Category Archives: culture

culture, entertainment, media, television

’13th’ review: SonyLIV series suffers from bland execution

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**By Isha Sharma | Oct 01, 2025, 12:02 am**

—

**What’s the Story?**

*13th*, out on SonyLIV, is produced by Abhishek Dhandharia, who also serves as the showrunner. Created and written by Sameer Mishra and directed by Nishil Sheth, the show instantly reminds you of The Viral Fever (TVF) projects due to its rawness and theme. Alas, the similarities end there. Despite an interesting premise, this series—drawing inspiration from the life of Competishun founder Mohit Tyagi—never quite soars.

—

**Plot: A Student Helps His Teacher Realize His Dream**

The story follows Ritesh (Paresh Pahuja), a rising venture capitalist who gives up his high-paying job to help his mentor, MT Sir (Gagan Dev Riar). MT Sir taught Ritesh during his “13th year”—the drop year after the 12th grade—when he was preparing for the IIT entrance exam.

Now, years later, Ritesh decides to assist him in building a visionary ed-tech startup. Will this guru-shishya duo succeed?

—

### 1. The Protagonist Is Always at a Distance

*13th* fails to hit the right spot due to its extremely heavy-handed storytelling. From the very first frame, the show positions Ritesh as an aggressive, hot-headed man who marches to his own beat. Early on, he delivers a fiery speech about his dissatisfaction with his job, setting in motion the chain of events that lead him back to MT Sir.

—

### 2. Too Filmy, Too Theatrical

While the show is conversation-heavy and features some sharp dialogues, most characters deliver full-fledged sermons! The exchanges between MT Sir and Ritesh quickly become tiresome, as they come across like filmy, cardboard characters rather than genuine, relatable people.

Interestingly enough, during flashbacks of Ritesh’s JEE preparation, we see MT Sir going to great lengths to mentor him—but what about the other students?

—

### 3. Supporting Characters Remain Underdeveloped

The show is so obsessed with the two leads that it largely forgets to develop the supporting characters. The most successful shows, like *Panchayat* and *The Family Man*, give well-rounded arcs to all characters to make the narrative more believable. Sadly, *13th* doesn’t bother to do the same.

Girija Oak, who plays MT Sir’s wife, gets some nice scenes, but that’s hardly enough to enrich the story.

—

### 4. Pahuja and Dev Riar Try to Keep the Series Afloat

The watchable moments in *13th* largely come from Paresh Pahuja and Gagan Dev Riar’s camaraderie and craft. The show pays tribute to the teacher-student relationship, especially as Ritesh’s life comes full circle when he helps MT Sir with his business.

“I owe my life to him,” Ritesh says, and in return, he becomes his mentor’s teacher.

—

**Verdict: Can Skip This SonyLIV Original**

*13th*’s biggest undoing is that it takes itself too seriously, making it hard to have fun with what ends up being a tedious show. We meet Ritesh’s friends in the initial scenes, but their arcs are never properly developed.

The series aspires to capture the ache and angst of IIT aspirants and almost succeeds, but ultimately fails to capitalize fully on its theme.

**Rating: 2/5 stars**
https://www.newsbytesapp.com/news/entertainment/gagan-dev-riar-sonyliv-s-13th-review/story

communication, culture, language, psychology, society

You cannot say words like that

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I really feel that no matter what the complaints and grievances are, or how strong the feelings run, there’s some value in being civil. Words like **assh-le** don’t belong in a chat like this.

There was a whiplash reaction to being told not to swear. In civil, smiling Thailand, where I live, you won’t hear much scatology. But to English-speaking expatriates, being asked to communicate without swearing feels like a violation of a fundamental freedom.

With swear words suddenly in the spotlight, I began paying attention to casual references to faeces, genitals, and other private parts in daily conversation. Fair warning: the rest of this column may be peppered with words that make some queasy. Out of respect, I will misspell the really gross ones. If I write *fcuk*, please don’t be baffled—or offended.

A beloved favourite is **shit**, a Swiss Army knife of a four-letter word that can stand in for just about any other word you choose.

