Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Mohit Suri locks his next directorial project with Yash Raj Films following Saiyaara.
Producer Akshaye Widhani and presenter Aditya Chopra reprise their roles from the previous hit.
The project has been touted as another large-scale romance musical.
Filming is scheduled for mid-2026, following the scripting and casting process in 2025.
Fresh off the record-shattering success of Saiyaara, director Mohit Suri is diving straight back into business with Yash Raj Films. The studio has greenlit a new romantic epic from Suri, solidifying a partnership that has already changed the genre's commercial potential. Avoiding tempting offers from other studios, this swift reunion shows a shared passion to create memorable love stories. The yet-untitled film plans to capture the same musical and emotional sweep that made their earlier collaboration a success.
Mohit Suri teams up with Yash Raj Films again after the record-breaking success of Saiyaara Instagram/taranadarsh/IIFA/yrf
So, what's the plan for this new love story?
The blueprint is taking shape. Sources indicate the core idea has been agreed upon by Suri, Widhani, and Aditya Chopra. It's described as another sweeping romance, but one that will venture into a completely new world, distinct from Saiyaara. Now that the development stage is underway, Suri and his writing team have to develop the idea into a complete script. The commitment to a musical format is a given, as Suri's ability to weave songs into the narrative fabric was a major factor in Saiyaara's success.
It's a fair point. Suri had his pick of projects after delivering one of the year's biggest hits. But the chemistry here seems to work. The Saiyaara model: Suri's direction, Widhani's production, and Chopra's presentation, proved unstoppable. There is a clear trust and a shared language already in place. Why break a winning machine? For YRF, it secures a director with a Midas touch for romance. For Suri, it offers the immense creative and marketing machinery of a major studio. It is clear that this isn't just a safe bet, but a strategic consolidation of force.
Hold your horses. This is where patience is necessary. The timeline is methodical. The aim is to start filming around mid-2026. Before that, the script needs to be solid. The casting process isn't expected to kick off until early next year, and only once a solid first draft is locked. So, any speculation about who might star is premature. This deliberate pace is telling; it prioritises getting the foundation rock-solid before the glamour and buzz of casting begins. It's the opposite of a rushed job, which should give fans confidence.
The message is loud and clear. Saiyaara's massive haul, rumoured to be over £55M (₹579.23 crore), wasn't a fluke. This immediate follow-up is a direct response to that audience appetite. It shows a genuine revival for the big-budget, emotional love story in Bollywood. With Chopra himself spearheading the genre, this project could encourage other studios to reinvest in romance stories. For cinemagoers, it's a promise of more of the grand, heart-on-sleeve storytelling that many felt had been lost.
Stars post "ghar ka khana" and EMI moments to seem relatable.
Janhvi Kapoor's EMI line went viral for the wrong reasons.
Sara Ali Khan and Alia Bhatt also highlighted "middle-class" struggles.
Fans pick up on the inconsistencies between luxury and modesty in posts.
Let's get this straight. You’re scrolling through Instagram and there it is: a Bollywood star, sitting in what looks like a palace kitchen, holding up a roti. The caption? "Ghar ka khana hits different." You’re supposed to feel a connection, a thrill. She’s just like me! But is she?
How Bollywood stars craft fake struggles to gain fan trust and social media clout Getty Images/ Instagram Screengrab/Viral Bhayani
The "people's princess" playbook
This isn’t an accident; it’s a strategy. A tired, transparent, and increasingly backfiring PR strategy that we might as well call the “People’s Princess” playbook. But what’s the goal? To bridge the cavernous gap between insane, generational wealth and the average fan’s reality. And the method? A curated performance of relatable poverty, or as critics smartly call it, “aesthetic poverty”.
Bollywood iStock
EMIs as entertainment?
Remember Janhvi Kapoor’s EMI line? “If five extra people like my pictures, I’ll get another brand and I’ll be able to pay for my EMIs with more ease.”
EMIs..!
The word just hangs there. For the vast majority of Indians, an EMI (Equated Monthly Instalment) is a crushing monthly reality for a home loan or a modest car. It’s not a cute, relatable flex. However, the backlash was immediate and brutal. Memes and discussions erupted online, with audiences pointing out the disconnect between her luxury life and the “relatable” struggles she described.
