Irrfan Khan was known as one of the finest actors in Indian cinema. His acting style was simple, natural, and deeply emotional. He did not need loud expressions to impress the audience. Instead, he used silence and subtle expressions, especially his eyes, to bring characters to life. His death on April 29, 2020, left a huge gap in the film industry that many feel can never truly be filled.

Over the years, Irrfan worked with some of the best directors and delivered unforgettable performances. However, there are also a few projects that never got made, and one such film could have been very special. Director Anurag Singh recently spoke about a film he had planned with Irrfan Khan and Tabu. This film was supposed to be a mature love story, something different from regular romantic films.

Anurag shared that this project started around 2015 or 2016, soon after his film Punjab 1984 was released. Around the same time, Ek Villain, produced by Ekta Kapoor, was also released. While Ek Villain was a big success overall, its business in Punjab was affected due to Punjab 1984. This led Ekta Kapoor to reach out to Anurag Singh, and they decided to explore working together.

During their discussions, Anurag pitched a simple and heartfelt love story. Ekta liked the idea, and Anurag went on to write the script. When Irrfan Khan heard the story, he appreciated it and agreed to do the film. According to Anurag, Irrfan liked the honesty in the story and the fact that it did not feel over dramatic or typical. Tabu was also approached for the film, and she showed interest in being part of it.

However, even though everything seemed to be falling into place, the project faced delays. Financial issues and other practical challenges slowed things down. Eventually, the film could not move forward. Around the same time, Anurag Singh got the opportunity to direct Kesari, and he decided to take that up instead. The script of the love story still remains with Balaji, but the film was never made.

Looking back, this project feels like a missed opportunity. A film featuring Irrfan Khan and Tabu, both known for their powerful performances, could have been something truly special. It might have been a love story remembered for years, but now it remains a story that never reached the screen.

The first poster of the Hindi film Rajni Ki Baraat has been released, and it is already creating a lot of buzz. The concept shown in the poster is fresh and different from what people usually see in wedding based films. It presents a strong message in a simple and eye catching way.

In the poster, actor Ulka Gupta is seen dressed as a bride, but instead of following the usual traditions, she is riding a scooter and leading her own wedding procession. Her confident and bold look stands out and clearly shows that this story is about breaking old rules and doing things differently. This visual itself gives a clear idea that the film will focus on independence and self choice.

Actors Sunita Rajwar and Zarina Wahab are also seen in the poster, adding a joyful and warm feeling to the scene. Their presence makes the setting look like a real celebration. At the same time, Ashwath Bhatt appears as a police officer, which hints that there may be some unexpected twists in the story. The background is filled with wedding decorations and energy, giving it a full Bollywood style look.

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The film is directed by Aditya Aman and tells the story of a young woman who chooses to live life on her own terms. It questions old social traditions and shows how a woman can take charge of her own decisions. The makers of the film, Tanaayaa Adarkar Prabhu and Tej H Adarkar, shared that the movie is not just about a wedding but about a strong message. They believe it will connect well with today’s younger audience, especially those who value independence and self expression.

Talking about her role, Ulka Gupta said that Rajni is not someone who blindly follows customs. Instead, she creates her own happiness and celebrates her choices in her own way. She also mentioned that the character is very close to her heart.

The film also features Kanishk Vijay in an important role. Overall, Rajni Ki Baraat is presented as an entertaining and meaningful story that mixes fun with a strong message about freedom and individuality.

The film is produced under the banner of Epiphany Entertainment and is set to release in cinemas on May 29, 2026. It promises to be a refreshing story that highlights a modern way of thinking where women confidently take control of their lives.

Junaid Khan, son of Bollywood star Aamir Khan, started his acting career with the film Maharaj and received a lot of appreciation for his performance. However, his first film released in theatres did not do well at the box office. Despite this, Junaid is moving forward and is now working on his next project Ek Din, which is being produced by his father.

In a recent interview with Radio City India, Aamir Khan spoke openly about Junaid’s journey in the film industry. He described his son as someone who is strong, independent, and determined. Aamir said that Junaid does not depend on him and prefers to find his own way. He also shared that Junaid does not give up easily and is not affected much by failures. According to Aamir, people used to say the same thing about him when he started his career, calling him someone who succeeds in the long run.

Aamir also talked about Junaid’s dedication to acting. He explained that whenever Junaid takes on a role, he fully commits to it and tries to stay true to the character. Speaking about his work in Maharaj and his upcoming film Ek Din, Aamir said that Junaid never tries to act like a typical hero but instead focuses on being honest in his performance.

He also shared a childhood memory of Junaid. As a kid, Junaid loved watching Teenage Mutant Ninja Turtles and enjoyed action scenes. Aamir once took him to the set of his film Ishq, where a dramatic action scene was being shot. Junaid was amazed watching the stunt, and it became a special memory for both of them.

Ek Din is a romantic drama directed by Sunil Pandey and produced by Aamir Khan, Mansoor Khan, and Aparna Purohit. The film also stars Sai Pallavi, marking her debut in Bollywood. Aamir recently praised her performance, saying that audiences would be surprised by her talent and even called her the best actress in the country.

Junaid’s previous film Loveyapa did not perform well in theatres and faced criticism, but it later gained some appreciation after its release on streaming platforms. With Ek Din, both Junaid and his fans are hoping for a stronger impact.