– If you’re the boss man, you’re a big shit.
– If you’re a celebrity, you’re hot shit.
– Be authentic, genuine, and you’ll be the real shit.
– If you care for someone, you give a shit.
– Be a unicorn, and they’ll say you’re doing next-level shit.
– “Have you seen my shit anywhere?” will be correctly understood as “Where did I leave my things?”
– If things are not looking good, it’s a shitshow.
– If it’s dire, it’s a shitstorm.
– If they’ve called the police, then the shit has hit the fan.

The world swears, and the words are always intimate and crude. I’d expect India to lead, as it does in every other sphere. We are the country that has made a science out of defiling mothers and sisters when we swear.

However, just like **shit** in English, India’s *ma-bahen* variants are offensive, signal an escalation of emotions, and can lead to war. Of course, that’s what makes them useful.

In July, I came upon a scholarly dissertation on filthy words used in chit-chat, called *Vulgarity in Online Discourse around the English-speaking World*. The authors looked at 20 English-speaking countries, including an inner circle (e.g., the US, UK, Australia) and an outer circle (India, Nigeria, Singapore).

They labelled a word as vulgar if it had more acceptable variants. For example, *fcuk* has alternatives like “sleep with someone” or “make love.” Similarly, words like *butt* and *arse* have more circumspect cousins like *behind* and *bottom*.

Vulgar language, they noted, is the natural playground for unleashing our linguistic creativity. Consider colourful juxtapositions like *dcikhead*. The study analysed more than 1.7 billion words of online language, identifying 597 different swear word forms, including creative spellings like *4rseholes* and acronyms like *wtf*.

The top three most vulgar countries in the list were the USA, UK, Australia—and a surprise: Singapore.

The US is thrice as vulgar online as India in English, with vulgar words making up 0.36 per cent of all the words from their dataset. The most frequent word was *fcuk*, with a stunning 201 variants.

So why even discuss the cuss culture?

Because swearing requires becoming numb to the real meaning of a word. A person who says, “Hey, I’m in a restaurant eating shit right now, but I’ll see you soon,” has blocked what that word stands for in reality—or else he would have barfed.

We are able to throw around words like *shitstorm* and *hot shit* only because we have stopped paying attention to what they actually mean. It’s like saying, “Love you too,” without remembering what love means when your significant other says, “I love you.”

I taught a 10-year-old child with Asperger’s Syndrome for six months. He was clever to the point of brilliance, but every third word he said was a *fcuk*. I told him that, IMHO, people who used just one or two words for everything they wanted to say were probably not very intelligent.

This riled him, and he agreed to think of alternatives to *fcuk*. The following day, however, he came empty-handed.

“I fcuking forgot,” he told me cheekily. “I was fcuking playing video games all fcuking evening.”

“In that case,” I said, “I’d like you to spend the next two hours creating alternatives to that word.”

He gave me a broad, definitely devilish smile.

“No wucking furries,” he said.

—

You can reach C Y Gopinath at **cygopi@gmail.com**
Send your feedback to **mailbag@mid-day.com**.
https://www.mid-day.com/news/opinion/article/you-cannot-say-words-like-that-23596425

culture, diversity, entertainment, film, hollywood

Ryan Coogler’s secret to telling stories that truly connect

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**Ryan Coogler’s Secret to Telling Stories That Truly Connect**
*By Vinita Jain | Sep 29, 2025, 10:21 AM*

Ryan Coogler, the visionary director behind *Black Panther*, has redefined cultural storytelling in Hollywood. His work stands as a powerful testament to the impact of narrative in shaping perceptions and celebrating diversity. Coogler’s approach transcends traditional storytelling by weaving rich cultural tapestries that resonate with audiences around the world.

Through his films, he has not only entertained but also educated viewers about the complexities and beauty of different cultures. Here are the key elements behind Coogler’s storytelling magic:

### Embracing Cultural Authenticity

One of Coogler’s hallmarks is his unwavering commitment to cultural authenticity. He digs deep into the cultures he portrays, ensuring every detail is accurate and respectful. This dedication allows viewers to form a stronger connection with the story and its characters.

