#MeToo | Akshay cancels 'Housefull 4' shoot after allegations against Sajid Khan

Agencies
October 12, 2018

Mumbai, Oct 12: Amid sexual harassment allegations against director Sajid Khan and actor Nana Patekar, actor Akshay Kumar has called off the shooting of "Housefull 4"

"I have just landed back in the country last night and reading all the news has been very disturbing. I have requested the producers of 'Housefull 4' to cancel the shoot until further investigation," Akshay tweeted on Friday morning.

"This is something that requires stringent action. I will not work with any proven offenders and all those who have been subjugated to harassment should be heard and given the justice they deserve," added the actor, who came back from Italy on Thursday night.

The statement comes after grave allegations against Sajid, who has been helming the fourth film in Sajid Nadiadwala's comedy franchise, surfaced on the internet.

Sajid has been named by multiple women, including two actresses -- Sonali Chopra and Rachel White -- and one journalist for sexual misconduct.

Nana, who is a cast member of the film, has been accused of sexually harassing actress Tanushree Dutta on the sets of a 2008 film "Horn Ok Pleassss".

Akshay's wife and producer Twinkle Khanna also urged everyone involved with the film to take a stand.

"Appalled hearing multiple incidents of harassment and it is truly horrific to hear what these women have been through. Everyone involved in 'Housefull' needs to take a firm stance on this issue. This cannot go on," she posted on Twitter.

"Housefull 4" also stars Bobby Deol, Riteish Deshmukh and Kriti Kharbanda.

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anti-akshay
 - 
Saturday, 13 Oct 2018

you are not an indian go to canada, you slave of BJP.

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News Network
January 13,2020

Jan 13: For the first time in years, the government of India’s Prime Minister Narendra Modi is playing defense. Protests have sprung up across the country against an amendment to India’s laws — which came into effect on Friday — that makes it easier for members of some religions to become citizens of India. The government claims this is simply an attempt to protect religious minorities in the Muslim-majority countries that border India; but protesters see it as the first step toward a formal repudiation of India’s constitutionally guaranteed secularism — and one that must be resisted.

Modi was re-elected prime minister last year with an enhanced majority; his hold over the country’s politics is absolute. The formal opposition is weak, discredited and disorganized. Yet, somehow, the anti-Citizenship Act protests have taken hold. No political party is behind them; they are generally arranged by student unions, neighborhood associations and the like.

Yet this aspect of their character is precisely what will worry Modi and his right-hand man, Home Minister Amit Shah. They know how to mock and delegitimize opposition parties with ruthless efficiency. Yet creating a narrative that paints large, flag-waving crowds as traitors is not quite that easy.

For that is how these protests look: large groups of young people, many carrying witty signs and the national flag. They meet and read the preamble to India’s Constitution, into which the promise of secularism was written in the 1970’s.

They carry photographs of the Constitution’s drafter, the Columbia University-trained economist and lawyer B. R. Ambedkar. These are not the mobs the government wanted. They hoped for angry Muslims rampaging through the streets of India’s cities, whom they could point to and say: “See? We must protect you from them.” But, in spite of sometimes brutal repression, the protests have largely been nonviolent.

One, in Shaheen Bagh in a Muslim-dominated sector of New Delhi, began simply as a set of local women in a square, armed with hot tea and blankets against the chill Delhi winter. It has now become the focal point of a very different sort of resistance than what the government expected. Nothing could cure the delusions of India’s Hindu middle class, trained to see India’s Muslims as dangerous threats, as effectively as a group of otherwise clearly apolitical women sipping sweet tea and sharing their fears and food with anyone who will listen.

Modi was re-elected less than a year ago; what could have changed in India since then? Not much, I suspect, in most places that voted for him and his party — particularly the vast rural hinterland of northern India. But urban India was also possibly never quite as content as electoral results suggested. India’s growth dipped below 5% in recent quarters; demand has crashed, and uncertainty about the future is widespread. Worse, the government’s response to the protests was clearly ill-judged. University campuses were attacked, in one case by the police and later by masked men almost certainly connected to the ruling party.

