Deadpool’s ability to jump between realities makes him an essential player in the upcoming conflict.
One of the biggest fan questions is whether Hugh Jackman’s Wolverine will appear in Avengers: Doomsday. The ending of Deadpool & Wolverine teased the duo continuing their adventures together, suggesting that Logan’s return is highly possible.
So far, Marvel has kept Wolverine’s involvement secret, but Reynolds’ confirmed role increases the chances of Jackman joining him. Channing Tatum has also been confirmed to reprise Gambit, adding to speculation that Doombreaker (the rumoured multiverse resistance lineup) could be forming on screen.
Marvel Studios has shifted its release calendar several times, but Avengers: Doomsday is now scheduled for 18 December 2026. Originally planned for May 2026, the delay pushed Avengers: Secret Wars to December 2027.
The film is currently in production in London, and while Marvel has kept set leaks under tight control, occasional images have hinted at large-scale battle sequences and surprising team-ups.
Since Endgame, Marvel has struggled to replicate its earlier momentum. Many fans and critics argue that the franchise has become fragmented, with too many storylines running at once. Bringing in Deadpool, a proven box-office powerhouse, signals Marvel’s attempt to restore confidence and unify audiences ahead of Phase Six’s finale.
Reynolds’ Deadpool is not just a comedic addition; he’s a bridge between Marvel’s different universes, from Fox’s X-Men to the Disney-led Avengers and Fantastic Four. His presence ensures Avengers: Doomsday will appeal to both long-time fans and new audiences.
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Urvashi Pathania reveals how a childhood bleaching memory shaped her haunting short Skin on colourism
Skin confronts colourism through horror, transforming memory into a grotesque clinic where melanin is harvested as a commodity.
Urvashi Pathania recalls her earliest memory of being bleached at nine after relatives said her dark skin would affect marriage prospects.
The film frames colourism as an “economic horror,” linking beauty standards to exploitation and resource plunder.
Skin was workshopped at the prestigious Sundance Labs and is being developed into a feature-length project.
Pathania believes horror is the most visceral way to capture inherited prejudice and social cruelty.
Full interview and the complete video are available on the Eastern Eye YouTube channel.
When filmmaker Urvashi Pathania talks about her short film Skin, her words carry the same sharpness and intimacy as the story itself. The short film leaves audiences equally unsettled and haunted. It’s not merely genre horror but a brave examination of colourism, where a personal wound becomes a grotesque clinic that harvests melanin as a commodity. In this Eastern Eye exclusive, Pathania discusses the origins and inspirations behind her film.
Filmmaker Urvashi Pathania opens up about the childhood memory that inspired her acclaimed short film Skin Getty Images
The film’s most harrowing image; of a woman submerged in a fluorescent tank as her skin dissolves, comes from a real childhood memory. “I was nine when one of my mum’s friends said, ‘Cute kid, but you need to do something about her dark skin if you ever want her to get married,’” Pathania remembers. Her mother, who was fair-skinned, listened. “She put a homemade bleaching paste on me,” Pathania says, “and I remember screaming in the bathtub.” That early sense of being trapped, of a body altered without consent, became the ghost at Skin’s core.
Pathania intentionally opens the film not with the clinic but with two sisters squabbling in a car. Ria, a dark-skinned influencer and a vocal champion of skin positivity, is the viewer’s entry point: incredulous, furious, and protective when Kanika announces she will bleach her skin. “Ria is the voice of the audience,” Pathania explains. “We enter through her disbelief and the love that’s tangled up in it.”
The clinic’s fluorescent hell, Markandeya, reveals the scale of the horror: an assembly line where dark-skinned women are drained and their melanin routed into glowing vats for wealthier, fairer clients. Pathania deliberately frames this as economic horror. “I wanted it to feel bigger than skin bleaching,” she says. “It’s about harvesting, of resources, of culture, of beauty rituals. Whether it’s the brown earth being plundered or the bodies of women of colour being commodified, the cost is always disproportionately ours.”
