Abhishek Bachchan: Bollywood's Prince of Tides rides the highs and lows with seeming Ease

I've had the pleasure to talk about Indian cinema with the erudite and articulate Abhishek Bachchan in 2003 and then again in 2013. It's about time we spoke again so was prepping for a long overdue chat (tradition says we should have spoken in 2023, but covid, pandemic, end of world crises... were floating in the air). 

Recap since we last spoke; 

Abhishek Bachchan, born February 5, 1976, turned 50 in early 2026. Over the past decade (roughly 2016–2026), his career has reflected a deliberate shift from mainstream commercial vehicles toward more nuanced, character-driven roles, often on OTT platforms. After the crtically damned, but commercial success of the ensemble comedy Housefull 3 (2016), which grossed over ₹108 crore net in India and was declared a massive hit, he took a brief hiatus before returning with Anurag Kashyap’s Manmarziyaan (2018). 

In Manmarziyaan, Abhishek played Robbie Bhatia, a mature, understanding fiancé caught in a love triangle. Critics praised his restrained, layered performance as a highlight, showcasing emotional depth and maturity that stood out amid the ensemble of greats - the starcast was universally good. The film, however, underperformed at the box office (modest collections of around ₹25 crore net). 

The 2020s saw him embrace streaming. Ludo (2020), an anthology by Anurag Basu, featured him as the quirky, larger-than-life Batukeshwar “Bittu” Tiwari; the Netflix release earned solid critical appreciation for its ensemble energy and his comic timing. He delivered a menacing yet vulnerable turn as the amnesiac contract killer in Bob Biswas (2021), expanding a character from Kahaani. In The Big Bull (2021), he portrayed stockbroker Harshad Mehta in a biopic that received mixed reviews and limited theatrical impact. Dasvi (2022) marked a notable critical success: as the corrupt yet transformative Chief Minister Ganga Ram Chaudhary, Abhishek earned the Filmfare OTT Award for Best Actor in a Web Original Film. His portrayal blended humoir, satire, and redemption effectively. A cameo in Bholaa (2023) followed. Ghoomer (2023), which he also produced, brought high praise. As cricket coach Padam “Paddy” Singh Sodhi mentoring a one-handed batting prodigy, his warm, inspirational performance was lauded for sensitivity and restraint in this sports drama, before sports dramas started becoming exhuasting cliches. It performed modestly theatrically but resonated with audiences for its emotional core. In 2024, Shoojit Sircar’s I Want to Talk showcased what many called a career-defining role. Portraying real-life cancer survivor Arjun Sen, Abhishek delivered a physically and emotionally demanding performance—marked by vulnerability, wit, and quiet strength—that earned widespread critical acclaim, including his first Filmfare Award for Best Actor. The film itself was a small-scale drama with limited box-office returns (around ₹1 crore in initial days), underscoring his pattern of critical wins outside mass commercial formulas. 

Subsequent projects included Be Happy (2025), a drama that drew mixed responses for execution despite a promising premise, and Kaalidhar Laapata (2025), an adaptation of a Tamil comedy-drama where his moving portrayal of a man with memory loss anchored the slice-of-life story, earning positive notes for subtlety and heart. He has upcoming ensemble comedies like Housefull 5 (2025) and other projects such as King (2026), signaling a balance between lighter fare and serious roles. 

Box-office successes in this period were scarce and mostly ensemble-driven (Housefull 3 remains the standout hit). Solo leads or smaller films like Manmarziyaan, I Want to Talk, and others largely underperformed theatrically, continuing a longer trend of commercial challenges post his earlier blockbusters (eg Dhoom series, Happy New Year). Flops included All Is Well (2015, though borderline) and several mid-2010s outings, with the last decade reinforcing that pure star power alone no longer guarantees numbers. 

At 50, without the tyranny of box-office metrics, Abhishek stands as an actor of genuine note. He has matured into a performer valued for versatility—shifting seamlessly from quirky comedy and intense thrillers to restrained drama and inspirational roles. High praise consistently highlights his restraint, emotional authenticity, and ability to elevate material, as seen in Manmarziyaan, Dasvi, Ghoomer, and especially I Want to Talk. 

Critics and peers note his growth in choosing unconventional scripts, often on OTT, where he shines without the pressure of opening weekend collection numbers that are highlighted in newspaper ads... which go unchecked by film journalists and editors were fact checking is an alien concept 

As an actor, he has reinvented himself, surviving industry noise and personal scrutiny through quiet confidence and craft-focused choices. While not the dominant box-office force of his mid-2000s peak, his body of work in the last 10 years affirms him as a respected, evolving talent capable of depth and nuance that younger actors aspire to. His legacy now rests less on numbers and more on memorable, critically endorsed performances that prove substance over spectacle. 

