Who is Sara Ali Khan's rumoured boyfriend Arjun Pratap Bajwa? From Assistant Director to Indie musician
Tired of too many ads? go ad free now
But who is Arjun, the low-key talent suddenly in the spotlight? From working behind the scenes in Bollywood to making waves as an indie musician, here's everything we know about Sara's rumoured beau.
All-rounder
Arjun is a multi-hyphenate talent—actor, indie musician, and martial arts enthusiast—with a strong political background. He is the son of Fateh Jang Singh Bajwa, Vice President of the BJP in Punjab. Though not widely known in mainstream Bollywood, his journey reflects a mix of creativity and discipline.
From behind the camera to center stage
He began his film journey behind the camera, working as an assistant director on projects like Singh Is Bliing (2015), before making his acting debut in Band of Maharajas. He's also established himself as an indie musician, with original tracks like Thinkin' Bout You, Hellcat, and Enroute, and a notable collaboration on the fusion single Parda with Tech Panda & Kenzani.
Rising presence on social media
A fitness enthusiast and martial arts devotee, Arjun often offers glimpses of his active lifestyle on Instagram, where he has over 60K followers. His growing industry presence is reflected in his follower list, which includes names like
, Bhumi Pednekar, Harnaaz Kaur Sandhu, and Ridhima Pandit.
While dating rumours with Sara Ali Khan continue to swirl, neither has confirmed the speculation—though their recent public outing has only fueled curiosity further.
Meanwhile, Sara Ali Khan has also been making time for family. She was recently spotted supporting her brother, Ibrahim Ali Khan, at the release of his debut film Sarzameen. Directed by Kayoze Irani, the OTT film also features
and
in key roles.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Wire
5 hours ago
- The Wire
Is India Going Through a Humour Crisis?
Culture Rahul Bedi Light-hearted joviality in offices is now policed for tone and political correctness, while in schools and colleges, humour amongst peers is more guarded and cautious, lest it be misconstrued. Chandigarh: Once known for its earthy wit, street-smart repartee, irreverence and instinctive ability to laugh at itself, Indian society today seems trapped in a growing humour deficit in its daily life. What was once casual banter till India's mid-adulthood, when humour was taken for granted, is now forensically dissected for imagined slights; witticisms and jokes risk being misconstrued as insults, provocations or veiled political statements, banter triggers offence, and satire is increasingly being labelled as sedition. Once a pressure valve for public frustration in drawing rooms, WhatsApp groups, comedy clubs or editorial cartoons, humour is now a potential trigger for outrage. Telling jokes at chai stalls, in drawing rooms and at addas across urban India, leg-pulling among friends, witty retorts in crowded buses, even irreverent mocking of netas and babus were markers of a society that did not take itself too seriously and was capable, in ample measure, of laughing at itself. Sadly, that's history. Light-hearted joviality in offices is now policed for tone and political correctness, while in schools and colleges, humour amongst peers is more guarded and cautious, lest it be misconstrued. Even in the privacy of homes, it often fails to even register, as elders and youngsters no longer share cultural references or tolerance levels, and the fear of saying the 'wrong thing' outweighs the unadulterated joy of shared spontaneous laughter. 'They (the authorities) have criminalised being funny,' stand-up comedian Kunal Kamra declared in an interview with The Wire in 2020, whilst the late celebrated cartoonist R.K. Laxman earlier declared that his 'Common Man' was silent and no longer amused. He was afraid to laugh in case someone got offended, he declared in the early 2000s. Stand-up comic Vir Das put it a little more starkly, following a severe backlash to his droll 'Two Indias' monologue at the Kennedy Centre in Washington in 2021. He tweeted that Indians were not losing their sense of humour, but that it was being taken from them (by officialdom), one complaint at a time. Other pro-establishment celebrities, however, argued that limits were both necessary and justified. Actor and BJP MP Kangana Ranaut, for instance, has frequently asserted that comedy should not be centred on criticising the country or its culture. That's not humour, she has said, but mockery under the guise of liberalism. Similarly, television anchor Sudhir Chaudhary contends that some comedians today used freedom of expression to promote ideological agendas. 