Actor Hrithik Roshan has long been associated with action-packed films and physically demanding roles. However, despite his reputation for high-energy performances, the actor has openly stated that he does not support the idea of actors performing dangerous stunts themselves. In an earlier interview with Lehren TV, Roshan shared his perspective on stunt work and explained why he believes such tasks should be left to trained professionals.

During the conversation, Roshan spoke candidly about the risks involved in performing complex action sequences. He expressed the view that actors attempting their own stunts can be unnecessary and potentially dangerous. According to him, the practice should not be driven by ego or the desire to prove toughness on screen. Instead, he believes filmmaking is a collaborative effort where specialists contribute their expertise to create a convincing cinematic experience.

Roshan argued that films are carefully constructed illusions in which multiple departments work together to build a believable world. Elements such as makeup, costumes, dialogue and cinematography are all designed to make fictional stories appear real. In the same way, stunt performers play an essential role in crafting action sequences safely and effectively.

The actor explained that stunt professionals are specifically trained for high-risk physical tasks. In his view, when actors attempt those tasks themselves, it can undermine the purpose of having specialists on set. Roshan compared the situation to other aspects of filmmaking, saying it would be similar to an actor insisting on writing their own dialogue simply to prove a point.

According to Roshan, each person on a film set contributes a specific piece to the overall production. Stunt performers, he said, are responsible for executing dangerous sequences that require precision, experience and physical conditioning. Their role helps ensure that action scenes are both visually impressive and safe for everyone involved.

Interestingly, Roshan himself has appeared in several films known for elaborate action sequences. One of the most notable examples is the superhero franchise that began with Koi… Mil Gaya. The film eventually expanded into the Krrish series, which became one of Bollywood’s most recognised superhero franchises. The series later included Krrish 3, which featured large-scale action scenes and visual effects.

Despite his reservations about actors performing their own stunts, Roshan has occasionally attempted certain action sequences himself during his career. One such moment occurred during the production of Krrish. According to filmmaker Rakesh Roshan, who is also Hrithik’s father, one particular stunt sequence almost turned dangerous during filming.

The scene involved Roshan’s character jumping from one building to another while suspended by a harness. During the stunt, the harness reportedly snapped unexpectedly, causing the actor to fall from a considerable height. The incident could have resulted in serious injury, but Roshan fortunately escaped without major harm.

The near accident later became one of the examples often cited when discussing the risks associated with actors performing dangerous stunts. It reinforced the argument that such sequences require careful planning, specialised equipment and experienced stunt teams.

Roshan’s comments on stunt work highlight an ongoing debate within the film industry. Some actors choose to perform their own action scenes to enhance realism or connect more directly with their characters. Others prefer to rely on stunt doubles and professional coordinators to minimise risks during filming.

Over the course of his career, Roshan has balanced physically demanding roles with strong dramatic performances. The actor made his Bollywood debut with the blockbuster Kaho Naa… Pyaar Hai, directed by Rakesh Roshan. The film was a major commercial success and helped establish him as one of the leading actors in Hindi cinema.

Since then, Roshan has appeared in several widely recognised films across different genres. Among them are historical drama Jodhaa Akbar, the coming-of-age film Zindagi Na Milegi Dobara, and the biographical drama Super 30. Each project has contributed to his reputation as a versatile performer capable of handling both action-driven roles and character-focused stories.

Through his remarks about stunt work, Roshan emphasised the importance of recognising the expertise of professionals behind the scenes. His perspective reflects the idea that filmmaking relies on teamwork, with each specialist contributing to the final result that audiences see on screen.

There are sounds in Bollywood that feel instantly familiar. A soft whistle before a romantic line, a playful tune that makes a song feel lighter, or that stylish intro that tells you something cool is about to begin. You’ve heard these moments countless times. You’ve probably even hummed them. But chances are, you never stopped to ask a simple question—who is actually creating that sound?

The answer, in more cases than most people realise, is Nagesh Surve.

He is not a singer you see on stage or a composer whose name flashes in big letters. He is a specialist, someone whose art sits quietly inside the music. Since the mid-1970s, starting with Julie and the song “Dil Kya Kare,” Surve has contributed to over 1,600 songs. That number alone should make him a household name. But it didn’t.

