logo
The fake poster shows Aamir Khan as Guru Nanak; the official spokesperson slams it as "completely fake and AI generated"

The fake poster shows Aamir Khan as Guru Nanak; the official spokesperson slams it as "completely fake and AI generated"

Time of India28-04-2025

(Picture Courtesy: Facebook)
Aamir Khan
's team has firmly denied any involvement with a controversial
AI-generated poster
and teaser falsely depicting the actor as
Guru Nanak
Dev Ji.
Fake poster sparks outrage
The situation escalated after a fake YouTube channel impersonating a popular music company circulated the fabricated content, sparking outrage.
by Taboola
by Taboola
Sponsored Links
Sponsored Links
Promoted Links
Promoted Links
You May Like
Invest $200 in Amazon without buying stocks to earn a second salary
Marketsall
Sign Up
Undo
According to the Bhaskar English website, Pritpal Singh Baliawal complained to the
SGPC
(Shiromani Gurdwara Parbandhak Committee), describing it as a "deliberate conspiracy to provoke the Sikh community and disrupt religious harmony."
'It's completely fake and AI-generated'
An official statement from Aamir Khan's spokesperson clarified, "The poster showing Aamir Khan as Guru Nanak is completely fake and AI generated. Aamir Khan has no connection to any such project. He holds the highest respect for Guru Nanak and would never be part of anything disrespectful. Please don't fall for
fake news
."
Hania Aamir Out of Indian Film
Reportedly Pritpal Singh Baliawal urged the Punjab Police, Cyber Cell, and national security agencies to trace the IP and MAC addresses of those behind the incident, demanding swift arrests and criminal action. He also called upon Aamir Khan Productions to "immediately publicly condemn this fraud" and clarify their non-involvement.
SGPC Chief Advocate Harjinder Singh Dhami has also been urged to take strict legal action. With religious sentiments at stake, the call for accountability grows stronger as the fabricated content continues to be widely condemned.
Teaser marked with the disclaimer "Fan-made content"
Meanwhile, the teaser itself, clearly marked with a disclaimer, states it is "prepared for entertainment purposes only," asserting that it is "fan-made content" with "no official association to any production house, actor, or studio." Despite the disclaimer, the doctored visuals, showing Aamir Khan digitally altered to resemble Guru Nanak Dev Ji, have fueled public anger.
On the work front, Aamir Khan was last seen in the drama movie 'Laal Singh Chaddha' and is gearing up for 'Sitaare Jameen Par' which is set to release on June 20.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Who will inherit Amitabh and Jaya Bachchan's wealth, Abhishek or Shweta? The star couple says...
Who will inherit Amitabh and Jaya Bachchan's wealth, Abhishek or Shweta? The star couple says...

Mint

time6 minutes ago

  • Mint

Who will inherit Amitabh and Jaya Bachchan's wealth, Abhishek or Shweta? The star couple says...

Amitabh and Jaya Bachchan, the iconic star couple, have reportedly made a major decision about who will inherit their wealth – son Abhishek Bachchan or daughter Shweta Bachchan Nanda. Amitabh and Jaya tied the knot on 3 June 1973 and have recently celebrated their 52nd wedding anniversary. The power couple, who have long been icons of Indian cinema, are believed to have outlined a clear succession plan for their family wealth to ensure a smooth transition for future generations. In an old interview with Rediff, Amitabh Bachchan revealed that he and Jaya have a clear stance on how their assets will be divided among their children. BigB shared that the couple wants to divide their assets'equally' between their son and daughter. 'When I die, whatever little I have will be divided equally between my son and daughter. There will be no difference,' the veteran actor said, adding that they had decided this years ago Addressing daughter Shweta's share in his property, Amitabh Bachchan said that he believes that she has equal rights as Abhishek, despite the norms of Indian society. 'Everyone says that a girl is someone else's wealth. She goes to her husband's house, but in my eyes, she is my daughter, who has equal rights as Abhishek,' he said. In 2023, the veteran actors gifted Shweta their lavish Juhu bungalow, Prateeksha, worth at least ₹ 50 crore. According to the election affidavit Jaya Bachchan filed in February 2024, the Rajya Sabha MP's net worth was ₹ 1.63 crore for 2022-23. The affidavit also mentioned that her husband, Amitabh Bachchan's net worth was ₹ 273.74 crore for the same year. The Bachchan couple's combined movable property has been valued at ₹ 849.11 crore, while the immovable property amounts to ₹ 729.77 crore. This means their combined assets are over ₹ 1,578 crore. Meanwhile, according to the Hurun India Rich List 2024, Amitabh Bachchan and his family's assets are valued at ₹ 1,600 crore.

