80-plus south Asians fail their course work at a Leicester university
By BARNIE CHOUDHURY Jul 19, 2023
Eastern Eye can reveal that the Indian High Commission has written to a UK university urging it to investigate claims of racism and discrimination made by students from its country.
It follows complaints from more than 80 learners from India at Leicester’s De Montfort University (DMU).
The High Commission sent the letter headed, “Alleged discrimination against Indian students”, to the vice chancellor, Professor Katie Normington, this week (18).
Its first education secretary, Nidhi Choudhary wrote, “Since the allegation is that students are being deprived of their master’s degree, it is of concern to the high commission.
“It is therefore requested that the university may consider taking appropriate action for the redressal of these students’ grievances.”
The diplomatic language hides the potential damage this could do to UK-India relations.
The students’ complaints comes on the week that India’s commerce and industry minister, Piyush Goyal, met his UK counterpart, Kemi Badenoch.
They discussed the progress of the free trade agreement (FTA) between the two countries.
The students want the universities regulator, Office for Students, to investigate their claims of racism.
This week, we have discovered that the former Leicester MP wants an inquiry into whether the university has broken competition and marketing rules – a serious charge.
This newspaper has seen letters and emails sent to senior leaders at the university which make clear the engineering students’ disquiet over how they were taught and questioning why so many learners from India botched one particular module.
“How can so many of us from India fail?” asked one engineering student.
Keith Vaz (Photo by Carl Court/Getty Images)
Speaking on the condition of anonymity, scared about reprisals from the university, another told the newspaper, “It was in one module which the course pages said was optional, but by the time I arrived in the UK, it was compulsory.
“I was forced to take this module even though it has nothing to do with what I want to do when I graduate.
“Like many of us, my paper was marked by a PhD student who wasn’t an expert in my chosen field.
“Their highest qualification is a MSc [master’s of sciences], so how can they mark my work with any expertise?”
Eastern Eye was told that the module where the learners failed was Engineering Business Environment.
Failed Indians
Sources have said that 128 of the engineering students were Indians, making up 52 per cent of the entire pathway.
Of the 128, 89 or almost 70 per cent failed.
The failure rate varied from 18 and 85 per cent depending on the degree the students were undertaking.
For example, 63 of the 74 students (or 85 per cent) on the engineering management master’s pathway failed in their first attempt.
“When we started to speak to our classmates, we were shocked to learn that so many Indians failed,” said another DMU student.
“We learnt that this is not unusual and that it has been the case in previous years where students fail this module.
“But if so many of us failed, you would expect teachers to ask why so many were failing, and why so many Indians were failing.
“We are in no doubt it’s because we’re Indian, and it’s racism, simple.”
Eastern Eye does not know how many white students failed, but DMU is adamant that the failure is not down to racism.
The former Europe minister and ex-Leicester East MP, Keith Vaz, has taken up the fight for the students.
He is representing them through the Integration Foundation, which he chairs.
UK racism
In a letter earlier this month (1 July), Vaz wrote to Normington, “I am aware that a meeting took place between Professor Shushma Patel (pro vice chancellor) and four students on June 21, 2023.
“However, it has become evident that the university refuses to acknowledge a fundamental aspect concerning the alleged discrimination.
“During the meeting, Professor Patel stated that: ‘Since a majority of the students in the class are of Asian descent and some Indian students have successfully completed this module, there can be no discrimination.’
“It is important to recognise that this interpretation does not align with the legal definition of racism within UK law.”
The Indian students’ complaint hinges not only on the marks scored but in what some have described as “inconsistent feedback”.
“When we failed, we looked at the feedback,” said one, “so, we did everything to make sure we answered the missing points.
“However, when we got our marks for that attempt, some of us got even lower marks than before.
“How can that be right?”
The university told Eastern Eye that it “refuted” the allegations and took them seriously.
