Mohika Shankar on immersive dance show Ghost Ships
Having begun her training at the age of five, the dancer from New Delhi has made a mark in the UK with her live performances.
Mohika Shankar
By Asjad NazirSep 20, 2024
MOHIKA SHANKAR connected with dance at a young age, and it quickly became an integral part of her identity. This passion led her to pursue dance professionally and she has performed in major productions.
Having begun her training at the age of five, the dancer from New Delhi has made a mark in the UK with her live performances.
“I believe art travels through generations, and I have been lucky enough to pursue it professionally,” Shankar said. “As I grew up and received more formal training, I found my safe space in dance. Dance gave me a medium to create my reality instead of running away from it.”
Shankar (who is a first-class graduate of the University of Derby) will next be seen in the immersive theatre event Ghost Ships, which vividly recharts the history of Chatham Dockyard and takes place on-site with a stunning live performance.
By shining a light on the true and untold stories of those who built and sailed the ships of Chatham Dockyard around the world, Ghost Ships explores the waters connecting the past and present, as well as the ideas of borders, belonging, people and places. It reflects on the impact of the Dockyard, from its role in slavery and abolition to the loss and legacy of its closure in 1984.
Shankar said, “Ghost Ships, as the name suggests, is about those voyages that started from Chatham Dockyard to different parts of the world. These are not glamorous stories, but they brought about very powerful change.
“The theme is very close to my heart. I’ve been a history student, and our curriculum included a lot of what we are exploring in Ghost Ships. It connects me to my motherland, and I consider it my responsibility to create that awareness among people through an artistic medium for the shared history that we have.”
The explosive show includes music, hip hop dance from Olivier Award winners ZooNation: The Kate Prince Company and Kathak from Amina Khayyam Dance Company, of which Shankar is an integral part.
Shankar added, “In a way, bringing it to the stage right now is of utmost importance, especially because of all the racial discrimination we have seen in the UK recently.
“It is even more imperative to highlight our past and acknowledge all that has unfolded, from the East India Company conquering India to the colonial slave trade.”
Ghost Ships has been created with the communities of Chatham and features an ensemble of more than 150 young people, residents and professional dancers performing together to mark the 40th anniversary of the dockyard’s closure.
Shankar spoke of her hope that audiences can relate to the new production, which will be performed at the dockyard from September 25-28.
She said, “I hope it connects with people across cultures, ethnicities, and racial backgrounds because, at the end of the day, it boils down to us being humans and our shared histories.”
Shankar said she is fortunate to be part of a cast which recognises the shared responsibility that comes with the production's historical significance.
“No matter how big or small a cast is, every one has a role to play, and everyone brings something special to the table. Together, everyone makes the complete whole. It’s all about the bigger picture and how we come together as artists to bring to life a concept that I have not seen brought onto such a big platform before,” she said.
Shankar praised ace choreographer and dancer, Amina Khayyam, for her bold, path-breaking approach to exploring unique and socially relevant subjects.
One powerful element in Ghost Ships that she feels connected to is the chapter on the Bengal famine.
Asked about her favourite moment from the production, Shankar said, “I really can’t choose one because each holds its own special importance. The project has really challenged me to step out of my comfort zone, as we are experimenting with other dance forms, such as hip hop.”
She is excited to perform at the dockyard and said it as an opportunity to highlight south Asian dance forms on a unique platform. The entertaining and educational show will resonate with different cultures and age groups, Shankar said.
“You should come if you want to be immersed in art and history in an unconventional space, with shared stories of people and the connections we formed decades and centuries ago, which still exist today.
“They enable us to be more sensitive to other communities and make a conscious effort to learn about each other’s histories, celebrate how far we have come, and reflect on how we can move forward.”
Shankar draws inspiration from human stories and experiences, bringing art to unconventional spaces, as well as from fellow performers and everyday moments, like leaves dancing in the wind.
Creativity and inspiration are everywhere. But recently, it’s been about stories of people like you and me and how, even though they are unique, they are deeply connected and resonate on many levels.”