Director Shiladitya Bora forays into Odia cinema with 'Bindusagar'
Director Shiladitya Bora forays into Odia cinema with 'Bindusagar'

Time of India

time12 minutes ago

  • Time of India

Director Shiladitya Bora forays into Odia cinema with 'Bindusagar'

(Picture Courtesy: Facebook) Film director-producer Shiladitya Bora on Thursday announced his foray into Odia cinema with an upcoming film, titled "Bindusagar". Featuring popular Odia actors Prakruti Mishra and Dipanwit Dashmohapatra, the family drama is directed by Abhishek Swain , best known for his acclaimed 2024 movie "Jajabara 2.0". Bora, known for films like "Picasso" and "Yours Truly", said he aims to take Odia cinema all over the world and hopes the film will resonate with people everywhere. "Odisha is producing some fantastic content in recent times; however, it's still underexposed to the audiences across the world. The Odia film industry is on the verge of breaking out, and we want to be one of the early movers when that happens. "We want to make a film that will appeal equally to the youth, the working class, as well as to the Odia diaspora living overseas. 'Bindusagar' is our vision of 'Made in Odisha, for the world," Bora said in a statement. "Bindusagar" is produced by Bora's banner Platoon One Films along with Vinay Reddy, Shubho Shekhar Bhattacharjee (Boundless Blackbuck Films) in association with Nikhil Chaudhry MDC Filmworks. Shot in Odisha and London, "Bindusagar" is billed as a story of love and tradition. "When a young woman's quest to discover her roots intersects with a grieving father's journey to faith, they find redemption and purpose in the ancient city of Bhubaneswar," the official logline of the film reads. Swain expressed gratitude to Bora for backing "Bindusgar" and hoped that the movie will turn out to be a "game changer" for Odia cinema. "Platoon One's entry can be a game changer for Odia cinema. With their deep understanding of local content for global audiences and distribution bandwidth, 'Bindusgar' may turn out to be the first truly global Odia film. We are super excited about the prospect of taking our film, culture and music to audiences worldwide," the director said. Also starring Robin Das and Satya Ranjan, "Bindusagar" will release in December this year.

How Dilip Kumar let it all out on the screen
How Dilip Kumar let it all out on the screen