A spokeswoman said, “For the module in question – Engineering Business Environment - we have in place robust procedures for grading which include assessments by two internal markers and a subsequent review by an examiner external to the university, followed by a final moderation panel.
“In this instance, the process was no different and a total of 80 Indian students passed the module, while 58 failed.”
Student meeting
Eastern Eye has had an insight into how the university responded to the students’ concerns.
In one email seen by this newspaper, one lecturer wrote, “In general (i.e. not specific to this module) there are three reasons which can lead to a low average.
“First, a weak cohort.
“Secondly, issues to do with the teaching and thirdly, issues regarding the assessment.
“The latter two are our responsibility.
“The first, whilst possible, should not lea[d] to a statistically significant low average.
“As such we will be looking at the profile of marks and applying a significance test on the results both against expected and against the rmodules [sic].
“The issues described below would imply that we are likely to see a statistically significant difference, but this will provide the evidence.”
In at least one case, Eastern Eye has seen email evidence where a lecturer made an error in their marking, and the students ended up passing the assessment.
Speaking to this newspaper, Vaz said, “I want the vice chancellor to meet with the 75 students because if she sits in a room like I did with them, their presentation is something you could never dream of.
“So, Professor Normington needs to sit down with all of them, not a representative sample and listen to their concerns about the modules.
“The second thing is, she needs to have a proper independent investigation that needs to be conducted by someone outside, not necessarily another academic, it could be anybody, The Runnymede Trust or Operation Black Vote, a quick short look at the facts.
“Let's hear views, and let's see what happens, because they've failed these people.
“They’ve taken £1.2 million from the students, they've got to leave the country, they’ve got to go back to India, and that can't be right.
“They cannot do post study work, that's it for them.”
He wrote to DMU’s VC this week (17) reinforcing that call.
Options
Eastern Eye understands from some students that they were not offered optional subjects even though the recruitment website promised these to them.
Some of the students affected have told Eastern Eye this was a breach of their contract with DMU.
Vaz has written to the Competition and Markets Authority (CMA, the body which has ‘cautioned’ UK universities in the past for breaching its rules on what they advertise to recruit students and what they actually deliver.
On July 1, in his second letter to the VC, Vaz wrote, “I would like to inform you that, at the request of the students, I have written to the chairman of the Competition and Markets Authority about this matter.”
“My understanding is that in the event the failure of the university properly to investigate, the students wish to make a collective complaint to the CMA.”
The students also complained that they did not get sufficient support from DMU, and that their mental health suffered.
“Even if we could re-sit, how can we put our mind to it?” asked one affected student. “We’re now in the middle of our dissertation and we don’t have the time to re-sit.
“We feel the university let us down.”
“Inclusion and fairness are core to our values as an institution”, a spokeswoman said, “and we are confident we have treated students fairly and supported them to achieve their potential, while ensuring that we adhere to the very highest academic standards.”
The former Leicester MP, Keith Vaz does not agree.
“Some of these people, their parents have scrimped and saved to get them the 15 grand, and then they have to pay for accommodation.
“They're not rich kids, they are people where families proudly say my child has gone to a university in England.
“This is what they all dream of and look what's happened.
“They just take their money and run, and I think that's a mistake.”
COMMENT
Proving racism is the reason why students have failed their module will be difficult, writes Barnie Choudhury.
I must declare an interest for the sake of openness and transparency.
I am a lecturer at the University of East Anglia, a fantastic place where I teach journalism to both UK and international students.
I hope I treat them fairly and show no biases – it would crush me if my students thought otherwise.
My colleagues are the same – we don’t stint in our efforts to support them.
Indeed, we put on extra classes, go through past papers, give feedback on draft submissions, hold tutorials so we can give both our international and UK students the chance pass.
We help them with their job applications and subsequent interviews.
I’ve been doing this since 1999, and I know I have written countless references, and I know I have picked up the phone, had coffee with someone in the industry, or sent an email, in the hope I can get a student into an interview room.