Part of the reason is simple. His work doesn’t look like work to the average listener. It sounds effortless. His whistling is so clean, so controlled, that many people assume it is a flute or a programmed sound. It blends into the music so perfectly that it disappears into it. And when something disappears into the experience, we stop noticing the person behind it.

But think about the songs you already know. The easy, breezy flow of “Chand Sifarish” from Fanaa, the playful energy of “Yeh Ladka Hai Deewana” from Kuch Kuch Hota Hai, the light, romantic feel of “Are Re Are” from Dil To Pagal Hai, or the instantly recognisable whistle that defines the attitude of Dhoom 2. These are not small details. These are defining parts of how those songs feel. Remove that whistle, and the memory of the song changes.

That is the scale of Surve’s contribution. He has not just added to songs. He has shaped how we remember them.

And yet, he remained largely unknown because Bollywood does not always celebrate what it cannot see. We celebrate faces, voices we can attach to faces, and names that are repeated often enough. But artists like Surve exist in a different space. Their work is essential, but their identity is optional for the audience. The industry credits them. The audience absorbs them.

What makes this even more striking is the level of skill involved. Whistling at Surve’s level is not casual talent. It is serious breath control. It requires holding air, controlling pitch, maintaining rhythm, and expressing emotion without words. In simple terms, it is as demanding as singing—just without lyrics to hide behind.

And this is where the contrast becomes impossible to ignore.

When Shankar Mahadevan released “Breathless,” people were amazed by the idea of controlling breath so precisely that a song could flow without a pause. It became a moment. A talking point. A performance that people could see, admire, and attach to a name and a face.

But breath control did not begin there, and it did not exist only in that format.

For decades, Nagesh Surve has been doing something just as demanding. He has been shaping melodies, sustaining notes, and creating emotion using nothing but controlled breath. The difference is not in the skill. The difference is in how it is presented. One was visible, explained, and celebrated. The other was hidden inside songs, taken for granted, and rarely questioned.

That difference is everything.

It is also why his story feels both inspiring and slightly unfair. Inspiring because it shows how far pure skill and dedication can go. Unfair because recognition did not follow in the same way.

Even today, many people discover him with a sense of surprise. Not because his work is new, but because their awareness is. Suddenly, songs they have loved for years feel different. Suddenly, there is a person behind that sound.

And maybe that is the real point of telling his story now.

Because sometimes, the industry does not fail to credit people on paper. It fails to bring them into public memory.

Nagesh Surve was always there. In the background, in the details, in the parts of songs that made you smile without knowing why.

And the irony is hard to miss.

When breath became a performance, the world stopped and applauded.
When breath became part of the music, the world simply listened and moved on.

One became a name.
The other became a feeling.

And for decades, we remembered the feeling… but forgot to ask who gave it to us.

Filmmaker and producer Karan Johar has often spoken openly about his personal life, including his journey as a single parent. The director welcomed his twins, Yash Johar and Roohi Johar, through surrogacy on February 7, 2017. Since then, Johar has frequently faced questions and criticism about raising children on his own. In a conversation with journalist Barkha Dutt, the filmmaker spoke candidly about the emotional impact of online comments and how he navigates the challenges of parenting in the public eye.

During the discussion, Johar explained that he has grown accustomed to dealing with criticism over the years, especially given his long career in the film industry. However, he admitted that some comments on social media have been particularly difficult to process. One remark questioning his decision to become a single parent left a deep emotional impact on him.

Johar recalled reading a comment that asked whether he realised he had “denied his children a mother.” The filmmaker said the statement affected him deeply and made him question his own choices. According to him, the remark was painful enough to bring him to tears. He remembered feeling overwhelmed that morning and struggling with doubts about whether he had made the right decision in becoming a single parent.

After reading the comment, Johar said he went into his children’s room and spoke to them. At the time, Yash and Roohi were around five years old. He asked them a simple question about whether they were happy. Their response, according to Johar, helped ease his concerns. The twins replied that they were happy because he was their “Dada,” a term they use to refer to him as their father. Johar said that moment reassured him and reaffirmed his decision to build a family in the way he had chosen.

