Entertainment

Entertainment Songs by Lady Gaga, Kendrick Lamar, and Chappell Roan all arrived right when we needed them Kevin Mazur/Getty Images; Michael Owens/Getty Images; Rick Kern/Getty Images Leading up to the Grammy nominations on Nov. 7, Rolling Stone is breaking down 10 different categories. For each, we’re predicting the nominees, as well as who will (and who should) win on Grammy night.  “There were so many incredible records,” says J.J. Italiano, head of Global Music Curation & Discovery at Spotify. That makes forecasting the Record of the Year category — which honors a song’s recorded version, and which is given to all the people involved in its crafting — a wide-open game, and one that close listeners can have a lot of fun prognosticating. Italiano says the split between Song and Record remains important to the way pop music is thought about. “It’s really cool that there is a tradition where we think about song structure and we think about recording on an annual basis,” he says. “These days, pop music moves so fast that the little details can get missed.”     Record of the Year – Our Predictions Sabrina Carpenter, “Manchild”Playboi Carti & the Weeknd, “TIMELESS”Lady Gaga, “Abracadabra” Kendrick Lamar feat. SZA, “luther”  Chappell Roan, “The Subway”ROSÉ & Bruno Mars, “APT.”Tyler, the Creator feat. GloRilla, Sexyy Red, & Lil Wayne, “Sticky”Alex Warren, “Ordinary” Who Will Win? Kendrick Lamar feat. SZA, “luther”  Lamar’s “luther” has a timeless feeling that isn’t just chalked up to the dreamily deployed sample of its titular soul legend’s 1982 duet with Cheryl Lynn, “If This World Were Mine.” Kendrick and SZA’s duet would mean back-to-back wins for the Compton MC, who took home Record of the Year for “Not Like Us” in February. “That was such an important moment,” says Italiano, who notes that that song’s dominance “just floated into” the ascent of the chilled-out GNX cut. That continuous dominance might be a major factor, according to Italiano: “When the moment is undeniable, or when [a song’s success] isn’t necessarily about the writing, but about how it becomes this time capsule for the year — those are the records that, more often than not, win in this category.” Who Should Win? ROSÉ & Bruno Mars, “APT.”ROSÉ and Bruno Mars’ “APT.” isn’t just an infectious culture clash; it’s an expertly crafted cut that fits the spirit of the category very well, says Italiano. “I personally feel it’s one of the best-engineered and arranged records I’ve heard an extremely long time — particularly the pre-chorus,” he says. “The arrangement and how the pre-chorus was recorded are a master stroke.” Forecasting the Field “Abracadabra” was a huge streaming smash that, Italiano says, dropped at exactly the right moment: “It was such a definitive Gaga song at a time when it just felt like the world needed precisely that.” Roan’s “The Subway” is, says Italiano, “an incredible song, and as a recording extremely strong.” Warren’s monster ballad “Ordinary” filled a void in 2025 pop, tapping into what Italiano says is “something that’s kind of familiar, but that was missing,” while Carpenter’s twang-tinged “Manchild” commemorated what Italiano calls “year two of Sabrina songs being ubiquitous.” Playboi Carti and the Weeknd’s “TIMELESS” is a victory lap in the form of a slick lament, while Tyler, the Creator’s twisty, brass-assisted posse cut “Sticky” melds together multiple styles and voices for a blown-out party. From Rolling Stone US. Read More

Entertainment Mental health and sound are often intertwined. Both genre and region-wise, the sound healing industry is evolving, with upcoming artists carving distinct niches. Packed with mindfulness and transcendental beats, these songs go beyond just sonic pauses on your playlist, offering momentary pockets of relief, euphoria, and relaxation. On World Mental Health Day, Rolling Stone India curates a list of tracks ranging from plant sounds to folk healing that are equal parts soothing, therapeutic, and experimental. ShiShi: “Aham Brahmasmi”ShiShi’s track “Aham Brahmasmi,” from his nine-part album Indigo, begins with momentary bouts of silence before plunging into a hypnotic harmonium crescendo. Each note lingers and sustains, as if it is meant to occupy the space. Reminiscent of Lifafa’s “Bewafa Hai Ghadi,” it lets you breathe, take off the load, and indulge in the present guilt-free. In those three minutes, even without lyrics, a range of emotions is conveyed. Rishab Rikhiram Sharma: “The Burning Ghat” An amalgamation of poignant sitar strings, “The Burning Ghat” builds anticipation at its own pace, keeping the listener engaged throughout. Even with the initial calm tempo, the overlay of aalaps and synth-infused beats ends the track