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For her second feature with filmmaker Luca Guadagnino, the casting director had the benefit of a major star already in place. As she tells IndieWire, that only added to the fun of assembling the rest of her cast.
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Rakhi Sawant candidly opened up about her experiences with casting couch incidents in Bollywood. In an exclusive interview with Bollywood Bubble, she recalled how women were often lured with false promises to become heroines. Rakhi shared that she was unaware of such manipulations at the time. She emphasised how societal awareness has improved, but also highlighted that women still face harassment today. Scroll down to read what she said.
When asked if she faced any casting couch incidents in Bollywood, Rakhi Sawant admitted, “Bahut hua casting couch ka zamaana, aisa hota tha ki raat ko bola jaata tha, ‘Aao, palang garam karo, subah heroine ban jao.’ Main boli, ‘Aisa kaun si heroine banti hai bhai?’ Main toh bachchi thi, mujhe toh maloom hi nahi tha ki palang kya hota hai, palang garam kya hota hai! Main toh sochti thi, shayad niche sagdi-vagdi rakhni hoti hogi palang ke neeche, tab garam hota hoga! Mujhe kya maloom tha yeh sab? Abh toh mujhe sab maloom hai, ab toh main mature ho gayi hoon, badi ho gayi hoon, mujhe maloom hai, what is the meaning of ‘palang garam’. Us time mujhe samajh hi nahi aata tha.”
She continued, “Main apni maa ko bolti thi, aur meri maa kehti thi, ‘Nahi jaane ka, tu ek acche khandaan ki beti hai. Aise jagah pe nahi jaane ka.’ Meri maa mujhe raat ke 8 baje ke baad kahin nahi bhejti thi. Woh kehti thi, ‘Jo karna hai, subah jaldi uth ke kar. Gym ja, yoga kar, horse riding kar, saare classes kar, acting class, dance class, kung fu, karate, taaki director bole, yeh aata hai, woh aata hai! Acting aati hai, tragedy aati hai, Meena Kumari aati hai! Bas palang garam karna aata hai? —Nahi aata!’ You understand what I’m saying? Yeh sachchai hai bilkul.”
Cocnluding, she said, “Offers toh itne aate the, bhar-bhar ke aate the, bhai. Jab kisi ka aage peeche koi nahi hota, koi godfather nahi hota, toh kuch luchche gande log aise offers karte the. Us time pe na unhe khauf tha, na social media ka darr. Agar us time pe aaj jaise social media hota, main kehti, ‘Haan bhai, bol kya chahiye? Palang garam karna hai? Bol jaldi bol!’ Poore world mein uski zindagi bhar ki badnami ho jaati. Log uski chittha jala dete. Uska palang aisa garam hota, aisa garam, ke uske pant ke andar koyle garam ho jaate! Samajh rahe ho na aap? Aaj koi ladki ko galat nahi bol sakta. Phir bhi r*pe hote hai, phir bhi ladkiyon ko mara jaata hai. Main kehti hoon, main ladkiyon ki strength hoon.”
Rakhi Sawant has publicly acknowledged that she faced the casting couch as a struggler in the film industry. But she emphasised that she was able to succeed without compromising her integrity, thanks to her talent and ability to say no. She shared that, although she was a victim early in her career, not every producer or director was guilty, and she managed to carve her path through skill and perseverance.
For more news and updates from the entertainment world, stay tuned to Bollywood Bubble.
Akankshya Mukherjee is a dynamic and ambitious individual poised to make waves in the realm of Media and Communication. With a passion for creativity and a drive to contribute to forward-thinking organizations, Akankshya embodies adaptability and a hunger for learning. Having already garnered experience through involvement in various organizations, she has honed the skill of quickly adapting to new environments and challenges. She sees each opportunity as a chance for personal and professional growth, eagerly embracing roles in communications and content writing.
It’s always Hot Ted Bundy this, Hot Ed Gein that. But why is no one talking about the entire cast of Hulu’s “Murdaugh: Death in the Family” looking a little too good?
