Shy and extremely reticent Bhushan Kumar is a force to reckon with in the Indian film and music industry. His music label T-Series has been at the top of its game ever since it was established by his father and music baron Gulshan Kumar. Not just in music production, T-Series is a leading name in moviemaking also with a plethora of award-winning films to its repertoire. After the humongous success of his recent production Sonu Ke Titu Ki Sweety, Bhushan Kumar is bringing his new film Raid, which enters cinemas on 16th March. Ahead of the release of the much-awaited suspense drama, our Mumbai correspondent sits down with Kumar for an elaborate chat on his new offering, the changing landscape of music in Bollywood and much more.
Tell us something about your film Raid.
The movie is inspired from a high-profile IT raid and some real-life characters from 1981. It shows how the character conducted the biggest and longest raid India ever witnessed.
How hard is it to make a film based on real events?
Right now, the viewers are showing interest in reality-based cinema, and they have the digital medium full of information that they can receive on any subject. So, you must work a lot and hard to attract viewers’ attention to these kinds of films. In a fictional script, you can carve the story as per your liking and the director too can add some commercial angles but in a reality-based film, it’s very important that you study about the particular subject. If you don’t, the audience is aware enough to point out the shortcomings. So, an extensive study was done by the director along with his team including writer Ritesh and we tried our best to bring realism to the story of the film. But since it is a film, a few cinematic liberties are a must.
It’s been said in a press release that Raid is responsibly fictional, what do you have to say about that?
See, if we are making a film, it has to be responsibly fictional because if we film the events exactly as they happened, it would be a documentary and our audiences don’t like to see documentaries. Commercial films lead in theatre.
So the film is not a biopic?
We didn’t make the film in somebody’s name like that is done in biopics. This film is inspired by a character, whose main subject was a raid and the process opted by the Income Tax office during that raid. It’s about an honest officer who went too far to achieve his goals and fulfil his job.
What was the biggest challenge while making this film?
Every film I made had some challenges. The main issue I had with the film was to make it in a way that it does not end up being boring. The film is entertaining for the audience and since it is a period film, the setting needed to be fact checked. There was also a thorough research needed as it is based on real-life events. I had a great team that helped with the process as smoothly as possible.
How was it working with superstar Ajay Devgn?
He is a very comfortable person to work with. He embraces his character profoundly. He is very committed to his character, may it be in comedy, action or drama space. Even when you see the film, you will notice how he delivers the dialogues written by the writers and how he expresses his character. He brings his roles and character to life.
There are so many concepts to push. Events that have not been seen or people are not aware of garner people’s attention. There is an abundance of information on the internet but to see a talented actor like Ajay Devgn performing in a film based on one of those events is completely different and that’s our cinema.
You have recreated two classic songs sung by Nusrat Fateh Ali Khan in Raid. What makes you recreate songs?
Recreation we do as per the public demand. We are a music company also and now people are loving old songs which were not made before the digital era set in. Right now, we can provide a better sounding system to those old songs and nowadays when the music is streamed rather than having a physical copy, it is more accessible to the audience.
Is there any genre that you want to pursue in the future?
I think we have covered everything, but I have not produced a proper action film, so we will see what happens.
Is there anything special in the pipeline?
Actually, I started my career with direction. Producing movies is a family acquired skill. Almost nine years ago, I tried to pursue a short film but production took some time. There was a script but it was rewritten until everyone liked it. I am going ahead with that right now.
When you took over from your father, Gulshan Kumar, what were the things you kept and what changes you made in T-Series?
I have always followed my father’s footsteps from the beginning because there are many things that cannot be changed. The music that was chosen and made at that time was sheer melody. Whether it’s a dance track, or a slow track or a sad or romantic track melody always works. The melody you feel is the same and that is the reason right now recreated songs are being appreciated by the audience because the melody is strong. So while making music, all I just follow is my father’s lead.
Can you tell us something about the music in the film Raid?
Talking about the music in Raid, as you must have heard, we have recreated two of Nusrat Fateh Ali Khan’s songs. Though Raid is not a musical film, the relationship between the husband and wife and the music and songs show the normality of a man who conducts raids in his job. So to signify their relationship, we kept songs which are doing very well. Both songs are super hit. The melody and some parts of the old songs have been retained. Their new versions are sung by Rahat Fateh Ali Khan.