By prioritizing cultural accuracy, Coogler sets a high standard for filmmakers aiming to tell stories that genuinely honor their roots.

### Empowering Diverse Narratives

Coogler’s films highlight the power of diverse narratives. By focusing on stories often overlooked in mainstream media, he opens doors for underrepresented voices in Hollywood. His work inspires fellow filmmakers to explore perspectives outside the conventional, enriching cinema with a broader range of experiences.

### Collaborating with Cultural Experts

A key part of Coogler’s storytelling process is his collaboration with cultural experts. By working closely with historians, artists, and community leaders, he ensures his films are not only entertaining but also educational.

This collaborative effort adds layers of depth and authenticity, helping stories resonate with audiences on multiple levels.

### Fostering Global Connections Through Film

Coogler’s films excel at forging global connections by addressing universal themes while remaining true to their cultural roots. His storytelling brings people from diverse backgrounds together, fostering empathy and understanding through shared human experiences.

It is this unique ability to connect across borders that makes Ryan Coogler’s work so impactful on a global scale.

—

Ryan Coogler’s approach to storytelling reminds us of the profound role cinema plays in bridging cultures and creating meaningful conversations. His dedication to authentic, diverse, and collaborative narratives continues to shape a more inclusive future in Hollywood and beyond.
https://www.newsbytesapp.com/news/entertainment/ryan-coogler-s-influence-on-cultural-storytelling/story

celebrity, culture, entertainment, music, sports

Bad Bunny announced as Super Bowl LX halftime performer

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LOS ANGELES – Bad Bunny will bring his Latin trap and reggaeton swagger to the NFL’s biggest stage next year. The Grammy winner has been announced as the headliner for the Apple Music Super Bowl halftime show in Northern California.

The NFL, Apple Music, and Roc Nation revealed on Sunday that Bad Bunny will lead the halftime festivities at Levi’s Stadium on February 8 in Santa Clara, California. The Puerto Rican superstar’s selection comes amid another career-defining run. He recently completed a historic residency in Puerto Rico that drew more than half a million fans and is currently the leading nominee at the Latin Grammys this November.

Bad Bunny has become one of the world’s most streamed artists with albums such as Un Verano Sin Ti, an all-Spanish-language LP that has reached global acclaim.

Speaking about the opportunity, Bad Bunny said in a statement, “What I’m feeling goes beyond myself. It’s for those who came before me and ran countless yards so I could come in and score a touchdown. This is for my people, my culture, and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”

Jay-Z, founder of Roc Nation, expressed his admiration for Bad Bunny’s achievements: “What Bad Bunny has done and continues to do for Puerto Rico is truly inspiring. We are honored to have him on the world’s biggest stage.”

Born Benito Antonio Martínez Ocasio, the 31-year-old artist boasts three Grammy wins and 12 Latin Grammys. Beyond music, he has become a global ambassador for Latin culture, starring in films such as Bullet Train, Caught Stealing, and Happy Gilmore 2, while also collaborating with prominent fashion houses.

At the upcoming Latin Grammys, Bad Bunny leads the nominations with 12 nods, overtaking producer and songwriter Edgar Barrera.

The Super Bowl halftime show will be co-executive produced by Roc Nation and Emmy-winning producer Jesse Collins, with Hamish Hamilton serving as director.

Last year’s halftime show featured Kendrick Lamar and guest SZA in New Orleans, breaking records with 133.5 million viewers—the most-watched performance to date—surpassing even Michael Jackson’s iconic 1993 appearance.

https://abc7.com/post/bad-bunny-announced-super-bowl-lx-halftime-performer/17900968/

community, conflict, culture, peace, religion

Faith, friendship and quiet harmony

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At dawn, when the first rays of sunlight hit the snow-capped peaks of Speen Ghar [trans: The White Mountain], the valley below glows in soft gold. Parachinar, the only Shiite-majority city among the Khyber Pakhtunkhwa tribal districts, lies cradled in this rugged frontier along the Pakistan-Afghanistan border. For decades, these hills were known for sectarian clashes and roadblocks, not peace.