on a valiant note. A tribute to the revered Manikarnika Ghat in Varanasi, Sharma pays homage to the eternal flame of liberation, or moksha. Sharma is a strong advocate for using music as a tool for mental well-being, with projects like Sitar for Mental Health that merge traditional sounds with a modern outlook. Modern Biology (Tarun Nayar): “Fairy Creek Alder In The Evening (Raag Kaafi)” Plants, notoriously hard to care for, are also ingenious music sources. Tarun Nayar, a biologist trained in classical music, is on a mission to help us touch grass —musically, that is. Using analog equipment and modular synthesis, he harnesses the natural vibrations generated from wild plants and mushrooms, crafting wellness-focused compositions that are rooted in flora and fauna. His track “Fairy Creek Alder in the evening (raag kaafi)” is ethereal, whimsical, and inherently escapist, effortlessly transporting listeners to liminal, Midsommar-esque landscapes. Erratic yet calculated, Nayar’s production reveals a certain stillness rooted in sporadicity. Lincoln Jesser: “Aum So Hum” A breezy, vibrational track that’s as much fun as it is spiritual, Jesser’s “Aum So Hum” adds a summertime touch to spirituality. The Sanskrit chant, which translates to “I am the universe,” reverberates throughout, grounding the track as its beats and melodies collide harmoniously. He also incorporates the solfeggio frequency (528 Hz), which is said to reduce cortisol levels and elevate overall mood. It draws some parallels to Fred Again…’s “Adore U,” but carves its own space through a unique blend of spirituality and sound healing that feels intentional and danceable. Sahalé, Ravin: “Sapana”Sahalé is a Paris-based producer who encapsulates cultural intricacies through electronic music, creating a soundscape that feels intimate yet expansive. His track, “Sapana,” is a perfect mood-setter, an ideal background score for your 5-to-9s. Built on a magnetic, repetitive loop, it features Bengali verses that echo grief chained to a rhythmic melody. Grounded and emotionally present, this track places feelings at the forefront, letting emotions take center stage. EarthRise Soundsystem, Morley: “Intention” Blending holistic club and lounge music with global influences, the musical duo Derek Beres (author, yogi, and producer) and percussionist David Schommer strive to craft transcendental tapestries of sound. In the track “Intention,” there’s a primal, choral element, with constant hums layered beneath rich harmonies, which creates an immersive, almost meditative atmosphere. Hamsa Lila: “Om Tara” Rustic, mystical, and rich in multi-genre instrumentation, “Om Tara” by Hamsa Lila is an interplay of earthy rhythms and hypnotic grooves that borrows from Gnawa and Yoruba culture from West Africa and Nigeria. With a loop-like chant and harmonies that glide like butter, the entirety of the track, at its core, is a multicultural influx of tribalistic influences from Morocco, India, West Africa, and Brazil. All in all, the band spotlights trance music through unique indigenous music references, with the percussion and beats dictating the tempo. Sid Sriram: “Sol” Sid Sriram’s “Sol” is a bilingual track that blends Carnatic riffs with a peppy beat. An anthem of togetherness and love,  it’s infectiously optimistic, instantly lifting your spirits and putting a smile on your face. Derived from personal nostalgia, “Sol” captures the awe Sriram felt as a child listening to his mother sing, evoking memories of his upbringing in Fremont, California. Shuttling between western and classical influences, this song is like a mood cleanser; you can start afresh, whatever time of the day. In totality, the song is an ode to belonging, connection, and unadulterated joy. Ishq (Matthew Hillier): “Bhakti”Matthew Hillier’s “Bhakti,” under his moniker Ishq, feels like a soundtrack crafted for James Cameron’s Avatar. Lucid and ambient, the track keeps listeners on their toes, unfolding like the opening credits of a grand sci-fi feature film. Its pulsing beats simulate the feeling of traveling across dimensions. A UK-based ambient artist, Hillier blends abstract and experimental sound design with spiritual and cultural themes. With just a mere listen, “Bhakti” drifts you inwards, away from the chaos of the universe. Read More