But Janhvi’s not alone. This is a whole genre.
Jhanvi's commentReddit Screengrab
Small moments, big optics
Sara Ali Khan, daughter of Saif Ali Khan and Amrita Singh, calls herself a "kanjoos" (a cheapskate). She talks about a “very middle-class” upbringing. One anecdote that fans can’t stop talking about: during the promotions of Zara Hatke Zara Bachke, Vicky Kaushal revealed that Sara once yelled at her mother for buying towels worth £16.00 (₹1,600), saying, “Who buys towels for £16.00?”
It’s a tiny domestic moment, but it feeds directly into the image she projects: conscious of money, even amid obvious privilege.
Alia Bhatt’s mother, Soni Razdan, once highlighted their “middle-class” upbringing by saying they flew economy to Dubai. Netizens, including social media influencer Uorfi Javed, have poked fun at these “middle-class” claims. As Uorfi put it, “Humne plane nahi dekha tha yaar. Tum kaisi baatein kar rahi ho?” (We’d never even seen a plane, mate. What are you talking about?).
Ranveer Singh, a ball of energy who grew up in a well-off family, once said they “didn’t have a lot of money.” Then he described his childhood holidays to Indonesia, Singapore, Italy, and the US. That’s his definition of “not a lot of money.”
Well it’s a different planet.
— (@)
Not all relatability is fake, but wording is everything
And, nuance alert! Let’s not flatten this into “all celebrities lie.” Plenty of stars do come from mixed backgrounds. Some faced real early struggles. Some have debts. Others have family pressures, mental health issues, and career insecurity. “We had it hard” can mean emotional strain, parental pressure, or being judged in public, not just bank balances.
It particularly stings because Bollywood has a real, ugly history of precarity: actors who fell ill and couldn’t afford care, and careers that ended without safety nets. Those stories are not PR-friendly anecdotes; they’re tragedies. So casual comparisons feel tone deaf, sometimes performative, sometimes just sloppy messaging.
AK Hangal, known as the perennially troubled father of Bollywood passed away at the age of 97 in a hospital without money to pay for his treatment.Getty Images
Relatability as currency
Why do they do this? Because relatability is currency. In the age of social media, fans want access. They want to feel like the person on screen is someone they could know. PR teams know this. So the playbook says: downplay the privilege. Emphasise the struggle, even if you have to invent it. Talk about ghar ka khana, local trains, and being careful with money. It’s a calculated risk and the payoff is likeability. The risk? The whole thing blows up in your face when the audience feels patronised.
Reddit platforms and forums are filled with fans dissecting this stuff with the precision of forensic accountants. They see the cracks: the luxury villa in the background of the “simple life” video, the designer socks paired with the “humble” chappals. And they’re not buying it anymore.
The question isn’t really whether these stars are lying. Maybe they genuinely love their mum's food. Who doesn’t? The question is why this specific narrative is being sold so hard. The answer is simple. It’s easier to pretend to be poor than to actually explain what it’s like to be that rich. It’s a shortcut to connection, and the audience is starting to see it for the dead end it is.
The curtain is pulling back and the PR strategy is unmasked. So, the most relatable thing a Bollywood star could do right now might just be to admit, “Yeah, I’m privileged. I didn’t grow up poor. Here’s what else I deal with.” Now that would be a plot twist.
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Contrasting styles of Sonam Kapoor and Jacqueline Fernandez underline the versatility of Indian heritage fashion
Sonam Kapoor went for detailed embroidery while Jacqueline Fernandez rocked bold prints
Anamika Khanna's LFW debut mashed up traditional Indian techniques with modern shapes
Both actresses showed how Indian design can work anywhere, not just at weddings
The Hamleys toy store location added a playful twist to the fashion show
You could spot Sonam Kapoor a mile away at that AK|OK show. She had that quiet, expensive look she does so well. Meanwhile, Jacqueline Fernandez practically bounced in with an energy that just fit the whole vibe. Anamika Khanna's London Fashion Week thing wasn't just another runway; it felt like she was making a point. And having these two completely different Bollywood stars there, wearing her clothes? That point landed hard.