The filmmaker also described how his relationship with social media criticism has evolved over time. In the early stages, Johar admitted he often reacted with anger to negative remarks and trolling. Later, he began to ignore such comments altogether. More recently, he said he sometimes views the criticism with a sense of detachment, even finding humour in some of the comments.

According to Johar, certain remarks are so elaborate and creative that they almost seem like carefully crafted writing. He has occasionally joked that people who spend time composing such comments could use their creativity in more constructive ways. Despite the constant scrutiny that comes with being a public figure, Johar said he remains focused on his priorities, which include his work and raising his children.

For Johar, parenthood has become one of the most meaningful aspects of his life. He has often spoken about the joy and responsibility that comes with raising Yash and Roohi. While the filmmaker manages a demanding professional schedule, he has said that spending time with his children and supporting their growth remains central to his daily routine.

Johar has also been open about another personal challenge that has shaped his outlook as a parent: body image concerns. The filmmaker has previously spoken about being teased during his teenage years for being overweight. Those experiences left a lasting impression and continue to influence how he thinks about health and self-esteem today.

Because of this, Johar admits that he sometimes worries about whether his children might face similar pressures. He has expressed concern about issues such as excessive sugar consumption, lack of physical activity, or weight gain. These worries are tied not only to health but also to the social pressures that children face today.

In another conversation with former tennis player Sania Mirza, Johar discussed how social media has intensified insecurities among young people. He pointed out that even schoolchildren now feel pressure to maintain a certain image online. According to Johar, some children already have social media accounts and worry about their appearance, clothing, or the number of followers they have.

He contrasted this with his own childhood, noting that earlier generations did not experience the same level of scrutiny. During his upbringing, Johar said there was far less emphasis on outward appearance or public validation. Today, however, digital platforms have created an environment where children are exposed to constant comparison.

Through his reflections, Johar highlighted the complexities of parenting in an era shaped by social media, public opinion and evolving family structures. While criticism remains part of his experience as a public figure, he emphasised that his focus continues to be on providing a supportive and loving environment for his children.

Bollywood actor Vicky Kaushal, known for his grounded personality and strong performances, has recently found himself at the centre of online criticism after a video of him making light-hearted “wife jokes” at a wedding surfaced on social media. The actor, who shares a much-admired relationship with his wife Katrina Kaif, drew mixed reactions from fans, with many questioning the tone of his remarks.

The viral clip shows Vicky interacting with guests during a wedding celebration. In a playful moment, he addressed the groom’s father and encouraged him to get the groom to say his popular dialogue, “How’s the josh?”—a line that became iconic after Vicky’s film Uri: The Surgical Strike. As expected, the crowd enthusiastically responded, “High, sir!”—a callback that has become synonymous with the actor’s public appearances.

Building on the moment, Vicky added a humorous comment about marriage. He said that bachelors tend to have consistently high energy and enthusiasm, whereas for married individuals, that enthusiasm gradually decreases over time. He quickly followed up by reassuring the groom that such changes don’t happen immediately, joking that “it doesn’t drop in just four days.” While the remark was clearly intended to entertain the audience, it did not sit well with a section of viewers online.

The clip gained traction after being shared on Reddit, where users expressed disappointment over what they perceived as outdated and misogynistic humour. Several commenters pointed out that jokes portraying marriage as burdensome or diminishing enthusiasm have long been criticised for reinforcing stereotypes about relationships and gender roles.

Vicky is turning into the wife jokes guy
by u/yours_truly_Davina in BollyBlindsNGossip

One user remarked that such humour feels out of place in 2026, suggesting that these kinds of jokes should have been left behind in earlier eras of television comedy. Another commenter argued that publicly making fun of marriage indirectly disrespects one’s partner and reflects deeper issues, even if presented as a joke. Others described the moment as “cringe” and said they expected better from Vicky, who is often seen as a thoughtful and progressive figure in the industry.

Some reactions were more critical, with a few users stating that the incident had altered their perception of the actor. Comments ranged from mild disappointment to harsher judgments questioning his image as a supportive husband. A handful of users even labeled the behaviour as a “red flag,” indicating how strongly certain audiences felt about the issue.