When Prada showcased leather sandals at Milan Fashion Week 2025, what should have been just another luxury runway moment quickly turned into a global controversy. The reason was simple. The sandals looked almost identical to traditional Kolhapuri chappals, a centuries old handcrafted footwear style from Maharashtra and Karnataka. The problem was not just the resemblance. It was the fact that there was no mention of India, no acknowledgment of the craft, and no credit to the artisans behind it.

Kolhapuri chappals are not just a design reference. They are a GI tagged product tied to specific regions and communities that have been making them for generations. Yet, Prada presented the design as generic leather sandals, which immediately triggered backlash across India. Artisans, politicians, and social media users called out the brand for cultural appropriation and for attempting to profit off a traditional craft without recognition.  

The outrage was also driven by the stark pricing contrast. Traditional Kolhapuri chappals are widely available in India at a fraction of the cost, often sold in local markets for a few hundred rupees, while Prada’s version was priced at hundreds of euros, pushing it into the luxury bracket. This raised uncomfortable questions about who benefits when traditional designs are repackaged and sold globally.  

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Facing mounting criticism, Prada was forced to respond. The brand acknowledged that its designs were inspired by Kolhapuri chappals and began engaging with Indian stakeholders. Discussions were held with the Maharashtra Chamber of Commerce and artisan groups, marking a clear shift from the initial silence.  

What followed was a visible attempt to reposition the narrative. Prada announced a limited edition “Made in India” sandal collection, produced in collaboration with artisan bodies in Maharashtra and Karnataka. The company also introduced a three year training program aimed at working with around 180 artisans from traditional Kolhapuri making districts, along with opportunities to engage with Prada’s design ecosystem.  

Alongside this, the brand began releasing images and videos highlighting Indian craftsmen at work, placing the spotlight on the making process that had previously gone unmentioned. Campaign language shifted to include phrases like “Made in India” and references to collaboration with local artisans.

However, even after these steps, one detail continued to stand out. Prada consistently described the designs as “inspired by Kolhapuri chappals.” For many critics, this wording remained at the center of the issue. The design itself showed minimal deviation from the original, leading to a broader debate about where inspiration ends and imitation begins.

The timing of Prada’s response has also been widely discussed. The acknowledgment of Indian craftsmanship, the partnerships, and the storytelling all came after the backlash had already escalated. This sequence has led many to view the brand’s actions less as proactive cultural appreciation and more as reactive damage control.

At its core, the controversy is not just about one pair of sandals. It highlights a larger tension within global fashion. Luxury brands often draw from traditional crafts across the world, but attribution, compensation, and visibility for the original creators do not always follow at the same pace.

Prada’s Kolhapuri episode has therefore become a case study in how cultural exchange can go wrong when acknowledgement is delayed. It also shows how quickly audiences today can hold global brands accountable, pushing them to rethink not just their designs, but also their narratives.

The bigger question that remains is simple. Should recognition come only after backlash, or should it be built into the story from the very beginning.

After more than three decades, Toy Story is stepping into a completely new phase. Toy Story 5 is not just another sequel. It is a reflection of how childhood itself has changed, moving from physical play to a world shaped by screens and smart devices. At the center of this shift is Andrew Stanton, one of Pixar’s most influential creatives. Known for films like Finding Nemo and WALL-E, Stanton is directing a Toy Story film for the first time. He has also suggested that this could be the last Pixar movie he directs, making this installment feel even more significant.

The story introduces a conflict that feels very current. Toys are no longer competing with other toys. They are competing with technology. A new device called Lilypad enters the picture, designed to help children socialize digitally. For the toys, this is not just a rival. It is a complete redefinition of their purpose. The film explores what happens when children begin to replace imagination with screens, and whether toys still have a place in that world.

While Woody and Buzz Lightyear remain key figures, this story leans heavily on Jessie. Voiced by Joan Cusack, Jessie becomes the emotional anchor of the film as she navigates change, abandonment, and the need to stay relevant. Her journey connects deeply with a new child character who struggles with friendship in a tech driven environment.

One of the most unexpected elements is the opening sequence, where dozens of Buzz Lightyear toys end up stranded after a shipping accident. Tim Allen voices multiple versions of Buzz, turning the scene into both a comedic moment and a deeper exploration of identity. It is a creative risk that reflects Pixar’s willingness to experiment even within a well established franchise.

Tom Hanks returns as Woody, but this time the character shows visible signs of wear. The film acknowledges something that has always been quietly present in the series. Toys age. Woody is no longer in perfect condition, and that physical change mirrors the emotional reality of being left behind. It adds a layer of realism that longtime audiences will immediately connect with.

Andrew Stanton’s perspective shapes much of the film’s tone. After decades of working on animation, he has spoken about how demanding the process is and how quickly time passes while making these films. His comments suggest that Toy Story 5 may be a personal milestone, possibly marking the end of his journey as a director at Pixar, even though he will continue contributing creatively.

What keeps Toy Story relevant is its ability to evolve. Earlier films explored growing up, letting go, and finding new purpose. This time, the focus shifts to technology and its impact on human connection. The question is no longer just about whether toys are loved. It is about whether they are needed at all.

Toy Story 5 is set to release in June 2026, bringing back familiar voices while introducing new ideas that reflect today’s world. Whether this becomes a final chapter or another turning point, it is clear that Pixar is not simply continuing the story. It is challenging it.