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In the busy lanes of Pune’s Shaniwar Peth, lies a quaint Ganesh temple that is home to an idol with an unusual name – ‘Gupchup Ganpati’. Illuminated by beautiful lights and chandeliers, with several paintings and old photographs on its walls, entering the 132-year-old Varad Ganesh temple is like stepping back in time.",

This is not a new feature and was previously reported to be called ‘Disappearing Messages’. The company had earlier halted development on the project and now seems to be restarting it. The company has also implemented this feature inside of the Dark Mode as well, which is also under development.",

The film is an affecting portrait of domestic violence and a commentary on the recent spike during lockdown. In India, the National Commission for Women (NCW) had raised an alarm on the rise in the cases of domestic violence during lockdown. With a running time close to seven times, it is also an urgent take on the indiscriminate nature of such violence on women, irrespective of their position on the spectrum of privilege. Das plays an urban working woman who does not remain untouched by the shards of domestic abuse. It’s the nature that differs. The film concludes with a powerful scene where the husband yells at her to open the door. “Do it yourself,” she retorts.",

In a Twitter thread, Shraddha complained that those ‘who handle accounts of big films’ should get her name correct ‘for the sake of journalism school they never graduated from.” The actor also clarified that she chooses to write her mother’s name Rama as her middle name and while she has already made changes on her official Instagram handle, she plans to make those changes to her Twitter bio as well."

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Madhuri Dixit redefined the Bollywood actress — she could be both sensual and coy in the same film, played the vengeful widow and melted the screen with her million-dollar smile. Even in the ‘80s, she didn’t fear kissing a much older actor (Vinod Khanna in Dayavan) on-screen, creating an uproar, nor did the idea of looking into the eye of her mother-in-law and defying her (Beta), in the ‘90s, ever make her uncomfortable. Madhuri Dixit Nene was more than just the ‘Dhak Dhak girl’ the moniker in itself meant she was desired by the whole nation even as producers were willing to put money on her the versatility in her roles, and her choices of ground-breaking scripts, which can be called ‘bold’ in the late ‘80s and the ‘90s, makes her an actor ahead of time, who managed to break the mould of the conventional heroine, despite her commercial success and gaudy, loud costumes. ",

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