Justin Bieber is setting the record straight: he’s not on drugs, and he’s tired of the rumours suggesting otherwise. Despite recent speculation about his health and appearance, the singer’s team insists he’s in a great place personally and professionally. According to his representative, Justin is thriving, focusing on his family, music, and overall well-being.
Over the past year, Justin has made significant changes in his life, cutting ties with friendships and business relationships that no longer aligned with his goals. He’s now fully immersed in fatherhood, raising his six-month-old son, Jack, with wife Hailey Bieber, while also working on new music. His team emphasises that Justin is prioritising his health, family, and creative passions and not drugs.
Love and loyalty: Justin and Hailey Bieber continue to support each other through every season of lifeGetty Images
Recent photos of Justin looking tired with dark circles under his eyes sparked concern among fans, with some speculating about his mental and physical state. However, sources close to the singer explain that his appearance was due to a sleepless night spent recording in the studio and caring for his son, who was having trouble sleeping. Similarly, a video of Justin at Hailey’s Rhode Skin pop-up event, where he appeared giggly and wore sunglasses indoors, led to further speculation. His team clarified that he was simply enjoying a light-hearted moment with a fan while supporting his wife.
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Justin has been open about his past struggles with substance abuse, but he’s been sober from hard drugs since 2014. While he occasionally drinks alcohol socially, he’s left his darker days behind. His team calls the ongoing rumours about his health “exhausting and pitiful,” stressing that people are clinging to negative narratives despite evidence to the contrary.
Power couple vibes! Justin and Hailey Bieber in styleGetty Images
In a recent Instagram post, Justin reflected on personal growth, writing about letting go of insecurities and trusting in love and faith. He shared that he’s focused on maturing and embracing life’s challenges with a positive mindset. As he approaches his 31st birthday, Justin is channelling his energy into his family, music, and self-improvement.
Through thick and thin—Justin and Hailey Bieber stand strong, focused on family and the futureGetty Images
Despite the noise, Justin’s team wants fans to know he’s doing well. As he steps into a new phase of life, perhaps it’s time for the world to do the same, allowing Justin Bieber the space to evolve without the weight of outdated assumptions.
British singer Ed Sheeran is shifting lanes musically. Known for his emotional ballads and acoustic pop, Sheeran has taken a bold turn into rock territory with Drive, a gritty new single written for Brad Pitt’s upcoming Formula One film, F1. The track, released ahead of the film’s 27 June global premiere, shows the singer ditching his usual gentle strumming for loud guitar riffs, pounding drums, and full-throttle energy.
A rock track built for speed and the screen
Sheeran shared that he was invited to write a song for the film and immediately knew he wanted it to feel like a proper “driving song”, something loud, intense, and worthy of the speed and thrill of Formula One. He teamed up with guitarist John Mayer and producer Blake Slatkin to bring that vision to life. The result? A track with Foo Fighters’ Dave Grohl on drums, Pino Palladino on bass, and Rami Jaffee on keys. It’s an all-star crew of rock musicians who helped Sheeran hit the accelerator.
In a behind-the-scenes post, Sheeran said working on Drive reminded him of his earlier soundtrack work, particularly I See Fire for The Hobbit. But this time, he said, the stakes felt different. “This felt like the dream setup,” he wrote. “I love film and art, and to create something tailor-made for a big action scene in a racing film is just special.”
Sheeran joins a stacked soundtrack for F1
Drive will be featured on F1: The Album, which drops alongside the film. Overseen by Atlantic Records’ West Coast president Kevin Weaver, known for producing soundtracks like Barbie: The Album and The Greatest Showman, the album also includes songs by Doja Cat, Burna Boy, RAYE, and Rosé from BLACKPINK.
The film stars Brad Pitt as Sonny Hayes, a former racing champ pulled out of retirement to mentor rising star Joshua Pearce, played by Damson Idris. Directed by Top Gun: Maverick’s Joseph Kosinski and produced by Jerry Bruckheimer with F1 legend Lewis Hamilton, the film promises high-speed drama and big-screen spectacle.
With Drive, Ed Sheeran has stepped far out of his comfort zone and into the driver’s seat of something unexpected and loud. The track is now streaming, and the countdown to F1 begins.