Very few in the industry have managed to balance both - a notable example at home being the almighty Amitabh Bachchan, who happens to be the proud father of Abhishek. They say nothing grows under the Banyan tree, but, to mix metaphors, AB Jnr has always been that little engine that could. The OG nepo baby might have gotten his foot in because of a haloed surname, but he carved a niche on his own. A rare talent adept at comedy as he is in tear-soaked drama, the versatile actor has little left to prove-- except to himself. The fans, the critics and the industry has awarded him and rewarded him mulitple times over the course of the past 26 years. 

Bachchan's acting debut with the war drama Refugee (released June 30, 2000), opposite Kareena Kapoor Khan. In 2025, he publicly celebrated completing 25 years in cinema, confirming the 2000 milestone, while we've kept track of his accoldaes, a total of around 48 major awards (with over 80 nominations across various ceremonies), according to comprehensive tallies.

Here’s a breakdown of his most prestigious wins:

Filmfare Awards: four major wins, including three consecutive Best Supporting Actor wins for Yuva (2005), Sarkar (2006), and Kabhi Alvida Naa Kehna (2007). Best Actor (Male) for I Want to Talk (2025) — his first win in the leading actor category after 25 years in the field, making it a hard-earned, well-deserved, well-honed arrow in his quill.  Filmfare OTT Awards, a new and undeniable phenomenon, a win for Best Actor (Web Original Film) for Dasvi (2022).  

National Film Award for Best Feature Film in Hindi as producer for Paa (2009), IIFA Awards: 7 wins (mostly for supporting roles in the mid-2000s, plus some for popular categories). Other notable wins include multiple Screen Awards (6), Zee Cine Awards (4), Stardust Awards (4), Producers Guild Film Awards (5), and several regional or popular awards like Anandalok Puraskar and BIG Star Entertainment Awards. 

While Abhishek’s commercial hits have been sporadic, his awards reflect consistent critical appreciation for his versatility — from intense supporting turns in the 2000s to mature, layered lead performances in recent years. 

At 50, these accolades underscore his evolution into a respected actor valued for craft over pure box-office metrics. Box-office, and even awards are not a great gage for meritocracy in India--the rotted corruption of awarding juries and their chase for TRPs, the wildly unpredictable box-office returns and the unverified statistics that are thrown about randomly with zero fact-checking... It's a dangerous game to tie oneself with either metric. However, Bachchan Jnr's enduring career, his efforts and his steadfast embrace of complex roles have guaranteed him audience, and it reflects his prowess more than any trinket or trophy in his shelf, more than unreliable box-office numbers. As an Aamir Khan film is a marker of quality and something a little different from the norm, there's a signature Abhishek Bachchan film; look at the projects he backs and produces and how human, kind, sensitive they are. 

Abhishek Bachchan’s discerning choice of films and roles reflects his artistic maturity, intellectual depth, emotional sensitivity, and a consistently high benchmark for the kind of cinema he wishes to champion for Indian audiences. Rather than pursuing formulaic stardom or safe commercial vehicles, Bachchan has gravitated toward diverse, layered characters that demand nuance and vulnerability. From the ambitious, morally complex entrepreneur in Guru and the fiery, idealistic revolutionary in Yuva, to the quietly intense and conflicted roles in Manmarziyaan, Dasvi, and Ghoomer, his selections reveal a preference for stories that explore human ambition, failure, relationships, and personal transformation with authenticity and emotional intelligence.

This selective approach underscores his understanding of the evolving Indian audience—one that is increasingly receptive to characters who embody complexity, sensitivity, and inner conflict rather than one-dimensional heroism [we won't drone about Drona!]. 

Whether delivering powerhouse supporting performances in or taking on lead roles that challenge conventional male stereotype portrayals, Bachchan demonstrates a commitment to elevating Hindi cinema beyond superficial entertainment. His work signals a vision for Indian films that honour cultural rootedness while embracing progressive, introspective, and universally resonant narratives. Look at his fandom beyond borders. While Bachchan senior dominates, Bachchan junior resonates. 

We have a dozen questions lined up for him; for serious fans of Indian cinema and the man himself, feel free to send me a list of q's to pose the man himself. 

Mental Health: My feature in South China Morning Post

 

Flashback Friday to 2020: This cover shoot with David Oshry and Jeremy Wong!

Jeremy Wong, popular Hong Kong model, actor and KOL, stepped behind the camera once again for me. And did these amazing shots. 

Jeremy styled as well. He has such a fantastic eye - he also did a shoot for Prestige magazine with Wilfred some time ago. Also in the archives here. 

