Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Stars post "ghar ka khana" and EMI moments to seem relatable.
Janhvi Kapoor's EMI line went viral for the wrong reasons.
Sara Ali Khan and Alia Bhatt also highlighted "middle-class" struggles.
Fans pick up on the inconsistencies between luxury and modesty in posts.
Let's get this straight. You’re scrolling through Instagram and there it is: a Bollywood star, sitting in what looks like a palace kitchen, holding up a roti. The caption? "Ghar ka khana hits different." You’re supposed to feel a connection, a thrill. She’s just like me! But is she?
How Bollywood stars craft fake struggles to gain fan trust and social media clout Getty Images/ Instagram Screengrab/Viral Bhayani
The "people's princess" playbook
This isn’t an accident; it’s a strategy. A tired, transparent, and increasingly backfiring PR strategy that we might as well call the “People’s Princess” playbook. But what’s the goal? To bridge the cavernous gap between insane, generational wealth and the average fan’s reality. And the method? A curated performance of relatable poverty, or as critics smartly call it, “aesthetic poverty”.
Bollywood iStock
EMIs as entertainment?
Remember Janhvi Kapoor’s EMI line? “If five extra people like my pictures, I’ll get another brand and I’ll be able to pay for my EMIs with more ease.”
EMIs..!
The word just hangs there. For the vast majority of Indians, an EMI (Equated Monthly Instalment) is a crushing monthly reality for a home loan or a modest car. It’s not a cute, relatable flex. However, the backlash was immediate and brutal. Memes and discussions erupted online, with audiences pointing out the disconnect between her luxury life and the “relatable” struggles she described.
But Janhvi’s not alone. This is a whole genre.
Jhanvi's commentReddit Screengrab
Small moments, big optics
Sara Ali Khan, daughter of Saif Ali Khan and Amrita Singh, calls herself a "kanjoos" (a cheapskate). She talks about a “very middle-class” upbringing. One anecdote that fans can’t stop talking about: during the promotions of Zara Hatke Zara Bachke, Vicky Kaushal revealed that Sara once yelled at her mother for buying towels worth £16.00 (₹1,600), saying, “Who buys towels for £16.00?”
It’s a tiny domestic moment, but it feeds directly into the image she projects: conscious of money, even amid obvious privilege.
Alia Bhatt’s mother, Soni Razdan, once highlighted their “middle-class” upbringing by saying they flew economy to Dubai. Netizens, including social media influencer Uorfi Javed, have poked fun at these “middle-class” claims. As Uorfi put it, “Humne plane nahi dekha tha yaar. Tum kaisi baatein kar rahi ho?” (We’d never even seen a plane, mate. What are you talking about?).
Ranveer Singh, a ball of energy who grew up in a well-off family, once said they “didn’t have a lot of money.” Then he described his childhood holidays to Indonesia, Singapore, Italy, and the US. That’s his definition of “not a lot of money.”
Well it’s a different planet.
— (@)
Not all relatability is fake, but wording is everything
And, nuance alert! Let’s not flatten this into “all celebrities lie.” Plenty of stars do come from mixed backgrounds. Some faced real early struggles. Some have debts. Others have family pressures, mental health issues, and career insecurity. “We had it hard” can mean emotional strain, parental pressure, or being judged in public, not just bank balances.
It particularly stings because Bollywood has a real, ugly history of precarity: actors who fell ill and couldn’t afford care, and careers that ended without safety nets. Those stories are not PR-friendly anecdotes; they’re tragedies. So casual comparisons feel tone deaf, sometimes performative, sometimes just sloppy messaging.
AK Hangal, known as the perennially troubled father of Bollywood passed away at the age of 97 in a hospital without money to pay for his treatment.Getty Images
Relatability as currency
Why do they do this? Because relatability is currency. In the age of social media, fans want access. They want to feel like the person on screen is someone they could know. PR teams know this. So the playbook says: downplay the privilege. Emphasise the struggle, even if you have to invent it. Talk about ghar ka khana, local trains, and being careful with money. It’s a calculated risk and the payoff is likeability. The risk? The whole thing blows up in your face when the audience feels patronised.
