Has Tara Sutaria moved on with Sky Force star Veer Pahariya after Aadar Jain? Netizens say ‘if they get married…'
Bollywood celebrities usually keep their relationship status low-key, hiding it from the public eye. But every now and then a star couple proudly walks around hand-in-hand, serving as a breath of fresh air for netizens. Former love birds Tara Sutaria and Aadar Jain were one such jodi. Until they parted ways in 2023, ending their four year long relationship. Earlier this year, Aadar got married to his 'first crush' and entrepreneur Alekha Advani in a grand wedding, which was attended by the entire Kapoor Khandaan including Ranbir Kapoor, Alia Bhatt, Karisma Kapoor and Kareena Kapoor Khan. Well, rumours now suggest that Tara has also moved on.
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According to buzz on social media, Tara Sutaria is reportedly dating Veer Pahariya, who began his journey in Bollywood as an actor this year with Akshay Kumar's film Sky Force. The two had walked the ramp together in March as showstoppers for the 2025 Lakmē Fashion Week and were recently snapped coming out of the same restaurant, probably after dinner together. This comes as an interesting development because just a few weeks ago rumours suggested that Tara was in a relationship with rapper Badshah whereas Veer was reportedly courting Manushi Chhillar during Anant Ambani and Radhika Merchant's wedding celebrations. Guess they were just rumours then?
Well, some netizens are here for it! Talking about possible wedding bells in the future, one social media user stated, 'On the bright side if they get married she only needs to change 60 percent of her surname,' whereas another joked, 'Sutaria and Pahariya ? Yeh kya horiya ? I'll show myself out…' Referring to Veer's brother Shikhar Pahariya's girlfriend Janhvi Kapoor, a netizen shared, 'imagine janhvi and tara as sister in laws lmao.' Then there were fans who cracked jokes in reference to Veer's viral langdi step from his debut film. One such comment read, 'What is this Tara?!?! Just cos he did langdi dance around you doesn't mean you date him,' while another netizen shared, 'He got his langdi partner.' A social media user also stated, 'Average date night: Main toh rang gaya rang tere baanware, Jaaun sadke tihaare mere saanware, Ho main toh jhoom jhoom ke gaau re, Main toh jhoom jhoom ke gaau re.'
Meanwhile, there were some who wondered if these dating rumours were a PR stunt. A comment read, 'Relax guys movie aa rahi hogi dono ki,' whereas another wrote, 'I think they have an upcoming film together. Feels like just a stupid PR stunt. But if it's true, Tara's taste in men is just… eww 🤢🙏🏻.'
We'll just have to wait for Tara and Veer to confirm!
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But the balance sheet of love and hate does not even out – it was ultimately too difficult for me to look past the reality of class segregation, patriarchy, materialism and ecological catastrophe. As Brahm Saxena implies right at the start of the novel, Delhi ought to have been the greatest city in the world. You have also subtly been able to interrogate masculinity, especially modern Indian masculinity, through characters like Rohit, Kunal, and even Brahm Saxena to an extent. What were you trying to uncover about how men relate to legacy, failure, and self-worth? Rohit and Kunal are not meant in any sense as representatives or exemplars. There are many kinds of Delhi or Indian masculinity – look at the evolution of someone like Virat Kohli, who used to be thought of as the archetypal macho West Delhi man, and ended up as perhaps India's most influential advocate of the importance of fatherhood. I wasn't trying to uncover anything about men, or Indian men, in general, through Rohit, Kunal or Brahm. Kunal and Rohit are responding to what they see as threats – the threats posed by their sisters, and by the values of feminism, as well as (although this is explored less directly in the novel) the potential threat of men from less-privileged backgrounds who are more driven. India is more unequal than ever, but the English-speaking south Delhi elite is in some ways less protected than it was before 1991. At some point in the book, Brahm Saxena's character and narrative arc made me wonder: Can someone be good without being useful? And in a deeply compromised world, is moral clarity enough? Were you also consciously grappling with these kinds of ethical questions while writing the novel, in how you shaped your characters, what they stood for, and the story you wanted to tell? These questions are above the pay grade of not just this novelist, but of novelists in general. We dramatise ethical dilemmas, but the point is to show life is or might be lived, not to arrive at generalisable moral claims or precepts. Interviews – and, increasingly, reviews – tend to focus on the moral and political content of novels, to mine them for lessons or controversy. That's appropriate to the form of the interview, which, after all, is meant to be of interest to someone who hasn't read, and may never read, the book in question. I don't mean to diminish the importance of these matters – but they tend not to be top of mind, at least not for me. What is top of mind are not ethical questions, but aesthetic ones – matters of form, above all, prose. Prose is of such primary importance to writers – but we find ourselves reviewed and interviewed with almost no reference to style or form. That is not a complaint; just a reflection on how different the experiences of writing a book and talking about it are. Staying with Tara for a moment, I found her perspective to be particularly fitting for the story you've told. At the same time, I couldn't help but notice how she vocal she is on being self-righteous and yet her actions, such as distancing herself from 'feminist lawyers', activist causes, amongst others, often seem to fall short of the ideals she claims to uphold. What does this ambivalence say about the pressures on women who 'succeed' within the system but are also expected to critique or resist it? I'm not sure that I agree that Tara is 'vocal on being self-righteous'. She certainly can be self-righteous, but at the same time, as her father's daughter, I suspect she would reject the label. Her decision not to become a certain kind of lawyer is down to her awareness of trade-offs. Again, she would disclaim the label, but many people would say that Tara is in fact ambitious. I see her as someone who is morally serious – that is to say, she thinks seriously about moral questions – but not as any kind of earnest 'do-gooder' who, when confronted by a trade-off, always takes the high road even when that means giving up something of value. To your final question – Tara, as I see her, is more committed to succeeding within the system – on her terms – than to critiquing it, except in private. Many moments and instances in the novel seem to resist a resolution as characters choose uncertain paths, and readers are left sitting with open questions. Is this refusal to tie things up a conscious choice? Do you see ambiguity, much like our lives, as a more honest form of storytelling? I don't know if it is more honest, but it is what I prefer, both as a writer and a reader. I love the fact that fiction is a collaboration between writer and reader – that every reader can make up their own mind about whether or not, at the end of Henry James' Portrait of a Lady, Isabel Archer is really going to go back to Osmond. In the case of The Tiger's Share, some of the lack of resolution has to do with the fact that lives are not lived, and ethical questions not resolved, in the abstract. Tara decides that she cannot choose based on moral principles alone, but has to also consider what her choice means for her relationship with her mother. What conversations do you hope this novel sparks – in families, among readers, or in public discourse? If you had to sum up the message in one sentence, would would it be? This is, as your previous question implies, not a didactic novel: it has no message. Of course, I'd be thrilled if it sparks conversations about inheritance, or how to recover idealism, or how to stop and begin to reverse the destruction of our ecology, but it is a novel, not a work of social and political commentary, and I hope it is read that way.
