
‘Saiyaara' fever: UP Police issues quirky road safety post featuring Ahaan Panday-Aneet Padda, endorse ‘mohabbat mei safety'
In a light-hearted post, the official handle of Uttar Pradesh Police edited a scene where the lead characters are seen holding helmets while standing on a street to highlight the importance of road safety.
The post was captioned, 'Helmet peheniye, Saiyaara ko bhi pehnaiye, varna romance se pehele hi roadmap badal sakta hai. Mohabbat mein safety zaroori hai (Wear a helmet, make Saiyaara wear one too, otherwise the roadmap might change before the romance begins. Safety is essential in love).'
See here:
हेलमेट पहनिए, सैयारा को भी पहनाइए…
वरना रोमांस से पहले ही रोडमैप बदल सकता है।
💥 मोहब्बत में सेफ्टी ज़रूरी है!#RoadSafety #SaiyaaraWithHelmet#Saiyaara pic.twitter.com/1rN0wegB0C
— UP POLICE (@Uppolice) July 23, 2025
The post quickly gained traction, eliciting a range of reactions. 'We should appreciate UP Police's creativity,' wrote one user, while another commented, 'Got to give credit to UP Police. They dug up something from nowhere.'
'Actually city police should be imposed heavy fine on #Saiyaara movie, as they are promoting without helmet riding (laughing emojis),' a third user reacted. 'Helmet for both the heads, safety and protection both are very important,' a fourth user said.
The success of Saiyaara, directed by Mohit Suri and featuring debutants Ahaan Panday and Aneet Padda, has sparked a wave of emotional fan responses, one of which has garnered attention across social media. A viral video shows a young man watching Saiyaara in a theatre while attached to an intravenous (IV) drip. Seated next to a friend and moved by the film, the man's dedication has sparked a mix of admiration and criticism on social media.
Watch:
A post shared by Iamfaisal (@iamfaisal04)
In several other videos, fans can be seen tearing up towards the end of the film. The film traces heartbreak, longing, and redemption, with many viewers comparing it to Aashiqui 2.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Mint
6 minutes ago
- Mint
Siddhant Chaturvedi, Triptii Dimri starer Dhadak 2 struggles at box office, earns ₹3.65 on Day 1
Mumbai (Maharashtra) [India], August 2 (ANI): The much-awaited romantic drama 'Dhadak 2,' starring Siddhant Chaturvedi and Triptii Dimri, finally hit theatres this Friday. While the film had generated curiosity for its fresh pairing, its box office performance on Day 1 fell short of expectations. According to trade analyst Taran Adarsh, the sequel to 'Dhadak' earned ₹ 3.65 crore on its first day in India. The film's release clashed with Ajay Devgn's starer 'Son of Sardaar 2.' With two major films hitting theatres on the same day, movie buffs seem to have divided their attention, which could be one reason why the film fell short of expectations. Adding to the pressure was the continued success of Ahaan Panday's Saiyaara at the box office. The romantic drama, which hit theatres earlier on July 18, is still performing strongly. This seems to have affected the Siddhant and Dimri starrer. 'Dhadak 2' is a follow-up to 2018's 'Dhadak' and a remake of filmmaker Mari Selvaraj's 2018 Tamil film Pariyerum Perumal. As per Adarsh, the sequel's first-day numbers are below expectations, especially when compared to its first instalment, 'Dhadak,' which starred Janhvi Kapoor and Ishaan Khatter. The film had earned ₹ 8.71 crore on its opening day back then. All eyes are now on the weekend collections to see if the film can pick up pace. Helmed by Shazia Iqbal, Dhadak 2 explores love while challenging social norms. The film follows Siddhant's character as he navigates a love story that breaks through societal expectations and class barriers. (ANI)


India.com
2 hours ago
- India.com
Saiyaara Star Ahaan Panday Rumoured To Be Dating THIS Mizoram Beauty Queen After Links With Tara Sutaria And Shruti Chauhan
New Delhi: After the massive success of Ahaan Panday-starrer Saiyaara, curiosity surrounding the personal and dating lives of the stars has come into the spotlight. While Aneet's personal life remains a mystery, her co-star Ahaan has been grabbing headlines for his past link-ups. Ahaan Panday, who is receiving critical acclaim for his portrayal of Krish Kapoor in Saiyaara, has previously been linked to co-star Aneet, model Shruti Chauhan, actress Tara Sutaria, and Shah Rukh Khan's daughter, Suhana Khan. View this post on Instagram A post shared by @zuali_25) Now, according to a Reddit post on the BollyBlindsNGossip community, Ahaan is rumoured to be dating a girl from Mizoram , Zuali Chhangte who was crowned Miss Mizoram India 2023. She is a professional model with around 99K followers on Instagram. Ahaan was dating a girl from Mizoram. byu/Dependent-Window8158 inBollyBlindsNGossip Several old photos and videos featuring the two have started circulating online, fuelling speculation. However, there has been no official confirmation regarding the rumours. About Saiyaara: While the film is breaking records at the box office, it's also making waves in the music world. The film's title track has become a chartbuster, topping Spotify's Global Viral 50 chart and turning into a global sensation. Music composer Tanishk Bagchi shared the news on Instagram with a screenshot, writing: 'We did it. Saiyaara is now number 1 on Spotify's Global Viral chart. This moment belongs to every heartbeat that felt this song. Thank you Mohit Suri sir, your vision made this possible. Irshad bhai, your lyrics touched souls. Arsalan and Faheem, your melody and voice lifted this song high. Yashraj, thank you for your trust. And the biggest thanks to every listener who heard, felt, and shared it. Indian music isn't rising it's already flying. Saiyaara proves it.' Directed by Mohit Suri, Saiyaara tells the story of a young couple, a singer and a lyricist as they fall in love and navigate the highs and heartbreaks of life and art.