In a single year, you deal with more than 12 films with different genres. How challenging is that for you?
The involvement of the company depends on the subject of the film. We only accept those number of films which give us the capacity to do justice to the work we do and the films deserve. This year we have ten releases but we have poured ourselves into them completely. We undertake projects that we can manage otherwise I have nothing to prove, hence no need to overdo it.
Stephen Fry is playing Lady Bracknell. Yes, that is correct.
It completely sold out at the National Theatre.
Olly Alexander and Nathan Stewart-Jarrett are the two young men lying about their names.
It is directed by Max Webster, the man behind the Life of Pi play.
You can see it at the Noël Coward Theatre until 10th January.
This new production of The Importance of Being Earnest is the one everyone is talking about. It has moved from the National Theatre to the West End after tickets for the first run were completely unavailable. The whole production has a massive buzz, and, honestly, most of it is about Stephen Fry’s decision to take on the role of Lady Bracknell. It is a proper talking point.
Stephen Fry delivers a commanding performance as Lady Bracknell in the West End transfer Marc Brenner
What is the deal with Stephen Fry playing Lady Bracknell?
Look, it is genius casting. The role is usually played by a formidable older woman, but Fry completely owns it. He has the height, the voice, and the sheer presence. You truly believe he could silence a room just by walking into it. That famous "A handbag?" line? With him, it is not a shriek. It is slower, deeper, and somehow much more devastating. It is the kind of performance people will definitely remember.
Stephen Fry takes on Lady Bracknell in the West End run of 'The Importance of Being Earnest'Marc Brenner
Who else is in this production?
He is not up there by himself. Olly Alexander from Years & Years is playing Algernon, bringing a truly playful charm to the part. Nathan Stewart-Jarrett is Jack, the character with the fake country brother. The supporting cast is rock solid. Hugh Dennis is the Reverend Chasuble, and Shobna Gulati is a wonderfully flustered Miss Prism. It is a proper ensemble; there are no weak links.
Jessica Whitehurst and Kitty Hawthorne in West End transfer of The Importance of Being EarnestMarc Brenner
How do I actually get tickets to see it?
Right, pay attention. The production is at the Noël Coward Theatre and the run ends on 10 January 2026. That is not very far away. Tickets start at £25 (around ₹2,990). Given its history of selling out, you would be smart not to wait around. Check the theatre's official website.
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Akshay Kumar revealed his daughter’s encounter with an online predator
The Bollywood star revealed a stranger asked his daughter for nude pictures during an online game.
His quick-thinking daughter immediately shut off the device and told her mother.
Kumar described this as a common entry point for more serious online crimes.
He made a direct appeal to the state's Chief Minister for immediate action.
The actor called for mandatory weekly cyber safety classes for students in grades 7 to 10.
You think you have a handle on what your children are up to online, and then a story like this hits. Akshay Kumar just dropped a bombshell about a scare involving his own family, the kind that makes every parent's blood run cold. His daughter was gaming, something millions of children do every day, when a random player slid into her direct messages with a demand for nude pictures. It is this exact horror that has him demanding a "cyber period" be incorporated into the school curriculum, and frankly, who can argue?
Akshay Kumar revealed his daughter’s encounter with an online predator Getty Images/Instagram/akshaykumar
What exactly went down with his daughter?
So, here is the scene. A few months ago, his daughter was deep into one of those video games where you play with strangers from who knows where. Everything seemed normal until a private message popped up. The first question was creepy but simple: "Are you male or female?" She answered, probably without a second thought. Then came the next message. No pleasantries, no warning. Just a straight-up ask for her nude pictures.
The sheer audacity of it is staggering. Thankfully, the child has a good head on her shoulders. She did not engage, nor did she panic. She just switched the whole thing off and went and found her mother, Twinkle Khanna. This is a lesson right there in why children need to feel they can tell you anything.
Is online crime really bigger than street crime now?
Kumar might be onto something. Think about it. That first creepy message? It is never just a one-off. It is a test. They are seeing what they can get away with. If a child even hesitates, the situation changes completely. Then what? Blackmail? Threats? It is a short hop from a nasty direct message to something far worse. The whole thing gets really dark, really fast.
