
Shazahn Padamsee- Ashish Kanakia wedding: Bride-to-be to host a Broadway-inspired evening during pre-wedding festivities
Actor Shazahn Padamsee is all set to tie the knot with businessman Ashish Kanakia on June 5, and while their pre-wedding festivities are going to have traditional rituals like the haldi and sangeet, a source close to the couple reveals that they are planning a Broadway-inspired evening for one of their pre-wedding celebration.
'This celebration draws inspiration from Shazahn's father, the late Padma Shri Alyque Padamsee, and her family's legacy in Indian theatre. The event will be not just be a party, but a live musical celebration, paying a homage to theatre, and featuring retro performances in full Broadway-style,' the source shares, adding that the evening is being curated by Shazahn herself, in collaboration with her sister, producer Raell Padamsee, theatre director Quasar, and her mother.
The source further informs that their extended theatre family, some close friends and veteran artists from the stage, will be performing at the night. After tying the knot on June 5, Shazahn and Ashish will also host a grand wedding reception in Mumbai for their industry friends and family.
Shazahn and Ashish's love story began through a mutual friend who introduced them. While it took its sweet time, the couple began dating soon and got engaged in November 2024. Now they are set to get married on June 5.
The actor is known for her roles in films like Rocket Singh: Salesman of The Year, Dil Toh Baccha Hai Ji and Housefull 2. She was recently seen in Neil Nitin Mukesh and Jacqueline Fernadez-starrer web series Hai Junoon. As for Ashish, he is the CEO of MovieMax Cinemas and Director at Kanakia Group.
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News18
43 minutes ago
- News18
When A Maharani Regally Reminds About Real Vs Reel Royals
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Cinema in socialist India immortalised the trope of wicked, licentious feudal rajas, taluqdars and zamindars living off the sweat and tears of their suffering praja (subjects), taking advantage of poor women and spending lavish amounts on hunting, gambling, alcohol and any other debauched habit that screenwriters could conjure up. Now, with being rich becoming cool again in post-socialist, liberalised India, feudal scions are shown in fast cars with arm candy or flaunting gowns and jewels, albeit more in society and fashion magazines rather than on the silver screen. One point that the Netflix series gets right—but only superficially—is that many an Indian royal family is on skid row, and live sham lives of grandeur. Unfortunately, the plot is too thin to present a credible picture of their existential dilemma. For the uninitiated, despite India no longer recognising royal titles they flourish in private and tourist circles, especially in the latter as they validate 'royal hospitality' premium rates. Radhikaraje has painted a very saintly picture of our princely states' life under the British and then their accession to independent Bharat that Sardar Patel may have a few quibbles about, but overall she makes a valid point: they all work hard now, not rest on their, well, crown jewels. So, the life portrayed in The Royals is not true-to-life, even if it isn't meant to be a documentary, but a rom(p)-com about a playboy prince and a self-made hospitality industry diva. Even so, a modicum of understanding of royal protocol and relationships beyond 'khama-gani' and 'hukum', gaudily embellished mahals, bowing and scraping mustachioed-and-turbaned retainers, not to mention polo matches, racing cars and fashion shows, would have been welcome. Indian royals foraying into the hospitality sector with their palaces (in varying stages of grandeur and decay) leveraging the aura of their glittery past was a story that began in earnest soon after liberalisation. Three decades on, there is hardly a fort, palace, shikargah, haveli, villa or even cottage with royal links that have not become hotels, some with the former feudal owners still in residence, but most with professional managements who adroitly heighten the 'royal" experience. So the plot of The Royals—a hospitality professional seeks to turn a princely pile into a hotel where 'commoners" can have a taste of regal life in the midst of actual royals—is hardly new or earth-shattering. Equally clichéd is young Fizzy Morpur swanning around New York having affairs or modelling bare chested in some sunny and sandy locale. While some may think they know who Khattar's Aviraaj is based on, rich and reckless playboy princes simply don't exist anymore. Heirs to one-pistol salute 'states' like Morpur could not afford such layabout lives. Most scions of actual former princely states have pretty mundane day jobs now—tourism, marketing, politics—even if they do get to trot out the family regalia, swords and horse-drawn carriages for marriages and funerals. Very unlike a century ago when Indian 'rulers" (real power was mostly vested in the hands of their official British 'residents') and their excesses were the stuff of legend. From the late 19th century till 1947, the world's top couturiers, jewellers, vintners and carmakers beat a path to their palace doors to seek their custom. Though these rulers were cleverly called 'princes' and only had 'HH' or His Highness prefixed to their names rather than His Majesty—thereby keeping them below the British Royal Family and other European monarchies in the blue-blooded pecking order—maharajas paid a king's ransom to procure the world's finest goods. 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They do not necessarily reflect News18's views. tags : Bhumi Pednekar Ishan Khattar Netflix The Royals Location : New Delhi, India, India First Published: June 05, 2025, 14:14 IST News opinion Opinion | When A Maharani Regally Reminds About Real Vs Reel Royals


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