A multi-generational dynasty of Southern corruption rooted in economic mobility and legal influence, the complex but nevertheless notorious South Carolina family made headlines in 2019 for the deadly aftermath of a drunk boating accident involving the youngest Murdaugh boy, Paul. The crash killed 19-year-old Mallory Beach, drawing attention to years of alleged Murdaugh misdeeds in a not-so-tight-knit community that ultimately witnessed, up close, what a person can do when they sail past desperation and into madness.
People have looked to violent crime as a form of entertainment for centuries, and it’s no question the twists and turns of the Murdaugh family make for great TV. Follow along with the saga, and you’ll see villains with varying degrees of culpability become surprisingly sympathetic victims. The show encompasses multiple criminal cases involving several fatalities that occurred between 2015 and 2021. Series creators Michael D. Fuller and Erin Lee Carr do a remarkable job weaving that mess of facts into a cohesive drama that gets at the heart of the Murdaughs’ power. Mostly.
What became of the four adult relatives — dad Alex (Jason Clarke), mom Maggie (Patricia Arquette), eldest Buster (Will Harrison), and youngest Paul (Johnny Berchtold) — is better left unspoiled as the streamer continues rolling out new episodes of “Murdaugh: Death in the Family” week to week.
But with a sizable audience doing research to kill time between installments, the miniseries’ cast boasts an awkward attractiveness that sticks out as oddly inauthentic. Set as an otherwise cunning docudrama, the Hollywood-coded cast continues a frustrating tradition of “disappearing” into characters for which these actors look almost too naturally famous. That gimmick can work well during awards season, but it subtly undermines what shows like “Murdaugh” do well.
No one is complaining about Patricia Arquette leading yet another true crime account for the small screen. Between “The Act” and “Escape at Dannemora,” she’s been able to adapt into any real figure she pleases, so far. But take a long look at the real Murdaughs, and you’ll be hard-pressed to argue the kind of power that fuels the “Severance” actress has much to do with this true American horror story.
That’s not a roundabout way of calling the Murdaughs ugly or implying the series’ costume, makeup, and hair departments haven’t done their best to knock the dashing Jason Clarke down a peg. Rather, these distorted portraits carry an unspoken weight that can steer grounded psychology into fantasy.
The practice dates back to 1967’s “Bonnie and Clyde,” which cast Faye Dunaway and Warren Beatty as lovestruck bank robbers. Their striking image has persisted for decades, inspiring everything from luxury advertisements to a Sabrina Carpenter music video with Barry Keoghan. But it’s Charlize Theron’s performance as serial killer Aileen Wuornos in 2003’s “Monster” that most resembles the slight miscasting at work in “Murdaugh: Death in the Family.” Even rocking significant special effects makeup (just a touch of which is at work in the Hulu series), the bizarre transformation of Theron is so distracting that one could argue her physical appearance has a greater legacy than the film itself.
There’s plenty of good acting in the latest Murdaugh reimagining, but shark-like contacts and the demonstrably finicky task of making anyone look like “a ginger” detract from quieter beats. Yes, these casting directors knew the right talent to pair with this bonkers story in theory. But the optical-illusion quality, which makes you want to squint every time Clarke and Arquette pop on screen, works against the performers’ considerable efforts to vanish into their roles. Toss in the stunning Brittany Snow as an intrepid journalist (the series is adapted from reporter Mandy Matney’s podcast), and you’ve got a serious nightmare presenting a bit too glossy.
“Murdaugh: Death in the Family” is a strong docudrama despite that, but other limited series might consider going the route of Netflix’s “Adolescence” to cast unknowns more often. The result isn’t always an easier character for the actor to pull off, but removing the Hollywood hotness factor provides an opportunity for at-home audiences to fully immerse themselves in the story. Battling the temptation to pick up a second screen every time you’re watching something in your living room feels even harder when you know you’ve got the real thing and how it ends in hand.