Kumar's argument is that you would not send a child out onto a busy motorway without teaching them the Green Cross Code. So, why are we sending them into the digital wild west with zero training?
Concerned parents are backing the actor’s call for cyber awareness in classrooms iStock
What would this proposed 'cyber period' actually do?
He is not being vague about it. He stood there at a police event and made a direct plea to the state's top minister. His idea is a dedicated lesson every single week for children in standards 7 through 10. This would cover practical, necessary stuff, such as how to spot a scam, what a predator's grooming messages look like, why you never share that kind of personal information, and crucially, what to do the second you feel uncomfortable. It is about building a reflex, like his daughter had. Switch it off. Tell an adult. Do not be a victim. It seems so obvious, but apparently it has to be taught. And after a story like this, good luck finding a parent who would say no.
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Cillian Murphy joins as executive producer for the highly anticipated BBC One revival
Two new series confirmed, set in post-war 1950s Birmingham.
Story shifts focus to a new generation of the Shelby family.
Filming will happen at Digbeth Loc. Studios in the city.
Cillian Murphy is on board as an executive producer.
The show will air on BBC One and iPlayer, then Netflix globally.
Guess the Peaky Blinders saga got a proper, extended run. Just when you thought the Shelbys were done, the BBC has gone and confirmed two brand new series. But this time, they are shaking things up, jumping forward in time to follow a completely new generation of the family. Imagine the same surname, but a whole new set of faces causing trouble in a city desperately trying to rebuild itself.
Cillian Murphy joins as executive producer for the highly anticipated BBC One revival Instagram/peakyblindersofficial
What is the deal with this new storyline?
They are leaving the flapper dresses and the Great Depression behind. We are landing right in the middle of 1953. Birmingham's landscape is just a collection of cranes and concrete skeletons, still shattered from the Blitz. And you know what all that rebuilding means, right? Contracts. Money. Power. A massive, brutal scrap for control of the city's future. It is actually a genius move. The setting is a character in itself: all cranes, concrete, and chaos. The Shelbys, of course, are right in the middle of it.
Steven Knight remains the driving force, writing and creating this new iteration. That is a relief for fans worried it might continue without its original voice. The production is a joint effort between Kudos, known for SAS Rogue Heroes, and Garrison Drama, the team behind the original six series. Here is a juicy bit: Cillian Murphy has signed on as an executive producer. Will his character Tommy's shadow loom large over the new kids? Will we even get a cameo? They are not saying. But filming in Digbeth again means they are keeping it real, sticking to the city that made the show.
The 66-year-old, best known for creating Peaky Blinders and A Thousand Blows Getty Images
When can we expect the new Peaky Blinders?
A specific release date has not been announced. What we know is that each of the two new series will consist of six hour-long episodes. The plan is for it to run on BBC One and iPlayer here in the UK first. After that, it will pop up on Netflix for the rest of the world to binge. This new show is actually coming after that Peaky Blinders film, The Immortal Man, which is set in the war. Think of that movie as the bridge. So there is a whole lot of Shelby drama coming down the pipeline. Guess we better get ready.
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Kantara Chapter 1 opens to record £6 million day as UK and Indian audiences respond
Cinema halls across India see fans reeling from the film’s intense spiritual sequences.
A UK premiere audience gave the film a rousing standing ovation, stunning the team.
The prequel dives into the origins of the Bhuta Kola ritual from the first film.
Social media flooded with clips of viewers appearing possessed after screenings.
The film smashed box office records with an opening day haul of over £6 million (₹65 crore).
Looks like Rishab Shetty hasn't just made a film; he's bottled some kind of lightning because Kantara Chapter 1 is hitting people right in the gut. You've got viewers stumbling out of theatres looking shell-shocked, a few even copying those wild possession scenes right there in the cinema. And it's not just an Indian thing. The film’s recent UK premiere was met with a thunderous standing ovation, showing this story's pull extends far beyond its home turf. Then the numbers landed, a whopping £6.2 million (₹65 crore) on day one. Seems like the figures are backing up the frenzy.
Kantara Chapter 1 opens to record £6 million day as UK and Indian audiences respond Instagram/kantarafilm
What is driving the extreme audience reactions?
