Not only actors but several television writers are also making a crossover to films. The latest one is renowned television writer Raaj Shaandilyaa. Though Shaandilyaa made his writing debut in movie years ago, he is now set to begin his inning as a director.
Yes, the writer of hit comedy shows like Comedy Circus and Comedy Nights With Kapil is making his directorial debut with the hugely anticipated film Dream Girl, starring the much-in-demand actor Ayushmann Khurrana and Nushrat Bharucha in principal roles.
Ahead of the release of the movie on 13th September, Eastern Eye caught up with Raaj Shaandilyaa and tried to know from him the reason behind roping in Ayushmann Khurrana in the lead role, his crossover to films from television, and much more.
Ayushmann Khurrana is a brilliant actor. But how did you come up with the idea of roping in him in Dream Girl?
There are few things which we do not plan but they just happen. While writing the story, we thought that if we were approaching an actor, it had to be Ayushmann Khurrana. It was just a thought. The reason was that he seemed perfect for the character because he has a lean frame. Also, he has done a few plays where he has essayed the role of Radha and Sita and it fitted him well. After writing the script, we approached him first and it so happened that he liked the script and said yes to it. Within 10 minutes into the narration, he said, “I am doing this film”. So, it was not planned because if he would not have done it, I would have made the film with other new actors. There are many actors like Vicky Kaushal and Karthik Aaryan who are doing well in the industry. But I felt that transforming yourself into a girl is not every actor’s cup of tea, so I chose Ayushmann Khurrana for the film.
Did the fact that Ayushmann Khurrana’s films have been doing quite well at the box-office influence your decision of casting him?
When I wrote this film, neither of his films Badhaai Ho (2018), Andhadhun (2018), Article 15 (2015) had released. Also, he had not won the National Award for Andhadhun. This was a year back when his films Shubh Mangal Savdhaan (2017) and Bareilly Ki Barfi (2017) became huge hits at the box-office. I always felt that when I am doing a commercial film with Ayushmann Khurrana, it has to be something which he hasn’t done before and even he, as an actor, has been trying and doing different kinds of films for quite a while now. I was like I should make a comedy film which should not seem too experimental. So this film has comedy in it, is experimental and is a family entertainer too. So that’s the big thing.
Did not you feel that instead of getting into an experimental zone, you should have made it an out-and-out commercial film?
This is not an experimental film because the way he speaks to people with the voice of a girl, is something that has been happening. This has been happening in bits and pieces and here we are making it prominent according to the story. There were films in the past where actors like Govinda and Aamir Khan have played female characters and they have spoken in the voice of a female, especially on phone. If you have a look at the old Ramleela, or even now when it happens, it's always the man who portrays a woman. Yes, we are coming up with a new story and new moments.
When you make movies like Dream Girl, chances of one going over the top are higher. What were the challenges that you faced when you sat down to write the script?
I always see to it that whatever I write, it has to be entertaining. People should enjoy it and after that the story, characters or the events. Also, I still have that fear that at times it so happens that you like your own work. Because this is comedy, I know that which one will make you laugh and which will not. This is not a drama or romance. At times it so happens that when Emraan Hashmi romances, many people like it but then there are some who feel that he overdoes it. So, comedy is such that you will laugh but how much is an afterthought. So, it was an experiment but I also thought that maybe I might go over the top, but then this film is balanced and will entertain everyone.
The trailer has already become a hit and also the songs have garnered good response. Don’t feel that somewhere down the line the expectations have become high?
The expectations have certainly become high and since this is my debut film, I feel good that the expectations are high and then on the other hand I also fear that since this is my first film, people might come to see the film thinking that there will be as many as 100 jokes but then there were only 90. So, yes the fear was there, and now that the trailer has received humongous response, rest assured that whatever you have been promised in the trailer, you will receive much more in the film.
And what about the music?
I had decided not to recreate any song and whatever songs you see in the movie are original ones. But then the whole team thought of making a Marathi song and then I thought that Marathi would have become a bit too much, so I thought of a Hindi-Marathi combination. And then Ekta (Kapoor) came up with the idea and said, "Let us make something that one would play during Ganapati and benefit our film". So we made a different creation of “Daga Lagali Kala” which people are liking a lot.
You have worked in the television industry for several years, and now you are set for your directorial debut in Bollywood. How has been the transition?