Yet, beneath the towering ridges of Speen Ghar, a quieter story unfolds; one of faith, friendship, and lasting coexistence.

Near Parachinar, in the village of Malana, tucked amid walnut groves and spring-fed streams, an Imambargah and a Sikh Gurdwara stand right next to each other. Their shared wall tells a story older than the conflicts that have scarred this borderland.

“This is Baba Nanak House,” says Barkat Ali, aged 60, the caretaker of the Gurdwara, pointing to the modest building marked by an orange Sikh flag. Inside, a green cloth drapes the Takht, where ceremonial kirpans [daggers] gleam softly in the morning light.

“Sikhs are our brothers. During their festivals, we open our Imambargah doors for them and offer them accommodation. We even provide wood for their cooking,” he adds.

Centuries ago, the Turi tribe, a Shiite Pashtun community in Kurram, donated this very land to the Sikhs and helped build their Gurdwara—a gesture of solidarity that continues to resonate through the village’s stone courtyards and narrow alleys.

Though no Sikh families remain in Malana today, devotees travel from across Pakistan to visit Baba Nanak House, where tradition holds that Guru Nanak, the early 16th-century founder of Sikhism, once stayed.

In nearby Parachinar’s bustling Turi Market, the Singh brothers Mukesh and Rakesh carry that legacy into the present. In their early thirties, the twins run a family spice shop and speak fluent Pashto, dressed in the same shalwar kameez as their Muslim neighbours.

Every Muharram, as Shiite mourners mark the martyrdom of Imam Hussain, the Singhs serve tea, sweet drinks, and baskets of candies to participants.

“This is our way of honouring our friends,” Rakesh says. “Our fathers and grandfathers did it and we will pass it on to our children.”

“Before 2007, Shiite, Sunni, Sikh, Hindu, and Christian neighbours celebrated each other’s festivals,” he continues. “We danced the Attan together at weddings. Those were beautiful days.”

Their Muslim neighbours return the affection. Gul Hassan, a dry fruit vendor, recalls attending the brothers’ weddings and gifting them a traditional sehra, a bridal headdress.

“We share tea, lunch, and life,” he says with a smile.

Kurram once had a thriving Sikh community, with three functioning Gurdwaras and nearly 80 families, before sectarian violence erupted in 2007. Today, only seven families, around 45 people, remain. Many left for larger cities such as Peshawar, Lahore, and Hasan Abdal, seeking safety during years when the main Parachinar-Tal Road remained sealed by conflict.

Yet even in those violent times, Sikh lives were spared. Local Muslim elders ensured safe passage for those who chose to leave.

“During the conflict, the roads were opened and security provided so Sikh families could leave safely,” recalls Mukesh Singh.

Santokh Singh, who migrated to Peshawar, remembers the Parachinar of his youth with fondness.

“Before 2007, Shiite, Sunni, Sikh, Hindu, and Christian neighbours celebrated each other’s festivals,” he says. “We danced the Attan together at weddings. Those were beautiful days.”

Despite the shrinking population, acts of generosity continue to knit the communities together. During Ramadan, Mukesh discreetly distributes food to poor Muslim families, fulfilling the Sikh tradition of charity without seeking recognition.

Local Muslim leaders, too, step forward in times of need. Nazir Hussain, secretary of the Parachinar Shopkeepers Union, often donates to Sikh religious events.

“Whenever the Sikh community asks for help, we provide every possible support,” he says.

Farther west in Tirah Valley, near central Kurram, Bhagat Singh, a shopkeeper with a long white beard wrapped in a dark blue turban, reflects on three centuries of shared history.

“Our families have lived here for 300 years,” he says softly. “These valleys are my home. I was born here and here I will die.”