Entertainment The music industry thrives on inflated fees, hidden losses, spun metrics, and opaque payouts — and no one wants to admit it Artists inflate their fees, festivals hide their losses, sponsors spin reach numbers, platforms mask payouts, and the most unspoken truth about music right now is that almost nobody is honest about the economics holding it together. Take artists: it’s common to hear a headline number for a show fee — “X lakhs” or “X dollars” — that doesn’t actually reflect reality. Behind the curtain, the figure is often padded with conditions: free travel, afterparty appearances, or merchandise guarantees. In some cases, it’s a bluff, shaved down in private negotiations, while the inflated figure becomes the one repeated in the industry, and the perception of value becomes currency. In electronic music, promoters have warned that spiraling fees are threatening the very survival of smaller circuits. Then there are the festivals. Every year, we see press releases about “record-breaking sales” or “sold-out” events, but rarely a transparent breakdown of what it costs to put the event on. Production, security, logistics, artist travel, insurance — the overheads are massive. The narrative is always one of growth and success, because admitting losses would puncture the myth. The truth is, many festivals only survive because brand money or government subsidies plug the gaps, and some run at outright deficits, hoping perception alone keeps them relevant. Sponsors, meanwhile, are complicit. Post-campaign reports are filled with words like “potential reach” and “engaged impressions”—  numbers that look glossy on a PDF but don’t hold up to scrutiny. Passive scrolls, duplicated users, recycled posts — they all get bundled into the figure. Brands know this, but few demand genuine accountability. Everyone is incentivized to play along: the artist gets a headline, the brand gets a slide deck, and nobody checks whether the campaign actually converted fans or sold anything. And then there are the platforms — the least transparent players of all. Spotify’s Discovery Mode, for instance, asks artists to accept a 30 per cent royalty cut in exchange for more algorithmic placement. Critics have called it “a form of payola.” Streaming farms inflate numbers at scale, with some estimates suggesting up to 10 percent of global plays are fake. In the U.S., the Mechanical Licensing Collective has been accused of allowing duplicate registrations and weak anti-fraud systems that divert royalties away from rightful creators. And worldwide, artists remain frustrated: surveys show seven in ten are dissatisfied with streaming payouts. So why does everyone keep quiet? Partly because opacity has been normalized. Contracts have always been complex, royalty statements unreadable, backend clauses hidden. Asking questions gets you branded as naïve or difficult. Promoters and labels wield more leverage, and artists risk losing deals by pushing too hard. Even managers burn out under the weight of constantly negotiating in a fog. The safer choice is to smile, nod, and repeat the official line. And in a market like India, where the industry is still finding its shape, perception is often treated as reality. Looking successful matters more than being successful, because hype creates leverage: it gets you booked, sponsored, or playlisted. We’re stuck in an attention economy where clout can outweigh craft, and where the illusion of momentum is often valued more than tangible, sustainable growth. But silence has a cost. If artists, promoters, sponsors, and platforms all operate on inflated or obscured numbers, how do we measure what’s actually sustainable? What does “success” even mean if the economics are fiction? The industry keeps dressing itself up as healthy, but under the makeup, it’s riddled with contradictions. The real fix isn’t glamorous — but it’s necessary. Festivals and promoters should provide itemized post-event reports to artists and sponsors, not just press releases. These reports should cover actual ticket sales versus comps, production and logistics costs, sponsor deliverables, and the net profit or loss. A handful of independent promoters in Europe have started trialing this as part of their artist contracts; there’s no reason India or North America shouldn’t follow suit. Governments can mandate transparency codes like the UK’s 2024 initiative on music streaming. These codes require labels, publishers, and platforms to share clearer royalty statements, provide accessible contract summaries, and disclose how revenues are split between different rights holders. Platforms should explore user-centric payout models that align royalties with what individuals actually listen to, instead of the current pooled system. Strengthening metadata systems would plug the billions lost each year to duplicate claims and unmatched royalties. Brands, meanwhile, should require third-party audits of campaign performance rather than rely on “potential reach” reports. Artists and managers also need collective leverage. In the U.S. and Europe, unions such as the American Federation of Musicians (AFM), the American Guild of Musical Artists (AGMA), and the United Musicians and Allied Workers (UMAW) have been instrumental in advocating for fairer contracts and improved working conditions for music professionals. In India, though, where most independent artists operate without that kind of protection, there’s an urgent need for associations that have the power to enforce fair pay, contract transparency, and workload standards.  