“Murdaugh: Death in the Family” is streaming on Hulu.
In a striking revelation from Bollywood’s early 1990s days, producer and friend Viveck Vaswani recalled an unexpected moment in the career launch of Shah Rukh Khan—one that highlights both the unpredictable nature of show-business and the complex dynamics of fame.
Vaswani shared that it was actor-turned-director and star Hema Malini who offered Shah Rukh his first major film role in her directorial venture Dil Aashna Hai (1992). The story goes that Malini called Vaswani one evening and asked: “Is Shah Rukh Khan still sleeping at your place?” When he confirmed, she instructed Vaswani to bring Shah Rukh to her home at 5 pm for a meeting. Accompanied by Vaswani, an anxious Shah Rukh arrived at her residence—only to be greeted by Malini’s candid assessment of his looks: “But you’re very ugly.” The blunt remark hung in the air, yet Malini pressed on. “Why do you want him?” Vaswani asked, to which she responded simply: “Aamir Khan and Salman Khan have said no.”
What followed is the kind of decision-making that characterises the film industry: Malini signed Shah Rukh for a fee of Rs 50,000, telling Vaswani, “I am Hema Malini, so there are no questions.” The film would go on to feature veteran stars such as Jeetendra, Mithun Chakraborty, Dimple Kapadia and Divya Bharti—yet, despite the delay in release, it marked a significant stepping-stone for Shah Rukh.
Vaswani painted the scene: Upon their arrival in Malini’s living-room, the duo didn’t recognise the person reading a newspaper. Only when the figure looked up did they realise it was veteran actor Dharmendra, casually dressed and seated in a lungi. The image sits in bright contrast to the glitzy aura of Bollywood—reminding us that even legends inhabit informal frames when not on screen.
What makes this anecdote resonate isn’t just the bluntness—Malini’s “you’re very ugly” comment—but the layers of ambition, choice and timing it reveals. At that point, Shah Rukh was still grinding, sleeping at Vaswani’s place, auditioning and hoping for the break that would make him something more than a supporting actor. Malini’s choice to sign him—despite the dismissed sighs of others—speaks to her eye for potential, not just aesthetics.
Also Read: Salman Khan Confronts Tanya Mittal, Neelam Giri Over Ashnoor Kaur Body-Shaming: ‘Who Gave You the Right?’
In the broader narrative of Shah Rukh’s rise, the moment holds symbolic value. He went on from that conversation to become one of Bollywood’s most influential stars. The film may not have launched him as blockbuster hero overnight—but it opened doors. When faced with a blunt judgement about his looks, Shah Rukh later turned it into a brand: the under-dog turned king, the “ugly” boy who captured hearts worldwide. He even admitted in an earlier interview that if people called him ugly, he would lean into it and opt for roles as the villain.
The episode also gives insight into how Bollywood views image, talent and risk. Aamir Khan and Salman Khan reportedly declined the role Malini offered, giving Shah Rukh the chance—akin to how timing and opportunity shift destinies. Malini’s choice reflected a readiness to invest in someone overlooked by peers. It underscores how industry gatekeepers, backed by intuition and conviction, shape stories beyond scripts.
Dharmendra’s presence in that living-room—sitting quietly, lungi and all—adds texture to the story. It suggests that even towering stars exist in understated moments when the camera isn’t rolling. Perhaps he observed the scene quietly, aware of how fortunes change in the industry’s undercurrents.
As the anecdote circulates, it invites reflection: Is “ugly” really a definitive barrier in show-business? Shah Rukh’s journey argues otherwise. It also raises questions about commentary on appearance—and how a blunt statement by a star like Hema Malini served as a catalyst rather than a barrier. The story captures the unpredictability of casting, the ruthlessness of ambition, and the willingness of certain individuals to see beyond first impressions.
