VERSATILE ACTOR ASHISH SHARMA ON PLAYING A TRANSPERSON IN BOLD NEW MOVIE
by MOHNISH SINGH
Chameleon-like actor Ashish Sharma has effortlessly transformed himself into dramatically different characters in diverse projects.
The sought-after star has done that again for the film Khejdi. He has taken on perhaps the most challenging role of his career in a film inspired by short story Sanjha and portrays a woman trapped in a man’s body.
Ashish has also produced the film, which has been to several international film festivals and is trying to overcome obstacles to get it a proper release.
The popular actor, who has regularly featured highly in Eastern Eye’s list of 50 Sexiest Asian Men, spoke about Khejdi, the inspiration behind the film, preparation that went into playing a transgender person and upcoming projects.
Tell us about your film Khejdi?
Khejdi is actually based on a short story called Sanjha that I read some six or seven years ago. My father gave it to me. It was a short story written by Kiran Singh and published in a Hindi magazine. I read the story and it stayed with me. I shared the story with my wife, Archana (Taide). When she read it, she also had the same feeling. Since there was this rough screenplay already running in my head, she suggested this should be my first film as a producer. So, that’s how the seed was sown.
What can you tell us about the story?
It is a beautiful story about a transgender person. For the first time, I saw a story from a transperson’s point of view. Usually, the LGBTQI-themed stories we see in our cinema are from our point of view or from society’s point of view. There is this projected image of transgenders, which is shown in cinema, but that is not the actual case. They are taught to behave in a certain way. If it is not taught to them in that particular way and if they do not grow up like that, I think they will be just like us. So, that’s what the film is all about.
What was it like venturing into film production?
I was planning to get into film production and had already done a lot of production for six years. We have produced many online campaigns, a web series and a regional show for Zee TV in Rajasthan. With Khejdi, we ventured into film production for the first time and that was all Archana’s idea. She took care of things completely as I did not have the temperament or the brains. She is a multi-tasker and can handle everything on her own. She is very street-smart and was ready for a full-fledged film production. Also, the story that we got in our hands was so compelling that it pushed us to enter into this, and I think we pulled it off nicely.
You play a transgender in Khejdi. Was it difficult for you to get into the psyche of a transgender person?
It was very difficult. I gave up a couple of times. I was literally crying and howling by the tenth day of my workshop. I did a workshop with Yash Raj sir who plays my father’s character in the film. Both he and Archana consoled me. They asked me to give it some time and convinced me I’ll be able to do it. So it took me three months to break that mould and get into this character. Plus, I did not have any reference point. I had to create everything from scratch and the biggest hurdle was that it was not a transgender point of view; it was just a female’s point of view and that I had no reference to.
I couldn’t feel how it would be to be trapped in a male’s body or in physicality. It is not even a man’s body, it is an intersex. She is an intersex, but the physicality is manly and inside, she is brought up as a girl. So that was very contradictory and complex. So to get that right was gruelling for me. I learned kathak for physicality and lost around 25 kg of weight. Everything was difficult, but, ultimately, everything fell into place.
Did you not meet any transgender person as part of your preparation?
No and it was done on purpose. The story does not talk about transgender’s point of view. The story is not from our point of view or from society’s point of view or how we see them. The story is not about a projected image that we see. The story is about a human being who is in a house trapped and brought up as a girl. So, we and director Rohit Trivedi made a deliberate decision that we would not meet or talk to any community or spend time with them because I might get influenced by that projected image.
As of now, the film is being released only in Thailand, but not in India despite the huge popularity of TV actors…
Nobody is releasing the film for us in India. It’s not like we don’t want it to be released in India. So, that is our fight. The movie is based in rural India, which tells a story rooted in Indian culture. The irony is that people from outside India are accepting it, while people in our country are not. There are so many films made on these subjects, but they only talked about a projected image. They have catered to that popular stereotypical image. Having said that, there have also been some sensible movies made on not just transgenders, but the whole LGBTQI umbrella. Those films also did not get that much exposure or a proper release.
Why is that?
There is a certain prejudice towards the content and subject. Outside India, there is a lot of acceptance and people are ready to watch such films. I had German and North American premieres, and people loved the film there. There are overseas companies that watch a film, pick it up and decide to do a theatrical release in their own country because they find it relevant and the kind of story that can make money. I understand that commercial movies work differently here. But then there need to be some platforms for content like this where audiences can watch this kind of cinema and provide support so that more films are made on such topics. People don’t attempt it because they know nothing will happen in return, which is true. We have such good stories but we don’t make an effort to share them because of various factors.
Do you think the scenario is changing a bit because lots of stories like this are coming up on digital platforms and people are accepting them?
Exactly, there is definitely a lot of acceptance and openness because the platform gives you that freedom to tell these stories the way you want to tell them. So, I think, you are right and that is our idea also. After the Thailand release, we are going to bring it on to one of the digital platforms because it reaches to a wider audience. You know, theatres still somewhere, down the line, curb the limit. So, I think, yes, it’s a good space to win as a maker, as an actor and as a technician.