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This week sees the release of Aamir Khan’s new film Sitare Zameen Par. Marketed as a ‘spiritual sequel’ to the multi-award-winning 2007 drama Taare Zameen Par, the film is in fact a remake of the 2018 Spanish movie Campeones — and it appears to be packed with copied moments from start to finish.
Social media users have already forensically compared the trailer with the original and pointed out identical scenes, alerting Hindi cinema fans to the 2023 American remake (Champions) and a 2022 German version (Weil wir Champions sind).
Unlike the many Bollywood productions that shamelessly steal storylines without credit, Sitare Zameen Par is an official adaptation. But it is arriving in an era where the remake formula no longer works — and now feels like a desperate, lazy shortcut.
Judging by the performance of most remakes in the past decade, the model is no longer viable. In today’s digital age, recycling someone else’s work is not just commercially risky — it is cultural suicide.
Aamir Khan
In the so-called golden age — or more accurately, the morally grey era — of Hindi cinema, producers routinely lifted entire plots from international films or South Indian blockbusters.
Streaming platforms did not exist, YouTube had not yet archived global cinema, and social media had not empowered legions of film detectives gleefully exposing plagiarism frame by frame. Bollywood operated in a vacuum — and in that silence, rip-offs flourished.
Aamir Khan, ironically now on the receiving end of backlash after the ill-fated Forrest Gump remake Laal Singh Chaddha, was once a master of the borrowed blockbuster.
Akele Hum Akele Tum was essentially Kramer vs. Kramer with playback singing. Mann was a musical version of An Affair to Remember. Ghulam borrowed heavily from On the Waterfront. Dil Hai Ke Manta Nahin was a near-copy of It Happened One Night, and Raja Hindustani drew inspiration from Jab Jab Phool Khile.
Even Ghajini was a remake of a Tamil film, which had itself stolen the core idea from Memento. These films succeeded because most of the audience had never seen the originals.
They were cinematic secrets whispered among cinephiles, not dissected in Instagram reels or exposed in viral X threads.
Back then, it was so easy to plagiarise without consequence that legendary screenwriting duo Salim–Javed regularly lifted scenes and story ideas from global cinema for their 1970s blockbusters.
In the following decade, Javed Akhtar reportedly pitched the story of Main Azaad Hoon (1989) to producers as an original concept — they only discovered after production began that it was lifted from the Hollywood classic Meet John Doe.
While occasional remakes like Kabir Singh and Drishyam have succeeded, most Hindi remakes in recent years have crashed and burned — especially in the age of social media, streamers, and video sharing sites.
The painful list of failures from just the last five years includes Bachchhan Paandey, Jersey, HIT: The First Case, Vikram Vedha, Thank God, Mili, Shehzada, Selfiee, Bholaa, Sarfira, Baby John and Deva.
These films have become redundant because the originals are often available online — and even if you are unaware of the source, someone in the comments section will be happy to point it out.
Hrithik Roshan
Now with Sitare Zameen Par, the cycle repeats. The original Taare Zameen Par worked because it was original and honest.
It was not borrowed from overseas or adapted from the South — it emerged from a sincere concern for children with dyslexia, a subject Bollywood had never explored before.
Trying to recreate that emotional impact through a tired remake formula risks tarnishing the very legacy Aamir Khan helped create.
This is not just another film — it is his third-layer adaptation of a story that has already been remade multiple times in other languages.
But this is not only about Aamir. The industry as a whole must confront the fact that today’s audience is smarter, more connected, and far less forgiving.
In what is arguably the worst creative slump in Hindi cinema history, original storytelling is no longer a luxury — it is a necessity.
Instead of spending crores (over £100,000 or ₹1 crore) on designer costumes, scenic locations and remake rights, Bollywood should be investing in screenwriters.
Remember them? The underpaid, under-credited creatives with actual ideas? They are the ones capable of pulling this industry out of its current rut.
There is a generation of hungry young filmmakers and writers eager to tell new stories. But their scripts are gathering dust while remake kings chase the faded echoes of past glory.
It is time to retire the remake — or at least cut them back drastically.
Audiences deserve better. Bollywood deserves better. Hindi cinema cannot keep indulging the egos of creatives who, frankly, have run out of creativity.
That includes even the so-called perfectionists like Aamir Khan, whose own last home production Laapataa Ladies was not spared plagiarism accusations.
