logo
Meet actress who wanted to become an IAS officer, one decision changed her life, made her debut with John Abraham, now rules on OTT, her name is…

Meet actress who wanted to become an IAS officer, one decision changed her life, made her debut with John Abraham, now rules on OTT, her name is…

India.com15 hours ago

This actress once dreamt of becoming an IAS officer and was deeply focused on academics, but destiny had a different path in mind. A single decision shifted the course of her life, taking her from textbooks to film sets. Her journey began with a powerful debut alongside a popular action star known for his intense roles. Though her entry into films was modest, her talent quickly found its place in the OTT world and now she has become a huge phenomenon in the industry. Actress Raashii Khanna
Here we are talking about actress Raashii Khanna, Rashi Khanna made her Bollywood debut in the 2013 film, Madras Cafe, where she starred with John Abraham, aiming to showcase her natural charm and commitment on screen. Later, she appeared with Nayanthara in the 2018 Tamil movie Imaikkaa Nodigal. Born on November 30, 1990, in Delhi, she graduated in English from Delhi University before entering the glamorous world of entertainment.
During an interview, Raashii Khanna shared that she originally wanted to be a singer but changed her focus to IAS exam preparations during her college years. Eventually, her journey led her to acting, a profession she had not initially considered. Before acting, Raashii worked as a writer at an advertising agency, then moved into modeling and later acting. Raashii Khanna's Notable Works
Today, Raashii Khanna has built a successful career in both South Indian and Hindi films, captivating audiences with her diverse performances. In addition to her film roles, she has also made a notable mark in the growing OTT industry, continually evolving as an artist. She has also appeared in well-known projects like Bengal Tiger, Jil, Sardar, Thiruchitrambalam, Venky Mama and World Famous Lover.
Recently, she has become recognized in the OTT space with shows like Farzi, where she starred with Shahid Kapoor, and the crime series Rudra: The Edge Of Darkness, featuring Ajay Devgn. The actress was last seen in the 2024 action thriller Yodha opposite actor Sidharth Malhotra and Disha Patani, helmed by Sagar Ambre and Pushkar Ojha.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Kamal Haasan, Vijay, Rajinikanth: When reuniting with old directors doesn't always guarantee a 'Nayagan' or 'Mersal'
Kamal Haasan, Vijay, Rajinikanth: When reuniting with old directors doesn't always guarantee a 'Nayagan' or 'Mersal'

Time of India

time22 minutes ago

  • Time of India

Kamal Haasan, Vijay, Rajinikanth: When reuniting with old directors doesn't always guarantee a 'Nayagan' or 'Mersal'

In the changing landscape of Tamil cinema, stars face a crucial decision in choosing a director for their next film. Reuniting with an old trusted director or teaming up with a new talent? This decision has the power to elevate or derail a star's journey. Both approaches have strengths, but audience expectations, story, and context determine success. The power and pressure of reunions Old alliances create a unique impact in Kollywood. Rajinikanth-Shankar collaborations like 'Sivaji' and 'Enthiran' have been record-breaking box office hits and have captivated generations. The Vijay-Atlee duo delivered 'Theri', 'Mersal,' and 'Bigil', creating a string of hits. But not all old alliances are successful. Kamal Haasan and Mani Ratnam 's 'Thug Life' failed to make the same impact as 'Nayagan' and faced criticism. This shows that old alliances often come under the pressure of expectations. Fresh director, fresh perspective There is a special charm when teaming up with a new director. Dhanush-Maari Selvaraj's 'Karnan' captivated audiences with a strong village story. Similarly, Rajinikanth-Karthik Subbaraj's 'Petta' impressed the audience by combining the superstar's old charm and new perspective. The vision and experience of a new director give an actor the opportunity to create new roles, which can take the star to new heights. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Thị trường có dấu hiệu suy thoái không? IC Markets Đăng ký Undo Reunions vs fresh collaborations Both approaches have their pros and cons. Teaming up with an old director is a strong friendship and understanding, and it also brings with it the expectations of the fans. But there is also the pressure to surpass previous successes. Meanwhile, the strength of teaming up with a new director is the opportunity to create a new vision, new storytelling opportunities, and an environment that faces new challenges. But there is also the risk of failure. Story matter most In the end, what matters more than which path is best is a good story, strong direction, and the actor's search for innovation. No matter which director you team up with, new or old, only if the story and character are conducive to the actor's development will that partnership create a breakthrough in Tamil cinema. When the needs of the times, the desires of the fans, and the strength of the story come together in one place, a star can use any path to success. 'Even if I work with Vijay or SRK, I treat every film like the first. New ideas matter more than familiarity', said Atlee in a public event post the success of 'Jawan'. 'Fresh stories and fresh teams excite me. It gives a chance to show a different side of myself' said Dhanush when team up with Mari Selvaraj for 'Karnan'. 'Reuniting with old friends like Mani Ratnam feels like going back home. But working with new talents reminds me why I fell in love with acting' said Kamal Haasan about his reunion with Mani Ratnam for 'Thug Life.' 'Kaithi 2': Here's how Lokesh Kanagaraj and makers plan on 'Kaithi's sequel A timeless truth: Good stories build legends In today's era, audiences expect the new and the old equally. Memorable stories, strong visuals, and the hard work of the actors are the key to a film's success. So whatever path a star chooses, it should be one that showcases their individuality and delights their fans. Whether the director is old or new, the core of that collaboration is a good story. A good story is what turns a star, a director, and a film into a memorable story.