'That's not freedom – it's propaganda through jokes,' he has stated. Meanwhile, the public space for irreverence, rather than being a means to poke fun at power or question state absurdities and corruption, has become a highly risky business, especially if it strays a little beyond the anodyne in a politically polarised environment. Even feeble attempts at lampooning authority or officialdom runs the risk of being greeted with vicious trolling, First Information Reports (FIRs) or incarcerations and in many instances, all three. The shift in humour from droll to dreary has been further eroded by the omnipotent online culture that provokes and rewards anger. In this tectonic shift, social media has replaced spirited street-corner banter with sanitised, filtered jokes, where 'likes' have become trophies of what passes for humour and mirth. Often, a harmless comment, stripped of context, can trigger a storm, robbing it of its intended spontaneity, mischief, and cordiality. The resultant humour remains cautious, sterilised, and often dull, reduced to safe subjects and recycled tropes, much like German jokes, which 19th century American writer and humourist Mark Twain said were no laughing matter. Real satire – one that poked fun at the powerful, questioned societal hypocrisies and norms, or exposed cultural absurdities – was near extinct and irreverence was no longer celebrated or encouraged, particularly in the formal electronic or print media. Alongside, the language of humour itself across urban India had narrowed, where largely Hinglish 'vegetarian' jokes lacked the knock-out punch of robust Punjabi ones from yesteryears, a wicked Malayali comeback or even a sly Tamil pun. A plethora of hilarious Punjabi jokes from countless impromptu gatherings in my youth – with their earthy punch and saucy irreverence – still linger as iconic, endlessly amusing memories, though now retold sotto voce. These gems were joyfully embellished over the years by generations of wickedly witty Punjabis, each adding their own quirky, risqué and deliciously inventive twists, turning simple jokes into sagas of mischief and social insight. Many carried pleasurably imaginative and bizarre plots, often laced with sharp social commentary reflective of their times. They weren't just jokes – they were mini-performances, a joy to recount, and an even greater pleasure to hear and relish. But, unfortunately, what was once shared freely is now whispered, the laughter tempered but not entirely silenced. These days, some of us greybeards diffidently ask – or are asked in return – 'Heard any genuinely funny new ones lately?' The standard answer is largely a sheepish 'No'. But in apologetic defiance, many of us reach defensively for their cell-phones to read out a recycled joke or to forward one via WhatsApp which has become today's ultimate humour crutch. And though fleetingly mirthful, this form of humour remains impersonal – a dehumanised, utilitarian exercise that misses the tone, tenor, body language, and above all, the theatricality accompanying a well-told, and at times, even the not-so-good joke. Doubtlessly, this WhatsApp substitute robs the moment of its pitch, spectacle, warmth and the vital human connection that only live, personal storytelling can evoke. Impersonally e-mailing jokes or circulating them via social media is the easier, more practical and lazier amusement alternative. Even stand-up comedy emerges like a poor substitute, part of the larger subcontracting syndrome in a world where, at a personal level, we're becoming more dour than droll, more reverential than refreshingly irreverent. Regrettably, our drift into this digital sphere has, for audiences, disappointingly put paid to raucous, thigh-slapping guffaw sessions, accompanied by gleeful shrieks and high fives as delightfully bawdy and lesser-rollicking jokes and irreverent tales surged at riotous gatherings years earlier. As an ageing humourist amusingly put it, these extravagant, albeit involuntary reactions of several generations of now aged Indians, erupted like a shaken soda-water bottle or beer can – sudden, loud and delightfully messy. These sessions were not only therapeutic and salutary, but even years later, hugely memorable. But to make matters worse, even unimpeded laughter, from the belly outwards, is now carefully rationed, considered impolite. In our age of curated seriousness, genuine, unfiltered mirth is decidedly frowned upon in polite company, and from being the accepted and desired norm in yesteryears, such riotous jollity is fast becoming the exception. It's also an indisputable fact that, as a people, most Indians tend to take themselves far too seriously – hobbled by an ancient caution, or perhaps superstition, that gratification in any form, especially laughter, is sinful or somehow licentious. Then there's that age-old statutory warning we've all grown up with: laugh too much, and providence will balance it out by making you cry just as hard. This inherent deterrence, combined with our increasingly overwrought, politically correct, uptight and terminally self-absorbed and politicised society, has brought us to a strange inflection point where most people have wilfully taken to gagging the gag. However, alternately, albeit often overlooked, there exists a seamy and unpleasant layer of humour – the scatological, slapstick and lowbrow strain that relies on bodily functions, sexual innuendo and crass exaggeration to appeal to our most basic instincts. This genre, often dismissed as crude, persists in limited quarters as it triggers instant, unfiltered laughter which appeals directly to raw emotion. And yet, in this growing humourless wasteland, all is not lost. Shades of the Indian sense of humour still endure in pockets: in memes, in regional comedies, in political cartoons that survive despite the risk, and most refreshingly, in rural India. In small towns, roadside dhabas, village squares, and paan -stained tea stalls, wit still remains earthy and spontaneous. Jokes here aren't merely told – they're enacted, lived and passed on like erstwhile oral tradition. Relatively free, for now, from the anxieties of self-censorship and political pressure, rural humour remains uncurated, unselfconscious and to some extent, relatively intrepid. But the everyday casualness with which humour was once exchanged – without fear or consequence – has faded, possibly permanently. Reclaiming that ease will not only necessitate rebuilding societal tolerance for disagreement, but also shedding hypocrisy and acknowledging our foibles and collective public infirmities. This remains essential; for when people fear to laugh in public or edit their witticisms before they speak, that society is not just cheerless, but has lost its soul. The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