Ghost Ships is at the historic dockyard in Chatham from next Wednesday (25) to Saturday (28). contheatre.org.uk
Lauren Sánchez didn’t need a red carpet to mark her pre-wedding celebration, just a close circle of friends and the charm of Paris. Days before tying the knot with Jeff Bezos, the former TV anchor turned aviation entrepreneur spent a laid-back but lavish weekend in the French capital with a dozen women she calls her pillars of strength.
The guest list was anything but ordinary. Kim Kardashian, Kris Jenner, Katy Perry, Eva Longoria, and a few other familiar faces from business, entertainment, and media joined Sánchez for what looked like a celebration of sisterhood rather than a spectacle. Over the course of two days, the group dined at chic spots like Lafayette’s and cruised through the city on a private boat, all while keeping things relatively low-key by celebrity standards.
From clinking espresso martinis to dancing to Earth, Wind & Fire, the vibe was expensive, chill, and relaxed. The celebration wrapped with a surprise vanilla meringue cake and laughter under the Paris sky.
Sánchez shared heartfelt moments on Instagram, calling her friends “the women who’ve lifted me up and shaped my heart.” The photos, mostly in black and white, showed candid rooftop laughs and cosy robe moments, far from the polished party shots one might expect.
Inside Lauren Sánchez’s Paris bachelorette Instagram/laurenwsanchez
Her outfit choices, too, while expensive, leaned into romantic minimalism. A short white Oscar de la Renta dress with 3D florals and a vintage pink Chanel bag added soft glamour to the weekend.
Heartfelt moments and low-key glam defined Sánchez’s pre-wedding celebration in Paris Instagram/laurenwsanchez
Sánchez and Bezos, who went public in 2019, got engaged in 2023 on board his yacht Koru, where he proposed with a rare 20-carat pink diamond worth approximately £15 million (₹160 crore). Their wedding is expected in June on the coast of Venice, Italy, although they’ve been tight-lipped about the specifics. Italian officials have already reassured locals that the ceremony will not disrupt the city.
A candid moment with Sánchez and her closest friendsInstagram/laurenwsanchez
Beyond the headlines and designer outfits, Sánchez’s celebration in Paris was about a woman pausing to honour the relationships that helped her grow, before stepping into a new chapter as Mrs. Bezos.
Ever walked into a cinema, popcorn in hand, all hyped for a big new Hindi release – only to realise, halfway through, that you have seen the exact same story before, just in another language? That weird sense of déjà vu has become all too familiar for Bollywood audiences in recent years, with one remake after another. Many are based on South Indian hits.
From Vikram Vedha to Shehzada, Bholaa to Selfiee, Bollywood seems to be treating South Indian blockbusters like a catalogue to borrow from. But here is the problem – most of them did not work. Not just with critics, but at the box office too. Which raises the obvious question: if the originals were such big hits, why can’t the Hindi versions strike gold?
The numbers do not lie Let us look at the figures.
The Tamil film Vikram Vedha (2017) was made on a budget of £103,695 (₹11 million) and earned £5.66 million (₹600 million). It had strong writing, originality, and standout performances. The 2022 Hindi remake starring Hrithik Roshan and Saif Ali Khan, despite slick production, was a costly misfire.
Bholaa, a remake of Kaithi, leaned too heavily on visual effects and forgot the raw, gritty storytelling that made the original shine. Made for £8.8 million (₹1 billion), it only grossed £9.7 million (₹1.1 billion) worldwide. Compare that with Kaithi, made for £2.2 million (₹250 million), which earned over £9.3 million (₹1.05 billion) – without big stars or CGI. This pattern keeps repeating itself.
Selfiee, based on Malayalam hit Driving Licence, flopped. Shehzada tried to replicate the success of Ala Vaikunthapurramuloo and failed miserably. Sarfira, based on Soorarai Pottru, came and went without impact. Even Baby John (a version of Theri) and Deva (inspired by Mumbai Police) could not turn strong originals into Hindi box office hits.
Ajay Devgn in Bholaa
Star power is not enough These numbers paint a clear picture: the remakes are not connecting. But what about star power? Salman Khan, Akshay Kumar, Shahid Kapoor, Hrithik Roshan, Kartik Aaryan – surely such big names should guarantee success? Unfortunately, it is not that simple anymore.
