Worried Mamata Banerjee wishes speedy recovery to brother Shah Rukh Khan after injury
Sources told India Today that the injury is not serious and the actor is recovering well. However, the incident has impacted the production schedule, with filming now expected to resume in September.Following the injury, SRK travelled to the United States and has since relocated to the UK, where he is recuperating with his family. A planned trip to Sri Lanka has been postponed to prioritise his recovery and well-being.This isn't the first time the West Bengal CM has shown public affection for SRK. The actor has served as the brand ambassador of West Bengal and is a frequent guest at the state's annual Kolkata International Film Festival. Their camaraderie often makes headlines, with Banerjee affectionately referring to Khan as her 'brother.'Fans across the country have flooded social media with well-wishes for the actor's recovery. Meanwhile, no official statement has been released by Khan or his team regarding the extent of the injury or its impact on the film's schedule.SRK was last seen in 'Dunki' and has a packed slate ahead, including 'King', one of the most awaited films of the year.- EndsTrending Reel
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
India Today
an hour ago
- India Today
England lose morale battle as heroic India pull off Manchester heist
India Today Podcasts Desk UPDATED: Jul 29, 2025 19:15 IST India scripted a great escape in the 4th Test match at Manchester. Ben Stokes's England were left frustrated by the grit of Ravindra Jadeja and Washington Sundar. Controversy struck on the final day of the Test match when Jadeja and Sundar refused to go off the field, despite the hassling of Ben Stokes and Co. England, led by Stokes, wanted the batters to call it curtains much before the scheduled closure of play after realising that they were not going to win the match. A massive wave of criticism followed Stokes and his team for unsportsmanlike conduct and trying to dictate the opposition's approach with the bat. Safe to say, the self-proclaimed custodians of the game failed morally as well. In the latest episode of the Sledging Room Podcast, Akshay Ramesh, Saurabh Kumar and Kingshuk Kusari discuss the draw in Manchester, which felt like a win. They also build up to the 5th and final Test match of the series, which might have major workload concerns for both teams. Produced by Garvit Srivastava Sound mixed by Rohan Bharti
Indian Express
3 hours ago
- Indian Express
AR Murugadoss blames ‘inability to understand Hindi' for Salman Khan's Sikandar failure: ‘I feel handicapped, don't understand what's happening on set'
When AR Murugadoss-Salman Khan's Sikandar was first announced, it was promoted as the next big thing after Atlee-Shah Rukh Khan's Jawan. The collaboration looked promising because it was the same filmmaker who worked with Aamir Khan for the 2008 film Ghajini, which became a blockbuster hit. However, Sikandar couldn't even earn 15% of what Jawan made at the worldwide box office. Sikandar's lifetime collection stood at Rs 184.6 crore against Jawan's Rs 1,160 crore. Now, after nearly four months of its release, filmmaker AR Murugadoss has made a shocking statement, explaining the reason behind Sikandar's box office debacle. During the promotion of his upcoming film Madharaasi, the filmmaker spoke about the failure of the Salman Khan-starrer film and blamed his inability to understand Hindi. He said, 'When we make films in our mother tongue, it gives us strength. We know what is happening here. Today there's a trend going and suddenly the audience gets connected with that trend. When we shift language, we don't know what the youngsters are enjoying in that language. All we need is a script to believe it.' ALSO READ | Arijit Singh charges Rs 2 crore for a performance, would once come and sit in my office for hours, says Monty Sharma: 'Audio companies are making mad money' He further explained, 'For once, I can take up Telugu films but Hindi may not work for us because after we write the script, they translate into English. Then it is again translated in Hindi. We can only guess what they are saying, but we are exactly not sure about what is happening. When you make film in an unknown language and place, it feels like you are handicapped. It is like you don't have hands. I strongly believe our strength depends on where and which culture we come from. The statement came as a shocker to many as Sikandar is not the only Hindi film the Tamil filmmaker has directed in his career. He is also behind Akshay Kumar's 2014 film, Holiday: A Soldier Is Never Off Duty, which too like Ghajini, opened to positive reviews. That film earned Rs 180 crore against a budget of Rs 50 crore. His statement prompted people to question him. A user on X commented, 'Then why do you get lured by the payment and direct Hindi films?' Another user wrote, 'Who forced him to do that handicapped task?' Other comments read, 'So how come Holiday & Ghajini become blockbuster? If no power in story & execution then output will come zero only. No need to give such excuses.'