India.com
18 hours ago
- India.com
71st National Film Awards: Sudipto Sen bags Best Director Award for The Kerala Story
At the 71st National Film Awards, Sudipto Sen was honored with the Best Director award for his film The Kerala Story. The movie features Adah Sharma in the lead role, supported by Yogita Bihani, Sonia Balani, and Siddhi Idnani. Sharma portrays Shalini Unnikrishnan, a Hindu woman from Kerala who undergoes a harrowing transformation after being coerced into converting to Islam and joining the Islamic State. What is the storyline? The Kerala Story delves into controversial narrative of young women from Kerala being radicalized and recruited by extremist groups. The film presents dramatized account of Shalini's journey, highlighting the psychological manipulation and exploitation she faces. While the filmmakers claim the story is based on real events, critics have challenged its authenticity, noting a lack of concrete evidence to support the depicted scenarios. What were the controversies that surrounded The Kerala Story? The film's release sparked widespread debate, with supporters lauding it for shedding light on issues of national security, while opponents criticized it for promoting Islamophobic sentiments. The ruling Bharatiya Janata Party (BJP) endorsed film, with some states even making it tax-free, whereas opposition parties and civil society groups raised alarms over its divisive content. How was the box office reception? Upon its release, The Kerala Story achieved remarkable box office success, grossing over Rs 200 crore in India, which was made under Rs 15-20 crore. These numbers underscored the film's ability to engage audiences with its bold and heart-wrenching approach. However, movie faced bans and protests in certain states, including West Bengal and Tamil Nadu, due to concerns over its potential to incite communal tensions. The film also led to a legal battle, due to which the Supreme Court mandated disclaimers clarifying the fictionalized nature of the story and the lack of verified data supporting its claims. More about The Kerala Story Apart from lead stars, the supporting cast includes Benedict Garrett, Pranay Pachauri, Vijay Krishna, and others, who play critical roles in shaping the film's emotional and ideological tension. The film is currently streaming on Zee5 and has received IMDb rating of 6.9. More about 71st National Awards In addition to Sudipto Sen's accolade, the 71st National Film Awards recognized several other notable contributions to Indian cinema. 12th Fail was awarded Best Feature Film, with Vikrant Massey sharing the Best Actor award alongside Shah Rukh Khan for Jawan. Rani Mukerji received Best Actress award for her role in Mrs. Chatterjee vs Norway and Rocky Aur Rani Kii Prem Kahaani was honored as the Best Popular Film Providing Wholesome Entertainment.
Time of India
a day ago
- Time of India
Farm protest remark: Kangana Ranaut's plea dismissed; Punjab and Haryana HC allows defamation trial in Bathinda court to proceed
A file photo of BJP MP Kangana Ranaut. CHANDIGARH: In a major setback to actor-turned-MP Kangana Ranaut , the Punjab and Haryana high court on Friday dismissed her plea for quashing the summoning order issued against her by a local court in Bathinda in a defamation case. 'There are specific allegations against the petitioner who is a celebrity, that false and defamatory imputations by her in the retweet have dented the respondent's reputation and lowered her in her own estimation, as also in the eyes of others. Therefore, filing of the complaint to vindicate her rights cannot be termed mala fide,' the HC has observed in its detailed order. The HC further observed that the magistrate has duly applied mind to the material on record, and only after recording satisfaction that commission of offence under Sections 499 IPC is prima facie made out against the petitioner, the process has been issued. With this, she has to face the trial before the local court in Punjab. Justice Tribhuvan Singh Dahiya passed these orders while dismissing the plea filed by Kangana. The defamation complaint against her was filed by Mahinder Kau (73) of Bahadurgarh Jandian village in Bathinda district, alleging that Ranaut had defamed her in a tweet by identifying her wrongly as Bilkis Bano of Shaheen Bagh fame and implying that such women could be hired to protest for Rs 100. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Up to 70% off | Libas Purple Days Sale Libas Undo The tweet, which was later deleted, targeted Mahinder Kaur during her participation in the farmers' agitation at Delhi's borders. On Feb 22, 2022, Bathinda judicial magistrate had issued summons asking Kangana to appear before the court. Aggrieved to the lower court order, she had approached the Punjab and Haryana high court contending that the trial court had misapplied Section 202 of the Code of Criminal Procedure.