It's the same as the difference between a bachelor and married man. When you are a bachelor, you do any damn thing and it is with your consent, and when you get married, you got to be a bit careful. That’s the only difference. There, the writing had a different style because on television you could do different things every week. You could put forth your ideas every week, and here you have only one week. In films, you have to put forth your message in 2 hours and you have say it along with your characters. So that was the thing. I enjoyed doing TV then and now I am enjoying directing films too.
With Ayushmann Khurrana as the leading man, how confident are you about the success of Dream Girl?
There are two types of successes with regards to films. Nowadays, there is no such criteria of good and bad films. Today, commercial films get their due and recover their cost even before the release of the film through satellite, digital and music rights. So, now I think that since the people are liking the trailer, I am a bit confident that the same people will go to watch the film and that the film will do great business. But how much is what does not concern me. People enjoying the film is business for me and not that it is making ₹ 100 crores.
You have written for Farah Khan and Anees Bazmee, two filmmakers known for their larger-than-life films. Do you think that has helped you draw inspiration?
I always feel that one cannot compare one filmmaker with another. I have learnt a lot from Anees Bazmee, I have done a lot of shows with Farah Khan and I have been observing her choreography. So, it is not that I have directed a larger-than-life-film. It is a small-town story and film. It is a story of Mathura and I felt that if you show grandeur, it will seem very unnecessary. It is like you are making a huge film while residing in Mathura. It is not needed. So, I felt that I can showcase grandeur in songs. You might have listened to Radhe Radhe. So, the song is a dream sequence. The song is a pre-climax from Nusrat Barucha’s point of view, and coming back to the Marathi song, it is not in the film. It is a promotional song. And there is yet another Punjabi song and that too is the promotional song of the film. The songs in the film are in sync with the film. There is not anything where you feel that it is going over the top.
You have previously written films like Welcome (2015) and Freaky Ali (2016). And now that you are making your debut as a director, what were the challenges that you faced in your journey and also do you think that Dream Girl has happened to you at the right time?
I feel that good things do not come at a particular time. Time is only seen when one is doing bad things. For example, you do not see time when you visit temples. When your time is good, things happen automatically. So, coming before or late is something which I do not believe in personally, but yes, I was to direct a bit later. I used to think that I would give one or two more years to my writing. But opportunity was good and Ayushmann Khurrana liked it too. So, I was like, "Let's just do it now". Talking about the struggle, starting from television, I had my own struggles back then. I did Comedy Circus for seven years and that journey was entirely different - writing daily and doing various things. Also, those were my initial days and I was brimming with different kind of passion. Though the passion has not decreased. I still work with the same passion. I am just enjoying the journey now and I am going to bring something new in the future.
When you wrote the story and narrated it to Ayushmann Khurrana and Ekta Kapoor, did you think you would direct it?
Before narrating the script to actors, it was decided that I would direct the film. But when I was writing the script, it was not decided. It was like that let us first write the film and then we will decide who will helm it. After the script was ready, the team said that I should direct it. I was like, "Okay. Better late than never".
Do you feel that with Ayushmann Khurana winning the prestigious National Film Award ahead of the release of Dream Girl will help the film?
Of course, it will definitely benefit us. It is like an icing on the cake when your actor’s films are doing well and things just get connected. At times, your actors' films don’t do well. So, it is just a matter of time because everybody is working hard. The best and worst films have the same amount of hard work invested. So, the benefits are definitely there. A film which is supposed to make ₹5 may now make ₹10. So, it is a good thing. The producer has invested money and that needs to be recovered.
What are your upcoming projects?
I am writing three films. Out of three, two are for Salman Khan Films, and apart from that, there are two films for Balaji Motion Pictures. They are almost comedy, different kinds of comedies. The next film that I am directing is also for Balaji Motion Pictures.
As HBO prepares to bring Harry Potter back to screens with a new television adaptation, excitement is high around the casting of Dominic McLaughlin, Arabella Stanton, and Alastair Stout as the iconic trio of Harry, Hermione, and Ron. But amid the buzz, a quiet voice of caution has emerged. Chris Watson, father of original Hermione actress Emma Watson, is urging parents and the industry to tread carefully when it comes to child stardom.
Chris Watson is not speaking as a critic or industry insider but as someone who watched his daughter grow up inside a global franchise. Emma was nine when she landed the role of Hermione Granger, and what followed was a decade of public attention that reshaped her life. Her father remembers the shift vividly. “Her homework would go back to school on motorbikes,” he once said, pointing to the surreal logistics fame forced on them.
Emma, who has since spoken openly about the emotional toll of growing up famous, has described feeling “terrified” and “inadequate,” and even envying her peers for being able to do ordinary things, like knowing their favourite colour or forming friendships without public scrutiny. It’s this experience that Chris is drawing from when he warns: “As a parent, you have to be scared.”