Today, films, battles and marketability dominate star-making. But in 1991-92, a nude call sheet, a crude comment, and a half-hearted yes proved enough to start a phenomenon. The choice Malini made—and the response Shah Rukh delivered—shaped an era.
Their story is more than Hollywood-style origin myth; it reflects Bollywood’s messy alchemy of looks, talent, opportunity and narrative. And in that living-room moment, with “ugly” called out and destiny nonetheless invited in, you glimpse the quiet dramatic surge behind cinematic success.
Maddock Films, the production house behind some of Bollywood’s most successful horror-comedies, has issued an official statement clarifying that no casting decisions have been finalised for their upcoming projects, Shakti Shalini and Maha Munjya. This announcement comes amidst growing speculation and unverified reports about the star cast of these much-anticipated films.
The Maddock Films official statement reads, “While we truly value the excitement around our horror-comedy universe, we want to make it absolutely clear that any reports regarding the casting of the upcoming chapters, including Shakti Shalini and Maha Munjya, are purely speculative. We urge the media to avoid misinformation and to wait for official announcements from us.”
The clarification highlights the studio’s intent to manage expectations and maintain transparency as they continue to expand their horror-comedy universe, which already includes successful films like Stree, Roohi, and Bhediya. Maddock’s unique blend of supernatural elements, humour, and rooted storytelling has carved out a niche in the genre.
Both Shakti Shalini and Maha Munjya are reported to be integral parts of Maddock’s larger cinematic universe, which is gradually taking shape across interconnected storylines and characters. While details are under wraps, Shakti Shalini is rumoured to be a female-led supernatural adventure, and Maha Munjya is expected to explore ancient folklore with a quirky twist.
Fans have been eagerly awaiting news about casting and release dates, but Maddock Films has now made it clear: all reports until now are unconfirmed. Viewers are advised to stay tuned to the studio’s official channels for verified updates. Until then, the mystery and excitement around these new chapters in the horror-comedy universe continue to build.
For more news and updates from the entertainment world, stay tuned to Bollywood Bubble.
Manisha has established a reputation for insightful and engaging storytelling with over six years of expertise in the industry. With a deep passion for cinema, she brings a unique perspective to her coverage, making it a trusted voice in the entertainment world.
Constance Wu has criticised Andrew Barth Feldman over his casting in the Broadway musical Maybe Happy Ending.
Constance Wu has criticised Andrew Barth Feldman over his casting in the Broadway musical Maybe Happy Ending
The actress, 43, says she is “so disappointed” after a series of conversations about Asian American representation, and shared her sentiments in a statement on Instagram revealing that she and Andrew had spoken on the phone about the controversy.
She wrote: “It was a peaceful call and we spoke at length, followed up by several emails/texts. It made me hopeful. But after a recent voice memo he sent me, all I can say is that I am so disappointed in him. And feeling pretty discouraged.”
Andrew joined the cast of the South Korea-set musical on 2 September for a nine-week run opposite his girlfriend Helen J Shen.
He replaced Darren Criss, who took a hiatus from the show on 31 August and is scheduled to return on 5 November.
Darren, who is Filipino American, previously led the production in the role of Oliver.
Constance added: “It’s hard to keep speaking up when it feels like no one is listening anymore in this new era. It’s exhausting and increasingly lonely. Once again, Asian Americans are left unheard, unacknowledged, invisible. Sadly, we’re used to this.
“A dozen or so folks bts at @maybehappyending have remained silent perhaps in the hopes that this will all fade away and you know what? It has. Your plan is working, guys – I heard your box office doing great.”
Writers Hue Park and Will Aronson responded earlier, saying in a joint statement: “We wrote a show about robots so we could engage more intimately with the most basic human questions of love and loss, creating the roles of Oliver and Claire to be avatars of these universal questions.
“They were meant to be products created by a global company, and so never bore Korean names, even in the Korean version of the show. At the same time, we understand that for many in the AAPI community, the makeup of our opening night cast became a meaningful and rare point of visibility.
