INDIAN comedian Aditi Mittal has said that her Edinburgh Fringe debut this summer was a “comedy bootcamp” that changed her approach to the craft.
Mittal, 31, who is among the few successful Indian female comedians, was among performers at the renowned festival in August.
“It was like being at comedy boot camp. Wake up, watch comedy, do comedy, go to sleep. “Eighty per cent of the time I felt like I’d stumbled into the best situation in the world,” Mittal recalled.
“[The experience] changed the way I see comedy. Seven years [into my career] and I feel like I’m still in a phase when I’m still processing the world around me through my comedy.
“To see people, do such unique things, whether it is standup or improv or the street performances… I’ve never seen anything like it on the scale like that.”
Mittal is currently in London where she is halfway through the run of her show Global Village Idiot at the Soho Theatre. She has been working in standup for seven years.
One of her first big breaks came in 2009 when she was the only Indian female comic to be featured in an Indians only standup show called Local Heroes in Mumbai.
Since then, her international career has gone from strength to strength – her first Netflix special, Things They Wouldn’t Let Me Say, was released in July and is one of her “proudest” moments thus far.
Working between two continents can be a challenge, the comic found.
She learned to adapt her humour to different audiences, having realised that material that one audience may love could flop with another.
“Now I have an hour in India and an hour in London and it’s two different shows,” she told Eastern Eye in an exclusive interview. “I do a show in India that gets applause and I do the same material in the UK and they’re like ‘…and then?’”
Mittal also found that the more personal and emotive her material is, the more universal it becomes.
“If you zoom in on something, not your nationality or your context, you zoom in on the human experience,” she explained. “I do a bit about my sister when she passed away and I realised that it is an emotion that anyone can identify with, anyone who has ever lost a loved one knows what that feels like.”
Mittal’s love for her job is clear but she has experienced a backlash.
One male audience member tried to spit in her face (an attempt that failed as the spit failed to project, covering the perpetrator instead) and threats of acid attacks, one of which was so serious that her show had to be cancelled.
“I have a terrible reputation. I am known as a man-hating, boob and bra-talking comedian,” she laughed. “But you know, well-behaved women seldom make history.”
Her material is stark and honest; she covers everything from sanitary napkin anecdotes to her first experience using a bidet. Nothing, it seems, is too personal for the blue-haired comic.
She wants to talk about these things and normalise them. Talking about taboo topics in India can be shocking to some, but it won’t stop her, Mittal said.
“I’m not going to act like these things don’t exist. I’m not telling lies. If it isn’t for you, it isn’t for you.”
The past year was a “weird” one, Mittal said. Two days before her Netflix special was released, her sister died. Mittal also lost her father, one of her biggest supporters and “a big influence” on her humour, this year.
“When my dad came to watch me for the first time in 2012, he had tears in his eyes after the show. He was just very proud,” Mittal reminisced. The day her parents saw her perform was one of her proudest and it was then that she stopped caring what anyone else thought of her.
“The day I got their approval, I thought the rest of the world can go **** itself,” she explained. “The people I care most about approve of what I’m doing, so I’m set.”
Whatever tragedy she has gone through, Mittal knows that eventually it will distil into something funny. Her inspiration comes from everyday life – even the moments that hurt – and she explained anything that “cuts down deep” will eventually become a source of comedy.
“Comedy is tragedy plus time – the more it hurts, the funnier it will be when it comes out,” she said. “Pain and death is the source of my material. While you’re living through s**t, it just takes a while to process it.”
In her Soho show, Mittal performed a skit about the time she was propositioned for a threesome after a show. It’s a funny yarn, the audience roared with laughter at the story as she told it, but Mittal admitted that at the time, it was “terrifying”.
It was a story she refused to tell her mother in fear of her worrying about the career path she had chosen.
“It is one of those things, it needs to brew for a bit, but that’s why older women are always funny,” she laughed. “This job, it doesn’t depend on looks and as you get older, you get more stories and give less s**ts.
“I’m really looking forward to ageing. I can’t wait. I want to live long and be on stage and tell more jokes and more truths and that’s something I’m so excited about.”