Without this, burnout will keep being mistaken for proof of success. And perhaps most importantly, the people with influence — managers, promoters, and headline acts — need to normalize honesty. When a major artist admits to taking a loss on a tour or a brand openly shares a disappointing campaign result, it doesn’t weaken them; it sets a precedent that honesty won’t end a career. These fixes are not about killing hype. They’re about building a system that can last beyond hype cycles. Until then, the money myth persists. We’ll keep reading about inflated fees, record-breaking sales, billion-stream milestones, and brand “impact” — while the people who make the music quietly wonder why they still can’t make rent. Read More

Entertainment A rediscovery of his work shows how his catalog has grown into a living archive of vulnerability and hope I didn’t sit down to write this. I sat down to listen. I put Mac Miller on shuffle with no plan or angle, and somewhere between K.I.D.S. and Swimming, it hit me: I had been underestimating just how much he carried. Years after his passing, the records don’t feel archived; they feel present, as if they’ve grown up alongside me and now speak back with renewed patience and clarity. That’s why I’m writing this — because revisiting his catalog tonight reminded me how rare it is for an artist to make you feel understood this steadily, this long after they’re gone. Mac Miller, born Malcolm James McCormick, died on Sep. 7, 2018, at just 26 years old. He was found unresponsive at his Los Angeles home, and the coroner later confirmed his death as an accidental overdose from fentanyl, cocaine, and alcohol. The news was sudden and devastating, a moment that froze the music world in grief. In the years since, details of counterfeit pills and criminal cases have only underscored the senselessness of the loss. But beyond the headlines, what remains is the music — and the feeling that it still grows with you. From the very beginning, Miller’s ear for collaboration and experimentation made him stand apart. “The Spins,” from K.I.D.S., is built on a sample of Empire of the Sun’s “Half Mast (Slight Return),” a shimmering indie pop track reimagined as a carefree rap track about youth and possibility. That flip wasn’t just clever sampling; it was a sign of his openness, pulling different sounds into his orbit before anyone expected him to. As his artistry matured, he built entire new worlds with collaborators who pushed him into new emotional territory. The Divine Feminine is still one of the most underrated examples of this — a record where Anderson .Paak lights up “Dang!” with an infectious groove, Miguel lends smoothness to “Weekend,” CeeLo Green lifts the gospel-infused “We,” and Kendrick Lamar delivers a cerebral, barbed verse on “God Is Fair, Sexy, Nasty.” These went beyond just features and became extensions of Miller’s intent to explore love, intimacy, and fragility with a newfound openness. His work with Ariana Grande is often reduced to tabloid headlines, but musically, it holds real significance. Their 2013 hit “The Way” was more than a stepping stone for Grande’s pop career — it was also a showcase for Mac’s charisma in a mainstream lane, his verse punctuating the song with charm. Years later, “My Favorite Part,” a duet from The Divine Feminine, carried the intimacy of their real-life relationship, a slow jam that showed Miller’s softer, more romantic side. Together, the two songs captured very different but equally authentic facets of his artistry. And then came Swimming. By 2018, Mac was threading funk, jazz, and soul into his rap with a confidence that felt both playful and reflective. Thundercat’s elastic bassline powered “What’s the Use?,” giving Mac a canvas for one of his smoothest deliveries. Their chemistry at NPR’s Tiny Desk remains one of the most beloved live sets on the internet, a performance that feels more like a time capsule of joy. After his death, producer Jon Brion finished Circles with meticulous care, ensuring that Mac’s vision for the twin albums — Swimming and Circles, conceived as two halves of one thought — reached listeners as intended. When stitched together, they feel like a dialogue cut short mid-sentence. It’s the lyrics that stay with me most. On “Best Day Ever,” he rapped, “No matter where life takes