David Oshry from Model International - his last shoot in Hong Kong back in 2020 before he left for South Africa

The Hong Kong Media Table: Quotes and Quips: We whine, we wine!

Whenever the usual gang of Hong Kong media reps gets together—a handful of writers, editors and columnists—we start moaning about our respective jobs: the long hours, the bad pay, and the constant stress of looming deadlines. We swap stories about difficult clients, demanding bosses, publishers, and editors. Off the record, obviously.

We all have our tall tales (well, lengthy ones) about the more memorable characters we’ve encountered. Looking back at 2008—Jesus, Mary, and Joseph—how did any of us at Prive Asia survive that year?!

It’s been years, but whenever I reflect on one particular chapter of my career, I still shudder a little. On the plus side, that was where I first encountered the term “trauma bonding.” A group of us—writers, photographers, makeup artists, sub-editors, layout editors, and art directors—found ourselves bonding over the sheer intensity and unpredictability of the toxic environment. 

Everything in life teaches you a lesson. I came away with seemingly infinite patience; every subsequent job and client felt like a breeze by comparison. The wildly chaotic atmosphere I experienced there was the kind that could fill an entire oral history on vanity publishing. I’ve reached out to several former colleagues to compare notes, and I’m slowly collating material for a longer feature piece. The first draft will, of course, go straight to the lawyers—as I like to say, I have a nut allergy.

It was tragic at the time; it’s oddly comical now. As the saying goes, tragedy plus time equals comedy.

To pilfer a quote from a sitcom; "Whenever my friends and I talk about who works for the craziest bitch, I always win."

Funny cause its true: Life with a gorgeous Tuxedo Cat

 

Brief Encounters: Actor, model and Personal Trainer James Wong's Fitness Routine

Multi-hyphenate James Wong [@jameswnc] is a multifaceted talent from London. Well, UK bred, Hong Kong based fit-fluencer: a successful model, actor, and certified personal trainer whose tips on wellness--be it physical, mental, diet, or emotional -- have helped him garner a fantastic following of fans, friends, haters and debaters. One doesn't rack up that many numbers without the odd misanthrope chiming in with his/her two cents...  

Born and raised in London, he moved to Hong Kong where he built a prominent career in the wellness and entertainment industries. With over 150,000 Instagram followers [at last count], Wong shares his fitness journey, strength training routines, and lifestyle content, often highlighting his work at his gym that specialises in personal training.

Wong began his fitness path in 2012 and quickly became one of Hong Kong’s most sought-after trainers, models and actor--his commercials you can still find online. He emphasizes posterior chain workouts like deadlifts and adaptable routines that require minimal equipment. 
As a model and actor, he has appeared in campaigns and projects while maintaining a strong physique that appeals to both fitness enthusiasts and the fashion world. He is also recognized as a KOL (Key Opinion Leader) and influencer across the board with brand deals and partnerships that highlight, health, wellness with a shot of humour.
Now a family man with a wife and child, Wong continues to inspire through his posts on training, cardio, and balancing life. His approachable style and dedication make him a leading figure in Hong Kong’s fitness scene. 
Image courtesy of Sam AlliottWardrobe: Calvin Klein, CK jeansGrooming and MUA: Gloomy from KarenYiu.com

From Theatre Icon to Canvas: Lindsey McAlister’s Electrifying Art Central 2026 was Staged Beautifully. Pun Intended.

The founder of Hong Kong Youth Arts Foundation channels decades of stage energy into bold, spiritually charged paintings — and collectors are taking notice.

Words: P.Ramakrishnan
Images: Courtesy of the Artist. 

As the dust settles after the whirlwind of Hong Kong’s art fairs last week — Art Central, Art Basel, and Edible Art — where scale, spectacle, celebrity on occasion eclipses substance, it was a pleasure to run into Lindsey McAlister as she stood by her canvas, a quiet force of convergence. A prominent figure in the city’s theatre scene for more than three decades — founder of the Hong Kong Youth Arts Foundation, OBE recipient, and tireless champion of youth creativity — the young at art McAlister has, in recent years, unfurled a parallel life as a visual artist.

At 65, she playfully describes herself as an “older emerging artist,” a label she wears with defiant relish. Her paintings, alive with rhythmic colour, layered texture, and an almost performative pulse, translate the electricity of the stage into canvas.

Last week, at Art Central 2026, exhibiting with The Spectacle Group, McAlister found the fair’s energy particularly resonant. “It’s been an incredibly energising week… the best Art Central experience I’ve had,” she says. “This is my second year and I felt more relaxed! The fair had a real buzz, and being there with The Spectacle Group gave my work a beautiful platform to be seen, talked about and properly engaged with.” Collectors, curators, and visitors responded with striking enthusiasm.