At the same time, it is worth noting that public figures often face heightened scrutiny, especially when humour intersects with sensitive social themes. What may be intended as a harmless, situational joke can be interpreted differently by diverse audiences, particularly in an era where conversations around gender sensitivity and respect in relationships are more prominent than ever.

Vicky Kaushal and Katrina Kaif have long been regarded as one of Bollywood’s most beloved couples. Their relationship first caught public attention during an awards show interaction where Vicky playfully asked Katrina, “Mujhse shaadi karogi?”—a moment that fans often cite as the beginning of their romantic journey. Despite intense media interest, the couple chose to keep their relationship largely private during its early stages.

They eventually tied the knot on December 9, 2021, in a grand yet intimate ceremony held in Udaipur. The wedding, attended by close friends and family, was widely celebrated by fans and media alike. Over the years, the couple has continued to share glimpses of their life together, often expressing admiration and affection for each other in interviews and social media posts.

In 2025, the couple embraced a new chapter in their lives with the birth of their son, Vihaan Kaushal, further strengthening their bond as a family. Their journey—from a playful on-stage moment to building a life together—has been closely followed and cherished by fans.

While the recent controversy has sparked debate, it also highlights the evolving expectations audiences have from celebrities. As public discourse continues to shift, even casual remarks are increasingly being viewed through the lens of social awareness and cultural sensitivity.

Veteran screenwriter Salim Khan, father of Bollywood superstar Salman Khan, is expected to be discharged from Lilavati Hospital on Tuesday morning after spending nearly a month under medical care. The 90-year-old was admitted in mid-February due to age-related health complications and has since shown steady improvement, according to hospital sources.

Salim Khan was admitted on February 17 under the supervision of senior consultant Dr Jaleel Parkar. During his hospitalization, he underwent a diagnostic and interventional procedure known as Digital Subtraction Angiography (DSA), performed by neurosurgeon Dr Nitin Dange. This advanced imaging technique is used to detect and evaluate cerebrovascular conditions such as aneurysms, arteriovenous malformations (AVMs), arteriovenous fistulas (AVFs), and blockages that may lead to strokes.

Earlier in his treatment, Dr Parkar revealed that Salim Khan had suffered a minor brain haemorrhage. Despite the seriousness typically associated with such conditions, doctors indicated that the bleeding was minimal. A small medical procedure was conducted successfully to address the issue. Following the procedure, Salim was placed on ventilatory support as a precautionary measure. However, doctors remained optimistic about his recovery, noting that his condition was stable and improving steadily.

“Keeping his age in mind, recovery may take longer, but he is doing quite well,” Dr Parkar had stated at the time, reassuring well-wishers about the veteran writer’s progress. Over the weeks, his health improved sufficiently for doctors to plan his discharge.

Throughout his hospital stay, Salim Khan received frequent visits from family members and close associates. His sons — Arbaaz Khan and Sohail Khan — were regularly seen by his side, along with Salman Khan. The family’s strong presence reflected their close bond and concern for his recovery.

Prominent figures from the film industry also visited the veteran screenwriter. Among them were actors Shah Rukh Khan and Aamir Khan, both of whom share a long-standing association with the Khan family. Salim Khan’s longtime friend and former screenwriting partner Javed Akhtar also paid a visit, highlighting the enduring respect and camaraderie within the industry.

Last week, Arbaaz Khan had already hinted at his father’s impending return home. Speaking briefly to the media during an event, he confirmed that Salim Khan’s condition had improved significantly and that he was on the path to recovery.

Salim Khan’s journey in the film industry dates back to the 1960s, when he initially pursued acting. Although he appeared in several films, including a supporting role alongside Shammi Kapoor in Teesri Manzil, his acting career did not achieve sustained success. This led him to shift focus toward screenwriting — a decision that would ultimately redefine Bollywood storytelling.

In the late 1960s, he partnered with Javed Akhtar to form the iconic screenwriting duo Salim-Javed. Together, they revolutionized Hindi cinema with powerful narratives and memorable characters. Their collaboration resulted in 24 films, of which 20 were major commercial successes. Some of their most celebrated works include Seeta Aur Geeta, Sholay, Deewar, Don, Kranti, and Mr India, films that continue to influence generations of filmmakers.

