One of the most successful actresses in Indian show business, Deepika Padukone is happier than she has been for months. After all, her highly anticipated film Padmaavat has opened to a rousing response in cinemas after months of hue and cry. In valorous queen Padmavati, Padukone has created one of the strongest female characters in Hindi cinema, a character that will probably never fade from our consciousness. In a brief interview with Eastern Eye in Mumbai, the gorgeous actress talks about the huge success of the period film, its much-talked-about self-immolation scene, her parents’ response to her performance in the movie, and much more.
Did you notice 'DP1stDay1stShow' trend on Twitter on the day Padmaavat released in theatres? This was probably the first time when fans went to that extent for supporting a celebrity and her film. How do you feel?
Of course, I did. It's surreal in a way. It's probably unprecedented in that sense as it has never happened before. To see this kind of adulation, love and support and, also, that kind of commitment is unheard of. I often wonder what I have done right to deserve all this? There are some things that you know will happen when you do the right kind of work. When you are on the right path, you know that fans will be there to support you. But sometimes they can surprise you in some amazing ways which you really never expected.
Not just in India, Padmaavat has been doing great in overseas markets also. What do you think has worked for the audiences worldwide?
To begin with, it’s the powerful story that connects the audiences worldwide too. And telling the story in the time when women have come to the fore makes it more powerful and relatable story. Then the large part of it is also to do with the curiosity because of the incidents that have happened, and a lot of it was people being able to get defined that if you choose not to show me your film, we will make the effort to do it.
They (the audience living outside India) are not a fan of Indian films but yet they were saying “we will watch this film for various reasons”. One is the relevance of the subject and the story of Padmaavat and how relevant it is in today’s time. A lot of it has also to do with the fact about the controversy surrounding the film, people’s curiosity about the film. I would also believe the popularity of the actors and the director Sanjay Leela Bhansali also has a lot to do with the success of the film everywhere.
The self-immolation scene gave the audiences goosebumps and is much talked about. What kind of challenges did you face for that particular scene?
It was extremely difficult, especially when you know that you are leading women into an act that you do not believe in, but then you set yourself back into the 12th or 13th century where it was a ritual practised and performed. For me, it was not the act of committing ‘jauhar’ (self-immolation) but it was her (Padmavati) way of winning the war and her way of leading hundreds of women to victory.
I think being strong and withstanding it are the qualities that come out from me when I see Padmavati. It also reminds me that how powerful, strong and intelligent women are. I feel so powerful and alive as a woman. But as an actor, it was a difficult scene as there were no dialogues in the climax. The entire thing is just the visuals and the fact that Padmavati has to convey so much. Her husband has been killed, she is the queen and, in a way, she is emanating her power. She had to express all those emotions and the turmoil she was dealing with, through her eyes.
There are people who have criticized the self-immolation scene in the film. Also, it did not go down too well with actress Swara Bhaskar who wrote an open letter to Sanjay Leela Bhansali. What is your opinion on this?
Like I said, a lot of people have missed the disclaimer at the beginning of the film. So that’s one part of it. The other part is that when we view a film, we have to do it in totality. The entire film was set in the 12th and 13th century. So it’s kind of bizarre to judge one scene out of context. I am completely open as an individual to people having their opinion. Whether I agree or disagree, I completely respect the fact that people have different views and opinions. This is the way to do it.
How was the reaction of your family after watching Padmaavat?
They were awestruck and stunned by the movie. They were feeling so much at that point of time that as parents, they didn’t know whether they have to react to their daughter or the film they have just seen. I could see them brimming with joy and pride.
What is that you want to take away from Rani Padmavati as a person?
Her strength, power and courage and also her intelligence and, most importantly, her dignity.
Akshay Kumar went on to avoid the box office clash by postponing the release of his film Padman.
I read a quote which said, “Only from the heart can you touch the sky”. It is so relevant to our film Padmaavat. In spite of the stones thrown at us, we did this film with all our heart. The hurdles and roadblocks that we overcame, the film is in a way invincible. It has gone beyond us. The audience has become the torchbearer of the film. Gestures like this (Akshay shifting Pad Man) say a lot about the person.
Rapper Badshah found himself in hot water after a social media post about global pop sensation Dua Lipa. What started as a simple tweet, her name with a heart emoji, quickly spiralled into chaos when a fan asked if they were collaborating. Badshah's response? "I'd rather make babies with her bro."
Badshah's viral response to the comment under his tweet Twitter Screengrab
The backlash was instant. Critics called the remark objectifying and disrespectful, forcing Badshah to clarify. Trying to douse the fire, he later posted, "I think one of the most beautiful compliments you can give a woman you really admire is to wish for her to mother your children. Meri soch nahi, tumhari soch saamne aayi hai." But the clarification didn't sit well with many, who criticised him for doubling down rather than acknowledging the issue. "Since when did that qualify as a compliment?" one user wrote, while others called it tone-deaf and entitled.