With you venturing into films and the digital space, is television going to take a back seat?
No, because, I think, today all the barriers are broken. Everybody is working everywhere. You can see film stars on TV and on the web. I think it is a wonderful space to be in right now. So wherever you find a good story and think you can add to it, and the story adds something to you, you go and work. I think that’s also my motto right now. I take my time to decide what TV show I want to take up. I think television makers have understood that if they have to come to Ashish Sharma, it better be something very good. Right now, I don’t have any exciting offer from television, but if anything comes my way, why not?
Your last show Prthivi Vallabh did not click with the audience despite being mounted on a huge scale. Did it hurt when it was pulled off-air midway?
As an actor, my experience working on the show was good. I did and got what I wanted from the show. The show, however, did not get what it deserved. But, over a period of time, working in the TV industry, you get used to such things and they stop affecting you. No point troubling yourself on things out of your reach and control. So whatever I could do for the show and could add, I did my best. Whatever the show could give me as an actor, it gave me. It gave me very good experience, really good people to work with and a scope to perform on various levels, so I was happy. Yes, I think, overall it would be saddening for the makers because they lost a lot of money. It is disheartening to see them like this because we know internally how much effort it took to make such a huge show. I have not seen that scale on television and no one has matched that scale.
What is next?
I’m working on two interesting things right now, in our production only. There are two scripts. One is a horror franchise that will start production by the last quarter of this year and the other is a satirical comedy. So, yeah, right now, a lot of things are happening.
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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Supporters of the assisted dying law for terminally ill people hold a banner, on the day British lawmakers are preparing to vote on the bill, in London, Britain, June 20, 2025. REUTERS/Isabel Infantes
PARLIAMENT voted on Friday (20) in favour of a bill to legalise assisted dying, paving the way for the country's biggest social change in a generation.
314 lawmakers voted in favour with 291 against the bill, clearing its biggest parliamentary hurdle.
The "Terminally Ill Adults (End of Life)" law would give mentally competent, terminally ill adults in England and Wales with six months or less left to live the right to choose to end their lives with medical help.
The vote puts Britain on course to follow Australia, Canada and other countries, as well as some US states, in permitting assisted dying.
Supporters say it will provide dignity and compassion to people suffering, but opponents worry that vulnerable people could be coerced into ending their lives.
The bill now proceeds to the upper chamber, the House of Lords, where it will undergo months of scrutiny. While there could be further amendments, the unelected Lords will be reluctant to block legislation that has been passed by elected members of the House of Commons.
Prime minister Keir Starmer's Labour government was neutral on the legislation, meaning politicians voted according to their conscience rather than along party lines. Starmer had previously said he was in favour of allowing assisted dying.
FILE PHOTO: Kim Leadbeater reacts during an interview about the Assisted Dying Bill in Westminster, London, Britain, October 15, 2024. REUTERS/Jaimi Joy
Opinion polls show that a majority of Britons back assisted dying. Friday's vote followed hours of emotional debate and references to personal stories in the chamber and followed a vote in November that approved the legislation in principle.
The vote took place 10 years after parliament last voted against allowing assisted dying.
Opponents of the bill had argued that ill people may feel they should end their lives for fear of being a burden to their families and society, and some lawmakers withdrew their support after the initial vote last year, saying safeguards had been weakened.
The 314 to 291 vote for the bill compared to the last November's result, which was 330 to 275 in favour.
In the original plan, an assisted death would have required court approval. That has been replaced by a requirement for a judgement by a panel including a social worker, a senior legal figure and a psychiatrist, which is seen by some as a watering down.
The Labour lawmaker who proposed the bill, Kim Leadbeater, said that the legislation still offered some of the most robust protections in the world against the coercion of vulnerable people.
Hundreds of campaigners both in favour and against the legislation gathered outside parliament on Friday to watch the vote on their mobile phones.
Those in favour chanted “my decision, my choice”, holding up posters that said “my life, my death” and photos of relatives who they said had died in pain.
Those against the legislation held up placards that said “let’s care not kill” and “kill the bill not the ill”.
(Reuters)
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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.
From the moment Poppy and Rubina stepped onto the stage of Soho Theatre in central London for Brown Girls Do It Too: Mama Told Me Not to Come, the energy was electric, the laughs non-stop, and the message loud and clear: British Asian women are done with silence.
What began as a ground-breaking, award-winning podcast that sparked online backlash for daring to talk openly about sex and relationships within South Asian communities has now evolved into arguably the most unique and fearless live show of the year.
Set against a cheekily colourful bedroom backdrop, this dynamic duo dived headfirst into everything from sex, shame, fantasies and motherhood to the layered realities of growing up as British Asian women. With sharp, smart transitions between confessional-style conversation and character-driven sketches, the show
managed to feel both intimately honest and wildly theatrical.