In a region once synonymous with bloodshed, the quiet companionship of an Imambargah and a Gurdwara offers a different narrative. As the golden light of Speen Ghar falls over Parachinar, it illuminates not just mountains, but a truth often overlooked: that faith, when rooted in respect, can build bridges where politics too often builds walls.
https://www.thenews.com.pk/tns/detail/1346828-faith-friendship-and-quiet-harmony

culture, design, fashion, heritage, music

Burberry’s Festival Beat

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Daniel Lee, Chief Creative Officer of Burberry Group, used the Burberry Spring 2026 collection to connect music with fashion in clear, direct ways. The runway was set under a sky-patterned tent in Perks Field at Kensington Palace, creating a setting that felt like a festival backstage. The floor was covered in dirt, while guests laughed and moved like a crowd eagerly waiting for a headline act.

The clothes maintained British tailoring but offered a music lover’s wardrobe with polish for the stage and durability in the mud. The collection balanced heritage with hedonism, featuring utility pieces built for both performance and weather. Lee referenced decades of British music culture—from the Mod period to folk rock and the current indie revival—filtering these influences through Burberry’s practical design to give each reference a modern shape.

“Musicians have always had incredible style, and together with fashion, they form a really strong culture,” Lee explained. The clothes embodied this idea with cropped A-line coats in Pop-Art checks and tartans in vibrant apple green and acid yellow. Classic camel coats kept their traditional structure while allowing a swinging hem.

The front row added to the festival atmosphere. British cultural icon Twiggy (Dame Lesley Lawson) arrived ahead of a group of musicians, joking, “I want to get in before the boy band arrives.” Also present were Elton John, Vanessa Williams, Skepta, Central Cee, and Naomi Campbell. Anna Wintour attended alongside US tennis star Jack Draper. Benji B, one of the world’s most respected music curators, mixed Black Sabbath tracks into the soundtrack, underlining the connection between rock heritage and new audiences.

Shine and weather protection remained central themes throughout the collection. Sequinned mini kilts flashed Burberry checks in pink and green, while glossy bomber jackets and wet-look leathers reflected light. Trench-inspired pieces appeared in denim, raffia, and waterproof cotton, proving that Burberry still designs with the elements in mind. Crochet and chainmail dresses were paired with fringe and flat lace-up shoes, perfect for festival grounds.

Suits stayed slim and short in silhouette, often featuring a Canadian-denim twist. Other looks were accented with hot pink polish or brown coatings featuring 1960s edges. Accessories included oversized fringe bags, skinny crochet scarves, and belts with prominent buckles—each serving a practical purpose while adding visual impact.

Daniel Lee delivered a focused vision: rock and roll style works when adapted for a modern mindset. In this latest collection, heritage pieces met a festival mood, and England felt ready to swing again.
https://www.thenews.com.pk/tns/detail/1346803-burberrys-festival-beat

culture, design, fashion, heritage, music

Burberry’s Festival Beat

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Daniel Lee, Chief Creative Officer of Burberry Group, used the Burberry Spring 2026 collection to connect music with fashion in clear, direct ways. The runway was set under a sky-patterned tent in Perks Field at Kensington Palace, creating a setting that felt like a festival backstage. The floor showed dirt while guests laughed and moved like a crowd waiting for a headline act.

The clothes maintained British tailoring while offering a music lover’s wardrobe polished enough for the stage and durable enough for the mud. The result was a balance of heritage with hedonism, featuring utility pieces built for both performance and weather. Lee referenced decades of British music culture—from the Mod period to folk rock and the current indie revival—filtering these influences through Burberry’s practical design to give each reference a modern shape.

“Musicians have always had incredible style, and together with fashion, they form a really strong culture,” Lee said. The clothes followed this idea, showcasing cropped A-line coats in Pop-Art checks and tartans in apple green and acid yellow. Classic camel coats retained their structure while allowing a swinging hem.

The front row added to the festival vibe. Twiggy (Dame Lesley Lawson), a British cultural icon, arrived ahead of a group of musicians. “I want to get in before the boy band arrives,” she said playfully. Elton John, Vanessa Williams, Skepta, Central Cee, and Naomi Campbell were also present. Anna Wintour attended alongside US tennis star Jack Draper.

Music curator Benji B, one of the world’s most respected in his field, mixed Black Sabbath into the soundtrack to highlight the connection between rock heritage and new audiences.

