VERSATILE ACTRESS PANNU ON HER SURPRISING NEW FILM BADLA AND BIG AMITABH BACHCHAN REUNION
by MOHNISH SINGH
Rising star Taapsee Pannu has cemented her position as one of the most versatile actors in India with powerful performances in both commercial and unconventional cinema.
She has given extraordinary and authentic performances in movies including Pink, in which she played a victim of circumstance, a secret agent in Naam Shabana, a lawyer in Mulk and in Manmarziyaan as a high-spirited woman living life on her own terms.
After headlining five films in 2018, including a Telugu romantic action entertainer, Taapsee begins 2019 by playing a sharp, strong-willed businesswoman in the Sujoy Ghosh-directed thriller Badla, which is produced by Shah Rukh Khan. The remake of the Spanish film Contratiempo reunites the actress with Pink co-star Amitabh Bachchan.
Eastern Eye caught up with the beautiful actress to talk about Badla, her multi-layered character, the much-anticipated reunion with Amitabh Bachchan and forming a connection with audiences.
You are joining forces with Amitabh Bachchan once again after Pink. How was the environment different on the sets this time around?
(Smiles). It was a Bong set again. We had a Bengali director. We had a Bengali DOP (director of photography), who was the same person who worked on Pink. And we had a Bengali sound recordist. So most of the conversations happened on the set were in Bengali, and I was trying to figure out if I should start learning Bengali as well now. It looked like it’s going to be handy in future. So it didn’t feel like it was a different environment. It felt like I had finished the first schedule of Pink, took a brief break, and joined the team again to wrap up the second schedule. It was like that, actually.
Do you believe in taking badla(revenge)?
It’s a human emotion. Everybody likes to take revenge at one point or another. It’s better we accept that instead of saying we don’t believe in revenge. Yes, our ways of seeking revenge do change over a period of time. When I was a 10-year-old girl, my way of taking revenge was something different and now, when I am a 30-year-old woman, I’ll take revenge in some other way.
Do you wish to take revenge from audiences when well-made films like Mulk and Manmarziyan did not perform that well at the box-office despite critically-acclaimed performances from you?
Mulk released in just 800 screens. It did do the kind of business, which you expect from 800 screens. Maybe if more screens were allotted, it would have done better. Coming to taking revenge from audiences; I believe that we have given them so many mediocre films over the years along with feeding their mind that a film, which may work at the box-office, will have only these ingredients. If some filmmakers are trying to bring about a change in cinema that will not happen overnight. It will take some time. It also depends on actors that how long they will keep doing different kinds of cinema. I have the courage to do so.
How different is your Badla character Naina Sethi from Pink’s Minal Arora?
Naina and Minal are like chalk and cheese. Naina is completely different from Minal. For Minal, Deepak Sehgal (Amitabh Bachchan) came in as a god to save her and get her justice. Naina has hired Badal (Amitabh Bachchan). She has the authority because she is the one who has hired him. So now the equation is very different. This character is not a helpless woman whose life will be destroyed if he does not help her. She is a very sharp businesswoman. Whatever she has done in her life, she has done it on her own. She is a self-made strong woman who runs her own business in Scotland. She is not the one who you can play around with easily. So it’s a completely different character.
You have made a huge fan base in no time. What, according to you, is your unique selling point (USP)?
I think I can connect with the average Indian audience. That is my USP. I don’t know whether it’s because I choose those types of roles and issue-based films. I am an average Indian. I don’t think I am extraordinary as a person and that’s why I can easily connect with the average Indian. That becomes my USP. When I choose a film, I try to know whether I can feel what my character feels. If I feel it, I believe I can make my audience too feel it. So I choose my roles on that basis. I cannot forcefully make my audience feel anything. If I feel something, only then I can make them feel it.
You are doing so well in Bollywood, but you still find time to do at least one film a year in South India. How do you do it?
Yeah, I do one film every year in south. After Badla, my next south Indian film is going to release. It’s a bilingual film in Tamil and Telugu. It’s called Game Over.
Do you feel your role in Badla will be on par with Vidya Balan’s role in Kahaani and Radhika Apte’s role in short film Ahalya. Both thrillers were helmed by Sujoy Ghosh…
If I say something with overconfidence, it would be that my role in Badla is very good. To know more, please wait for it’s release. But I say it again that it’s a beautiful role.
What are your favourite Bollywood thrillers?
I think it has been a long time since we have not made a gripping murder thriller.
What about Andhadhun (2018)?
Andhadhun was not a murder thriller, really. It’s a dark comedy of sort, actually. But that was brilliant, man.
With social media, it’s very easy to give out spoilers. So do you think that it’s also one of the reasons many filmmakers are not making murder thrillers that frequently?
A lot of people did raise the same question when we decided to do Badla. But tell me one thing, whenever we watch a love story, we know that the boy and the girl are going to meet at the end, but how they meet is why we watch films for. In Badla, the point is not who has done it. The point is how you get to know the person who has done it.
As we all know that Badla is an official adaptation of the 2017 Spanish film Contratiempo (The Invisible Guest). Has Sujoy Ghosh made any changes in the Hindi adaptation?
He has just filled up some loopholes. Sujoy had watched the film with hair-splitting accuracy. After watching it, he found a lot of loopholes, which he tried to fill up and made it very relatable to the Indian audience. You will understand when you see the film. You will not feel like you are watching the same movie.
Were you intimidated by Amitabh Bachchan this time also?
Even last time I was not intimidated by him. It was only on the first day that I was intimidated by him; but then I realised I had to switch off this button and I did that. And after that, there was no looking back. I have not touched that button ever since. It’s true that on the first-day shoot of Pink, I had faced several problems. But after that, I never felt intimidated by him.
Didn’t you feel bad about the fact that Shah Rukh Khan is not in the film despite it being his home production?
(Laughs). He might be there. You never know.
The original film was told from a man’s perspective, but here we see a woman at the helm of affairs.
I asked for that. Actually, I was supposed to do the girlfriend’s part. However, when I saw the original film and heard the script of Badla, I wanted to play the man’s part. And this led to the gender reversal of characters.
How did you convince Sujoy for that?
Actually, when this role was given to me, Sujoy was not locked. Nobody was locked. Besides me, the makers were pitching the same role to other actresses also. When producer Sunil Khetrapal approached me, I said to him that I would do it, but only if he gave me the man’s role. So he was like, ‘let me think about it. Let me discuss it (with other producers).’ After some days he came back and said, ‘okay, we are okay with that.’ After Judwaa 2 (2017), we have not seen you in any out-and-out mainstream commercial film. After Judwaa 2, the definition of mainstream has changed. Having said that, I do want to do those types of roles as well, but somebody should approach me first. I think there is a long queue of ladies who are much better than me to do such mainstream kind of roles.
Tell us, do you feel somewhere that Tollywood and Kollywood did not tap into your potential completely?
I think language plays a big part in deciding what types of roles are offered to you. While working here in Bollywood, I know that my command over language helps me so much in getting a role. A lot of people come to me just because they know my Hindi is so strong, which is not the case with many other actresses out there. The same applies to me when I work in south. But, now the story is totally different though. Now they approach me for some really interesting roles, maybe because the language is not really a big barrier for me now.
Big B has just completed 50 years in the Hindi film industry. Badla is going to be his first release in the 51st year. What do you have to say?
I am happy that I am a part of his those 50 years. How many actors get a chance to work with him twice from the present generation? So I feel I am very lucky.
What has been the most challenging role of your career?
The most challenging role of my career is just coming up with Saand Ki Aankh. I don’t know how I am going to do it and what is going to happen. (Laughs). I pray, god save me.
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.