
Parmeet Sethi calls Ozempic ‘Bollywood's favourite game', troll says Archana Puran Singh did little in acting but found fame ‘just by laughing'
The video began with Aaryamann and Ayushmaan making homemade pizzas for their parents as Archana has been on a strict diet. While they prepared healthy wheat pizzas, Parmeet couldn't help but crack an Ozempic joke, saying, 'Do you know what is Bollywood's favourite game?' He answered himself, 'Ozempic.' The joke left Archana in shock as she reacted, 'Oh my god, he went there.' A drug meant to control blood sugar levels, Ozempic also causes rapid weight loss. It is alleged that many celebs have resorted to the drug for weight transformation in the film industry.
However, this was only the tip of the iceberg when it came to all the fun Archana's family had that day. Later, they decided to go through some of the hilarious comments that viewers had dropped on their videos. While many comments lauded the family for their funny vlogs, some criticised them.
During this segment, Aaryamann pointed out all the different names the audience had come up with for Parmeet. Some called him 'Payment,' while others referred to him as ' Paytm,' 'Plumber Sethi,' and even 'Parmesan Cheese.' One fan even took a jab at Parmeet's acting and wrote, 'Permit doesn't look good while acting.' This comment had the entire family laughing their hearts out.
Another fan asked an unpleasantly odd question about whether Archana's family farts after eating chaat. While Archana herself was visibly disgusted by the question, Ayushmaan humorously quipped, 'Hume pakad liya (You caught us).'
Many fans commented on Archana too. One called her 'emotionally unbalanced' for laughing too much. Another commented on her career, writing, 'Ye actress ne zyada kaam nahi kia hai. Bus hass hass ke famous hogae. Lucky hai (She hasn't worked enough but she became famous only by laughing. Lucky).' Instead of being offended, Archana found these comments hilarious as she was seen laughing heartily while reading them.
However, she quickly came to the defence of her sons when a comment hinted at them being talentless and simply privileged because of their parents. The comment read, 'Both don't have hero vibes but they are rich.' Archana hit back at the remark, saying, 'Ayushmaan has started his app, Aaryamann does music, both are YouTubers, toh kamai toh ho rahi hai bhaisahab, don't worry (So they both are earning).' Another comment amusingly called Aaryamann a 'fox,' which had Archana in splits. Parmeet too joined in and quipped, 'I will also call him a fox from now on.'

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Scroll.in
11 minutes ago
- Scroll.in
Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal
For years, political hostilities between India and Pakistan have disrupted entertainment exchange, but rarely have restrictions been as sweeping as those triggered by the Pahalgam fallout. The latest wave of bans targeted Pakistani shows on YouTube, blocked streaming access to cross-border dramas on Netflix and Amazon Prime, and even temporarily disabled Instagram accounts of Pakistani actors and peace activists. The clampdown came at a time when Pakistani dramas have been enjoying immense popularity across the border, on digital and social media. They have not just built massive fan bases there, but are also engaging with radical themes that, as Indian journalist Raksha Kumar points out, are missing from Indian television dramas, due to 'superfluous' research, lack of courage or financial constraints. One standout example is a three-part mini series that aired last August on the privately owned Hum TV, produced by veteran television pioneer Sultana Siddiqui. Each installment tells a stand-alone story. Each is bound by the shared theme of how far-right radicals terrorise individuals and the communities they inhabit at large and the limitations of the state to give justice or security to the victims. The final episode of Tan Man Neelo Neel (Body and Soul Covered in Bruises), the last in the trilogy, elicited emotion for audiences in both countries. The lead characters attacked by an angry mob were their parents' only children. They were young people whose dreams were cut short. The story ends with a chilling mosaic honouring real-life victims of 'blasphemy' mob violence like Mashal Khan, a university student in Mardan in 2017 and brothers Mughees and Muneeb Butt, in Sialkot in 2010. Mob violence Many others could have been included. The list is long and includes those who were victimised on the pretext of religion even if mob violence wasn't involved. The theme resonates wherever this phenomenon has occurred. Since she launched Hum TV in 2005, Sultana Siddiqui, now in her late 70s, has used the television channel as a platform for storytelling from a progressive bent of mind, offering a nuanced portrayal of Pakistani society through deeply