Shine and weather protection remained central themes throughout the collection. Sequinned mini kilts flashed Burberry checks in pink and green, while glossy bomber jackets and wet-look leathers reflected light. Trench-inspired pieces appeared in denim, raffia, and waterproof cotton, reminding guests that Burberry still designs for the elements.

Crochet and chainmail dresses came with fringe and flat lace-up shoes suitable for festival grounds. Suits stayed slim and short in silhouette, often with a Canadian denim twist. Others featured hot pink polish or brown coatings with 1960s edges.

Accessories included oversized fringe bags, skinny crochet scarves, and belts with prominent buckles. Each piece served a practical purpose while adding visual impact.

Daniel Lee delivered a focused concept: rock and roll style works when adapted for a modern mindset. In this latest collection, heritage pieces met a festival mood, and England felt ready to swing again.
https://www.thenews.com.pk/tns/detail/1346803-burberrys-festival-beat

celebration, culture, religion, spirituality, tradition

Symbols of offering

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Every year, during the Islamic month of Rabi al-Thani, devotees of Abdul Qadir Gilani gather on the banks of the Ravi River to participate in a unique and heartfelt tradition. They launch paper boats carrying lighted clay lamps and other symbolic offerings into the river.

This ritual serves as a means for devotees to make wishes or to express gratitude after their wishes have been fulfilled. It is a deeply spiritual practice that reflects devotion and hope.

The event is part of the celebrations commemorating the urs, or death anniversary, of the revered Sufi saint Abdul Qadir Gilani. This occasion, known as Gyarwin Shareef, falls on the 11th of Rabi al-Thani each year.

Through this beautiful custom, followers come together to honor the saint’s memory and seek blessings, creating a serene and meaningful atmosphere along the riverbanks.
https://www.thenews.com.pk/tns/detail/1346831-symbols-of-offering

culture, history, india, philosophy, religion

Is Sanatan dharma a Pagan faith?

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Many Sanatanis today like to describe Hinduism as the mother of all dharmic religions, and sometimes even as the mother of all pagan faiths. This obsession with the word *pagan* is not native to India. It comes from Europe and America. In the 1960s and ’70s, hippies who disliked Judaism and Christianity, or who wanted to weaponize Hinduism against Islam, embraced this word and dragged it into Hindu conversations.

The word *pagan* itself has a strange history. Early Christians used it to mean peasants, rustic folk, people outside the army of Christ. It carried a sense of backwardness. Modern scholars now say the word comes from *pagus*, the smallest administrative unit of the Roman Empire. Those who worshipped local gods of the *pagus* were called pagans.

Seen this way, religion can be divided into two broad categories. One kind is tied to a place. It honours local gods and spirits of hills, rivers, groves, or villages. The other kind transcends geography. It builds on doctrine, not landscape. India has both. Every region has its local gods, but over these gods, Vedic ideas—detached from any single location—take precedence.

Christianity works the same way. It started in Jerusalem, then Rome became its centre, but it does not depend on either city. Islam, too, broke free of geography. Its followers do not worship local gods. They face Mecca, and Mecca alone, the seat of the god of Arabia.

Europe before Christianity was full of local religions. These were later branded *pagan*. Over time, pagans were imagined in very different ways. Some called them noble savages, close to nature. Others called them wicked savages who had to be tamed.

In the 18th century, with the rise of evolutionary theories, people placed pagan religions somewhere between primitive savagery and refined monotheism. Germans glorified their Viking ancestors as pure gods of the land, uncorrupted by Christianity. Admirers of Greece and Rome saw their paganism as sophisticated—until it was supposedly polluted by eastern rituals.

In England, the Industrial Revolution destroyed woods and groves. Intellectuals mourned and romanticized the pagan past as a lost paradise. In France, less industrialized, pagan nature worship looked sinister, even satanic.

By the Victorian age, when Christianity became increasingly puritanical, paganism was recast as free-spirited. It was imagined as a religion of the body, celebrating love and sexuality. But this pagan past was not remembered—it was invented. Christianity and modernity created the image of the pagan to suit their own needs.