— (@)
Honey Singh joins the fray with a sarcastic jab
As the debate raged on, Badshah's longtime rival, Honey Singh, couldn't resist chiming in. Reacting to the rapper's explanation on Instagram, Singh dropped a sarcastic "Genius 😂👏👏," clearly mocking the justification. Fans caught the dig immediately, with some laughing at the not-so-subtle jab between the two, who've had a rocky relationship for years.
Badshah had previously expressed a desire to end their feud, but Singh's latest comment suggests the tension isn't fading anytime soon. Meanwhile, the rapper continues to make headlines, whether for his dramatic weight loss, rumoured romance with Tara Sutaria, or this latest controversy. One thing's clear: Badshah knows how to stay in the spotlight, but not always for the right reasons.
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Anurag Kashyap reacts sharply to Ted Sarandos’ remarks on Sacred Games
Anurag Kashyap is known for being outspoken, and this weekend he made headlines again, this time taking aim at Netflix’s top boss Ted Sarandos. The filmmaker lashed out after Sarandos questioned the streaming platform’s early approach in India, particularly their decision to kick things off with Kashyap’s gritty crime drama Sacred Games in 2018.
During an interview on Nikhil Kamath’s podcast People by WTF, Sarandos said he may have chosen a more “populist” route if he could go back, admitting the series was perhaps too novel for the Indian market at the time. The comments didn’t sit well with Kashyap, who fired back on social media, calling Sarandos “the definition of dumb” and sarcastically suggesting the platform should’ve launched with traditional “saas-bahu” content instead.
Kashyap takes aim at Netflix’s shift to mass-market content
Kashyap’s reference wasn’t just casual; it came at a time when Netflix India has partnered with Balaji Telefilms, led by Ektaa Kapoor, best known for her highly successful daily soaps like Kyunki Saas Bhi Kabhi Bahu Thi. The filmmaker’s post read: “He should have started with Saas Bahu… he would have done well. Which he is doing now. I always knew tech guys are dumb when it comes to storytelling, but @tedsarandos is the definition of dumb is what I didn’t know.”
The post sparked debate online, with even singer-actor Lisa Mishra chiming in to support Kashyap, saying that everything on OTT today is “derivative… specifically of Sacred Games.”
Kapoor, without naming Kashyap, responded via Instagram by accusing unnamed artists of being classist. She defended soap operas, claiming they gave a voice to Indian women and were even studied by international researchers. Her post ended with a call for inclusivity and “graciousness.”
Ekta Kapoor's story Instagram screengrab/ektakapoor
A clash of content ideologies in India’s OTT landscape
Sacred Games, co-directed by Kashyap and Vikramaditya Motwane and starring Saif Ali Khan and Nawazuddin Siddiqui, was a landmark moment for Indian streaming content. Though it didn’t continue past two seasons, it opened doors for darker, more experimental storytelling in Indian OTT.
Sarandos’ comments appear to suggest that while Sacred Games earned critical acclaim, it may not have been the right commercial launchpad for Netflix in India. Kashyap, however, sees the platform’s current pivot toward formula-driven programming as a step backward.
Ted Sarandos talks about Sacred Games for Netflix IndiaGetty Images
This very public disagreement brings to light a bigger conversation in the entertainment industry, between art that challenges and content that simply sells.
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Fans react as Billie and Nat’s long-rumoured romance takes centre stage
Billie Eilish appears to have confirmed her latest romance in the most cinematic way possible, with a champagne-fuelled kiss on a sunny balcony in Venice. The singer was spotted with actor and musician Nat Wolff, and the intimate moment has fans convinced that the long-rumoured pair are now officially a couple.
In photos circulating online, the Chihiro singer and Wolff are seen locking lips while casually dressed in matching grey T-shirts, enjoying champagne and sunshine in one of the world’s most romantic cities.
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A long-rumoured connection comes into focus
While this is the first clear public display from the duo, Eilish and Wolff’s bond goes back a while. They worked together on her music video Chihiro, which she directed. Around the same time, Nat and his brother Alex opened for her during the North American leg of her Hit Me Hard and Soft tour in 2024.
Fans first started speculating about their closeness earlier this year when the two were seen leaving the iHeart Music Awards together and later on a night out in New York City. Although both had previously described their friendship as platonic, there seemed to be more under the surface.