A struggling industry cannot build a future by xeroxing the past. It is time to stop photocopying and start creating.
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Kajol hails Maa as her toughest physical challenge yet in exclusive Eastern Eye interview
In an exclusive interview with Eastern Eye, Kajol pulls back the curtain on her most daring role yet. Forget the dimples and that signature bindi for a moment. Kajol, the powerhouse we know for fiery roles and infectious energy, is stepping into chilling new territory. Her upcoming film, Maa, which hits screens on 27 June, isn’t built around cheap jump scares. It’s a raw look at the everyday fears that haunt parents, especially mothers. Chatting with her felt less like a fluff piece and more like an honest heart-to-heart.
Kajol wastes no time explaining what makes Maa stand out. “We’re tackling things mainstream cinema tiptoes around,” she says. “Child safety. The constant pressure of raising kids. The unspoken worries when you have a daughter. Even menstruation.” She lets each topic hang in the air before adding, “That’s exactly what drew me to it. It’s a gripping horror story, yes, but it’s also a chance to sneak in conversations most of us avoid.” Her hope however is simple: people might not dissect every theme consciously, but they’ll walk away questioning what we accept as “normal.”
Stills from the trailer of MaaInstagram/devgnfilms
A horror newcomer finds her groove
Fans know Kajol for her loud performances, energy and fiery roles. In Maa, though, her character radiates a quiet, simmering intensity. Did she have to unlearn her signature style? "Not unlearn," Kajol clarified, "but I was a total horror newbie!" She confessed she rarely watches the genre. "I walked in blind. I had no idea how emotionally and physically draining it would be." The biggest surprise? Finding the right pitch. "Horror has its own frequency. My director, Vishal Furia, kept gently nudging me, 'Ma’am, this is horror. You need to sync with the audience's fear, there are things happening behind."
Stills from the trailer of MaaInstagram/devgnfilms
Three decades in: Embracing freedom
With almost thirty years on screen and sky-high expectations, taking on something so different might sound daunting. Not to Kajol. “Daunting? Nah. I feel free. Freer than most, honestly." She dismissed the idea of proving anything. "I’ve never been in the rat race. I don’t have that 'chase, chase, chase' ambition. I’m perfectly happy chilling at home for a year or two, waiting for something that truly sparks my interest." Ironically, her 33rd year is her busiest in two decades. "But it’s because I want to work, not because I have to. Work is part of my life, not my whole life. That balance is very important to me."
Stills from the trailer of MaaInstagram/devgnfilms
Behind the scenes: Producer’s hat
Wearing a producer's hat this time, was there a hill she was willing to die on creatively? Kajol quickly deflected praise. "Honestly, huge credit goes to Ajay Devgn. He was the driving force ensuring 'Maa' looks and feels premium. Ajay made sure Maa looks and sounds top notch,” she admits. “In today’s world, a movie must hit a certain visual and technical bar just to get noticed.” From VFX and music to the film’s overall vibe and marketing push, they poured everything into creating a polished experience. “We can’t wait to see how audiences react on the 27th.”
Stills from the trailer of MaaInstagram/devgnfilms
The Real Takeaway? Just Enjoy Yourself
So, what big truth does Maa hold up for viewers? Kajol cut through expectations: “It’s not a preachy film. You won’t leave thinking, ‘Oh, that was the lesson!’” Instead, she insists, “You might have more fun than you expect. This one sneaks up on you.” For her and Ajay, that’s the point: “We make films to be felt and savoured, not overanalysed. So, relax and feel it and just have a lot of fun.”
Playing a mother pushed beyond reason in Maa. So, how did Kajol the real-life mom handle that? “Protecting your child is primal,” she says without hesitation. What shook her most was her character’s unyielding grit. “In reality, most of us would crumble under that kind of pressure. But she keeps going, even when all hope seems lost. That drive like that ‘I have to do something’ energy, that’s what I want everyone to take away.”
Kajol’s journey with Maa is all about confronting societal shadows and embracing genre challenges she never saw coming. This is a film that confronts real fears head on, guided by a performer unafraid to strip away artifice. Ready to see Kajol like never before? Maa arrives 27 June.
