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Salman Khan jokes about alimony as he says ‘people divorce over snoring partners' in a leaked clip from The Great Indian Kapil Show. Watch

Salman Khan jokes about alimony as he says ‘people divorce over snoring partners' in a leaked clip from The Great Indian Kapil Show. Watch

Indian Express6 days ago

Kapil Sharma is all set to return with the third season of his Netflix show The Great Indian Kapil Show. Fans have been all the more excited ever since it was announced that former cricketer Navjot Singh Sidhu will return as the permanent guest of the show after nearly 6 years. Now, a clip from the show's first episode has surfaced online days before its release.
Exclusive !!!!
Megastar #SalmanKhan Spitting The Facts, We Love You Salman Khan ❤️
Bhaijaan Swag & Charms 🔥🔥🔥 @BeingSalmanKhan #SalmanKhan #TheGreatIndianKapilShow pic.twitter.com/LOx9y8472F
— Filmy_Duniya (@FMovie82325) June 14, 2025
In the clip, Salman Khan, the first guest of the season, can be seen talking about relationships and divorces. Salman has never been married. Salman can be seen sharing the stage with Kapil as he said, 'Pehle log ek dusre ke liye sacrifice karte the. Ab raat ko ek taang aa jati hai toh uspe divorce ho jata hai. Kharate le lete hai toh divorce ho jata hai. Choti si misunderstanding par divorce ho jata hai. Chalo divorce ho gaya, uske baad woh aadhe paise leke bhi chali jati hai. (Earlier, people would make sacrifices for each other. They used to have tolerance factor. Lately, even if someone puts their leg on top of the other person in sleep, they file for divorce. People are divorcing each other for small misunderstandings, for snoring. And they don't just divorce their partner, but also take away half of their money from them.)'
ALSO READ | Sushant Singh Rajput promised to show the stars to his co-actors, carried a telescope to Chambal: 'He's up there right by his favourite moon'
The video also featured Navjot Singh Sidhu and Archana Puran Singh, who can be seen laughing at Salman Khan's statement. While the video is all over the internet, the context of it has not been shared.
Salman Khan's fans were quite impressed with his thoughts. Many took to the comments section to praise the actor. A fan wrote, 'He is so clear in his thoughts from early days of his carreer, but he never pretends like an intellectual.' Others simply agreed with the actor.
The season 3 for The Great Indian Kapil Show will premiere on June 21. The makers are yet to release a trailer for the same.