Fame at a young age comes with a price
The context this time is different. The casting process for the HBO reboot reportedly involved sifting through 30,000 applicants. The new trio are young and relatively unknown, just like their predecessors were in 2001. But the digital world they’re entering now is far more invasive. Every post, photo, or comment is dissected in real time, exposing young actors to criticism, trolling, and unwanted attention, far beyond the limited press tours of 2001.
Chris Watson, Emma’s father, and other insiders warn of the emotional toll facing today’s young starsGetty Images
Emma’s journey: Blueprint and cautionary tale
Emma Watson was nine when she won the part of Hermione. Almost overnight, their whole family life bent around filming schedules. Chris Watson deliberately downplayed Hollywood’s glamour at home. He “doesn’t actually watch films” to prevent Emma from believing the character defined her. He insisted Warner Bros. respect her schoolwork and spare time. Yet the pressure still mounted.
Emma later admitted she struggled with guilt in therapy and suffered “vertigo” from constant public attention. At 18, invasive paparazzi shots were published within hours of her birthday, while her co-stars faced parallel battles. Daniel Radcliffe used alcohol to cope, arriving on set "still drunk" and "dead behind the eyes," while Rupert Grint felt reduced: "I felt like I only knew how to do one thing: play Ron."
From online hate to AI threats, the rebooted Wizarding World may be more dangerous than magicalGetty Images
2025’s more perilous journey
The AI Boggart- Generative AI and deepfakes now make non-consensual, manipulated images or videos a real threat. These digital illusions can damage reputations and cause emotional harm in ways the original cast never encountered.
The Rowling Snare- With J.K. Rowling as executive producer, her polarising views on transgender rights hover over the series. Despite assurances they won’t influence the storyline, the new actors will be drawn into cultural debates and pressured to take sides.
Although he never offered a bullet-point plan, his comments cut straight to the heart of what matters:
"As a parent, you have to be scared" “While there are many upsides, nothing is perfect and you have to recognise there are going to be downsides you could not have imagined.” His frank admission underlines the need to stay vigilant and prepared for unexpected challenges.
Keep home life sacred “It certainly helped that I don’t actually watch films... the studio and everybody else knew that this was not Emma’s whole life, and that she had homework to do, she played a little bit of cricket as well.” Here, Watson shows how he maintained normal routines including school, family time and sports to prevent Emma’s identity from merging with Hermione Granger.
Reach out and share hard-won experience “If they want to talk to someone who’s been through this… I would be more than happy.” By offering mentorship to the new parents, Chris emphasises that open communication and shared support are vital tools in safeguarding young actors.
Unlike the early 2000s, today’s child stars face nonstop scrutiny, digital dangers and cultural controversyGetty Images
Alumni perspectives: Lessons from child stars past
Several former young actors have shared insights that accentuate Chris Watson’s warnings. Evanna Lynch (Luna Lovegood) recalls feeling “adored and trapped” when the cameras stopped but expectations didn’t. Jake Lloyd (young Anakin Skywalker) describes how relentless attention led to severe anxiety. Their stories make it clear that the hardest effects often come once filming wraps up.
Behind the excitement of the reboot lies a harsh reality many child stars never escapeGetty Images
The ethical dilemma: Joy versus risk
Prospect Magazine asks whether it is ethical to place children in an environment rife with digital threats and guaranteed controversy. Can the magic of Hogwarts justify this gamble? HBO’s Francesca Gardiner and Mark Mylod praise the trio’s “wonderful” talent, and Rowling herself endorses them. But raw talent alone offers no protection.
Hollywood’s history with child stars reads grimly: Judy Garland fed amphetamines, Macaulay Culkin abused, Star Wars' Jake Lloyd broken by bullying. Can this cycle end? Chris Watson offers more than warnings; he’s extending mentorship to the parents.
Hogwarts is calling but fame’s dangers are louder for Harry Potter’s new trioGetty Images
Real magic: Protecting childhood
The return of Harry Potter also raises broader questions about corporate priorities. With J.K. Rowling returning as executive producer, a figure who now carries both creative authority and controversy, the series enters a more complex media landscape. Will the focus stay on the storytelling, or will the new stars be caught in wider debates?
For now, Dominic, Arabella, and Alastair are at the start of a journey that will define their adolescence. Whether that journey is empowering or overwhelming will depend not just on their talent, but on how well they’re protected behind the scenes. Chris Watson’s voice may not be the loudest in the room, but it carries weight, built on lived experience, and a simple truth: children in the spotlight still deserve a childhood.