Mint

time12 minutes ago

  • Mint

How Dilip Kumar let it all out on the screen

By the time Indian cinema entered its classical phase in the late 1940s, Dilip Kumar had completed his self-discovery as an actor to a large extent. The basic features of his hero were earmarked: an introvert who had been wronged, takes it to his heart and generates a complete catharsis of a whole range of emotions. He portrayed the search for an ideal self—one proclaiming true emancipation through love but desires it to be materialized only in a just society; and as that is not possible in actual reality, the self has to perish to validate this idealized conviction. The actor, in fact, represented the popular novelist Sarat Chandra Chattopadhyay's model of a vulnerable, self-destructing hero in Bengali literature. Several of his films depicted Dilip Kumar as an unrequited lover seeking a kind of liberation from the unjust world through a prolonged internalized suffering (often ending in death) as seen in S.U. Sunny's Mela, S.K. Ojha's Hulchul (1951), Nitin Bose's Deedar and Gunga Jumna (1961), Ram Daryani's Tarana (1951), Bimal Roy's Devdas, S.U. Sunny's Uran Khatola (1955), Hrishikesh Mukherjee's Musafir (1957) and K. Asif's Mughal-e-Azam (1960). In contrast, he, during this phase, was also seen in somewhat morbid anti-hero characters such as in Shaheed Latif's Arzoo (1950), S.U. Sunny's Babul, Mehboob Khan's Andaz and Amar, and R.C. Talwar's Sangdil (1952). Explaining the roles Dilip Kumar played in most of his films right through the 1950s, Nikhat Kazmi says: '[He] always opted for internal emigration as a course of action. This was a great escape. A voyage into the unknown, which is undertaken not because one is enticed, but because one is disgusted by something. In his iconoclasm, he represented a rebellion that was akin to that of the Bohemians of Baudelaire's age. He was like the group of desperadoes who tried to break away from the nice and easy positivism of bourgeois society. Charles Baudelaire, Verlaine, Arthur Rimbaud, Paul Gauguin, Van Gogh were the tramps, the heavy drinkers and the unrivalled artists who chose to destroy everything in themselves that may be of no use to society, who raged against themselves too. For them and for the hero as immortalized by Dilip Kumar, happiness itself was something that is banal and vulgar. In a letter of 1845, addressed to a friend, Baudelaire writes: 'You are a happy man, I feel sorry for you, Sir, for being happy so easily. A man must have sunk low to consider himself happy.' However, Dilip Kumar never wanted to sink so low. On the contrary, he doggedly sought nobility in sorrow and imbued it with a romanticism that lingers even today." Remember his famous dialogue from Devdas: Kaun kambakat hai jo bardasht karne ke liye peeta hai, main to peeta hun ki bas saans ley sakun (Which wretched person drinks to tolerate, I drink so that I can at least take a breath.) No wonder, the world of acting often ushers performers into the limelight, where performance anxiety can run high. The stakes are elevated, and heart rate may surge. Surprisingly, sometimes this stress can become a catalyst for improved performance, embracing the concept of positive stress in challenging situations. However, a more complex challenge arises when method actors choose to inhabit their characters beyond the stage or camera's lens. As they tap into past emotional experiences, whether joyful or traumatic, unresolved emotions can linger. This emotional baggage may manifest as heightened emotional instability, intensified anxiety, fear or even a sense of falsehood, accompanied by bouts of acute sleep deprivation. Such emotional turbulence can pave the way for psychological distress, leading to emotional fatigue. According to experts, this emotional fatigue often arises when actors create dissonance between their actions and authentic feelings. Research indicates that when method acting is employed judiciously and with proper emotional regulation, it need not lead to excessive fatigue. The key lies in striking a balance between immersion in the character and the ability to resurface, ensuring a harmonious coexistence of art and emotional well-being. Dilip Kumar's profound commitment to his roles and his deep involvement with the character he portrayed, in film after film, at that stage of his career, led to serious psychological issues, so much so that he had to consult a psychiatrist in England. The advice given was simple: switch to comic roles, which he did with aplomb and poise! His consummate performances in S.M.S. Naidu's Azaad (1959) and S.U. Sunny's Kohinoor (1960) in a carefree, jovial and jaunty manner revealed how he could move from one genre to another with remarkable ease and finesse. However, later in A. Bhim Singh's Gopi (1970) and Tapan Sinha's Bengali film Sagina Mahato (1970), Sagina in Hindi (1974) and Asit Sen's Bairaag (1976), Dilip Kumar attempted to introduce some new elements in his acting style, though not always with much success. He designed his comedy through an over-talkative, one-track mind and as an obsessed simpleton who was a victim of the circumstances, but unlike his earlier roles, he did not internalize his suffering; he responded to it with a sense of simplicity, quite the same way Raj Kapoor did in film after film. He also improvised his mannerisms spontaneously to depict the character he was portraying on the screen such as repeatedly jerking his head and clinking his eyes. However, the audience did not take to it... Dilip Kumar's second innings began with the 1981 multi-starrer Kranti by Manoj Kumar followed by Ramesh Sippy's Shakti. Eight films followed through the 1980s and another three in the 1990s, in which Dilip Kumar made his presence felt with his individualistic stamp and authority. These films included Subhash Ghai's Vidhaata (1982), Karma (1986) and Saudagar (1991), Ravi Chopra's Mazdoor (1983), and Yash Chopra's Mashaal (1984), not of course counting the 1998 Qila by Umesh Mehra, which was a complete dud... Excerpted with permission from The Man Who Became Cinema: Dilip Kumar, published by Penguin Random House India. Also read: 'Jungle Nama': A thrilling play for children reimagines the myth of Bonbibi

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store