Reddit platforms and forums are filled with fans dissecting this stuff with the precision of forensic accountants. They see the cracks: the luxury villa in the background of the “simple life” video, the designer socks paired with the “humble” chappals. And they’re not buying it anymore.
The question isn’t really whether these stars are lying. Maybe they genuinely love their mum's food. Who doesn’t? The question is why this specific narrative is being sold so hard. The answer is simple. It’s easier to pretend to be poor than to actually explain what it’s like to be that rich. It’s a shortcut to connection, and the audience is starting to see it for the dead end it is.
The curtain is pulling back and the PR strategy is unmasked. So, the most relatable thing a Bollywood star could do right now might just be to admit, “Yeah, I’m privileged. I didn’t grow up poor. Here’s what else I deal with.” Now that would be a plot twist.
Alia Bhatt attended as a global ambassador for Gucci.
The event featured a screening for Demna's first collection.
Her look was centred on a bold black fur coat from the La Famiglia collection.
She balanced the outfit with a sleek hairstyle and sharp makeup.
Alia Bhatt made a powerful style statement at Milan Fashion Week, fully embracing the theatrical vision of Gucci's new creative director, Demna. Her appearance at the exclusive film screening for The Tiger highlighted her role as a global ambassador. The actor’s ensemble, a masterclass in high drama, perfectly captured the essence of the Gucci presentation at Milan Fashion Week. This Gucci La Famiglia collection debut marked a significant moment for the house.
Alia Bhatt arrives at Milan Fashion Week for Gucci’s exclusive screening Instagram/aliabhaat_admirer and aliaasnoor
What did Alia Bhatt wear?
The look was built around the dramatic Milanesa coat from the La Famiglia collection, an oversized black shaggy fur piece. A gold GG chain belt cinched it at the waist, creating shape. Underneath, a glimpse of a gold lace slip dress added a delicate contrast. The outfit was completed with signature GG monogram tights, severe black pumps, and a structured Bamboo 1947 bag.
With such a voluminous coat, the beauty look needed precision. Her hair was centre-parted and straightened to a sharp, glossy finish. The makeup featured heavily smoked-out eyes with kohl and shadow, creating that intense gaze. Crucially, the lips were kept neutral, which prevented the look from feeling overdone and ensured her features stood out against the fabric.
Gucci opted for a film screening over a traditional runway, turning the theatre into a stage. The star-studded guest list included figures such as Serena Williams, Demi Moore, Kendall Jenner, and BTS's Jin.
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Diaspora demand drives South Asian beauty into UK high street stores
Kay Beauty and Kulfi now appear in Space NK, bringing South Asian beauty to the UK high street.
Products cater to deeper skin tones, better undertones, and brown-skin needs.
The UK’s South Asian community drives demand through social media and engagement.
Launches represent identity, culture, and inclusion on prestigious retail shelves.
Their presence encourages other brands to expand shade ranges and inclusivity.
You walk past Space NK on Oxford Street and stop. Not because it is Space NK (everyone knows it), but because the window finally looks like you. Bright packaging, names that feel like home, kajal front and centre. That small, ridiculous moment matters. It is not just product placement, it is proof that a group of brands, many started by women who grew up doing their mother’s makeup in bathrooms with too-small mirrors, have landed a place on Britain’s prestige beauty shelf. Kulfi and Kay Beauty are there now, on the store pages and in the displays. In September 2025, Space NK confirmed it was stocking Kay Beauty with a curated edit of nearly 200 products, marking its first expansion outside India.