'Umrao Jaan' Rekha shut down the red carpet in a gold-dripped anarkali-lehenga
'Umrao Jaan' Rekha shut down the red carpet in a gold-dripped anarkali-lehenga

Time of India

timean hour ago

  • Time of India

'Umrao Jaan' Rekha shut down the red carpet in a gold-dripped anarkali-lehenga

Rekha, the epitome of elegance, graced the Umrao Jaan screening in a custom Manish Malhotra ensemble, evoking nostalgia for her iconic role. Her traditional Indian attire, complete with a shimmering Banarasi dupatta and antique accessories, celebrated timeless craftsmanship. Rekha just reminded us why she'll forever be the undisputed queen of elegance. At the special screening of Umrao Jaan, she showed up looking like a walking, talking piece of art in a custom Manish Malhotra outfit that was dripping in old-school charm and pure glam. It wasn't just a red carpet moment, it was a full-on tribute to the timeless character she played in the iconic film, and honestly, it gave everyone a serious dose of nostalgia. Her look was all about celebrating Indian craftsmanship. Rekha wore a soft organza chikankari and badla anarkali kurta paired with a gold tissue lehenga, but the real scene-stealer was her Banarasi dupatta. Woven with real gold and silver zari, it shimmered like magic every time she moved. And of course, she twirled for the cameras because when you're Rekha, you don't just pose, you perform. Her accessories added to the drama in the best way possible. She had mogra flowers tucked into a sleek bun, an antique passa that made her look like royalty, oversized jhumkas, a stack of rings, and that signature golden potli bag. The bold red lipstick and a hint of sindoor? Classic Rekha, timeless and unapologetically herself. And let's not forget Manish Malhotra, who's clearly still head over heels in love with traditional Indian silhouettes, but knows exactly how to make them pop in a modern way. He showed up in a super cool fusion outfit—a black suit that was part tuxedo, part bandhgala, with mismatched buttons and white pants. Trust Manish to bring a little drama of his own to the event. The evening was packed with familiar faces too. From Aamir Khan and Tabu to Hema Malini and AR Rahman, the screening was basically a mini Bollywood reunion. Everyone came out to celebrate Umrao Jaan—a film that still holds up decades later, largely because of Rekha's unforgettable performance. In a world where trends come and go, Rekha's style is a beautiful reminder that grace, tradition, and a little sparkle will never go out of fashion.

Poetry's role in queer visibility: in conversation with Stephanie Burt
Poetry's role in queer visibility: in conversation with Stephanie Burt

The Hindu

time2 hours ago

  • The Hindu

Poetry's role in queer visibility: in conversation with Stephanie Burt

Stephanie Burt, the Donald P. and Katherine B. Loker Professor of English at Harvard University, has edited a new, remarkable anthology titled Super Gay Poems: LGBTQIA+ Poetry after Stonewall (Belknap Press/ Harvard University Press). Each of the 51 poems in this collection is followed by lucid, reflective, and insightful commentary by Burt, who sheds light on the transformation of queerness over the decades since 1969, the year of the Stonewall riots, which marked an important chapter in the history of the gay rights movement both in the U.S. and across the world. In this interview, Burt shares not only the motivation behind collating this work but also discusses how the poems in this collection illuminate the shared queer futures that one had imagined ever since Stonewall, that quintessential moment in the history of transfeminism. Edited excerpts: Q: Anthologising is as much an art of record-keeping and celebrating, as it is of making selections based on constraints. What are some of the challenges you faced in putting together this book? A: As with most such projects, I ended up sad about the poems and poets I had to leave out. Maybe that sadness ended up as the biggest challenge. In practical terms, I had to work to catch up with the eras and kinds of LGBTQIA+ poetry written and published before I was old enough to read it, during the 1970s and 1980s, to ensure I had not left out anything crucial. A few discoveries startled me, because in a just world, I would've known all about them already: Melvin Dixon, for example. Not so much a challenge as a lot of work I knew I'd have to do, and a lot of work I loved doing: finding more poems and poets written and published entirely outside the U.S. alongside poems about international diasporic experience. Stephanie Dogfoot (Stephanie Chan) is another example. Q: Given that these poems were written at a time when the world was more difficult to negotiate as a queer or trans person, I could see the secretive codes in which several poets told their histories, transforming acts of violence and lovelessness into literary devices. Your views? A: You're not wrong, although the closet, the maintenance of open secrets, and the need to protect an identity probably had much more influence on the queer poetry written beforeStonewall — on the generations of Hart Crane, W.H. Auden, [and] perhaps Langston Hughes. Super Gay Poems begins with a Frank O'Hara poem ('Homosexuality'), published only in 1970, about queer lives as open, easily detected, and supposed secrets, about the risks that we take in order to feel loved. The next poem after that one (Judy Grahn's 'Carol, in the park, chewing on straws') has to do with coming out, with watching a lesbian announce, unmistakably, the shape of her life. Wonderful poems can arise from fears and codes, but also from self-disclosure and pride. Q: Can you reflect on the legal pushback against queer and trans people, the campaigns to take away their rights, and how the written word, poetry in particular, stands as a resistive force towards them? A: The farther we go, the more visible more of us get, and the clearer it gets — to cisgender people, to straight people, to people in or near positions of power — that we're just living our lives, that we can't go back, that we're not a threat to them … [and] the harder it gets for sociopaths, bigots, and opportunists to hurt us. Cisgender gay adults found legal protection in the U.S. after they found some cultural acceptance because people in power knew gay men and lesbians personally. It's one thing to outlaw a scary weird 'other'. It's quite another to tell your sister, your daughter, or your best friend's wife that you want to pass laws that could make them miserable, expose them to violence, or (especially in the case of trans children) kill them. I do think more visibility, sooner, helps keep us safe. Literature, writing, and poetry — the shortest and most easily circulated of all literary kinds, maybe of all the art forms — have a part to play in that visibility. It shows us that we've got a history. That we're not just a trend. That we're certainly not alone. The interviewer is a Delhi-based queer writer and cultural critic. Instagram/X: @writerly_life

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store