grounded characters. This isn't the first time her storytelling has crossed borders. Zindagi Gulzar Hai (Life is Beautiful) in 2012 was a hit in India. The series shows a picture of Pakistan different from the narrative seen in the Indian context. Its popularity, fueled by social media, created a demand for Pakistani content in the Indian market. Its lead actor Fawad Khan, went on to become a Bollywood heartthrob, but was then banned in India along with other Pakistani artists following the 2016 Uri attack. The Pakistani film Maula Jatt that he stars in was due to be released in India, but that has been stalled too. The release of a Bollywood romance he stars in, Abir Gulaal, is now also in limbo due to renewed hostilities. Countering 'foreign' serials What catalysed Sultana Siddiqui to start Hum TV channel was a desire to create relevant content rooted in Pakistan. 'My son asked, 'Are you sure this will work? Indian channels are dominating ratings.' I told him, 'Give it two days – those ratings won't last',' she recalls. 'I was scared too. But when it happened, the entire atmosphere shifted. Not just in Pakistan, but anywhere Urdu is spoken.' She wanted to counter the dominance of 'foreign' serials, particularly Indian dramas known for their sensationalist aesthetics. 'Those vibrant colored walls, the dramatic music, and women cooking without a single stain on their clothes – it all used to bother me,' she says. The series are part of a long line of Hum TV productions that have challenged social norms, like Udaari (Soaring, on child sexual abuse) and Dar Si Jaati Hai Silah (Silah Gets a Bit Scared, on domestic violence). Speaking to Sapan News at her office in Karachi, Sultana Siddiqui recalled the backlash against Udaari (2016), which state-run regulators branded 'immoral ' and threatened to shut down. 'I asked them, 'What exactly do you gain by doing this?'' she recalled. Their reply? 'You get a lot of publicity'.' Public support But Siddiqui believes it wasn't just the regulators. 'When one of my dramas performs exceptionally well, there are always two kinds of competitors – those who respond positively, and those who don't. I choose to rise above. But some out of sheer spite think, 'It's doing well, so let's bring it down,' and they write complaints.' Udaari received a record number of notices from the Pakistan Electronic Media Regulatory Authority, an indication of how much pushback such socially conscious shows can get. The subject matter, she was told, was too 'bold' to ignore. Her response: 'Look at the end – the rapist was caught and punished. The purpose of Udaari was to show that if you see your child disturbed, talk to them. Because often, it's the nearest person who abuses the child, someone they trust.' What sustained her was support from the public. 'That's where we drew our strength from, to fight the case legally,' Sultana Siddiqui says. 'Sorry, but we are not followers; we create and make others follow.' She admits having to self-censor many aspects of her productions. 'Of course, you can play it safe, but if you're intelligent, you should know what your purpose is.' While Pakistani television channels today enjoy far more freedom than under military regimes, it was Pakistan's last military dictator, General Pervez Musharraf, who in fact allowed private channels to start. 'Back then we mostly adapted novels into dramas, where the mother was the epitome of goodness,' she says. 'They were slow-paced and good in their own right, but their reach and impact were limited. The subjects were limited too – you couldn't tackle issues like child abuse… You couldn't even show a couple holding hands. That's not the case now.' In contrast, films get caught in layers of bureaucracy with those in different regulatory departments 'sending mixed signals – one says yes, the other says no'. The horrific cases of mob violence in Pakistan affected Siddiqui on a personal level, she said, leading her to create the Tan Man series as a response. 'I don't have the energy anymore to keep running around, directing projects,' she admits. 'But I saw something that shattered me. I just hope some change comes from it – something that makes me feel like I've done my part. If nothing else, at least it brings some awareness.' 'When I see things like this, I know it's already time for me to bow out,' she says. 