You might have seen the videos all over now. A woman shaking in her seat, people around her trying to help. Then another clip from Bengaluru where a man in a dhoti is spinning on the floor, chanting just like Rishab Shetty's character. It's like the movie doesn't end when the credits roll. For some people, it just keeps going. The film pulls you in that completely.
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How did the UK premiere audience react to Kantara Chapter 1?
And this isn't just happening in Karnataka. That UK premiere? The place went crazy in London when the credits rolled. The whole crowd was up in seconds for a proper, roaring standing ovation that just didn't let up. You could see the team were a bit blown away by it, honestly.
It shows the story’s core themes of faith, tradition, and man’s connection to nature are cutting across cultural lines, giving the diaspora a powerful piece of home and introducing others to something entirely new.
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What is the box office story for Kantara Chapter 1?
Let’s talk numbers, because they are just as crazy as the fan videos. The film opened on October 2nd and immediately set the box office alight, bulldozing past the opening day collections of other major releases this year.
From struggling to get screen space for his earlier work, Rishab Shetty now commands over 5000 houseful shows, a journey he calls "nothing but your love, support, and God’s grace."
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Taylor Swift exposes the hidden toll of fame with 'The Life of a Showgirl' and shocking new single
Swift’s twelfth studio album, The Life of a Showgirl, released on 3 October 2025
Lead single “The Fate of Ophelia” unveiled alongside a global cinema event
Sabrina Carpenter features on the shimmering title track
Visual campaign drenched in orange, nodding to cabaret history
Photographers Mert and Marcus shot the album’s flamboyant artwork
Taylor Swift’s The Life of a Showgirl is finally here, and it feels less like a simple album drop and more like a deliberately staged spectacle. This new record, landing today, completely abandons the muted tones of The Tortured Poets Department for something far more theatrical. The whole project, conceived during the European tour dates, dives headfirst into the manic energy of performance, using the showgirl motif to ask what it costs to live under stadium lights. It’s a theme echoed in the ambitious, limited-run cinematic event accompanying its release.
Taylor Swift exposes the hidden toll of fame with 'The Life of a Showgirl' and shocking new single Instagram/taylorswift
What is the real story behind The Life of a Showgirl?
Okay, so it’s not actually about being a showgirl in the literal sense. That’s just the metaphor she’s clinging to. Swift has talked about the songs coming to her in bits and pieces between shows last year. Think about it: one night you’re screaming on stage in front of 70,000 people; the next you’re on a silent tour bus staring at a wall.
That whiplash is the album’s core. It’s about the duality, the person versus the persona. The tracklist alone hints at it with songs like Elizabeth Taylor and Father Figure, suggesting she’s playing with icons and archetypes, maybe seeing her own life reflected in theirs.
Right, the sound. This is a hard pivot. Where Poets was often sparse and lyrically dense, this one is loud. It’s pop, but with dramatic, soft-rock layers. Bringing Max Martin and Shellback back into the fold says everything you need to know; she’s going for big hooks and that polished sheen, clearly making a conscious return to a grander production style. “The Fate of Ophelia” kicks the door in with a driving beat and a chorus that feels designed for stadium chant-alongs, like a world away from the muted synthscape of “Fortnight.”
This is key. It’s not another Eras Tour film. From 3 to 5 October, fans are gathering in cinemas worldwide for Taylor Swift: The Official Release Party of a Showgirl. It isn’t a concert film. You get the premiere of the “Fate of Ophelia” video, sure. But also, lyric videos for all the new songs, along with behind-the-scenes footage and audio of Swift talking about the tracks.
It feels like a controlled, immersive unboxing of the album’s world. And then it’s gone. Perhaps, that scarcity is the whole point, making the album release itself a fleeting, must-see event.
You’ve definitely noticed the orange. It’s everywhere. The photoshoots by Mert and Marcus, the promotional materials, even city landmarks got lit up in orange. It’s not an accident; in fact, it’s the entire branding.
Orange is intense, it’s warm, it’s attention-grabbing. It perfectly sells the showgirl aesthetic, think old Vegas, cabaret feathers, the glow of the stage lights vibe. But it’s also a complete departure from the moody blues and grays of Poets. This colour choice seems like the first and loudest signal that this is a new, defiantly un-sad era.