me, find me with a smile,” a line that became a mantra of youthful optimism. Two years later, on “Come Back to Earth,” he said, “I was drowning, but now I’m swimming through stressful waters to relief.” And on “2009,” he admitted, “I don’t need to lie no more, nowadays all I do is shine, take a breath and ease my mind.” These weren’t just passing lines; they were confessions of someone trying to work out the balance between light and dark, and between chaos and calm. Listening now, they feel like fragments of self-preservation disguised as songs. The tragedy of his death will always be tied to what was lost — the music he hadn’t yet made, the evolution we’ll never hear. But what feels just as important is what he left us. His catalog doesn’t sit like a museum of past hits; it feels alive, still shifting, still offering comfort and clarity. Every collaboration, every lyric, every experiment adds up to something more than influence or success: it adds up to presence. I didn’t press play, expecting all of this. But Miller’s music met me where I was, the way it always has. That’s the gift he left behind — not perfection, but perspective. He once wrote, “People change and things go wrong, but just remember: life goes on.” And even though he isn’t here, his music makes sure it does. Read More

Entertainment The drama is a unique time-slip love story, but beyond its fantasy and rom-com sensibilities, it’s pretty deep in its implications—self-discovery, empowerment, and what really counts as real ‘success’ Yoon Doo-joon (left) and Kim Seul-gi (right) in a still from ‘Splash Splash Love.’ Photo: MBC, courtesy of Viki. Splash Splash Love (2015) reminds me of this beautiful line I once read: “A small puddle of melted ice reflected the sky.” It’s crazy how sometimes something as ordinary as a puddle on the ground can suddenly feel like a moment of magic. The “melted ice” speaks of change—something solid turning liquid, as much as the fleeting reflection in it that a gentle breeze or a raindrop can ripple away in seconds. That’s just like life itself, a flow of fleeting moments—and that’s exactly where the magic of Splash Splash Love comes into play, where on a rainy day, jumping into a puddle totally flips Jang Dan-bi’s (Kim Seul-gi) life, mystically transporting her into a different time and space. In that surreal transition, you realize, much like the tiny puddle reflecting the sky, sometimes even the most short-lived moments can lead to grand experiences rich with emotions—akin to this adorable 2-episode K-drama replete with smiles, sorrow, fantasy swirls, swoony romance, and things in between, connecting two different timelines. In the beginning, we see senior high school girl Dan-bi, tense about her approaching college entrance exam, thanks to her struggles with math. On the scheduled exam day, it begins to rain, unravelling like a downpour of disappointments, panic, and a strong urge to escape the pressing anxiety Dan-bi’s been going through. In a frazzled state, she spots a puddle revealing a mysterious vision of people pleading for rainfall. She leaps into the water, getting pulled through the flow of time and landing in the royal courtyard of the Joseon era, in between a drought relief ritual taking place. In her modern school uniform, standing out against the regal hanboks of the palace people, a perplexed Dan-bi is quickly identified as an outsider by those around her, including an intrigued King Lee Do (Yoon Doo-joon), poised yet visibly curious about her. Dan-bi piques Lee Do’s curiosity further, calling herself a “gosam,” meaning “high school senior” in modern Korean, but back then, the term also referred to a type of eunuch. However, as she learns more about him and helps him navigate his troubles, she gradually evolves into his trusted confidante. Lee Do is as charming as he is clumsy with numbers. For him, ruling Joseon gets tough when math doesn’t add up. Dan-bi’s arrival at this point proves a blessing as she cracks his math problem. She becomes his personal tutor, teaching him modern math and science, which helps him find ways to fix the long drought bothering the kingdom. In essence, she becomes a catalyst for the greater good, turning the royal court’s confusion into delightful chaos and bridging two worlds apart in time, setting the stage for a thrilling romance between herself and the king. Their growing chemistry blossoms through tutorials, simple conversations and subtle moments, underscoring that love needs no grand gestures; sometimes just your presence and small acts of kindness matter, they can create ripples in the heart. And as Dan-bi’s stint in Joseon’s royal court unfolds, she keeps making small blunders – her use of modern slang, her weird eating habits and struggles with royal protocols confuse Lee Do, triggering hilarious moments highlighting cultural differences, while also gently deepening her bond with the king. But then Splash Splash Love is way more than just that. Beyond its fantasy and rom-com sensibilities, it’s pretty deep in its implications—self-discovery, empowerment, and what really counts as real ‘success.’ Dan-bi doesn’t jump into the past for some epic adventure; she’s basically running away from that super stressful college entrance exam, relating to the extreme academic pressure in South Korea, where everyone’s freaking out about performing well. It’s about finding your value. While in Joseon, everything Dan-bi believed was her weakness becomes her greatest strength. Her little knowledge of modern math and science, for example, makes her a total genius there. This realization significantly boosts her confidence and helps her understand that her worth is not solely defined by excelling in one exam but by embracing her true self. The drama draws a fascinating parallel between Dan-bi’s personal anxiety and Lee Do’s political burdens. Both have heavy responsibilities and fear messing up. It indicates that such pressures are universal, regardless of where or who you are. The rain in the beginning episode acts as a powerful symbol connecting them—the past and present—while also representing change and new beginnings. Dan-bi’s journey becomes one of finding purpose and belief in herself, which in turn inspires others, like Lee Do, and pulls him out of his rut. In the end, Splash Splash Love leaves you with a sense of hope that the seemingly ordinary can hold extraordinary possibilities. It suggests that love comes with its own math and operates according to its own unique logic—sometimes unpredictable, sometimes messy, but often beautiful. Read More

Entertainment While the band’s lead guitarist teased new music, he stopped short of offering a release date Slash is once again giving fans hope that a new Guns N’ Roses album is in the works. In a recent interview with Guitar World magazine, the guitarist said that the band has plenty of music to work with and that while a new album is “coming,” there is still no release date in sight. “There’s so much material at this point — it’s a matter of having the discipline to sit down and fucking get into it,” said Slash. “But the thing with Guns is, in my experience, you can never plan ahead. You can never sit down and go, ‘We’re going to take this time, and we’re going to do this.’ Every time we’ve done that, it falls apart.” The musician also shared some insight into the group’s creative process: “It just spontaneously happens through some sort of inspiration that triggers it. And the next thing you know, it’s off and running.” “So it’s coming. I know it’s coming because everybody is thinking about it,” he added. “It’ll just happen when it happens.” A representative for Slash and Guns N’ Roses did not immediately respond to a request for comment. Last year, when speaking to the Daily Star (via Music News) about his solo album, Orgy Of The Damned, Slash was asked why the record didn’t feature bandmate Axl Rose or the Conspirators collaborator Myles Kennedy. “It was my own side thing, so I wasn’t dragging my own guys in,” said Slash at the time, before sharing that the band was working on a new project. “Guns N’ Roses are trying to make their own record and I’m working with them in that capacity but this didn’t involve anyone else.” Bassist Duff McKagan has also hinted at upcoming music in the past. In 2019, when speaking to Trunk Nation, McKagan said that following their massively successful Not in This Lifetime reunion tour, which saw Slash and McKagan return after nearly two decades, the band had an LP in the works. “Oh, it’s real, but the fun part and the cool part about Guns N’ Roses is we don’t really talk about it, and what happens next just happens,” McKagan said of the new album. The year prior, guitarist Richard Fortus told a St. Louis newspaper that a new Guns N’ Roses album could arrive “faster than you think.” While eager fans have patiently waited for a follow-up to 2008’s Chinese Democracy — and the first Guns N’ Roses record with both McKagan and Slash since 1993’s The Spaghetti Incident? — it appears that they’ll need to hang on for just a bit (or a lot) longer. From Rolling Stone US. Read More