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Streaming gives indie musicians a boost
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Sheer demand alone has led these streamers to look beyond established music directors, opening doors for indie and indie-adjacent composers like Komorebi, Achint Thakkar and OAFF and Savera, who have carved out a successful niche for themselves composing for OTT soundtracks and background scores. Equally important, though, is the creative freedom on offer. In the traditional film industry, soundtracks are often viewed as marketing tools first and foremost. There's incredible pressure to create 'hit songs", because that's still one of the best ways to fill seats in the cinema. The incentives are a little different for streaming soundtracks—songs don't always have to be big spectacles, and music is more deeply embedded in the narrative. 'The focus (for OTTs) is fundamentally story-first rather than being solely commercially driven, which truly allows for greater experimentation," says lyricist Raj Shekhar, who penned the words for Anurag Saikia-composed Ishq Hai, probably the biggest streaming soundtrack success yet with over 159 million streams on Spotify. 'There's also a wonderfully collaborative environment where lyricists like myself have greater input in shaping the musical direction." 'As we are exploring newer kinds of stories to tell, we are also exploring newer kinds of sounds and music as well," adds Sudip Sharma, creator, writer and executive producer of Paatal Lok and Kohrra. Both shows have been celebrated for their innovative use of music, complementing Naren Chandavarkar and Benedict Taylor's background scores with the clever use of synced tracks by indie artists such as Prabh Deep and Moko Koza, and label-signed Punjabi rapper Wazir Patar. 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That's crazy." For indie musicians, this attention can also translate to more ears for their non-soundtrack music, as new fans dig into their older work. Koza noticed a significant spike in his overall streaming numbers soon after his song was used in Paatal Lok. Ankur Tewari—a well-known music supervisor, musician and co-founder of Tiger Baby Records—says that after two of his songs with his band The Ghalat Family were used in Netflix series Kota Factory, he was discovered by a whole new fanbase. 'My indie stuff is definitely more weird and out there, but I think my background score work is a great entry point for new people to come into my world," adds composer and singer Tarana Marwah, who makes sci-fi inspired electronic music as Komorebi, and has created music for Netflix shows Made in Heaven and Dabba Cartel. 'I've even started using (the name) Komorebi for my OTT work, because I feel I can marry these two identities. After all, it's all coming from the same creative source." For Tewari, the most important—and perhaps most subtle—change brought about by the OTT boom is changing attitudes towards the use of previously recorded music (or sync). Unlike in Western film and television, where sync has long been the norm, Bollywood has traditionally hired composers to create film music as work-for-hire, where the studio or production house owns all the rights to the soundtrack. Each big production house or studio will farm the work out to a small group of preferred composers or music directors, who deliver the music in exchange for a lump-sum payment. Now that's changing, albeit slowly. 'It's been a norm in the music industry to own rights to songs that you'll probably never even use again, because that's just the way things were done," says Tewari. But streaming platforms—particularly global ones like Netflix and Amazon—are much more open to licensing pre-existing music, which opens up significant monetisation pathways for musicians who manage to hold on to their masters and publishing rights. 'If there are opportunities to exploit these rights, then it makes a little more sense to be an independent musician and not sign to a label right now." Indian film-makers have used sync before—particularly in the advertising industry—but streaming platforms have invested in making the process a lot more streamlined. Sharma points to the music teams at Netflix and Amazon, who not only help market the music, but also have specialists to help creators like him reach out to artists and navigate the legal labyrinth of rights acquisitions. Netflix has even organised workshops in order to help the small but growing tribe of Indian music supervisors—as opposed to music directors—learn global best practices. Wazir Patar. Image via the artist's Facebook page 'We're deeply invested in nurturing the broader ecosystem through initiatives like our music supervision workshop in collaboration with Berklee College of Music and Academy Award–winner John Warhurst, and a music supervision workshop in the south," says Monika Shergill, vice-president of content at Netflix India. 'These efforts have helped deepen and diversify our musical culture, creating sustainable pathways for emerging artists with access to resources, collaborators, and global exposure." A thoughtful, well-placed sync can catapult a little-known act to stardom, or breathe new life into an old classic. Take, for example, Kate Bush's 1985 song Running up that Hill, which saw a 9,900% uptick in US Spotify streams after being featured in an episode of Netflix's Stranger Things, reaching No.3 on the Billboard Hot 100 chart 37 years after its release. 'I've placed songs that had a 100 views on YouTube that, after sync, suddenly had hundreds of thousands or even millions of views," says Alick Sethi, a Hungary-based music supervisor who works with emerging markets, and most recently worked on the soundtrack and score for Netflix documentary Yo Yo Honey Singh: Famous. 'Especially for independent musicians, it can be really helpful, leading to tours, distribution deals or even labels signing them up." But Sethi warns that India still has a long way to go before it has a truly mature sync ecosystem. Production houses working on OTT content still prefer to commission new music rather than license songs, because they have pre-existing relationships with composers. Legacy labels jealously guard their intellectual property, quoting outrageous sums for the right to use their music in a new show or movie. And then there's just the inertia of 'this is how things are done." Things are moving in the right direction though, and stakeholders like Tewari and Sethi are optimistic that the pieces of the puzzle are coming together. Music publishers are increasingly getting more organised in how they pitch music for sync to production houses and music supervisors. Organisations like the IPRS are working to make the collection of royalties and licensing income easier and more streamlined. Gaurav Dagaonkar, CEO and co-founder of music licensing marketplace Hoopr, expects the sync market for Indian independent artists to triple in the next two years. The sync revolution won't happen overnight—but it's gaining steam. With growing support from platforms, publishers and tech-savvy musicians, India's OTT landscape is slowly enabling a new paradigm for music in film and television—one that values experimentation, collaboration, and creator ownership as much as catchy hooks and ticket-selling hits. If it all goes well, the next Kate Bush moment might not come from the West, but from a remote studio in Kohima, or a bedroom producer in Bhopal. Bhanuj Kappal is a Mumbai-based writer. Also read: How music discovery became predictable Topics You May Be Interested In

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