That cost is encoded in the film’s visual language. Pathania and her longtime cinematographer Catherine crafted a lighting palette that is as much metaphor as aesthetic. “Horror films usually hide terror in darkness. But here, the whitest moment is the most terrifying,” Pathania notes. Fair clients bask in amber-lit pools, their skin steeped in stolen warmth, while women of colour are exposed under cold, fluorescent tones that reveal the rawness of their natural skin. “It was the only way to show the truth of what Kanika loses,” Pathania says, referencing the film’s climax where her skin tone literally changes.
For Pathania, horror is a natural language to speak about inheritance, not genes, but the ideas passed down inside families and communities. Kanika’s desire to resemble her fair-skinned mother is a devastating detail because it links colourism to maternal love and social survival. “We like to blame our parents,” Pathania says, “but we carry it too. These cycles don’t just live in the past. They’re active.” The film, in fact, maps how affection and aspiration can become vectors for harm.
The film’s cruelest twist lands in its climax. Ria, the sister who loves her melanin, tries to rescue Kanika and becomes trapped instead, drained for the supposed benefit of others. “One person might individually gain—lighter skin, different treatment—but society pays,” Pathania says. “Every time a new standard is set, it hurts women as a whole.” The swap is designed to be both literal and moral: the personal gain of assimilation carries a social cost.
Juniper, the clinic director, weaponises empathy—polite, warm, a girlboss peddling empowerment as she harvests. “She’s complicit and trapped,” Pathania says. “In the feature version, you see the strings go even higher.”
Perhaps the most haunting image comes in the film’s closing: older women, waiting to bathe in stolen melanin, unaware of the violence behind their “fountain of youth.” Pathania denies them villainy and implicates us all. “They don’t know the cost,” she says. “They hear about a fountain of youth and want it. That desire is universal. The tragedy is that the system allowing it is invisible to them.”
Asked to name a single scene that sums up Skin, Pathania points to a quiet, devastating parallel: Ria struggling with foundation that’s too light while Kanika undergoes the bleaching ritual. “It’s the same violence in different forms,” she says. “One is subtle, one is grotesque. But both come from being told you’re not enough.”
Skin may be short, but it is not small. It exists as proof of a larger project. Pathania workshopped a feature script for Skin at the Sundance Labs, and the short reads like a hard, lucid preview of that longer story. She’s also writing other genre pieces, including a ghost story about housing injustice in Manhattan, because for Pathania, horror remains the most honest language for telling political stories that live in the body.
Skin lingers because it refuses easy catharsis. There’s no victory, only the echo of Ria’s screams in the tank. Pathania’s craft is in how she shows colourism doesn’t merely humiliate; it becomes a literal marketplace. “You can walk out of the clinic lighter,” she says. “But someone else pays the price.”
Rapper Sean Kingston sentenced to three and a half years in US federal prison.
Fraud scheme, run with his mother, involved luxury goods worth more than £740,000.
Items included designer watches, furniture, a 232-inch LED TV and a bulletproof Cadillac Escalade.
Kingston apologised in court; his mother was jailed for five years in July.
Text messages showed the pair discussing fake payment receipts.
Conviction and sentencing
Rapper Sean Kingston has been sentenced to three and a half years in a US federal prison for his role in a fraud scheme worth over £740,000.
The Jamaican-American singer, whose real name is Kisean Anderson, was convicted earlier this year alongside his mother, Janice Turner, of wire fraud. Prosecutors said they exploited Kingston’s celebrity status to obtain luxury items without paying for them.
How the scheme worked
According to prosecutors, Kingston contacted victims via social media, claiming he wished to buy high-end products. He then invited them to his homes in South Florida, promising to promote their goods on his platforms or introduce them to other celebrities.
When payments were due, Kingston or his mother sent fraudulent wire transfer receipts. While some victims later received compensation after legal intervention or lawsuits, most were left out of pocket.
Evidence at trial
Prosecutors said the scheme netted more than £740,000 in goods, including luxury watches, furniture, a 232-inch LED television and a bulletproof Cadillac Escalade.