Diaspora demand drives South Asian beauty into UK high street stores AI Generated
The party you were not invited to
Why does that matter? Because for decades the beauty aisle told one story: a narrow palette, one standard of “match,” one voice deciding what counts as desirable. For a long time, walking into a UK beauty store felt like walking into a party you were not really invited to. The shades were often a sea of sameness, the models on the posters telling a story that did not include you. If you had deeper skin with warm, golden undertones, finding a concealer that did not make you look ashy was a mission. The kajal pencils? They were never quite black enough, never quite right.
But the demand was always there, simmering. The 2021 census recorded 5.5 million people from Asian ethnic groups in England and Wales, hardly a niche demographic. Brands saw the numbers; the UK was buzzing online, engaging like crazy. It was a no-brainer. And Space NK, to its credit, understood the commercial and cultural sense in it.
South Asian beauty brands are reshaping the UK high streetiStock
More than novelty: function and feeling
Concealers that actually match deeper complexions, kajals that do not smudge in humidity, creams and lip products named and pitched for brown skin; Kulfi’s 21-shade concealer and kajal, Kay Beauty’s hydrating foundations and large SKU ranges, these are not cosmetic novelties. In fact, they respond to very basic product failings of legacy brands. When the product works, the cultural story stops being enough, because the consumers want function plus feeling.
Speaking about her brand’s vision, Katrina earlier said: “I felt that the beauty industry and the beauty advertising around us could be more inclusive… creating Kay Beauty wasn’t so much seeing a gap in the market, but rather a passion for building this community. We saw such an encouraging response when we launched in the GCC … And in the UK, with its vibrant South Asian community and evolved beauty market, I think Kay Beauty has the chance to connect in an exciting way,”.
These launches are driven by actual search traffic, sales potential and a diaspora that has been loudly voting with swatches on social media. The brands did not appear out of whimsy. They scaled because the demand existed: shade gaps, undertone complaints, people tired of being an afterthought.
I read a piece by British Pakistani writer Sidra Imtiaz, and she nailed it. She talked about Kay Beauty feeling like a “glittery, sparkly amalgamation” of her identity, like the person she is at home, finally meeting the person she is on the British high street. That is the thing. This is about more than lipstick. It is about seeing a piece of your culture reflected back at you, not in a specialist shop tucked away, but right there in the flagship window on the busiest street in the country.
And yeah, you cannot help but compare it to the K-beauty wave that hit a few years back. That opened the door, sure. It taught UK shoppers that beauty philosophies from outside the West have value. But this is different. This is not about a trendy ten-step routine from Korea. This is about a diaspora saying, “We are here. Our beauty standards, our rituals, our colours, they matter.”
UK beauty finally caters to deeper tones with South Asian brandsiStock
A small revolution on the high street
Spotting a brand that reflects your identity in a store can make someone feel truly seen. That someone might be a teenager who never matched a shade right before; it might be a mother who finally finds kajal that does not ghost her skin tone. Visibility is small, then practical, then political. It is a subtle correction in how a culture sees itself on the high street.
So, what happens next? For now, retail analysts say the move is strategic: Space NK is positioning itself as a leader in inclusivity while responding to clear search and sales data from the South Asian diaspora. Will it last? It depends on product, price, and patience. But for now, the windows look different. And that, alone, is a small revolution.
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Mohit Suri teams up with Yash Raj Films again after the record-breaking success of Saiyaara
Mohit Suri locks his next directorial project with Yash Raj Films following Saiyaara.
Producer Akshaye Widhani and presenter Aditya Chopra reprise their roles from the previous hit.
The project has been touted as another large-scale romance musical.
Filming is scheduled for mid-2026, following the scripting and casting process in 2025.
Fresh off the record-shattering success of Saiyaara, director Mohit Suri is diving straight back into business with Yash Raj Films. The studio has greenlit a new romantic epic from Suri, solidifying a partnership that has already changed the genre's commercial potential. Avoiding tempting offers from other studios, this swift reunion shows a shared passion to create memorable love stories. The yet-untitled film plans to capture the same musical and emotional sweep that made their earlier collaboration a success.