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With a massive music collection spanning several decades, multi-genre DJ and music producer DJ Funky T found it challenging to narrow down just 10 songs he loves. Also known as Tony Hayer, his favourites range from Michael Jackson, Dr Dre and Fleetwood Mac to Bollywood, Punjabi, Hindi, Sufi and more. Some of these diverse influences feature in his own track Tu Meri Rani Si.
Before revealing his choices, he said: “The following golden tracks have stood the test of time. It was a hard call, as many more songs could have made this list. So, in no particular order from my current conscious memory, I present 10 Indian songs I love. Check them out and enjoy.”
Chand Sifarish from Fanaa: This Bollywood track, headlined by Aamir Khan and Kajol, starts with a cheesy rock guitar but quickly transforms into a dynamic blend of beats, choppy tablas, rich harmonies, sitars and an addictive whistling motif.
Neuke Phadin Jawanan by Panjabi MC: A 2003 hit that borrows rhythm styles and melodies from Maxi Priest’s Wanna Be Close To You. It features lyrics by Lal Chand Yamla Jatt, a classic 1990s urban swing beat, as well as a fantastically groovy chorus built around tumbi plucking melodies.
Indian Dance by Kray Twinz ft Elephant Man: A powerhouse club anthem marked by the Kray Twinz’ signature sound. This thrilling blend of hard bashment and traditional gidha boliyan rides a thunderous bassline and features ragga legend Elephant Man.
Addi Mardi by Malkit Singh: This timeless party favourite tells the story of a man smitten with a girl and wanting to dance with her. From the start, it delivers plucky guitars, a cheeky bassline and a fast reggaetón-tinged rhythm. Guaranteed to lift the mood every time.
Akhiyaan by Vee/Jay Kahn: A beautifully produced love song by the exceptional Vee, younger brother of Hunterz. The track blends a spiritual mood with high production value, hypnotic melodies and subtle Sufi elements that uplift and soothe.
Khwaja Mere Khwaja from Jodhaa Akbar: AR Rahman delivered one of my favourite Sufi songs in this Bollywood film. He composed and sang it himself. The touching song about the relationship with a higher power is picturised beautifully, with dancers reaching up to the sky, as if to be holding God’s hand.
Discovery by Shammi Pithia: Taken from his album Cosmic, this track is very spiritual sounding. The healing song performed and produced by Shammi Pithia has world-class flute melodies. This song can both make or break you, dependent on your mood. But either way, it will leave you feeling touched.
Gutt Sapni by Jhinda Music ft Captain: The fabulous sounding track featuring Punjabi singer Captain has great keys composition, dynamic drum beats and a magnificent mixdown finish. Captain has a similar singing energy to Malkit Singh, but with his own contemporary twist. The track has terrific tumbi melodies throughout.
O Mere Dil Ke Chain from Mere Jeevan Saathi: This 1972 RD Burman composed film song sung by Kishore Kumar is an absolute classic. It personally takes me to my childhood days when everyone’s parents, including mine, played it. A huge all-time classic favourite Hindi song written with sweet, innocent love lyrics.
Tere Liye from Veer Zaara: The late legend Lata Mangeshkar along with top singer Roop Kumar Rathod. Enough said. This classic Bollywood track is an absolutely beautiful piece describing the heartache between two people deeply in love.
Qawwali remains popular with cross-cultural audiences, but very few get the chance to experience one of the world’s oldest music genres in its purest form. Whether it is the diluted style seen in Bollywood adaptations or fusion with contemporary sounds, the tradition is often watered down.
Najmuddin Saifuddin & Brothers Qawwali Group stand apart from that commercialised crowd, presenting the Sufi genre in its most authentic style. The five talented brothers – sons of the late qawwali icon Ustad Bahauddin Khan Qawwal – belong to a remarkable lineage that traces directly back to the first group formed by the genre’s founding father in the 13th century.
Currently on a UK tour, the group delivered a stunning stage performance that confirmed their brilliance. Unlike most qawwali ensembles that rely on one or two lead singers, all five brothers took turns leading, gracefully exchanging vocal passages to produce a timeless, mesmerising sound. The power, passion and grace of their high-energy performance shone through as they delivered beloved classics such as QaulQalbana, Rang and Naat Shareef. The concert opened in high gear and gained momentum with each composition, before culminating in a thunderous rendition of Mast Qalandar.