After their professional split in 1982, Salim Khan continued writing independently. His solo credits include films like Naam, Pyaar Kiya To Darna Kya, and Auzaar, further cementing his legacy as one of Bollywood’s most influential storytellers.

As he prepares to return home, Salim Khan’s recovery marks a positive moment for his family, friends, and admirers across the film industry.

The 2006 Hindi film Jaan-E-Mann featured a prominent cast that included actors Salman Khan, Akshay Kumar, and Preity Zinta. The film also marked the directorial debut of Shirish Kunder, editor and filmmaker who is married to choreographer and director Farah Khan. Although the film did not achieve strong commercial success at the box office when it was released, several aspects of the production particularly its music and visual style have continued to be remembered by audiences. Songs such as Sau Dard and Humko Maloom Hai remain among the most recognisable elements of the film, often revisited by viewers years after its release.

In a recent conversation with content creator Ranveer Allahbadia, Farah Khan spoke about her experience working on the film and shared behind-the-scenes details about the shooting of the song Sau Dard. The track, which depicts the emotional turmoil experienced by Salman Khan’s character, was filmed partly on the Brooklyn Bridge in New York City. According to Farah, the sequence involved an unexpectedly genuine moment from Salman Khan during filming, which contributed significantly to the emotional tone of the scene.

Farah explained that the moment captured in the song, where Salman Khan’s character is seen crying while walking across the bridge, was not created using traditional film techniques such as glycerine to simulate tears. Instead, the actor reportedly became emotionally overwhelmed while performing the scene and began crying for real. Farah recalled that it was the first time she had seen Salman Khan internalise his personal emotions so deeply during a performance. She suggested that certain circumstances in his personal life at that time may have influenced the intensity of his reaction, though she did not elaborate on specific details.

The filming conditions on the Brooklyn Bridge also added complexity to the situation. According to Farah, the shoot took place in an environment where pedestrians were moving across the bridge, and some occasionally bumped into members of the crew. As a result, the camera capturing the scene was sometimes unstable, and the surroundings were not entirely controlled in the way a traditional film set might be. Despite these disruptions, Farah decided not to interrupt the shot because the actor’s emotional performance appeared authentic and powerful.

She explained that the crew was moving around Salman Khan while filming, creating a dynamic visual style in which the camera circled the actor as he walked across the bridge. During this moment, the actor reportedly broke down and continued crying while the camera recorded the scene. Farah said that because the emotions appeared genuine, she chose not to call for a cut, allowing the moment to continue naturally until the shot was complete. In her view, the authenticity of the performance added a unique dimension to the sequence.

Farah later reflected on the irony that while the emotional moment in the film was powerful, the film itself did not perform well commercially when it was released. Speaking humorously about the situation, she remarked that after the film failed to achieve box office success, she too felt like crying. Despite this outcome, she continues to regard Jaan-E-Mann as one of the projects that featured some of her best creative work, particularly in terms of song choreography and visual storytelling.

The filmmaker also noted that the film’s music and the way its songs were filmed did not receive the recognition she believed they deserved at the time of release. Over the years, however, audiences have revisited the film and its soundtrack with greater appreciation. This has led some viewers to describe Jaan-E-Mann as a film that gained recognition gradually after its initial release.

Another factor that affected the film’s commercial performance was its release timing. Jaan-E-Mann premiered on the same day as Don, the action thriller starring Shah Rukh Khan. The simultaneous release created direct competition at the box office. Farah recalled an anecdote related to that day, noting that Salman Khan even attended the premiere of Don. She joked that she had to remind him that his own film had been released the same day.

Although Jaan-E-Mann did not achieve major financial success during its theatrical run, the film continues to be discussed in retrospective conversations about Bollywood cinema of the mid-2000s. The emotional moment captured during the filming of Sau Dard remains one of the memorable stories associated with the production, illustrating how unexpected authenticity during a performance can sometimes leave a lasting impression even when a film’s overall reception is mixed.