Contrasting styles of Sonam Kapoor and Jacqueline Fernandez underline the versatility of Indian heritage fashion Instagram/sonamkapoor/jacquelienefernandez
A study in contrasts: Kapoor's elegance and Fernandez's edge
While Kapoor opted for intricate embroidery on structured tailoring, Fernandez chose bold graphic prints with a relaxed silhouette. Sonam Kapoor's look was a masterclass in refined detail: an asymmetrical coat with delicate, silver-threaded Chikankari embroidery, proving traditional craft could anchor a powerful, modern silhouette. In contrast, Jacqueline Fernandez embraced a more playful spirit. She wore an oversized blazer and shorts ensemble featuring the collection's bold, graphic prints, which drew inspiration from Indian mythology. Two totally different approaches to wearing your heritage on your sleeve. Literally!
Because it wasn't trying so hard. The models were walking around Hamleys. It didn't take itself deadly seriously, which made the craftsmanship actually stand out more. When you're not being shouted at about how 'important' the embroidery is, you can just appreciate that it's beautiful. That's what Sonam and Jacqueline understood. They didn't look like they were wearing costumes for a cultural display. They looked like themselves, just in clothes that happened to have a story behind them. Sonam's outfit whispered, Jacqueline's shouted, but both were speaking the same language.
What's the big deal about showing in London anyway?
It's about the audience, especially in London, where you see ideas travel. Anamika Khanna wasn't just showing clothes; it was like she was testing a theory. Can Chikankari work on a tailored coat? Can mythological prints feel fresh on a blazer?
Seeing both actresses in the front row, looking completely at home in these clothes, answered that question. If Sonam can wear that coat to a London event and look right in place, and Jacqueline can wear those prints without looking out of place, then the theory holds up. It's not about watering things down; it's about letting the craft speak for itself.
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Ambika Mod returns to the stage in the Royal Court’s new play Porn Play
Olivier winner Will Close joins Ambika Mod in the world premiere production.
The play explores a young academic’s secret addiction to violent pornography.
Acclaimed choreographer Wayne McGregor joins the creative team as movement director.
Performances run from 6 November to 13 December 2025 at the Jerwood Theatre Upstairs.
The Royal Court Theatre has unveiled the full company for its upcoming world premiere, Porn Play. Joining the previously announced Ambika Mod is Olivier Award winner Will Close, fresh from his success in Dear England. This new production, a co-production with SISTER, promises a funny and unsettling look at the double life of a high-achieving academic. The creative team also got a significant boost with the involvement of award-winning choreographer Wayne McGregor.
Ambika Mod returns to the stage in the Royal Court’s new play Porn Play www.easterneye.biz
What is Porn Play actually about?
Let’s cut through the provocative title. The play centres on a character named Ani, a brilliant academic who seems to have it all: awards, lectures, and a shining career. But beneath the surface, she’s grappling with a secret she can’t control: an addiction to violent pornography.
The story tracks how this hidden compulsion starts to fray her public persona and private relationships. It’s described as honest and unsettling, a proper character study rather than a simple shock-fest. Writer Sophia Chetin-Leuner is making her Royal Court debut with this, and she’s known for digging into complex psychological territory.
Ambika Mod returns to the stage in the Royal Court\u2019s new play Porn Play www.easterneye.biz
Who else is in the cast alongside Ambika Mod and Will Close?
The ensemble is seriously strong. They’ve got Lizzy Connolly, whose stage work ranges from the Donmar Warehouse to the Old Vic, and Asif Khan, a familiar face at the Royal Court and from the recent ITV drama Mr Bates vs The Post Office. It’s a tight four-hander, which suggests an intense, focused piece. Mod, of course, is riding an incredible wave after One Day and This Is Going to Hurt, but this is a return to the stage for her. And with Close’s Olivier Award for Dear England, the casting feels very deliberate, pairing actors known for their detailed, truthful work.
Why is Wayne McGregor’s involvement a big deal for a play?