Audiences are smarter now. Thanks to streaming platforms, dubbed versions and social media buzz, many have already seen the originals – or at least know the storyline. So when the Hindi version arrives, it often feels stale.
Hrithik Roshan in Vikram Vedha
What is missing from the remakes? Successful films rely on many elements – chemistry between the leads, emotional tone, pacing – things you cannot script or transplant.
Take Vinnaithaandi Varuvaayaa. The chemistry between Silambarasan TR and Trisha felt electric, rooted in the film’s deeply emotional story of unrequited love. The Hindi remake Ekk Deewana Tha, with Prateik Babbar and Amy Jackson, lacked that connection.
Okkadu had raw energy, with Mahesh Babu anchoring the emotional weight. Ghilli, its Tamil counterpart, had similar intensity with Vijay’s charismatic presence and high-octane action. But the Hindi version Tevar lacked the same punch and raw emotion.
Similarly, Theri worked because of Vijay’s stardom, Atlee’s direction, and its emotionally driven story. Baby John has not captured that same feeling.
Mahesh Babu in Okkadu
Audiences want originality Here is the real kicker – audiences are not rejecting South Indian cinema. In fact, they are embracing it. Baahubali 2, the Pushpa and KGF franchises, RRR, Kantara – all became massive pan-India hits. The appetite for regional content is real.
What people are rejecting is lazy filmmaking – the idea that simply changing the language, inflating the budget, and casting a big Bollywood name is enough.
What works today is originality. Films like 12th Fail and Article 15 resonated because they told new stories. Even blockbusters like Pathaan and Jawan succeeded by playing to their own strengths – not copying someone else’s.
RRR
A call for change So what should Bollywood do? The answer is simple: focus on originality.
Stop leaning on South Indian remakes. Start backing fresh, innovative stories that speak to today’s diverse audience. The success of South Indian films lies in their ability to connect emotionally, to create real characters and tell untold stories. Bollywood needs to find that magic again.
In the end, remakes may seem like a safe bet – but they are not always the solution. Why settle for déjà vu when you can create something unforgettable?
The audience has evolved. Maybe now, it is time the industry asked itself: has it?X: @GeorgeViews
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Ananya Panday gets candid about body shaming on Lilly Singh’s podcast
Ananya Panday is no stranger to the spotlight, but she’s also tired of being stuck under a microscope. In a recent chat with Lilly Singh on her podcast Shame Less, the actor spoke honestly about the constant criticism of her body and the double standards women face in the film industry.
Ananya recalled the early days of her career when, at 18, she was mocked for being too thin. Terms like “chicken legs” and “matchstick” were thrown at her regularly. “They said I had no boobs, no butt, like a flat-screen,” she shared. Fast forward a few years, and as her body naturally changed, new rumours popped up, but this time accusing her of undergoing cosmetic surgery. “Now they say I’ve had my butt done. You can never win,” she said.
What hits harder for Ananya is that this scrutiny often comes from other women. “The harshest comments I get are from women. I rarely see this happening to male actors,” she said, pointing out the gender gap in how public figures are judged.
But Ananya doesn’t shy away from taking responsibility either. She admitted that Bollywood films, including some of her own, have pushed unrealistic beauty ideals. “We’ve shown women waking up with perfect hair and makeup. That’s not real life. I’ve been part of that narrative, and I’m trying to be more aware of it now,” she said. Off camera, she tries to keep things real, reminding her followers that what they see on screen isn’t always the truth.
This honesty is, in fact, a shift in Ananya’s journey, from someone who once felt pressured to fit in, to an actor willing to question the norms she’s grown up with. Her recent work also reflects that change. From light-hearted romances to more grounded roles like her turn as a lawyer in Kesari: Chapter 2, Ananya is clearly making deliberate choices.
Women in the public eye are constantly judged, but it’s time to break that cycle. “If I talk about it, maybe one other girl will feel less alone,” she said. That, perhaps, is the quiet power behind her loudest statement yet.
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Angelina Jolie stuns in a strapless nude gown on the Cannes 2025 red carpet
After a long break from the Cannes spotlight, Angelina Jolie stepped back onto the red carpet, quietly commanding attention without theatrics. It’s been nearly 14 years since she last appeared at the French film festival, but her recent appearance shows she never really left the scene, she just chose when to re-enter it.