“We’ve heard how strongly people connected to that representation, even if it wasn’t our original intent, and how this casting decision has re-opened old wounds.”
Constance also referenced a petition launched by B.D. Wong, who wrote on Instagram on 10 August that Andrew’s casting was “taken as a hard slap in the face of both the Asian actor community and the Asian audience.”
B.D. added more than 2,400 people had signed the petition, which he described as “a detailed articulation of our POV.”
Constance concluded: “I’m sorry to the thousands of people on @wongbd’s petition whose signatures he and the producers have yet to publicly acknowledge.
“And honestly, I’m sorry ABF that you’ve been (perhaps unfairly) saddled with this responsibility by your producers. But sometimes we don’t choose our responsibilities, they choose us. So the question that remains is: what are you choosing to do with it?”
Maybe Happy Ending, which follows two robots in Seoul who form an unlikely romance, was written by Aronson and Park and won six Tony awards, including best musical, in June.
Andrew’s limited run as Oliver continues until 1 November.
Call Me Bae recently completed a year, and Ananya Panday’s performance as Bella Chaudhary still feels fresh in the minds of audiences. From taking on roles across genres to seamlessly blending charm with relatability, Ananya has become more than an actress — she’s an icon that the younger generation resonates with. Known for her candidness and fearless choices, she has steadily carved out a space that reflects the aspirations and complexities of today’s youth.
As mentioned in the recent conversation with The Nod Magazine, Collin D’Cunha, director of Call Me Bae, opened up about why Ananya was the perfect fit for the role of Bella Chaudhary. He said, “We needed someone to embody the spirit of a younger Poo (from Kabhi Khushi Kabhie Gham…) but in 2024. And Ananya just felt like the voice of this generation.”
The statement highlights how the creative team wanted an actor who could capture the restless, unapologetic, and fun spirit that defines contemporary youth culture — a space where Ananya effortlessly belongs.
Over the years, Ananya has consistently chosen roles that break conventional molds, embracing narratives from different spectrums while staying authentic to her persona. Her approachability and willingness to experiment have earned her a dedicated fanbase, especially among younger audiences who see her as a reflection of their own experiences.
With Call Me Bae, she not only extended her acting prowess but also became a cultural touchstone — someone who represents the voice, style, and spirit of an entire generation.
For more news and updates from the entertainment world, stay tuned to Bollywood Bubble.
It’s always fascinating to learn about the golden days of Bollywood, how the movies were made, and what happened on sets. An old incident about Jaya Bachchan taking a stand for Amitabh Bachchan dates back to the release of the Manoj Kumar directorial Roti Kapda Aur Makaan in 1974. Jaya Bachchan blasted Manoj Kumar for casting Amitabh Bachchan in a supporting role.
Jaya Bachchan and Amitabh Bachchan, who married on June 3, 1973, celebrated their 52nd anniversary this year. Although they frequently exchange words of great respect and affection, Jaya—renowned for being outspoken—has fought for her husband in front of celebrities like Rajesh Khanna and Manoj Kumar.
Roti Kapda Aur Makaan, starring Manoj, debuted in theaters in 1974. Amitabh Bachchan, Zeenat Aman, and Shashi Kapoor also played key roles in the movie. Despite experiencing several failures at the beginning of his career, Amitabh had already scored a hit with Zanjeer (1973). He was well on his way to becoming the titan whose fame would last for decades and even generations. Despite this, Amitabh received comparatively less screen time than Manoj, who portrayed Bharat, and Amitabh, who played the role of his brother Vijay.
Jaya Bachchan, who had only married Amitabh Bachchan a year prior, voiced her displeasure with her husband’s screen time in the Manoj Kumar-directed movie. Manoj was also the writer and producer of the action drama.
Amitabh was yet to have his breakthrough hit, even after making his feature debut in 1969’s Saat Hindustani. Five years later, Manoj asked the actor to be in his film Roti Kapda Aur Makaan, where he would play a key role. But rather than being the central star, he was cast as a supporting actor opposite Madan, Dheeraj Kumar, and Premnath.
