SCOOP: Did Sunny Kaushal replace Saif Ali Khan in Ramesh Taurani's daughter Sneha Taurani's film last minute?

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In a surprising turn of events, Saif Ali Khan has reportedly walked out of filmmaker Sneha Taurani’s upcoming project, just days before the film’s shoot was scheduled to begin. The actor, who had officially committed to the project and even attended its mahurat ceremony on October 27, 2025, has now opted out, leaving the makers and producers scrambling for a replacement. A source close to the development revealed, “He didn’t feel it was the right film for him to do,” though the decision came much later than expected, creating last-minute challenges for the team. The film was being produced by Ramesh Taurani, one of Bollywood’s most established producers, who has earlier collaborated with Saif on blockbusters like Race, Race 2, and BhootPolice (2021). He even did Kya Kehna produced by Ramesh Taurani in 2000, the two go back a long way. Reportedly, Ramesh Taurani wasted no time and has now cast Sunny Kaushal in the role originally meant for Saif. Kaushal reunites with director Sneha T...
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Becoming Madonna review – a megastar’s extraordinary ascent to pop royalty

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The singer’s journey to the top is retold through archive clips and audio, efficiently albeit perhaps too straightforwardly

The story of Madonna’s leap to stratospheric celebrity is breathlessly and efficiently retold in this documentary that uses only archive clips and existing audio interview material in the now accepted way. It tracks the period from her tough beginnings as a dancer in late 70s New York to the early 90s days of the Blonde Ambition tour and her once-controversial Mapplethorpe-type book of photos entitled Sex. It’s watchable enough, with some interesting things to say about Madonna’s instinctive knack for appropriating a gay aesthetic and repurposing it for her own heterosexual spectacle, and then repaying the debt by becoming an outspoken advocate for HIV/Aids research.

Yet the film can also feel breezy and glib. There is no mention of Madonna’s appearances in movies such as Desperately Seeking Susan and Dick Tracy or indeed her appearance in David Mamet’s Speed-the-Plow on Broadway – perhaps because these don’t fit the “legendary” format (although Desperately Seeking Susan has its admirers). And there is something exasperating in the way the film won’t reveal the exact dates and provenance of its audio; Madonna will sometimes speak about her past and her family in a British accent, showing that the interview comes from the later era of her marriage to Guy Ritchie, and sometimes her voice will switch back to her native Michigan.

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