I’m pretty sure that’s the case at De Montfort, with lecturers going above and beyond what they’re paid to do.
Students will complain about their marks, and it is only right that we have procedures in place which ratify their scores.
In our case, we can ‘blind mark’, so we don’t know the student.
In broadcast journalism, that can be difficult because we know our students’ voices and their faces when they appear on radio or television.
But in a media law exam, for example, I don’t need to know someone’s identity.
To ensure we don’t have biases, we will ask a colleague to ‘second mark’ a sample.
Then we will discuss them and ‘moderate’ – giving students every chance to pass.
Finally, we will send a sample to an external examiner, someone from a different university whose role it is to make sure we’re getting our teaching right.
I’ve been an ‘external’ at several universities, and I see my role as a critical friend offering suggestions and best practice.
I make sure the marks are fair and consistent.
Investigations?
From what I’ve seen and the emails I’ve read, in DMU’s case, a pro vice chancellor, a senior leader, looked into the complaint.
She wrote to a student in June (12), “The faculty has received and investigated a number of items in relation to this module, thanks to students making contact via a range of methods.
“Our investigations to date demonstrate that the faculty continues to act in accordance with expected academic processes, ensuring that student submissions are marked by an appropriate academic or team of academics, and an appropriate sample (a proportion) of the assessments are reviewed by an internal moderator before provisional results are released to the students.”
Barnie Choudhury
Yet the Indian students I spoke to were adamant that the figures spoke for themselves.
Four-score Indian learners failed their first attempt, and when their papers were remarked, some scored lower marks.
There could be a reason which shows a flawed system.
As one lecturer put it in an email, “That the mark received depended upon the marker.
“In particular students followed the feedback, only to fail again due to a different marker.”
A different marker.
We’re humans and we think differently.
Keith Vaz and 83 students believe learners were discriminated against because of their race.
That is why they want someone independent, someone who is not linked to the university, to investigate their concerns.
DMU has ‘refuted’ these allegations.
But I take the meaning of ‘refute’ from the BBC style guide, where I was taught journalism and how to write.
“Use only to mean ‘disprove’. Do not say "Mr Harris refuted the allegation" unless you know unassailable proof was produced. Use deny, dismiss, reject etc.”
Unanswered questions
In my honestly held opinion, we have not reached “unassailable proof” threshold.
Why?
I have repeatedly emailed and spoken to DMU, but despite assurances, it didn’t answer the questions I put to it.
How did so many students from one country fail? Did DMU consider the question of teaching standards? What investigation did DMU undertake to question why so many students from one country failed and why so many failed per se?
The students said that feedback and marking were inconsistent. After they got feedback, some were marked down further. This raises the question - how is that possible? Well, the email I saw may have answered that – different markers. No one likes to be wrong, never mind admit it – that’s human nature.
Is it true that the PhD student marked work for which they weren’t an expert, and if so, why was someone who didn't have the expertise allowed to mark?
I have seen an email where a lecturer makes clear that they won't give feedback on work which hasn't been submitted. It raises the question of the job of a lecturer. Isn't it their job to advise and guide a student, especially one paying £16k for the privilege of learning from the best? While I was surprised by the lack of help given to this failed student, we must remember that this is a big cohort. Even so, why not share the workload?
The students said they felt unsupported by the university. An email from a PVC said she was looking into the claims. It raises the question, to what extent did DMU investigate? Please provide proof. I didn’t get any proof from the university.
In the 16 June letter from Keith Vaz, he asked DMU to investigate claims of racism and discrimination. What steps did you take to investigate these serious allegations? Do you think lessons need to be learnt? In this case, the steps don’t seem to be enough to warrant calling it an investigation.
Please would you confirm that the module under question was optional at the time of marketing but was made compulsory and without warning? What optional modules could the students take in semester 1? If there were none, did you notify the CMA?