You see a name like Wayne McGregor, a choreographer for the Royal Ballet and major films, on a play’s creative list, and it makes you look twice. He’s on board as the movement director. That’s not just about arranging a few stage crossings. For a play called Porn Play, which deals with desire, compulsion, and the physical manifestation of a secret life, movement could be absolutely central. How do you physically portray an internal addiction? McGregor’s signature is intelligent, often visceral physical storytelling. His role suggests the production will tell as much through the body as through the text, which is a fascinating prospect. With Josie Rourke directing and Mark Henderson on lights, it’s a top-tier team.
Mark the diaries. Porn Play will be staged in the Jerwood Theatre Upstairs, the Royal Court’s more intimate space, which feels right for this subject matter. The run is from Thursday 6 November 2025 through to Saturday 13 December 2025 and the press night is set for Thursday 13 November. Given the buzz around the cast and creative team, tickets will likely be in demand. It’s exactly the kind of bold, new writing the Royal Court built its reputation on.
At least seven UK charities dropped the Duchess of York as patron following reports of a 2011 email to Epstein.
The email described the convicted sex offender as a "supreme friend," contradicting her public statements.
Ferguson's spokesperson claims the message was sent on legal advice to counter a defamation threat.
The move is similar to the prior downfall of her ex-husband, Prince Andrew, over his Epstein links.
Sarah Ferguson has seen her philanthropic world unravel after charities cut ties with her over a newly surfaced email describing Jeffrey Epstein as a “supreme friend.” The Duchess of York, once a staple in UK charity circles, now faces huge public backlash, pointing to the fragile line between royal goodwill and scandal. The primary controversy stems from correspondence following Ferguson’s 2011 interview in which she publicly denounced Epstein’s crimes, only to privately send him a conciliatory message.
Sarah Ferguson at an event before ties were cut Getty Images
What did the reported email from Sarah Ferguson actually say?
The content of the email, as reported by The Sun, makes for pretty grim reading. It was sent in 2011, just weeks after Ferguson gave an interview where she apologised for accepting £15,000 from Epstein. In that public statement, she called it a "gigantic error of judgement" and vowed to have "nothing ever to do with Jeffrey Epstein ever again."
The private email, however, struck a completely different tone. She reportedly offered a "humble apology" for linking him to sex abuse scandals. The real kicker was the line where she wrote that Epstein had "always been a steadfast, generous and supreme friend to me and my family." The email, in fact, raises questions about how long Ferguson’s private views may have differed from her public statements.
Julia’s House confirmed Sarah Ferguson will no longer be a patronGetty Images
Why have the charities acted now?
It’s all about timing and appropriateness. For these organisations, their patron's reputation is inextricably linked to their own. Julia’s House, a children’s hospice, was the first to go, stating the reported correspondence made Ferguson’s position "inappropriate." Others followed suit rapidly, including the Teenage Cancer Trust, which had her as a patron for 35 years. That’s a long association to end, which tells you how seriously they view this.
The Natasha Allergy Research Foundation and Prevent Breast Cancer were among the others that cut ties. Their reasoning is simple: the email revelation creates a reputational risk they simply cannot afford. It doesn’t matter when it was sent; the fact that it exists and is now public is enough.
What is Sarah Ferguson's explanation for the Epstein email?
Her team isn’t denying the email’s existence. Instead, they’ve provided context, framing it as a strategic move rather than a genuine change of heart. A spokesperson stated that after her initial interview, Epstein threatened to sue her for defamation. On the advice of her lawyers, she allegedly sent the conciliatory email to "assuage Epstein and his threats." The official line is that she "deeply regrets" ever being associated with him.
Ferguson’s spokesperson says email was sent on legal adviceGetty Images
How does this connect to the wider fallout from the Jeffrey Epstein scandal?
This isn’t the first royal scandal tied to Epstein. The Duke of York’s own association with Epstein led to him being stripped of his military titles and royal patronages in 2022. His car-crash BBC Newsnight interview was a pivotal moment. Ferguson, despite their divorce, has remained closely tied to him, and this episode feels like a second wave of the same scandal hitting the family again. It raises uncomfortable questions about the depth and duration of their connections to Epstein long after his crimes were known. For the royals, it’s another unwelcome headache, like a reminder of a scandal that refuses to fade.