At the premiere of Ari Aster’s Eddington during the 78th Cannes Film Festival, Jolie arrived in a strapless white and silver gown designed by Brunello Cucinelli, a label she often turns to for its classy, minimalist elegance. The look was elevated with diamond accessories from Chopard, adding just enough sparkle without overwhelming her understated style.
Jolie keeps it classic in Brunello Cucinelli with Chopard diamonds for Eddington premiereGetty Images
The nude-toned dress was detailed with subtle embroidery and featured a structured A-line silhouette. Its fitted bustier, square neckline, and flowing hem were all about clean lines and classic femininity: nothing flashy, just well-crafted. Her choice of accessories followed the same theme: a pear-shaped diamond pendant, teardrop earrings, and a striking ring.
Her hair was styled in soft waves, parted to the side, and her makeup was balanced with wine-toned nails, muted smoky eyes, a soft pink lip, and feathered brows that framed her face.
The actress makes a graceful return to Cannes after 14 years awayGetty Images
Jolie took on the role of Trophée Chopard godmother this year, an honour that involves presenting an award to two emerging talents in cinema: Marie Colomb and Finn Bennett. The award celebrates the future of film, and Jolie’s presence felt fitting. Over the years, stars like Julia Roberts, Cate Blanchett, and Charlize Theron have taken on this role, and Jolie now joins that distinguished list.
For the Trophée Chopard dinner, Jolie wore a simple one-sleeved gown with a slit, paired with ankle-strap heels and silver earrings. She kept her makeup light and her hair down, opting for ease over excess.
Angelina Jolie interacting with fans Getty Images
Though she’s been away from the Cannes red carpet, Jolie hasn’t been out of sight. Her recent film Maria, based on opera legend Maria Callas, kept her on the awards circuit earlier this year. She also made headlines as a producer of the Broadway musical The Outsiders, which went on to win big at the 2024 Tony Awards.
Jolie keeps her style effortless for Cannes 2025Getty Images
Angelina Jolie’s Cannes appearance was a glorious comeback. But more than that, it was a quiet reminder of who she is: a woman of style, substance, and selective presence.
The buzz around King, Shah Rukh Khan’s upcoming action-thriller, just got bigger. Rani Mukerji is officially part of the film, stepping in for a role that’s brief but deeply important. Shooting begins on 20 May in Mumbai, with an international schedule to follow.
King is being helmed by Siddharth Anand, the director behind Pathaan and War. This film will not only mark SRK’s return to a high-action role, where he plays an assassin, but also introduces his daughter, Suhana Khan, to the big screen. The cast includes Deepika Padukone, Abhishek Bachchan, Anil Kapoor, Jackie Shroff, Arshad Warsi, Jaideep Ahlawat, and Abhay Verma, making it one of the biggest star-studded projects in recent memory.
The iconic duo returns to the screen after more than a decadeGetty Images
Rani Mukerji joins the cast in a special cameo as Suhana Khan’s mother. While she’s expected to shoot for just five days, her role is far from minor. Insiders say her character is central to the story’s emotional arc and serves as a turning point in the larger action narrative.
This is also Rani and Shah Rukh’s reunion after more than a decade. The two have a long list of hits together, from the iconic Kuch Kuch Hota Hai to Kabhi Khushi Kabhie Gham, and their on-screen chemistry is considered the gold standard. Their scenes in King are expected to tap into that nostalgia while adding a fresh layer to the story.
Sources say it didn’t take long for Rani to say yes. The part, though short, left a strong impression on her. “She heard the story and agreed instantly. It’s a powerful role that holds the emotional thread of the film,” one source shared.
Rani Mukerji will join Shah Rukh Khan for the much-awaited KingGetty Images
Interestingly, earlier buzz suggested that Deepika Padukone might play Suhana’s mother in the film, but the final decision went to Rani. This change seems to have added an extra edge to the film’s casting.
Currently in pre-production, King is aiming for a release sometime between October and December 2026. With a cast this strong and a fresh mix of family, action, and suspense, the film is shaping up to be a major event not just for Shah Rukh fans, but for Bollywood itself.