Mohit Suri teams up with Yash Raj Films again after the record-breaking success of Saiyaara Instagram/taranadarsh/IIFA/yrf
So, what's the plan for this new love story?
The blueprint is taking shape. Sources indicate the core idea has been agreed upon by Suri, Widhani, and Aditya Chopra. It's described as another sweeping romance, but one that will venture into a completely new world, distinct from Saiyaara. Now that the development stage is underway, Suri and his writing team have to develop the idea into a complete script. The commitment to a musical format is a given, as Suri's ability to weave songs into the narrative fabric was a major factor in Saiyaara's success.
It's a fair point. Suri had his pick of projects after delivering one of the year's biggest hits. But the chemistry here seems to work. The Saiyaara model: Suri's direction, Widhani's production, and Chopra's presentation, proved unstoppable. There is a clear trust and a shared language already in place. Why break a winning machine? For YRF, it secures a director with a Midas touch for romance. For Suri, it offers the immense creative and marketing machinery of a major studio. It is clear that this isn't just a safe bet, but a strategic consolidation of force.
Hold your horses. This is where patience is necessary. The timeline is methodical. The aim is to start filming around mid-2026. Before that, the script needs to be solid. The casting process isn't expected to kick off until early next year, and only once a solid first draft is locked. So, any speculation about who might star is premature. This deliberate pace is telling; it prioritises getting the foundation rock-solid before the glamour and buzz of casting begins. It's the opposite of a rushed job, which should give fans confidence.
The message is loud and clear. Saiyaara's massive haul, rumoured to be over £55M (₹579.23 crore), wasn't a fluke. This immediate follow-up is a direct response to that audience appetite. It shows a genuine revival for the big-budget, emotional love story in Bollywood. With Chopra himself spearheading the genre, this project could encourage other studios to reinvest in romance stories. For cinemagoers, it's a promise of more of the grand, heart-on-sleeve storytelling that many felt had been lost.
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Contrasting styles of Sonam Kapoor and Jacqueline Fernandez underline the versatility of Indian heritage fashion
Sonam Kapoor went for detailed embroidery while Jacqueline Fernandez rocked bold prints
Anamika Khanna's LFW debut mashed up traditional Indian techniques with modern shapes
Both actresses showed how Indian design can work anywhere, not just at weddings
The Hamleys toy store location added a playful twist to the fashion show
You could spot Sonam Kapoor a mile away at that AK|OK show. She had that quiet, expensive look she does so well. Meanwhile, Jacqueline Fernandez practically bounced in with an energy that just fit the whole vibe. Anamika Khanna's London Fashion Week thing wasn't just another runway; it felt like she was making a point. And having these two completely different Bollywood stars there, wearing her clothes? That point landed hard.
Contrasting styles of Sonam Kapoor and Jacqueline Fernandez underline the versatility of Indian heritage fashion Instagram/sonamkapoor/jacquelienefernandez
A study in contrasts: Kapoor's elegance and Fernandez's edge
While Kapoor opted for intricate embroidery on structured tailoring, Fernandez chose bold graphic prints with a relaxed silhouette. Sonam Kapoor's look was a masterclass in refined detail: an asymmetrical coat with delicate, silver-threaded Chikankari embroidery, proving traditional craft could anchor a powerful, modern silhouette. In contrast, Jacqueline Fernandez embraced a more playful spirit. She wore an oversized blazer and shorts ensemble featuring the collection's bold, graphic prints, which drew inspiration from Indian mythology. Two totally different approaches to wearing your heritage on your sleeve. Literally!