Jaya Bachchan didn’t take this well. According to an IMDb report, the actress stated in a media interview that Manoj Kumar squandered Amitabh Bachchan’s talent for the movie. She claimed that Manoj purposefully reduced Amitabh’s screen time.
The film was one of the top-grossing films of the year. It is recognized as one of Manoj Kumar’s biggest box office hits. On a Rs 1.28 crore budget, Roti Kapda Aur Makaan reportedly brought in Rs 7.50 core at the box office.
Much earlier than this, in 1972, Jaya stood up to Rajesh Khanna on behalf of her then-boyfriend Amitabh Bachchan. Rajesh allegedly reprimanded Amitabh for visiting the sets of Bawarchi to meet his co-star.
Rajesh, the biggest star then, thought Big B had no chance of success since Amitabh’s movies failed to make money. In addition, he asked Jaya to avoid him. Jaya had responded angrily, saying Amitabh would eventually take over the business. The phrases were fictitious. Amitabh Bachchan, as we know it, is one of the biggest stars of the time.
For more such stories, check out Bollywood Features
Must Read: When Rekha Used To Third Wheel Amitabh Bachchan & Jaya Bachchan; Insider Revealed “She Would Sit In The Back Seat & They Would Talk Through The Journey”
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Updated on: Aug 23, 2025 08:46 pm IST
Janhvi Kapoor has been busy promoting her upcoming film Param Sundari for the last few days. After the trailer of the film was released, the actor’s accent and portrayal have received criticism from a number of performers and viewers from Kerala. Malayalam actor-singer Pavithra Menon and content creator Steffi slammed the casting of Janhvi in the film. Amid this backlash, Janhvi has now clarified the background of her character in a discussion with ET Digital. (Also read: Janhvi Kapoor’s Malayali girl act in Param Sundari gets a thumbs down in Kerala: ‘Can’t get more stereotypical’)
During the interaction, which also had Sidharth Malhotra and producer Dinesh Vijan, when Janhvi was asked what drew her to the film, she said, “I was at a point in my life where I myself, more than an actor, but as a member of the audience, was dying for just a rom-com. A light-hearted romantic movie where you have a smile on your face the entire time you are watching. Here was a story that gave me the chance to go towards my roots.”
She added, “Of course, I’m not a Malayali, and neither was my mother, but my character is actually half-Tamilian and half-Malayali. I’ve always been very interested in that terrain and that culture, and I’m also a huge fan of Malayalam cinema as well. So yeah, I think it was just a very fun, interesting story, and I’m so happy and grateful that I could be a part of it.”
Param Sundari revolves around the cross-cultural romance between the two leads, one from Delhi and the other from Kerala. Apart from Sidharth Malhotra and Janhvi, the film also stars Rajeev Khandelwal and Aakash Dahiya in pivotal roles. Directed by Tushar Jalota, it is set to release on August 29.
Sydney Sweeney Reunites With Glen Powell After Calling Off Jonathan Davino Wedding
The name is Powell, Glen Powell—so don’t call him James Bond.
Amid buzz for the next person to be cast as Agent 007 after Daniel Craig officially turned in his badge, the Anyone But You star shared why he doesn’t believe he’s the right fit for the job.
“I’m a Texan,” Glen told The Hollywood Reporter in an article published Aug. 20. “My family and I joke around, I can play Jimmy Bond, but I should not be playing James Bond. Get an authentic Brit for that job. That’s who belongs in that tuxedo.”
Indeed, Glen is the only American name that has earned its fair share of buzz surrounding the casting choice—which has yet to be announced. Other top fan-picked actors including Theo James, Henry Cavill and Aaron Taylor-Johnson, who all hail from across the pond.
Theo, however, similarly echoed Glen when asked about taking on the iconic role.