Entertainment Bollywood legend Amitabh Bachchan has bought three adjoining plots in Alibaug, Raigad district, for a total price exceeding Rs 6.6 crores, according to property registration data accessed by CRE Matrix, a real estate analytics firm. The properties, located in the HOABL Alibaug Phase 2 area, were sold by HOABL Landbuild Pvt Ltd with the transactions registered on October 7, 2025. Amitabh Bachchan buys Alibaug plots worth Rs 6.6 crores: Report The specific details of the purchase include Plot No. 98 spanning 2,734 sq. ft, acquired for Rs 1.88 crore with a stamp duty of Rs 11.32 lakhs; Plot No. 97 covering 2,776 sq. ft for Rs 1.92 crores with Rs 11.52 lakhs in stamp duty; and Plot No. 96 measuring 4,047 sq. ft for Rs 2.78 crores, with a stamp duty of Rs 16.74 lakhs. Together, these plots total a built-up area of 9,557 sq. ft, culminating in an overall transaction value of Rs 6.59 crores. Alibaug has increasingly become a sought-after location for luxury holiday homes among industrialists, celebrities, and affluent individuals, and this high-profile purchase by Bachchan further signifies the town’s rising real estate appeal near Mumbai. Interestingly, this report comes on the very day Amitabh Bachchan celebrates his 83rd birthday, adding a timely highlight to the superstar’s ongoing engagement with life beyond the silver screen. Also Read: Amitabh Bachchan turns 83: Nimrat Kaur, Kriti Sanon, Milap Zaveri, Farhan Akhtar and other celebs send love to Big B! BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

Entertainment The Bombay High Court has dismissed a 100-crore rupee defamation suit filed by Bollywood actor Nawazuddin Siddiqui against his brother Shamasuddin Siddiqui and his estranged wife, Anjana Pandey, because the actor and his legal team did not show up in court for hearings. Nawazuddin Siddiqui’s Rs 100 crores defamation suit against brother and estranged wife dismissed after actor skips hearings Nawazuddin accused his younger brother, who was also his manager since 2008, of cheating and misusing his trust. He claimed he gave Shamasuddin control over his bank accounts and finances so he could focus on acting, but alleged that his brother bought several properties—including flats in Mumbai, land, a farmhouse, a property in Dubai, and luxury vehicles—under his own name, making Nawazuddin think they were co-owned. The actor also alleged that when he removed Shamasuddin as his manager in 2020, Shamasuddin influenced his ex-wife to file false cases against him. Nawaz accused both of them of sharing hurtful videos and social media posts that led to public embarrassment, mental distress, postponement of film projects, and harm to his reputation. Why Was the Case Dismissed? The High Court threw out the case because Nawazuddin and his lawyer missed several court dates and did not pursue the suit. The court, led by Justice Jitendra Jain, called this “non-prosecution,” meaning a case cannot move forward if the person filing it is absent. What Did Nawazuddin Want? Nawazuddin had asked for damages of Rs 100 crores for the harm and stress he faced, a permanent ban on his brother and ex-wife from posting anything defamatory, removal of all negative content, and a public apology. He also wanted them not to sell off their assets until he could recover any damages awarded.​ Speaking of the professional front. Nawaz is currently busy promoting his upcoming film, Thamma. The latest addition to the Maddock Horror-Comedy Universe is slated to release on October 21. Also Read: Is Nawazuddin Siddiqui preparing to play a visually impaired character? His cryptic post sparks speculation BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

Entertainment It’s been a desire of fans across ages and geographical boundaries to see the three Khans – Shah Rukh Khan, Salman Khan and Aamir Khan – in a movie together. They have individually shown interest, provided the right script comes along. While the fans wait for the correct project to materialize, they have a reason to cheer. All three superstars will be attending a global event in Saudi Arabia in less than a week. HISTORIC: Shah Rukh Khan, Salman Khan, Aamir Khan to share stage TOGETHER at Joy Forum 2025 in Saudi Arabia Shah Rukh Khan, Salman Khan and Aamir Khan will grace the 2025 edition of Joy Forum. The two-day event will be held on Thursday, October 16 and Friday, October 17 at SEF Arena, Boulevard City, Riyadh, Saudi Arabia. The Bollywood superstars will attend a session that will take place on the last day, that is, October 17. The development was confirmed by Turki Alalshikh, a Saudi government official and chairman of the General Entertainment Authority (GEA), a government department in Saudi Arabia that regulates the entertainment industry of the country. The GEA is also one of the prominent organizations that has backed Joy Forum 2025. Turki Alalshikh tweeted, “Cinema Stars in One Place…Shah Rukh Khan, Salman Khan, and Aamir Khan come together as speakers in a dialogue session at Joy Forum 2025 on October 17.” Cinema legends all in one place ???? Shah