The Hindu
2 hours ago
- The Hindu
Saiyaara Review: Is Real Romance Still Possible in Bollywood?
Published : Aug 02, 2025 16:14 IST - 6 MINS READ I had long been convinced that it is implausible to make an intense love story today, especially in Hindi cinema, where young actors have largely lost the ability to look into the eyes of the lover, for all they are able to see is the image of themselves being looked at. Why only actors? Most people I meet are not able to hold the gaze, and no beautiful moment can exist without wondering how that would have looked. To live life and to narrate it has become one inextricable act, our lives inhabited from within, by being peered at from outside, and we are fractured into both the observer and observed. Saiyaara proved me wrong. For an audience that has been jaded by the grotesque vanity that has infected every gesture of the performer, jaded by cinema's sharp shift towards action, where the thing on display is the body, not the gaze, Saiyaara makes that implausible gaze possible. That alone might have sufficed—to turn the world on its side and burp the cynicism out by watching Krish Kapoor (Ahaan Panday), a narcissist musician, fall in love with Vaani (Aneet Padda), his lyricist, who meets the brutal world with a wide, struggling, inscrutable gaze. So much love resides in that gaze, in the capacity to hold it and, when necessary, deploy it. It must contain what the American essayist Jeremy Atherton Lin calls the 'terror of having made a thing worth protecting', a knotty pull that destabilises one's sense of self. Indeed, sometimes we spend whole lives waiting to be gazed at, willing to lose that self, the only thing that is, after all, ours. Additionally, the director Mohit Suri gives Vaani's gaze a psychological immediacy: she has early-onset Alzheimer's, and in the way she stares she is trying to memorise a world that is slipping past. This pulps Krish. All he wanted was to be known by the world, but now the only woman in whose eyes he sees his worth cannot remember him. Saiyaara is, thus, a prickly love story. Vaani, for reasons we all resonate with but do not condone, is inspired by and falls in love with Krish's narcissism. Krish's arc towards Vaani is that of love—at the cost of loving himself, his future, his ambition. He changes the display image on his phone from that of just him to that of them both as clear a message about what the film says on love, for the genre of romance is itself about reframing oneself, reorganising one's central principles, and becoming—love as chrysalis. Also Read | Thug Life and the trouble with Mani Ratnam's women It makes no sense to fall in love with someone if all you want to be is yourself. The logic of the romantic film is about overcoming and not inhabiting the self. Desire, thus, becomes about what we are lacking. We desire because we are not yet. If the self is tightly wound with caste and class, the romantic films too became about overcoming the boundaries across caste and class. With the opening up of the economy, and the diasporic shift of the kinds of films we make, it seemed like the only barrier to love was the self. This, too, is a logic propped up by movies. The love stories we have seen this month alongside Saiyaara—Metro in Dino, Aap Jaisa Koi, and Aankhon ki Gustaakhiyan—are testament to this. If romance is back in the theatres, so are the illusions. Dhadak 2 will be the exception to this rule, bringing caste back into focus as a central, formidable barrier to love. For the rest, it is the self and the self's contingencies that love has to weather. When the barriers of caste and class become barriers of jealousy, ennui, or as with Saiyaara, the loss of memory, not a structural or systemic roadblock but a visceral one, the fantasy of 'becoming' is easier to sustain because it does not require a radical redrawing of the self. We arrive at the doorstep of romance for the fantasies of transformation that it affords us: that we will change for someone, someone will change for us, or like trees in a windy prairie, we will both keep bending, our trunks strong, our roots curled into the soil, our branches collapsed. Romantic films are more excited by this idea of the self being transformed rather than with asking what the self is in the first place, the self that demands transformation. Can we make love stories that ask the fundamental question of who a person is? Or is there another word for such films? Tragedy, perhaps? Because in a country like India the question of who a person is, is immediately tied to caste, class, and religion, and these must be invoked in commercial cinema only in the most unthreatening ways. For love to traipse over hurdles of caste, class, or religion would require lopping off a part of your self, floating away from family. And, in an Indian context where family is ultimately the thing returned to, love stories can never be truly radical because they can never contend with the fact that the family, at times, must be forsaken. Maybe, the Indian love story is not about the lovers at all but about the family. Our love stories end not with lovers saying they love each other but with marriage. Not with personal declaration but with public sanction. Saiyaara, too, ends in marriage. Tangling of the private and public But there are other ways the private and public get tangled. In Deep House: The Gayest Love Story Ever Told, for example, Lin keeps switching between two registers of thought. On the one hand is the legal history of gay love and same-sex marriage, on the other is his love story, meeting the British boy of his dreams, a long-distance, transatlantic affair that led to his lover moving to America, overstaying his visa, and becoming one of many undocumented Americans living in the shadows, afraid even a hospital visit may expose him. Also Read | Umrao Jaan in 4K: A restoration of surface, not substance If it is truly a 'love story', the book's sway between these two registers initially feels strange, see-sawing between legal history and personal diary, pretending one extends into the other. This, however, is the book's provocation—that the point of private life is that it is not public but that does not mean it is not affected by it. Sometimes our private lives have a public afterlife, or our public lives have personal afterlives. Law and love, personal desire and political destiny apply pressure on each other to open up. The laws of immigration, for example, are as much a part of Lin's plot as the protagonists' affection for each other. We arrive at love not as individuals but as worlds. It would be nice if, once in a while, Indian love stories remind us of this. Nice, but perhaps, that is another implausibility. Prathyush Parasuraman is a writer and critic who writes across publications, both print and online.