Text messages shown in court revealed Kingston instructing his mother: “I told you to make [a] fake receipt.”
Apology and defence
Before sentencing, Kingston apologised to the court and said he had learned from his actions. He will begin serving his sentence immediately.
His mother, Janice Turner, was jailed for five years in July.
Defence lawyer Zeljka Bozanic described Kingston as “a soft guy who grew up poor when he rose to fame overnight”, arguing he still had the mentality of a teenager and struggled to manage his finances.
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Sholay turns 50 with global 4K comeback and untold stories
Fifty years have passed since that dusty road in Ramgarh first brought us Jai, Veeru, Basanti, Thakur, and a villain whose name still sends a shiver. It’s a film you don’t just watch, you inherit. Parents pass it to kids like a family heirloom. Every rewatch is a homecoming, yet it still surprises you.
And now, as 15 August 2025 marks its golden jubilee, Sholay is not just being remembered, it’s being reborn. Here’s how its fire still crackles, half a century on.
Sholay turns 50 with global 4K comeback and untold stories Instagram/rameshsippy47
1. Global 4K debut in Toronto
The Film Heritage Foundation’s painstakingly restored 4K version will premiere at the Toronto International Film Festival on 6 September 2025. A packed 1,800-seat Roy Thomson Hall will watch it in never-before clarity. The question on every Indian fan’s lips: “When’s it hitting home screens here?”
2. “Yeh Dosti” hits the UK stage
A full-scale musical and dance tour by LuvEntertainment is bringing Sholay’s beats to life across Hayes, Leicester, Coventry, and beyond. Think “Mehbooba Mehbooba” with blazing lights and live choreography. Like nostalgia, but with stage pyrotechnics.
3. The ending we were never meant to see
For decades, the true climax, Thakur kicking Gabbar to death, was a whisper among film buffs. Censors chopped it out in 1975. In June 2025, the Bologna festival unveiled it to a stunned audience.
4. Casting “what-ifs” and wild sets
Danny Denzongpa was first choice for Gabbar before schedules clashed. Amitabh Bachchan was billed fourth. Dharmendra allegedly bribed lighting crew to prolong romantic takes with Hema Malini. Meanwhile, Jaya Bachchan quietly shot her scenes while pregnant.
5. The jaw-dropping pay scale
Bachchan got £9,400 (₹1,00,000). Dharmendra, the top earner, got £14,100 (₹1,50,000). British stuntmen made £470 (₹50,000) each for the train heist scene, a sum that, at the time, could buy a small flat in Mumbai.
6. From flop to phenomenon
When it released, Sholay had slow ticket sales and mixed reviews. Javed Akhtar admitted he kept watching it himself, worried. Then word-of-mouth turned it into India’s highest-grossing film for nearly 20 years.
7. The records that won’t die
Five years straight at Mumbai’s Minerva Theatre. Over 25 crore footfalls worldwide. Proof that sometimes, the audience just needs time to catch up to genius.
8. Blood, sweat, and real bullets
Basanti’s tanga chase? Twelve days in scorching heat. Some action scenes used actual bullets for “authenticity”, Dharmendra’s idea. The first cut ran over four hours before it was trimmed for release.
9. Gabbar’s roots in reality
Amjad Khan modelled him on 1950s Chambal Valley dacoits. His gravelly “Kitney aadmi the?” didn’t just enter pop culture, it became shorthand for suspicion in Indian households.
10. Writers who never looked back
Javed Akhtar hasn’t rewatched Sholay since its 70mm re-release. His reasoning: “Those lost in their history have no hope for their future.” It’s a sentiment that keeps the film alive, we remember, even if its creators have moved on.
You don’t talk about Sholay like any other film. You talk about where you first saw it. You talk about watching it with people who aren’t here anymore. You talk about quoting its lines at weddings, in classrooms, in WhatsApp groups.
Fifty years later, it’s still more than cinema. It’s part of our vocabulary, our memory, our muscle. And as its 4K rebirth travels the world, Sholay reminds us: some friendships, some enemies, and some stories never fade.