Fans react as Billie and Nat’s long-rumoured romance takes centre stageGetty Images
In past interviews, Wolff described their connection as one of shared understanding, particularly around living with Tourette syndrome, a condition both have spoken about. “It’s rare to find people you don’t have to explain yourself to,” Wolff once shared, adding that he and Eilish could just “be” around each other.
Keeping it private until now
Eilish has openly said she regrets how much she’s shared about her personal life in the past. In an interview, she stated she wanted to keep her dating life and sexuality out of the spotlight going forward.
A kiss in Italy sparks fresh buzz around Billie Eilish’s love lifeGetty Images
“I wish no one knew anything about my dating life,” she said. “And I’m never talking about who I’m dating ever again.”
Still, their recent public outing in Venice may signal a quiet shift in that. Whether or not they’ll speak out, the photos seem to say plenty.
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The cast of Maybe Happy Ending celebrates their big night at the Tony Awards
South Korea just scored a historic milestone at the Tony Awards, with the musical Maybe Happy Ending bagging six trophies, including Best Musical and Best Lead Actor. The show, centred on two ageing helper robots living on the edge of Seoul, left the awards night buzzing. Korean entertainment, long a force in film, television, and music, is now making serious inroads into Western theatre too.
From Seoul to Broadway: A story born in two languages
Maybe Happy Ending wasn’t always destined for the bright lights of Broadway. It first opened in a small Seoul theatre in 2016, a result of a local arts foundation’s programme. Co-created by South Korean lyricist Hue Park and American composer Will Aronson, the story explores loneliness, connection, and memory through the eyes of obsolete robots. Written in both Korean and English, the piece has been reimagined several times since its debut.
Darren Criss, known to many as a Glee star, played Oliver and took home his first Tony for the role. His co-star Helen J Shen portrayed Claire, the other robot. Together, they brought the emotional weight to a futuristic love story that’s more human than it sounds.
While the robots explore feelings in a near-future Seoul, the show managed to preserve distinct Korean elements like Jeju Island and the traditional plant pot hwabun on the Broadway stage, something fans celebrated online.
A cultural shift, decades in the making
With this win, South Korea joins the rare club of nations with major victories across all four major American entertainment awards, including the Oscars, Emmys, Grammys, and now Tonys. From Parasite to Squid Game, and now Maybe Happy Ending, Korean creators are no longer breaking into the global scene, they’re leading it.
The success also validates years of quiet work in South Korea’s theatre scene. Original musicals like Marie Curie and The Great Gatsby have made appearances in the West End and on Broadway, but Maybe Happy Ending marks the first time a Korean musical has truly swept the Tonys.
As one critic noted, more than awards, it’s about shifting global perspectives. Korean musicals are no longer export hopefuls. They’re now centre stage.
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BBC Three documentary uncovers new details in Kim Kardashian Paris robbery case
Nearly ten years after Kim Kardashian was robbed at gunpoint in a Paris hotel, the story is being revisited in a new documentary coming to BBC Three and iPlayer. Titled The Kim Kardashian Diamond Heist, the film digs into one of the most talked-about celebrity crimes of the last decade, offering fresh access and unheard accounts from those closely involved in the case.
Kim Kardashian Paris robbery case revisited in new BBC Three documentaryGetty Images
New voices and untold moments from the night that shocked the world
The 45-minute documentary features first-hand interviews with close family friends, French police officers, and journalists who followed the robbery from day one. It takes viewers back to that October 2016 night, when Kardashian was tied up and robbed of jewellery worth millions of pounds inside her private apartment at a luxury hotel during Paris Fashion Week.
The film doesn’t stop at the crime itself. It moves forward to recent developments, including the court case in which Kim finally came face-to-face with her assailants last month. Eight people were found guilty, nearly a decade after the robbery made global headlines.
Kim Kardashian 2016 diamond heist case brought eight people to justice nearly a decade after the robberyGetty Images
Beyond gossip: A look at the cost of digital fame
This BBC Three documentary goes beyond the headlines and Instagram timelines. It examines the role of social media in the robbery, where public posts may have tipped off the thieves, and the emotional fallout Kim faced in the aftermath.
Nasfim Haque, Head of Content at BBC Three, says the film “cuts through the noise and looks at the real-life consequences of being so visible in the digital age.” Firecracker Films, the production company behind the documentary, also hopes the film helps viewers understand how the case was solved and the emotional cost behind the glamour.
Kim Kardashian arrives at the Assize Court for the trial Getty Images
Directed by Ben Bryant and produced by Jessica Sartenaer, The Kim Kardashian Diamond Heist will be available on BBC Three and BBC iPlayer later this month. Executive producers include Jes Wilkins and Sam Emmery, and the documentary will be distributed globally by Passion Distribution.