The conversation turns to her experiences of being a woman in the industry; it doesn’t sound like it has been a particularly easy ride, but Mittal is eager to encourage more women to take it up.
“There is a lot of drama; the producers, how you get slots, the way you get announced on stage, you know ‘the best tits in the business’, whatever,” she said. “Even if someone is talking over you or abusing you, my advice to any aspiring comedians would be just stand right there and stick with it.”
The hashtag that has been making news in the past week, #MeToo – a symbol of support and acknowledgement of sexual harassment directed at women since the Harvey Weinstein sex scandal has come to light – sparked strong emotions in Mittal.
She said women face discrimination and harassment in any field, no matter where they are in the world.
“I think now EVERY interview with any powerful male should have the question ‘have you seen sexual harassment and discrimination in your field and what do you think should be done about it?’” she said. “That should get the attention of the men in power and maybe something can change.”
Mittal is from Mahim, a “really old” neighbourhood in Mumbai. She lives with her mother in a building that was originally home to her grandparents in 1937, when they moved from Pakistan to India.
She described the archaic structure as having high ceilings, thick walls and old tiles that are chipping away.
“I love it,” she said. Some of the many YouTube videos posted on her channel are filmed at her home – a place she and her friends love to hang out in.
Mittal hopes to keep touring and venture into television. A US tour is in the pipeline and she is in talks to continue her shows in the UK on a wider scale. However, she insisted that she would not leave India to live abroad. “My home is my mum,” she smiled. “I’ve become all very much about my mum."
K-pop idol Ju Haknyeon has officially left THE BOYZ following explosive allegations connecting him to a former Japanese adult film actress and an ongoing police investigation. While the singer denied involvement in any criminal activity, the controversy has triggered widespread media attention, emotional fallout among fans, and public apologies from the rest of the group.
Scandal breaks: Photos, police reports, and a contract termination
The storm began when images of Ju Haknyeon alongside ex-AV actress Kirara Asuka at a lounge in Tokyo began circulating online. What initially seemed like a private gathering on 30 May quickly spiralled into a scandal, with Korean media suggesting deeper implications beyond a casual meetup. Shortly after, on 18 June, his agency ONE HUNDRED confirmed the end of his contract, citing a "loss of trust."
Within 24 hours, matters escalated. A citizen filed a formal complaint at Gangnam Police Station accusing Ju of violating South Korea’s prostitution law, specifically Article 4, which pertains to arranging sexual services. The report hinted at potential ties with others in the entertainment industry, demanding a broader investigation. In response, the agency’s CEO Cha Ga Won issued a statement accepting responsibility, admitting the company lacked oversight, and apologised to fans.
Ju, in turn, posted a handwritten message denying all allegations. He acknowledged attending a private drinking session on 30 May but stated, “I have never engaged in prostitution or any illegal activity.” Despite the denial, the damage to his image was irreversible, leading to his removal from the group and all related activities.
THE BOYZ react: Apologies pour in from remaining members
In the aftermath, THE BOYZ members addressed their fandom, THE B, with heartfelt letters. Eric, Kevin, Juyeon, Sunwoo, Younghoon, Q, and others expressed deep remorse, shared personal struggles, and vowed to rebuild trust. They admitted the scandal had weighed heavily on them, with some describing emotional turmoil and fear of losing their fans.
The letters weren’t about defending Ju but about reassuring their audience that they remain committed. Each member promised to reflect, grow stronger, and uphold the group’s values. The group now continues as a 10-member act.
THE BOYZ attend 2022 The Fact Music AwardsGetty Images
Online reactions remain divided, with some fans supporting the group’s decision, while others question the harsh scrutiny idols face, especially over personal relationships. But one thing is clear: THE BOYZ is now in damage control mode, striving to move forward while keeping their fandom close.
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Randhir Kapoor had strongly opposed Karisma’s marriage to businessman Sunjay Kapur
In the wake of businessman Sunjay Kapur’s sudden death on 12 June 2025, attention has turned to Karisma Kapoor’s personal life and her past marriage. The former couple, who tied the knot in 2003, split in 2014 and finalised their divorce in 2016 after a long legal battle. Their marriage had been fraught with tension, and Karisma’s father, veteran actor Randhir Kapoor, had openly voiced his disapproval of the union.
