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Shobhaa De slams trolls mocking Ananya Panday’s dance in Chand Mera Dil: ‘Shouldn’t you call out director’

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Celebrated author and sharp social commentator Shobhaa De has stepped forward to fiercely defend young Bollywood actress Ananya Panday, who has recently found herself at the receiving end of severe online backlash. The controversy erupted after a short, out-of-context video clip of Ananya performing a dance routine in her newly released romantic drama Chand Mera Dil went viral across various social media platforms. In the film, Ananya portrays a character named Chandni, the daughter of a classical dancer, who performs a creative fusion piece combining traditional Bharatanatyam movements with modern hip-hop and locking styles during a college reunion event. While the on-screen sequence is meant to be an unconventional fusion performance rather than a strict classical recital, internet trolls and several classical dance enthusiasts quickly slammed the actress, harshly mocking her expressions and technique, with some even coining the derogatory term Nepo Natyam to target her background.

Taking to her official Instagram account, Shobhaa De shared a video message to voice her strong disapproval of the ongoing cyberbullying campaign and questioned the logic of single-handedly attacking the lead actress for a creative decision made by a massive production team. Shobhaa directly pointed out that Ananya is fundamentally not a trained classical dancer, making it incredibly unfair for critics to judge her through the lens of a professional performer who has spent decades mastering the art form. The veteran columnist boldly argued that if the audience genuinely feels the dance routine was poorly executed or conceptually flawed, the blame should rest squarely on the shoulders of the director, Vivek Soni, and the creative choreographers who envisioned, designed, and ultimately approved the final routine for the big screen. She urged the online public to stop targeting the young actress personally and start demanding accountability from the actual filmmakers behind the camera.

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The author went on to highlight the immense, often unrealistic pressure that contemporary film industries place on young and seasoned actors alike, expecting them to seamlessly adapt to challenging art forms with very minimal preparation time. Shobhaa noted that Indian cinema performers are regularly required to execute complex dances, perfectly lip-sync dialogue, and project deep emotional expressions simultaneously while maintaining a flawless appearance on camera. She drew a direct comparison to global cinema, asking her audience to reflect on how many major Hollywood or international celebrities are ever expected to master such a diverse and physically demanding range of skills for a single movie role. Praising Ananya for having the courage to step outside her comfort zone to try something entirely new, Shobhaa concluded her message by advising viewers to watch the full cinematic sequence in its true narrative context before jumping to harsh conclusions based on isolated internet clips.

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