Back in the 1990s, Ayesha Jhulka made a name for herself as a leading lady in films like Jo Jeeta Wohi Sikandar (1992), Khiladi (1992), and Waqt Hamara Hai (1993).
After stepping away from the spotlight, the much-loved actress makes her return with a powerful role in new Amazon Prime drama serial Hush Hush. She is part of a strong female cast in the seven-episode Tanuja Chandra directed mystery crime drama, alongside Juhi Chawla, Soha Ali Khan, Shahana Goswami, Kritika Kamra, and Karishma Tanna. The story of a crime, cover-up and investigation, promising plenty of twists, premiered on the streaming site on September 22.
Eastern Eye recently caught up with the acting star to speak about the series and her character. She also revealed the reason for staying away from the spotlight for such a long period.
After entertaining the audience through films, you step into the world of streaming entertainment. Why did you choose to make your digital debut with Hush Hush?
I am a big fan of streaming shows. I have probably watched them all. When Tanuja (Chandra) approached me for this part, I was very excited thinking what if I do it? I’ll be seeing myself the way I see others in such shows. So, I must give her credit. It’s because of her that I am here. She just wouldn’t take no for an answer. She kept on saying, ‘I can’t do it without you.’ So I did it for her and, of course, for the character in the show.
Could you please tell us a bit about your character in the show without giving away any spoilers?
(Laughs) Did anybody else tell you anything about their characters? (She keeps a finger on her lips gesturing to keep quiet). See, it’s a mystery crime drama in which I play a character called Meera. Watch the show to know more.
You are making a comeback to acting after a long gap. Was it love from your fans that couldn’t keep you away from the camera?
I strongly believe we all owe a certain part of our lives to our fans. We are who we are because of them and how they are watching us. We are working in a certain set-up, where we have to surrender our lives to others. I think we artists have many lives – the professional life and a personal one, where we just don’t want anyone to intrude in because that’s our place of solace, where we can catch some peace and deal with our chaos. It is a multi-personality life that we, as actors, have to live.
Apart from being a fabulous actor, you are also a trained Kathak dancer. Do you still practice it?
I have not been able to devote much time to Kathak lately. A lot of other things are happening in life, but it is always going to be my first love. I started when I was three. My mother really pushed me into it. I was five when I started taking it very seriously and at the age of seven, I gave my first solo performance. The thing is that I am divided between so many other things. It is about priority. I am more focused on stray animals now. I think when you grow, there are so many various things that you want to do in life.
You said that you were divided between so many other things. Was that the reason for taking a sabbatical from acting?
There were two reasons. My reason for not working wasn’t mainly because I was doing other things. No. Acting is very close to my heart. It has always been. After a certain point, I started realising that I was not getting what I really wanted to do. When we are younger, we have different priorities. We want to build this big house, so we do whatever films that come our way.
Tell us something more about that…
See, I entered the industry very young. I have gone through those phases when, you know, I have done films because I shared a good bond with someone. I was like, ‘I know you really well. You are a friend of mine, and you are requesting me to do this, so I won’t say no’. I did certain films because the producer had made good films in the past, and his banner was well-known. If the director was good, I did it. So, there were various reasons for doing films at that time.
You have explored theatre also…
After so many years of working, I did a play with Vijaya Mehta. I was being directed by her. After doing a six-month workshop with her, I realised what real acting is. I had probably done 100 films before that, but didn’t know what acting was. It was only after working with her that I realised there is a formula to acting. I was playing a rape victim in that play. I must say Tanuja (Chandra) has explored that part of me. Had I not gone through that workshop, I would have probably not done justice to this character that I play in Hush Hush.
How was it to work with Chandra?
So, Vijaya Mehta was the first female director I worked under, but it was for a play. Here, I was working in front of a camera. I felt whatever Tanuja was saying, I consumed it very easily. There was some perfect communication. I really felt like a new student who went to her. I wanted to surrender for once, which is not very easy for an artist to do. She did not let me do any make-up. She would always say, ‘You don’t need it. You are so beautiful.’ After every shot, the praise that I would get from her would motivate me to do even better.
How has the entertainment industry changed over the years, according to you?
There’s some sort of pressure going on everywhere. There’s a pressure of being seen, the pressure of social media. Back then, there wasn’t so much pressure. We were leading a simple industry life and used to have a lot of fun. There was no fear of the press as such (laughs). These mobiles and gadgets have also added pressure to life. The world is changing, and I think for the better. It’s just that we have to get used to it.
What do you prefer?
We cannot say our time was the best. Things keep changing. You have to adapt to the new life, which is a little tough, but we do try to do that. Having said that, when you weigh all pros and cons, I still feel that we were treated like kings and queens back then on sets. And I felt the same while working on Hush Hush.
Who would be your perfect director?
My perfect director is the one who actually makes me get out of Ayesha Jhulka and put me into a role with ease, whatever character I am playing. Tanuja made me forget who I was. It’s not me in Hush Hush. Of course, it is always a two-way traffic. If I had not surrendered, she would have given up beyond a point. There would be friction and it would show there on the screen. I am a person – which a lot of people close to me will tell you – if I like somebody, I go all out and like that person. I don’t let people come near me very easily. She is one person I instantly connected with.
We hope the audience will now get to see you more often on the screen.
(Laughs) Yes, I hope Tanuja signs me in a couple of more projects before I move on to other filmmakers.
ARUNDHATI ROY’S forthcoming memoir, Mother Mary Comes To Me, is about the author’s close but fraught relationship with her mother, Mary Roy, whose death in 2022 her daughter has likened to “being hit by a truck”.
Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
In 1996, someone tipped me off that a publisher had won an auction by paying £1 million for The God of Small Things by an unknown Indian writer. This was unprecedented for a debut novel. But the buzz among the bidders was that the novel was a possible contender for the Booker Prize.
As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
The FT interview says Arundhati “left home at 16, putting the length of the subcontinent between her mother in Kerala and herself in New Delhi, where she was admitted as one of the few women students at the School of Planning and Architecture. ‘I left in order to be able to continue to love her, because I knew she would destroy me if I stayed,’ she says.
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.
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Each character in the set has been carefully designed to reflect cultural narratives
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”