‘She doesn’t need to remarry, she’s content being a mother’
Following their split, Karisma’s name was occasionally linked with businessman Sandeep Toshniwal, though neither ever confirmed a relationship. In a 2017 interview, Randhir Kapoor was asked whether Karisma planned to marry again. He replied that she was happy, settled, and completely devoted to her children, Samaira and Kiaan.
Randhir Kapoor once said Karisma is happy and well-settled as a single motherGetty Images
“I think Lolo is very well settled and happy. I have never discussed marriage with her, but if she ever wants to marry again, she will always have my blessings. That said, I don’t think she wants to. She’s a happy mother and there’s no step in that direction,” Randhir had said. He added that Karisma is an “excellent mother” and that her love for her children seemed to fulfil her completely.
Despite growing speculation at the time about a new chapter in Karisma’s life, Randhir’s words reflected a family that supported her decision to live life on her own terms.
Randhir Kapoor once said Karisma Kapoor may never remarry after divorceGetty Images
‘I never wanted her to marry Sunjay’
Back in 2016, during the divorce proceedings, Randhir had spoken about how he never approved of Karisma’s marriage to Sunjay. “Sunjay is a third-class man. We are Kapoors. We don’t need anyone’s money. He never cared for Karisma. He lived with another woman while giving her nonsense,” Randhir had said.
He added that everyone in Delhi knew Sunjay’s reputation, and he didn’t want to say more. Post-divorce, Karisma won custody of her children. Reports stated that Sunjay paid ₹70 crore (£6.6 million) in alimony and set aside ₹14 crore (£1.3 million) in bonds for the children’s future.
Though Sunjay later married Priya Sachdev, Karisma has remained single. She returned to the screen with selective work but kept her personal life private. Through it all, she’s maintained grace, and, as her father once said, she continues to live life the way she chooses.
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Nagarjuna reveals Sekhar Kammula told him to unlearn stardom for Kuberaa
Veteran actor Nagarjuna Akkineni is shedding his star persona to play a middle-class man with emotional complexity in Kubera. But that didn’t come easy. In a candid moment from the set, director Sekhar Kammula told him bluntly: “I don’t want to see confidence in your eyes.” That line stuck with him. “It reminded me I had to strip back everything I’ve built up over the years and just be the character,” Nagarjuna recalls.
In Kubera, releasing 20 June, Nagarjuna plays Deepak, a character wedged between a beggar played by Dhanush and a billionaire played by Jim Sarbh. The film is set across three social classes, something the actor believes will strike an emotional chord. “We’re not playing to the gallery. We’re becoming the people in the story,” he says.
This is Nagarjuna’s first outing with director Sekhar Kammula, known for his socially rooted storytelling. Despite being long-time admirers of each other’s work, they had never collaborated, partly because Sekhar didn’t see big stars fitting into his universe. But Nagarjuna believed otherwise. “Stars can bring people to the theatre. The story will keep them there,” he says.
He praised Sekhar’s craft, particularly how his songs arrive unexpectedly but feel completely natural. “His stories uplift, challenge, and entertain. Love Story did it with caste and gender. Kubera does it with class.” The actor also shares how Jim Sarbh stunned the crew by delivering pitch-perfect Telugu lines despite not knowing the language. “He was the most hardworking among us,” Nagarjuna says.
Playing the bad guy with no regrets
While Kubera sees him as a restrained, empathetic man, Coolie flips that completely. Directed by Lokesh Kanagaraj, the film casts him opposite Rajinikanth as a suave, remorseless antagonist. “He’s a double alpha, no redemption, no soft edges,” Nagarjuna says. “He believes he owns the world. It was liberating to play someone so unapologetically bad.”
As he approaches his 100th film, Nagarjuna reflects on staying relevant across four decades. The key, he says, is to evolve with the audience, especially younger viewers. “You can’t preach. You have to adapt or step aside.” And despite the rise of OTT and shrinking theatre windows, he remains confident: “A good film still belongs in a cinema. The experience is unmatched.”