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Facing strong criticism on social media for questioning the survival story
Actor and singer Suchitra Krishnamoorthi has issued a public apology after facing strong criticism on social media for questioning the survival story of Vishwas Kumar Ramesh, the sole survivor of the recent Air India plane crash in Ahmedabad.
Deleted post sparks backlash
The controversy began when Krishnamoorthi, known for her role in Kabhi Haan Kabhi Naa, shared a now-deleted post on X (formerly Twitter) alleging that Vishwas Kumar Ramesh had fabricated his account of surviving the 12 June crash. In her post, she wrote: “So this #vishwaskumarramesh lied about being a passenger on the plane & the only survivor? This is seriously weird. Didn't his family in the UK corroborate his story? What about his brother's funeral that he was seen giving kandha to? Deserve not only some serious punishment but some mental asylum time if this is true uff.”
Krishnamoorthi deleted the post and issued a statement of apologyX/ suchitrak
Her comments appeared to have been influenced by unverified social media speculation claiming that Ramesh’s survival narrative was false. The post drew significant backlash from users who criticised her for spreading misinformation and making insensitive remarks without confirmation.
Public apology issued
In response to the mounting criticism, Krishnamoorthi deleted the post and issued a statement of apology, also on X. She wrote: “Took out my last tweet on the Air India crash survivor. Seems to be false news circulated for God knows what reason. My apologies.”
The apology was shared on 19 June 2025, but reactions have remained mixed, with some social media users accepting the clarification while others questioned the haste in making the original accusation.
Who is Vishwas Kumar Ramesh?
Vishwas Kumar Ramesh, a 40-year-old British national, is the only known survivor of the Air India crash that occurred in Ahmedabad on 12 June. The crash claimed the lives of at least 260 people.
Ramesh was reportedly seated in seat 11A, close to an emergency exit on the Boeing 787 Dreamliner, and managed to escape the burning aircraft. He was treated for injuries at Ahmedabad Civil Hospital and was later seen attending the funeral of his brother Ajay, who also boarded the same flight to London but did not survive.
Suchitra Krishnamoorthi’s comments on social media questioning the legitimacy of a plane crash survivor’s account have drawn widespread criticism. Following the backlash, she deleted the post and issued a public apology, admitting the claim was based on false information.
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Real life inspires me more than fiction: Jay Thakkar on acting, ambition and human truths
Starting his journey on stage at the tender age of four, Jay Thakkar has grown up in front of the camera, having transformed from a precocious child performer into a versatile actor known for compelling roles across television, web, and cinema.
Whether mimicking dance moves in competitions as a child or biting into dark, psychologically complex characters as an adult, Thakkar has always approached his craft with sincerity, resilience, and emotional depth. His latest project, Bhool Chuk Maaf, a time-loop Bollywood film, was recently released on Amazon Prime. It marks yet another bold turn in a career built on fearless choices. In this exclusive interview with Eastern Eye, he reflects on key roles, lessons learned, working with legends, what drives him as an artist, and his future. He also shares fond memories of working with the late actor Sushant Singh Rajput.
Jay Thakkar
How do you reflect on your journey as an actor?
As a child, I participated in various competitions and often found myself mimicking actors and dance performances. These early experiences instilled in me a love for performance and storytelling. Over the years, facing both opportunities and rejections, I’ve grown as an actor and individual. Each experience, whether triumphant or challenging, has shaped my perspective and deepened my commitment to the craft. Performing never felt like a task – it felt like expression. These collective experiences have given me an understanding of resilience, humility, and growth – lessons I still carry with me every day.
Which of the roles has been closest to your heart?
The role of Sethji in Colors TV’s Laagi Tujhse Lagan holds a special place in my heart. Produced by Paresh Rawal and Hemal Thakkar, this character took me on an emotional journey – from innocence to a young gangster, and finally to a heartbroken child dealing with his mother’s incarceration. Adopting the ‘tapori Bambaiyaa’ accent and portraying a lower-middle-class chawl boy added layers to the character. This role allowed me to explore a wide emotional spectrum, making it both challenging and rewarding. It taught me that even in a limited arc, if the emotions are real, they leave a lasting impact.
Which project challenged you the most as an actor?