They also performed khayal and tarana-style qawwalis, alongside pieces deeply rooted in mysticism. Accompanied by a superb percussionist, their sound remained untouched by modern influences, yet felt completely relevant and accessible to audiences of all ages and backgrounds. Their tour continues across the UK until mid-July, and they are certain to keep transporting audiences back in time through a forward-looking, spiritually rich performance – the kind few qawwali acts worldwide can deliver. The only downside? The show had to end. It felt as though the group were just getting started – they could have easily played for several more hours.
They were the nurses, cleaners, activists, and everyday heroes who arrived in Britain with little more than courage and determination. Now in their 80s and 90s, six women who helped rebuild the UK after the Second World War are finally getting their due in Fearless, a powerful new documentary that brings their remarkable stories to the big screen.
Launching on Windrush Day (22 June), the film will tour select cinemas across London through July, with post-screening Q&As featuring the directors and cast. It celebrates the lives of Sheila Daniel, Aileen Edwards, Maggie Kelly, Anne Gaché, Nashattar Kang, and Nages Amirthananthar, women of Caribbean, Irish, and South Asian descent who came to Britain as part of the Windrush generation and beyond.
These women, once young migrants navigating hostility, isolation, and discrimination, found strength through solidarity and built lives that left a lasting impact. From taking part in historic strikes like Grunwick to surviving the aftermath of the Notting Hill riots, their personal journeys are woven into the wider political and social fabric of the country.
Drawing on rare archival footage and emotional interviews, Fearless preserves their legacy. But beyond that, it challenges the invisibility that has long plagued immigrant women in British history books. This is more than nostalgia, it is a necessary act of recognition.
A still from Fearless showing archive footage interwoven with first-person storiesMcasso/ Screengrab
Bold stories told by those who lived them
The documentary comes from husband-and-wife filmmaking duo Damian Paul Daniel, a BAFTA-nominated cinematographer, and Noella Mingo, a director of Guyanese-British heritage passionate about amplifying overlooked voices. Their production company, They’re Watching Us, focuses on stories that defy expectation, and Fearless is no exception.
Screenings are scheduled at The Rio in Dalston (22 June), Bertha Dochouse (29 June), Genesis in Whitechapel (1 July), and The Lexi in Kensal Rise (16 July). Each screening includes a post-film conversation with the team.
At its heart, Fearless is a tribute to courage, resilience, and the quiet force of women who shaped a nation, even when history tried to forget them.
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A bee flew into his mouth and stung him while he was on the field
Sunjay Kapur, a prominent industrialist and polo patron, passed away at the age of 53 in the United Kingdom after reportedly suffering a heart attack during a polo match. Kapur was also known for being the former husband of Bollywood actress Karisma Kapoor.
Tragic incident on the polo field
The incident occurred during a polo match where Kapur was representing his team, Aureus. According to reports, a bee flew into his mouth and stung him while he was on the field, triggering a fatal heart attack. Despite the rapid arrival of medical assistance, he could not be revived.
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Kapur, who had a deep love for the sport, was playing against team Sujan, led by hotelier Jaisal Singh, at the time of the incident.
Business legacy
Sunjay Kapur was the son of the late Surinder Kapur, founder of the Sona Group, an influential player in India’s automotive components industry. After joining the family business in 2003, Sanjay played a key role in its expansion and global outreach. He served as chairman of Sona Comstar, a company known for its focus on electric vehicle parts manufacturing.
Educational background
Born into a prominent business family, Kapur was educated at The Doon School in Dehradun and later attended the Cathedral and John Connon School in Mumbai. He pursued a Bachelor’s degree in Business Administration, specialising in Corporate Strategy and Human Resources, in London.
Personal life and marriages
Kapur's personal life often attracted public attention. He was married three times. His first marriage was to fashion designer Nandita Mahtani, which ended in 2000.
He married actress Karisma Kapoor in 2003. The couple had two children—Samaira and Kiaan—before separating in 2016. They remained committed to co-parenting their children.
Following his divorce, Kapur married Priya Sachdev, a model-turned-entrepreneur. The couple welcomed a son, Azarius, in 2018. Priya also has a daughter, Safira Chatwal, from a previous marriage.
Passion for polo
Beyond business, Kapur was deeply involved in polo, both as a player and patron. His team, Aureus, was part of various domestic and international tournaments, showcasing his commitment to the sport.
Sunjay Kapur is remembered for his contributions to Indian industry and his passion for polo. His sudden death has left the business and sports communities in shock.