'But before I do, I want to leave behind something meaningful." Alongside Tan Man Neelo Neel, which runs for 11 episodes, the trilogy features Mann Jogi with nine episodes and Nadaan with eight. The latter tackles the controversial practice of ' Halala Nikah ' and exposes how religious doctrine is exploited for personal political gain. The second installment, Nadaan, directed by filmmaker Mehreen Jabbar (Ramchand Pakistani, 2008), examines the scourge of drug addiction. The story shows how drug addicts pose threats to people around them; they resist the opening of rehabilitation centres that might weaken their grip, hiding behind performative piety to deflect scrutiny, and ultimately incite mob violence to protect their influence and preserve the toxic ecosystems they benefit from. Cross-border drama Sultana Siddiqui has always strongly favoured the inclusion of cross-border talent in Pakistani and Indian cultural productions. She has participated in various bilateral conferences and meetings, including those organised by Aman Ki Asha (Hope for Peace), a joint platform initiated in 2010 by the two biggest media groups of India and Pakistan. At the 2018 inaugural Pakistan International Film Festival, which Sultana Siddiqui hosted in Karachi, she invited prominent Indian industry figures as guests, including the team behind the blockbuster film Baahubali. But when she informally asked one of them, a veteran writer, to create content for Pakistani audiences, he politely declined, citing 'grave risks'. Sultana Siddiqui advocates for a more equitable exchange of cultural assets between India and Pakistan. She doesn't mind Indian productions hiring Pakistani writers but 'it should be a two-way street. For every writer they take, we should get one in return – maybe even agree on a percentage.' There are other kinds of risks involved in collaboration that may derail such efforts. There have been cases of storylines from Pakistan being picked up by Indian productions but then, 'things were added according to their own wishes.' State policy has also played its part. In 2016, Pakistan banned Indian dramas on its television channels, after India's unofficial curbs on Pakistani artists. The blackout, she notes, did give a short-term boom to homegrown content, but the real game-changer has been the rise of digital streaming platforms. Not all of Hum TV's projects have been free from critique. The 2019 television series Ehd-e-Wafa, a collaboration with the military's media wing, the Inter-Services Public Relations, drew criticism for glorifying the army and depicting other professions and state institutions unfairly. Earlier ISPR-sponsored shows like Alpha Bravo Charlie (1998) and Sunehre Din (1991) focused on military life without overt political messaging. Asked whether private channels should be subject to such influence, Sultana Siddiqui stresses that collaboration should involve professionals who understand the craft. The conversation with Sultana Siddiqui took place in Urdu and the quotes provided are approximate English translations.


News18
2 hours ago
- News18
Farah Khan Does Not Support Deepika Padukone's 8-Hour Shift: 'Sona Tapke Hi Banta Hai'
The work-life balance debate in Bollywood started after Sandeep Reddy Vanga removed Deepika Padukone from Prabhas starrer Spirit earlier this year. Ever since Deepika Padukone was ousted from Sandeep Reddy Vanga's Spirit due to her requests for an eight-hour workday, it has sparked a debate around work-life balance in Bollywood. While many have come forward in support of the actress, Farah Khan has now hinted that she does not support the idea. In one of her recent YouTube vlogs, Farah Khan visited Radhikka Madan when the latter recalled her first audition for Meri Aashiqui Tumse Hi. 'The moment the camera was switched on, I felt very safe. I never felt that safe in my life. I wanted to be a professional dancer. The way I used to feel on the stage, you can't see anyone else, I felt the same in front of the camera. I thought of course mujhe nahi lenge, but within three days I got a call for a look test and within 2 days, I was shooting for my first show," she said. When Farah asked, 'You didn't have an 8-hour shift, I am guessing?", Radhikka replied, '56 hours non-stop or 48 hours non-stop." At this point, Farah hinted that even she does not support an 8-hour work shift and shared, 'Aise tapke hi toh sona banta hai (this is how gold is made)." For the unversed, the work-life balance debate in Bollywood started after Sandeep Reddy Vanga removed Deepika Padukone from Prabhas starrer Spirit earlier this year. Reports suggest that her demands, including eight-hour workdays, a high salary, and a share in the film's profits, did not sit well with director Vanga. Deepika, a new mother, is reportedly seeking to balance her work and personal life by reducing her working hours. Several celebrities, including Vikrant Massey, Rashmika Mandanna and Anurag Basu, have come out in support of Deepika amid the ongoing discussion. Interestingly, Farah Khan and Deepika Padukone have worked on several films together. The latter's debut movie, Om Shanti Om, was also directed by Farah. First Published: July 26, 2025, 07:56 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.


Time of India
2 hours ago
- Time of India
Ahaan Panday reveals he is fan of BLACKPINK star Lisa; Indian BLINKS can't contain their excitement
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