Many lingered before her canvases, sensing the theatre in the paint. “People were very interested in the way my performing arts background feeds into the paintings,” McAlister notes, “how stage energy, movement and emotion are translated into colour, rhythm and texture on canvas.” Visitors often remarked that they could “feel” that live energy emanating from the work. Several collectors spoke of a deeper pull: “a sense of connection and ‘divine’ energy in the pieces, that idea of something larger linking all living things.”

For McAlister, the most profound validation came from those who left feeling transformed. “The most meaningful feedback came from visitors who said they felt uplifted after spending time with the work – that’s exactly the kind of impact I hope my practice can have.”

McAlister never abandoned theatre; she simply reopened a long-dormant channel. Trained at art school more than 40 years ago, she set painting aside as life filled with directing, youth work, and the beautiful chaos of productions. Then came a quiet pivot. “Two years ago, when I got Covid and was stuck at home, bored and restless, I picked up a paintbrush almost on a whim… and the moment I started, I remembered how much it made my heart sing!”

She describes the shift not as reinvention but reconnection. “Theatre will always be something I create; it’s like breathing for me. It was more like discovering a second creative channel that runs alongside it.” Now the practices nourish each other: stage movement and emotional storytelling surge onto the canvas in bold acrylic layers. Her technique favours speed and intuition. “My works are primarily acrylic on canvas rather than oil,” she explains. “Acrylic really suits my spontaneous way of working (and I am really impatient… so I need something that dries fast!). It lets me move quickly, layer intuitively!”

She works in a former classroom at “The Kungers,” a refurbished school-turned-community space in Sai Kung, where large-scale pieces can breathe and wait their turn for exhibition.

McAlister’s visual language draws from a rich lineage. Gustav Klimt remains a lodestar for his opulent patterning and emotional depth. “I’m drawn to his rich use of pattern, ornament and repeated motifs, and the way he balances decorative beauty with deep emotional intensity.” The Pop Art movement supplies bold colour and graphic immediacy, while Wassily Kandinsky and Abstract Expressionism shape her belief in colour and form as carriers of spiritual vibration — echoing her fascination with an unseen “divine energy” that binds all living things.

A more immediate inspiration is contemporary Australian artist Naomi Hobson, whose work she encountered in person at Art Central with Rebecca Hossack Gallery. “I’m deeply inspired by how clearly her culture, land and community flow through her work.”

In personal taste, McAlister gravitates toward art that registers viscerally. “I’m drawn to art that feels alive in my body first — bold, bright colour, graphic impact and a sense of movement or performance.” She respects but struggles to connect with “very cold, ultra-minimal or purely cerebral contemporary work where I need to read a long text to feel anything. My taste leans toward art you feel in your gut and heart first and only analyse afterwards.”

The strong current balancing her worlds requires no rigid timetable. Theatre — especially the forthcoming YAF musical Falling Awake, about a teenage girl who escapes online bullying by slipping into a surreal “Innerverse” — runs on structure: call times, deadlines, the machinery of production. When she has precious time off, painting occupies the cracks, instinctive and free. “It doesn’t feel like juggling, they definitely feed each other, but in practice it’s more like two tides coming in and out than a neatly planned timetable.”

Her representation with The Spectacle Group and gallerist Jaime Lau feels like an artistic homecoming. After returning to painting, McAlister methodically emailed Hong Kong galleries for months. “I basically wore a few of them down until they replied and Jaime was the person I met who truly saw me, not just as an artist but as a human. We connected deeply. Resilience and persistence really paid off.”

She contrasts Art Central’s approachable buzz with the more austere atmosphere of Art Basel. Edible Art, which she attended, delighted her with its playful blurring of visual art, food, and experience. As 2026 unfolds, McAlister embraces expansion with characteristic verve. Falling Awake demands focus, yet fuels the storytelling impulse at her core. In visual art, she eyes new markets with fearless momentum: a group show in Manila this June, conversations with galleries in Paris and New York, and ambitions for London representation.

“At 65, as an ‘older’ emerging artist, I honestly feel like that’s my USP, I have lived experience, stamina and zero interest in playing small, and I’m quite committed to exploiting that, in the best possible way, in the years ahead! I’m planning on living to at least 100 so I have still loads of time. Ha!”

McAlister’s practice refuses diminishment, as her canvases do not merely depict energy — they channel it, offering viewers a visceral reminder that art, like theatre, can awaken something larger than the self. In Hong Kong’s crowded cultural arena, that transmission feels both rare and urgently needed. As a multi-hyphenate behind the scenes, McAlister hasn't left the stage, her new work's just taken centre stage.

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