Protesters were harassed and detained with little cause. The courts seemed uninterested. And, slowly, anger began to grow on social media — not just on Twitter, but also on Instagram, previously the preserve of pretty bowls of salad. Instagram is the one social medium over which Modi’s party does not have a stranglehold; and it is where these protests, with their photogenic signs and flags, have found a natural home. As a result, people across urban India who would never previously have gone to a demonstration or a political rally have been slowly politicized.

India is, in fact, becoming more like a normal democracy. “Normal,” that is, for the 2020’s. Liberal democracies across the world are politically divided, often between more liberal urban centers and coasts, and angrier, “left-behind” hinterlands. Modi’s political secret was that he was that rare populist who could unite both the hopeful cities and the resentful countryside. Yet this once magic formula seems to have become ineffective. Five of India’s six largest cities are not ruled by Modi’s Bharatiya Janata Party in any case — the financial hub of Mumbai changed hands recently. The BJP has set its sights on winning state elections in Delhi in a few weeks. Which way the capital’s voters will go is uncertain. But that itself is revealing — last year, Modi swept all seven parliamentary seats in Delhi.

In the end, the Citizenship Amendment Act is now law, the BJP might manage to win Delhi, and the protests might die down as the days get unmanageably hot and state repression increases. But urban India has put Modi on notice. His days of being India’s unifier are over: From now on, like all the other populists, he will have to keep one eye on the streets of his country’s cities.

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Agencies
January 4,2020

Mumbai, Jan 4: After the Indian Institute of Technology (IIT) Kanpur constituted a panel to decide whether legendary poet Faiz Ahmed Faiz's poem 'Hum Dekhenge' is offensive to Hindu sentiments, filmmaker Shoojit Sircar had a cryptic take on the burning controversy.

"Best time for the rich & small businesses to make money as most of the population are engaged with a revolutionary poet named Faiz," Sircar said in a tweet.

The poem, penned down by the iconic poet in 1979, came into limelight again recently during the protests against CAA and NRC in IIT Kanpur.

Earlier on Thursday, senior lyricist Javed Akhtar rejected the claims about the poem being 'anti-Hindu'.

IIT Kanpur on Thursday had set up a committee to look into the issue.

The move came after a complaint that the students who took out a peaceful march in the campus on December 17 against the Citizenship Amendment Act and in solidarity with Jamia Millia Islamia students, sung it as a mark of protest, which hurt the sentiments of other communities.

The CAA grants citizenship to Hindus, Sikhs, Jains, Parsis, Buddhists and Christians who faced religious persecution in Pakistan, Afghanistan, and Bangladesh and came to India on or before December 31, 2014.

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News Network
January 7,2020

Mumbai, Jan 7: Actor Anil Kapoor, who next will be seen onscreen in Malang, revealed that he always tells superstar Aamir Khan not to stop working with filmmaker Rajkumar Hirani.

Kapoor was interacting with the media at the trailer launch of Malang along with his co-actors Adtiya Roy Kapur, Disha Patani, Elli AvRam, film's director Mohit Suri and producers Luv Ranjan, Bhushan Kumar, Ankur Garg and Jay Shewakraman on Monday in Mumbai.

Anil Kapoor has worked with many directors and producers in his 40-year acting career.

Talking about camp culture in the Hindi film industry and praising makers of Malang, Kapoor said, "I feel we need producers like Ankur (Garg) and Luv (Ranjan). I have told Mohit (Suri) to continue doing films with them. I always tell Aamir Khan by calling him on the phone to say that you should not leave Raju Hirani (Rajkumar Hirani). Whenever I see films of both of them, I tell Aamir not to leave him."

He continued, "I feel whenever you make a good team then you should hold on to it. Team is very important and there are certain stars that come together to make something interesting and exciting."

Kapoor gave an example of Hollywood actors and filmmakers while backing his viewpoint.

"If you see Martin Scorsese, Robert De Niro, Leonardo DiCaprio they do so many films together. They can work with others, too, but they keep working with each other. There is some magic, obviously. You have to go with the casting but somewhere I feel teams should stand by each other," the actor added.

Malang stars Aditya Roy Kapur, Disha Patani, Anil Kapoor and Kunal Khemu in lead roles. It is scheduled to release on February 7.

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