It is rare to witness a show that is both this hilarious and this importantAMG
One moment they were sat discussing sexual awakenings and mother–daughter culture clashes; the next, they were morphing into wickedly satirical versions of Priti Patel and Suella Braverman or belting out a catchy song – a side-splitting ode to Jolen bleach and body hair, brilliantly riffing off Dolly Parton’s Jolene. A recurring sketch involving a “Coconut Crimes Hotline” was a comedic masterstroke, and their hilarious mother–daughter bits had most in the audience instantly relating.
It is no surprise the crowd, largely women, many of them British Asian, responded with raucous joy. This representation, delivered with bite, boldness and belly laughs, made them feel seen. They did not just watch Mama Told Me Not to Come – they felt it, because it reflected them.
Poppy and Rubina’s magnetic chemistry, unstoppable presence and ability to straddle personal vulnerability with political satire was nothing short of genius. It is rare to witness a show that is both this hilarious and this important. And just when you think it is all laughs, they deliver a powerful emotional gut punch, ending the evening with heartfelt letters to their respective mothers, which brought tears to many eyes and underlined just how deeply the show resonates.
This is not just a standout – it is the show that is going to take the Edinburgh Fringe by storm in August. Bold,
brilliant, blisteringly funny and ultimately moving, Brown Girls Do It Too is a fantastic five-star triumph in every sense.
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An Air India Airbus A320-200 aircraft takes off from the Sardar Vallabhbhai Patel International Airport in Ahmedabad, India, July 7, 2017. Picture taken July 7, 2017.
INDIA’s aviation regulator has warned Air India for violating safety rules after three of its Airbus aircraft operated flights without undergoing mandatory checks on emergency escape slides, according to official documents reviewed by Reuters.
The Directorate General of Civil Aviation (DGCA) issued warning notices and a detailed investigation report highlighting the breach. These documents were sent days before the recent crash of an Air India Boeing 787-8, in which all but one of the 242 people onboard were killed. The Airbus incidents are unrelated to that crash.
According to the DGCA report, spot checks carried out in May found that three Air India Airbus aircraft were flown even though scheduled inspections on the escape slides – considered “critical emergency equipment” – were overdue.
One Airbus A320 was flown for more than a month before the check was completed on 15 May. AirNav Radar data showed that the aircraft operated international flights during that period, including to Dubai, Riyadh and Jeddah.
In another case, an Airbus A319 used on domestic routes had slide checks overdue by over three months. A third case involved a plane where the inspection was two days late.
“The above cases indicate that aircraft were operated with expired or unverified emergency equipment, which is a violation of standard airworthiness and safety requirements,” the DGCA report stated.
The report also said Air India failed to respond on time to DGCA’s queries on the issue, which “further evidenc[ed] weak procedural control and oversight.”
Air India, which was acquired by the Tata Group from the government in 2022, said in a statement that it was “accelerating” verification of all maintenance records, including escape slide checks, and expected to finish the process soon.
In one case, Air India said the issue came to light after an AI Engineering Services engineer “inadvertently deployed an escape slide during maintenance.”
The DGCA and Airbus did not respond to requests for comment from Reuters.
Vibhuti Singh, a former legal expert at India’s Aircraft Accident Investigation Bureau, said checks on escape slides are “a very serious issue. In case of accident, if they don’t open, it can lead to serious injuries.”
The DGCA report said aircraft that miss mandatory inspections have their airworthiness certificates “deemed suspended.”
The warning notices and report were issued by Animesh Garg, deputy director of airworthiness, and were addressed to Air India CEO Campbell Wilson, as well as the airline’s continuing airworthiness manager, quality manager and head of planning.
An Indian aviation lawyer told Reuters such breaches often lead to monetary and civil penalties for both the airline and individual executives.
Wilson said in a 2023 interview with Reuters that global parts shortages were affecting most airlines, but the problem was “more acute” for Air India, whose “product is obviously a lot more dated,” with many aircraft not updated since 2010-2011.
‘Systemic control failure’
The DGCA report said some Air India aircraft inspected by officials also had outdated registration paperwork. Air India told Reuters that all but one of its aircraft met the required standards and said this “poses no impact” to safety.
The report criticised the airline’s internal oversight systems, stating: “Despite prior notifications and identified deficiencies, the organisation’s internal quality and planning departments failed to implement effective corrective action, indicating systemic control failure.”
India’s junior aviation minister told parliament in February that airlines were fined or warned in 23 cases over safety violations last year. Of these, 12 involved Air India and Air India Express. One case involved “unauthorised entry into cockpit”, and the biggest fine – $127,000 – was imposed on Air India for “insufficient oxygen on board” during a San Francisco-bound flight.
Air India’s Chairman N Chandrasekaran addressed employees on Monday, calling on staff to remain focused amid criticism following last week’s crash and said the incident should serve as a catalyst to build a safer airline.