Rukh Khan, Salman Khan, and Aamir Khan come together as speakers in a special panel at Joy Forum 2025 on October 17 ???????? Register now ????https://t.co/r5c5Obp9CH#RiyadhSeason pic.twitter.com/1QQvNWnesy — TURKI ALALSHIKH (@Turki_alalshikh) October 10, 2025 Earlier, a government website of Saudi Arabia had confirmed the presence of only Aamir Khan. This was on October 7, while Turki Alalshikh confirmed the presence of all three Khans on the night of October 10. As per the official website of Joy Forum, “Under the patronage of H.E. Turki Alalshikh, Chairman of the General Entertainment Authority, JOY Forum 2025 convenes the world’s most influential leaders across entertainment, technology, media, and policy. Over two high-impact days in Riyadh, the Forum catalyzes strategic partnerships, unveils forward-looking ideas, and sets the agenda for the next era of global entertainment.” This is the second time that Shah Rukh Khan will make his presence felt at Joy Forum. He had attended the 2019 session where his selfie with Jackie Chan and filmmaker Jean-Claude Van Damme had gone viral. Coming back to the 2025 edition, the other prominent personalities at Joy Forum 2025 are YouTube star Jimmy Donaldson aka MrBeast, UFC president Dana White, British broadcaster and journalist Piers Morgan, UFC heavyweight champion Jon Jones etc. Also Read: Kroll 2024 Report: Shah Rukh Khan’s brand value surges 21% to $145.7 Million – the King reclaims his crown at No. 2 Tags : Aamir Khan, Boulevard City, Jackie Chan, Jean-Claude Van Damme, Jimmy Donaldson, Joy Forum 2025, MrBeast, News, Riyadh, Salman Khan, Saudi Arabia, SEF Arena, Shah Rukh Khan, Turki Alalshikh BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More

Entertainment The Bombay High Court has stepped in to protect Bollywood actor Suniel Shetty’s personality rights following allegations of misuse through AI-generated deepfakes, false endorsements, and counterfeit merchandise, marking a significant development in celebrity rights and digital safety in India. Bombay HC grants Suniel Shetty protection from AI deepfakes and false endorsements Court Grants Urgent Protection to Suniel Shetty Justice Arif S Doctor of the Bombay High Court granted urgent interim protection to Suniel Shetty after the actor approached the Court, citing the misuse of his name, image, likeness, and other unique aspects of his persona. Shetty argued that these acts constituted a violation of his fundamental right to privacy and dignity under Article 21 of the Constitution, as well as his moral rights under the Copyright Act, drawing upon his illustrious three-decade-long film career and his endorsement deals with leading brands. AI Deepfakes and False Endorsements: A New Threat Senior Advocate Birendra Saraf, representing Shetty, described how the star’s digital presence, followed by over 13 million fans online, was being misused through AI-deepfakes, unauthorized advertisements, and fake social media profiles. The Court observed that obscene AI-generated images of Shetty and his family, along with fake endorsements, were the product of a “depraved mind” misusing technology and posed a risk to Shetty’s personal and professional reputation. Protecting Privacy and Dignity The Court ruled that such unauthorized creations not only infringe on Shetty’s personality rights but also amount to a grave invasion of privacy and an attack on fundamental rights. Justice Doctor emphasized that these acts could mislead the public by creating a false sense of endorsement, resulting in consumer deception and misappropriation of goodwill—essentially a classic case of “passing off”. Wide-Ranging Restraints and the John Doe Order To tackle the wide-ranging and anonymous nature of these infringements, the Court granted a John Doe order, restraining unidentified parties from using Shetty’s persona in any form, including AI-generated content, deepfakes, cloned audio, or unauthorized merchandise. Major platforms like Meta (Facebook/Instagram) and X (formerly Twitter) were directed to promptly remove infringing posts and cooperate with Shetty’s legal team if content creator identities were requested. The matter is scheduled for further hearing on November 17. Also Read: Suniel Shetty approaches Bombay High Court seeking protection of personality rights, cites fake photo with grandchild Tags : Artificial Intelligence, Artificial intelligence (AI), Bombay High Court, Cites, Deepfake, Fake Photo, Grandchild, News, Personality Rights, Protection, Seeking, Suniel Shetty BOLLYWOOD NEWS – LIVE UPDATES Catch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood Live News Today & Upcoming Movies 2025 and stay updated with latest hindi movies only on Bollywood Hungama. Read More