Portraying psycho-terrorist Muzammil in Sony LIV’s Adrishyam was one of my most demanding roles. The character was sociopathic, merciless, and completely devoid of empathy. In one intense scene, he bites off his father’s ear and, during interrogation, chews on his own nails – highlighting how unhinged he is. Sharing the screen with Divyanka Tripathi, who played an Indian secret agent, added further intensity to the performance. It pushed me to dive deep into the psyche of someone emotionally detached from humanity. I had to access a kind of darkness I had never explored before – it changed me as an actor.
Does your approach change between film and television?
Yes and no. Technically, film allows more time for introspection and preparation, while television trains you to think on your feet. But emotionally, my commitment remains the same. Whether it is a 30-second scene or a three-minute monologue, I aim to serve the character with authenticity and heart. The medium may shift, but my mindset is always rooted in honesty and empathy. Television’s fast-paced nature demands quick adaptability, often with limited preparation time.
Jay Thakkar
And what about film?
In contrast, films allow for deeper exploration of character and more time to develop nuance. But regardless of the medium, my approach stays consistent: understand the character’s psyche fully and deliver a performance that resonates with the audience.
What was the experience of working on Bhool Chuk Maaf?
It was a transformative experience. I spent months preparing – working with a dialect coach and immersing myself in Banaras to learn the local slang and tone. That preparation was essential to bring authenticity to the role. Working alongside Rajkummar Rao, Wamiqa Gabbi, and legends like Sanjay Mishra ji and Seema Pahwa ji was enlightening.
Do any moments from the shoot stand out?
Yes, one in particular. During a dance sequence, Rajkummar and director Karan Sharma sir noticed my energy and insisted I join the song, even though I had not rehearsed. Their encouragement made me feel valued and reinforced the collaborative spirit on set. There was a deep respect for the craft throughout the team. When you are surrounded by such passion, it does not feel like work – it feels like purpose.
You also worked with Sushant Singh Rajput on Pavitra Rishta. What are your fondest memories of him?
Sushant bhaiya was pure magic on set. He stayed grounded, no matter how much fame came his way. He would joke with me, share his food, and talk to everyone like a playful, innocent child. He once told me, “Never stop being a student of life,” and that has stayed with me. He was not just an actor – he was a thinker, a dreamer, and a beacon of humility. I fondly remember him stealing theplas from my tiffin during shoots.
Jay Thakkar
Tell us more about your time working with him.
Even as his fame grew, he remained humble and generous with his time. He encouraged me and offered guidance. His dedication to acting and his authenticity left a lasting impression. One of my favourite memories is him telling me to stay curious and keep learning – advice I live by today.
What can audiences expect next from you?
I am looking forward to the release of my next film, Apna Amitabh. I am also part of a web series titled Pranksters. I have done several high-profile ads and am in talks for new film and series projects that will begin soon. Right now, I am focused on roles that challenge me and say something meaningful. I am not in a rush, but I am hungry for layered storytelling.
Do you have a dream role?
I am drawn to characters that challenge societal norms and explore deep emotional layers. I would love to play a morally grey protagonist – someone who is flawed, yet relatable. Such roles let you explore the full range of human behaviour and complexity. I would love to play a conflicted revolutionary – someone who walks the line between right and wrong and makes the audience think. Such characters allow you to show both strength and vulnerability.
Who is your acting hero?
Shah Rukh Khan has always inspired me. His journey from humble beginnings to global stardom shows what passion and dedication can achieve. His emotional range and authenticity on screen are remarkable. Internationally, I admire Denzel Washington – the intensity and depth he brings to every role is powerful. Both actors prove how cinema can transform and move people.
Jay Thakkar
If you could master something new, what would it be?
I would love to master calisthenics, martial arts, and classical Indian dance. These disciplines train not only the body but also the mind and spirit. As an actor, your body is your instrument. The more control and expression you develop, the more powerful your performance becomes – sometimes without saying a single word.
What inspires you as an actor?
Real life inspires me more than fiction ever could – the flaws, contradictions, and hopes people carry. I observe unspoken gestures – a tired smile, a long pause, a look of doubt. Every person is carrying a story, and as an actor, it is my job to honour that with honesty. The struggles and triumphs of everyday people drive my passion. Everyone has a unique narrative, and I want to bring those stories to life with empathy and truth. The human experience is endlessly rich – and it reminds me why cinema matters.