Because it wasn't trying so hard. The models were walking around Hamleys. It didn't take itself deadly seriously, which made the craftsmanship actually stand out more. When you're not being shouted at about how 'important' the embroidery is, you can just appreciate that it's beautiful. That's what Sonam and Jacqueline understood. They didn't look like they were wearing costumes for a cultural display. They looked like themselves, just in clothes that happened to have a story behind them. Sonam's outfit whispered, Jacqueline's shouted, but both were speaking the same language.
What's the big deal about showing in London anyway?
It's about the audience, especially in London, where you see ideas travel. Anamika Khanna wasn't just showing clothes; it was like she was testing a theory. Can Chikankari work on a tailored coat? Can mythological prints feel fresh on a blazer?
Seeing both actresses in the front row, looking completely at home in these clothes, answered that question. If Sonam can wear that coat to a London event and look right in place, and Jacqueline can wear those prints without looking out of place, then the theory holds up. It's not about watering things down; it's about letting the craft speak for itself.
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Ambika Mod returns to the stage in the Royal Court’s new play Porn Play
Olivier winner Will Close joins Ambika Mod in the world premiere production.
The play explores a young academic’s secret addiction to violent pornography.
Acclaimed choreographer Wayne McGregor joins the creative team as movement director.
Performances run from 6 November to 13 December 2025 at the Jerwood Theatre Upstairs.
The Royal Court Theatre has unveiled the full company for its upcoming world premiere, Porn Play. Joining the previously announced Ambika Mod is Olivier Award winner Will Close, fresh from his success in Dear England. This new production, a co-production with SISTER, promises a funny and unsettling look at the double life of a high-achieving academic. The creative team also got a significant boost with the involvement of award-winning choreographer Wayne McGregor.
Ambika Mod returns to the stage in the Royal Court’s new play Porn Play www.easterneye.biz
What is Porn Play actually about?
Let’s cut through the provocative title. The play centres on a character named Ani, a brilliant academic who seems to have it all: awards, lectures, and a shining career. But beneath the surface, she’s grappling with a secret she can’t control: an addiction to violent pornography.
The story tracks how this hidden compulsion starts to fray her public persona and private relationships. It’s described as honest and unsettling, a proper character study rather than a simple shock-fest. Writer Sophia Chetin-Leuner is making her Royal Court debut with this, and she’s known for digging into complex psychological territory.
Ambika Mod returns to the stage in the Royal Court\u2019s new play Porn Play www.easterneye.biz
Who else is in the cast alongside Ambika Mod and Will Close?
The ensemble is seriously strong. They’ve got Lizzy Connolly, whose stage work ranges from the Donmar Warehouse to the Old Vic, and Asif Khan, a familiar face at the Royal Court and from the recent ITV drama Mr Bates vs The Post Office. It’s a tight four-hander, which suggests an intense, focused piece. Mod, of course, is riding an incredible wave after One Day and This Is Going to Hurt, but this is a return to the stage for her. And with Close’s Olivier Award for Dear England, the casting feels very deliberate, pairing actors known for their detailed, truthful work.
Why is Wayne McGregor’s involvement a big deal for a play?
You see a name like Wayne McGregor, a choreographer for the Royal Ballet and major films, on a play’s creative list, and it makes you look twice. He’s on board as the movement director. That’s not just about arranging a few stage crossings. For a play called Porn Play, which deals with desire, compulsion, and the physical manifestation of a secret life, movement could be absolutely central. How do you physically portray an internal addiction? McGregor’s signature is intelligent, often visceral physical storytelling. His role suggests the production will tell as much through the body as through the text, which is a fascinating prospect. With Josie Rourke directing and Mark Henderson on lights, it’s a top-tier team.
Mark the diaries. Porn Play will be staged in the Jerwood Theatre Upstairs, the Royal Court’s more intimate space, which feels right for this subject matter. The run is from Thursday 6 November 2025 through to Saturday 13 December 2025 and the press night is set for Thursday 13 November. Given the buzz around the cast and creative team, tickets will likely be in demand. It’s exactly the kind of bold, new writing the Royal Court built its reputation on.