Time of India
3 hours ago
- Time of India
From ‘Baazigar' to ‘Animal' : How Indian cinema's 'Good Boy' image got a dark makeover
There was a time in Indian cinema when moral lines were sharply drawn—heroes were paragons of virtue, and villains carried the burden of every societal ill. The storytelling was simple, almost mythical: good defeated evil, and righteousness was always rewarded. Tired of too many ads? go ad free now But as India evolved socially, politically, and culturally, so did its cinema. Today, the hero no longer wears white, and audiences don't seem to mind. From Stereotype to Subtext Traditionally, the Hindi film hero was the embodiment of idealism. He fought for justice, respected women, and often sang songs in mustard fields or rainy Mumbai lanes. The villain, in stark contrast, smoked cigars, eyed the heroine with bad intent, and laughed menacingly in marble mansions. But the moral binary began to blur in the 1990s. The shift was subtle but significant. , then a rising star, played a stalker in Darr (1993), a cold-blooded murderer in Baazigar (1993), and a charming but emotionally manipulative man in Kuch Kuch Hota Hai (1998). These characters, while deeply flawed, were laced with vulnerability and charisma. Instead of rejecting them, audiences embraced them. Why? Because the characters mirrored the contradictions of real life. The Rise of the Anti-Hero This evolution continued into the 2000s and beyond, giving birth to the full-fledged anti-hero. In Agneepath (1990), Amitabh Bachchan's Vijay was not a textbook good guy—he was angry, vengeful, and willing to embrace violence to achieve justice. This gritty complexity became a blueprint for future protagonists. The transformation reached new heights with films like Pushpa, , Animal, and shows like The Fame Game. Tired of too many ads? go ad free now Ranbir Kapoor's Animal shocked many with its violent, emotionally chaotic central character—yet it became one of the biggest hits of the year. Yash's portrayal of Rocky in KGF was brutal and unapologetic, but fans hailed him as a messiah. Allu Arjun's Pushpa celebrated a smuggler with swagger, and Shah Rukh Khan's Pathaan gave us a vigilante draped in patriotism, willing to cross lines for his mission. In Madhuri Dixit's The Fame Game, a once-idolised superstar is revealed to have complex personal demons. The heroine, like her male counterparts, now had the liberty to be flawed—and fascinating. Amid 'Animal' criticism, Shah Rukh Khan talks about playing villain in movies; says 'If I play a bad guy, I make sure he dies a dog's death' Media, Mythmaking, and the Hero Worship Complex The rise of social media and promotional platforms added another layer to this phenomenon. Stars now communicate directly with their audiences. This constant engagement has made fans feel intimately connected to actors—not just their roles. So, when a beloved actor plays a morally grey character, fans are able to separate the star from the role. In fact, many fans root for the character because their favourite is playing it. The charisma of the actor often overshadows the character's choices. It's no longer about right or wrong—it's about loyalty, charisma, and style. Speaking about 'Kuch Kuch Hota Hain ' a nd its gender politics, both and have reflected on the film's intent and impact. During a conversation with The Lallantop, Kajol admitted, 'We made that film only for entertainment... If we make KKHH today, we would be laughed out.' She pointed out how the idea of valuing a girl only after she conforms to traditional femininity wouldn't hold up today. 'That tomboy cut would probably be part of the second half… it would be the opposite now.' Karan Johar, too, recently admitted, 'I wrote all this. I did not realize at that time that I was promoting a particular ideology. I just wanted to make a blockbuster.' Acknowledging the evolution of social and gender consciousness, he added, 'We have to get our politics right… you can do all these things [entertainment] without wrong gender politics.' The Rise of the Anti-Hero The 2000s and 2010s saw the full-fledged rise of the anti-hero. Characters like Vijay in Agneepath, Rocky in KGF, and Pushpa in Pushpa: The Rise were angry, aggressive, and morally ambiguous—but they were loved, even celebrated. Ranbir Kapoor's deeply violent and emotionally chaotic lead in Animal became one of the year's biggest box-office successes. Allu Arjun's Pushpa, a red sandalwood smuggler with unmatched swag, won hearts across India. A Mirror to a Complex Society The growing acceptance of anti-heroes and morally ambiguous protagonists also mirrors a changing society—one that recognises that life isn't black and white. We are living in times of political unrest, emotional turbulence, and existential questioning. The modern viewer craves complexity. We understand now that the 'good guy' can make bad choices, and the 'bad guy' may have good reasons. ETimes spoke to Jyoti Krishna, the 'Hari Hara Veera Mallu' director and he said, "Audiences are often drawn to characters with a dark side, right? That's because every person has both good and bad within them. There's something intriguing about the bad—we usually hide it behind a polished exterior, but it still exists within us. So, when we see a character on screen doing what we might never do ourselves, it fascinates us. We connect with that. But in 'Hari Hara Veera Mallu', the character isn't a typical villain. He's not a bad guy. At first, he might come across as a thief—a Robin Hood type—but as the story unfolds, you realise he's actually a protector of Dharma. That's the journey we're showing in the film.' Director , who helmed 'pushpa', once addressed the backlash over the film allegedly promoting criminal behaviour. 'Calling my film anti-national or accusing it of provoking youth is the most troubling statement anyone can make against me,' he said. 'I create films to entertain… if my three-hour film keeps people in theaters, then crime rates will actually go down.' In this shift lies a deeper truth: Indian cinema has matured. It no longer exists in a moral vacuum. The hero can lie, kill, cheat, and still be loved—because we've all known heroes in our lives who've done the same.