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Danny Boyle returns with 28 Years Later as critics praise Ralph Fiennes and Jodie Comer in gripping infected sequel
It’s been over two decades since 28 Days Later redefined zombie horror, and now director Danny Boyle and writer Alex Garland have returned with 28 Years Later, a sequel that critics describe as strange, thrilling and unlike anything else in the genre right now. Reviews across the board agree on one thing: this isn’t a typical follow-up. Instead of repeating past glories, 28 Years Later throws viewers into a mutated Britain trapped in isolation, where the infected are evolving, and survival feels like medieval warfare.
A bold, chaotic mix of horror, politics and family drama
Critics highlight how the film combines multiple genres like apocalyptic horror, folk survivalism and emotional family storylines. Many reviewers noted that Boyle’s visual direction still feels urgent and stylish, especially in the intense chase scenes through forests filled with new mutated variants: the sluggish “Slow-Lows” and terrifying Alpha berserkers.
Alfie Williams, who plays 12-year-old Spike, has been widely praised for anchoring the story. His journey across the infected mainland with his dying mother Isla is described as the film’s emotional spine. Comer’s performance drew strong acclaim, with some critics saying she gives the film its most grounded moments.
There’s also a consensus that Garland’s script tries to pack in big ideas, touching on Brexit, COVID-era isolationism, and climate dread, but doesn’t always manage to develop them fully. Still, the ambition is appreciated.
Ralph Fiennes delivers the film’s most memorable turn
While the film’s first half is loaded with action, the tone shifts completely when Ralph Fiennes appears as the enigmatic Dr. Kerson. Critics across the board say he steals the film, playing a soft-spoken, possibly unhinged survivor living in a bone temple. His eerie calm and philosophical monologues sparked comparisons to Apocalypse Now’s Colonel Kurtz.
The general verdict? 28 Years Later is uneven but never boring. It is an ambitious return that doesn’t shy away from chaos. And with part two, The Bone Temple, already in the works, reviewers agree: this wild new trilogy is just getting started.
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Radhika Apte stars in BAFTA-nominated Sister Midnight, now available to stream online
BAFTA and BIFA-nominated indie Sister Midnight is now available to stream on major digital platforms, including Altitude.film, Apple TV, Amazon, Sky Store, and Curzon Home Cinema.
Director Karan Kandhari’s first feature arrives with plenty of praise and a striking lead performance by Radhika Apte, whom critics say delivers “an endlessly expressive marvel.” Set in the humid, buzzing heart of Mumbai, the film follows a newly married couple trying and often failing to fit into each other’s worlds within the cramped confines of a one-room home.
Apte plays Uma, a new bride forced into a life she didn’t choose, navigating nosy neighbours, a heat-soaked home, and a clueless husband she barely knows. With little support and mounting frustration, she begins drifting into the unpredictable world of Mumbai’s nights, where street dogs, shadows, and music accompany her search for identity and escape.
Kandhari doesn’t stick to the rules. The film unfolds like a fever dream, part dark comedy, part urban myth. It’s messy, but purposefully so. The chaos mirrors Uma’s journey. The paper-thin walls of her shack aren’t the only things breaking down; so is her idea of who she’s supposed to be.
With a soundtrack as unpredictable as the protagonist, Sister Midnight swings between classic rock, old blues, and raw punk, featuring legends like Howlin’ Wolf, Motörhead, and The Stooges, along with original music by Interpol’s Paul Banks.
Radhika Apte’s raw, magnetic energy grounds the chaos
While the film is full of jagged energy and eccentric moments, Apte’s performance ties it all together. She doesn’t just play Uma, she unravels her, one twitch, glare, and outburst at a time. Critics have called her work here “electrifying” and “oddly poignant.” The film clocks in at 110 minutes and carries a 15 certificate for its edgy themes.
But Sister Midnight is far from just gritty; it’s a rare mix of heart and havoc, offering a glimpse into one woman’s unravelling, with the city of Mumbai acting as both witness and accomplice.