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Customs raid targets Dulquer Salmaan and Prithviraj Sukumaran in Bhutan luxury SUV smuggling investigation
Customs officials conducted searches at properties linked to actors Dulquer Salmaan and Prithviraj Sukumaran.
The raids are part of ‘Operation Numkhor’, targeting high-end vehicles illegally imported from Bhutan.
Over 100 luxury SUVs are suspected of being smuggled into Kerala using fraudulent registration documents.
Authorities state the actors are cooperating and that documents are currently under examination.
Homes belonging to Malayalam cinema stars Dulquer Salmaan and Prithviraj Sukumaran were among nearly 30 locations raided by customs officials in Kerala on Tuesday. The investigation, called ‘Operation Numkhor’, is a crackdown on an alleged racket involving the illegal import of luxury vehicles. The searches are part of an ongoing investigation into a massive luxury car smuggling racket, which authorities believe has been operating for years, bringing expensive vehicles from Bhutan into India to dodge exorbitant import taxes. It is, in fact, a complicated network spanning borders, and the involvement of such big names has certainly raised eyebrows, giving the whole investigation an unexpected angle.
Customs raid targets Dulquer Salmaan and Prithviraj Sukumaran in Bhutan luxury SUV smuggling investigation Instagram/dqsalmaan/therealprithvi
What is Operation Numkhor all about?
So, what’s the big picture here? ‘Numkhor’ apparently means ‘vehicle’ in Dzongkha, the language of Bhutan, which is pretty central to the whole affair. The Customs Preventive Commissionerate is investigating a scheme where high-value vehicles, often former Bhutan Army models like Land Rovers and Toyota Prados, are auctioned off in Bhutan. The allegation is that these are then smuggled into India, avoiding hefty import taxes that can sometimes double a car’s price.
They’re not coming in through the front door, so to speak. The method involves using completely fake addresses and registration papers, often from states like Himachal Pradesh, to make the cars look legit before they are sold on to buyers in Kerala. It’s a complex web, and the customs raid is trying to untangle it.
Why were Dulquer Salmaan and Prithviraj Sukumaran named?
This is the bit everyone’s talking about, obviously. It’s not that the actors are directly accused of running the racket, far from it. Officials have been clear that the focus is on verifying the ownership and import documentation of specific vehicles found at their premises. In Kochi, documents related to Dulquer Salmaan's cars were examined. For Prithviraj Sukumaran, officials visited his properties in Thevara and Thiruvananthapuram.
The whole point of the customs raid is to trace the chain of ownership right back to the point of import. The question isn't necessarily about the actors knowingly doing anything wrong; it's about establishing whether the cars they possess came through this illegal pipeline. Were they just customers who bought a fancy SUV from a dealer who seemed legitimate? That’s what the investigation aims to find out.
Right now, it’s all about the paperwork. Customs officials are scouring through registration documents, sales receipts, and import records seized from the various raided locations, which also included car dealerships and business premises. They’ve flagged around 15 specific violations already, but with over 100 vehicles under the scanner, this is going to take time. The next steps involve forensic accounting and tracing the money trail. They’ll be looking at the dealers and middlemen who facilitated these deals.
For now, both Dulquer and Prithviraj are reported to be cooperating fully. Neither has made a public statement yet, which is probably on advice from their legal teams until the situation becomes clearer.
How does this smuggling racket actually work?
It’s surprisingly bold. The system exploits the fact that certain vehicles in Bhutan can be sold at auction without the same export restrictions. These cars, often high-spec SUVs perfectly suited for Indian roads, are bought for a very low price. Then comes the tricky part: getting them into India without paying customs duty, which can be as high as 100% of the vehicle's value.
The cars are allegedly moved across the border, sometimes disguised in containers, and then registered in Indian states known for less stringent verification processes. Using forged documents, they’re given a clean, pre-owned identity. After a quick makeover, they’re sold on the market for a massive profit, still undercutting the price of a legally imported model. It’s a lucrative business, until a customs raid like this one blows the lid off.