Paganism became a mirror for anxieties about nature, body, and morality. Pagans were the other—those who did not align.

The countless local gods of Hindu villages were never wiped out. But they were reinterpreted. Vedic and Vedantic doctrines were layered on them. What was once a forest spirit became a form of Vishnu, Shiva, or Shakti. In this way, local faiths were whitewashed, given a respectable Sanskritic coating.

In the 19th century, many intellectual Hindus insisted that Hinduism was not pagan. They shunned the tree and animal worship part of Hinduism and focused on Vedanta. Today, politicians have realized that vote banks believe in old village and tribal rituals. Hence, in the 21st century, it makes sense to refer to Hindus as pagans, distinct from monotheistic religions like Islam and Christianity.

—

*The author writes and lectures on the relevance of mythology in modern times. Reach him at devdutt.pattanaik@mid-day.com.*
https://www.mid-day.com/news/opinion/article/is-sanatan-dharma-a-pagan-faith-23596150

celebration, culture, india, music

Nisha’s Mumbai: Of Patriotism, Parties, And Pioneering Design; Nisha JamVwal Gives A Glimpse Of Her Spectacular Week

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When Music Becomes a Love Letter to the Nation

I cannot begin this column without giving due credit to national awardee lyricist Manoj Muntashir, the master storyteller who, in collaboration with composers Ajay-Atul and some exceedingly talented singers, presented the untold story of our Honourable Prime Minister Narendra Modi in a musical at NMACC titled *Mera Desh Pahle*. Little-known vignettes of his childhood and journey were given life through this emotional musical that had audiences shouting desh bhakti slogans.

The moment that stirred my soul was when the entire auditorium rose in spontaneous chants for our Prime Minister, voices merging in *Vande Mataram* and *Mera Bharat Mahan*. I had goosebumps as this opening night swept up in a wave of passionate pride. I wholeheartedly agree with CM Devendra Fadnavis that our Prime Minister has elevated us to such heights internationally that we feel this profound pride in being Indian.

We stand tall today thanks to one man’s extraordinary vision and relentless efforts, and this musical epitomizes his remarkable journey.

—

### Art of Turning Fifty in Feathers and Finery

Close on the heels of the larger-than-life Gautam Singhania extravaganza came another marquee celebration—grand, familial, and utterly enchanting. While the beautiful lady who had this special birthday will remain anonymous, I must share that one guest—the lovely Jaya Raheja in her show-stopping red feather gown—once again proved her artful penchant for avant-garde experimental excellence. Wow, did she steal the show!

The entire venue, which used to be a much-loved movie studio, was transformed into opulent banquet rooms, bars, and dining spaces to accommodate friends and family who flew in from across the globe, along with Mumbai’s glittering ‘set.’

Cars snaked their way in, filled with women trying to decode the mysterious theme. The glamour quotient was sky-high, and the band elevated the energy to euphoric levels. It was one of those evenings where celebration becomes an art form.

—

### When Design Dreams Take Flight

Ashiti Bhartia of the Elle Magazine group hosted the ID Design and Architecture show, and it outdid every design exposition I’ve attended this year. This sprawling showcase of India’s finest design brands was nothing short of spectacular.

It’s transformational how AI and technology have become a big part of design, making life more seamless for designers, architects, and house-proud shaukeen DIY clients who wish to design their homes on their own. The choices available today are simply magnificent.

The opening night drew architects and interior designers in droves, creating a buzzing hive of creative energy with music and bartenders juggling glasses and drinks. What struck me most was how the event transformed from a mere exhibition into a confluence of artistic minds—each corner revealing innovative concepts that push the boundaries of Indian design sensibilities.

It’s events like these that remind me why Mumbai remains the cultural pulse of our nation.

—

*Write to Nisha JamVwal at nishjamwal@gmail.com*
https://www.freepressjournal.in/lifestyle/nishas-mumbai-of-patriotism-parties-and-pioneering-design-nisha-jamvwal-gives-a-glimpse-of-her-spectacular-week