I also contacted the Office for Students and the CMA, and it is now for them to decide whether to investigate.
It is easy to be critical without knowing all the facts, but our role as journalists is to ask uncomfortable questions to arrive at answers, however unpalatable.
We have seen institutions, such as the police, such as cricket, such as the NHS, fail to acknowledge never mind investigate, gaslighting and blaming the whistle blower, complaints about racism.
Later, an independent, sometimes judge-led, inquiry often finds “processes, attitudes and behaviour which amount to discrimination through unwitting prejudice, ignorance, thoughtlessness and racial stereotyping”.
This mustn’t be another moment like that; DMU, and all universities, must investigate.
By day, Prabhu Ram is a senior executive at a top investment bank in London. But when the suit comes off, another world unfurls – one filled with ancient sutras, secret societies, forgotten kingdoms and cosmic adventure.
His debut novel, Nectar on the Seven Hills – The Pure Seed, is a bold, genre-blending odyssey that bridges the sacred and cinematic, the mystical and the modern.
Set deep within the mythical forests of the Eastern Ghats, it is the first in an ambitious fantasy trilogy. The story follows three young protagonists – siblings Magadh and Yukti, and their friend Rudra – who return from America to India, only to stumble into an extraordinary mission. What begins as a routine visit transforms into a high-stakes race against dark forces and ancient enemies. At the heart of their quest lies the Pure Seed, a potent symbol of wisdom and power that could alter the course of humanity.
“The seed of this story was planted during a hike in Tirumala,” says Ram, reflecting on the moment inspiration struck. “The richness of India’s ancient history and wisdom found in Vedic literature, particularly the Bhagavatam and Bhagavad Gita, have always guided me. I often try to apply the core principles from these timeless scriptures to the corporate world, as an investment banking professional. That desire to bring these ancient ideas to a younger audience in a modern and engaging way became the foundation of this creative journey.
“A Harry Potter-style adventure had long been in my mind. Once I began plotting the characters, the story started to evolve into its best version.”
A bilingual writer and award-winning Tamil poet, Ram’s love for language, particularly his mother tongue, has been a lifelong passion.
“My creative writing journey started in Tamil – one of the world’s oldest languages, with a rich literary heritage. I had the opportunity to study the language in depth, which deepened my admiration for its vast and expressive poetic tradition,” he explains. “Discovering the works of many authentic Tamil poets was a turning point in my journey as a writer. I used to write poetry during long bus rides to school when I was young.”
Ram creates a global narrative tapestryOm Books International
Drawing on ancient Indian epics, Nectar on the Seven Hills – The Pure Seed is a homage to Indian texts, but also a cross-cultural historical reimagining.
Ram creates a global narrative tapestry that includes a hardened Chinese military officer on a covert mission and an ancient enemy waiting to seize the same force. Their paths intersect with the protagonists in a high-stakes race against time that explores lost knowledge, secret societies, and long-forgotten sutras.
At its core, the novel is a fantasy adventure with heart and heritage. Its cinematic storytelling and rich characterisation have struck a chord with younger Indian readers. The book quickly climbed the Amazon India charts to become a bestseller.
“Many readers have described the world-building as outstanding,” Ram shares. “A distinctive feature of the trilogy is the organic integration of scriptures and Sanskrit verses from the Bhagavad Gita and the Śrīmad Bhāgavatam. This approach has resonated particularly well with younger readers, drawing them closer to our rich spiritual heritage. Reviews from critics have also highlighted this element as a major strength of the work.”
Ram credits his upbringing steeped in literature and the arts, as well as the creative edge demanded by his professional life, as major influences on his writing.
“I try to bring creativity into everything I do, even in my day-to-day work. The corporate world has taught me something important: when you're competing with some of the brightest minds out there, being unique and creative is often the only path to truly stand out. Otherwise, you're just another number in the system.”
His fascination with the cosmos – galaxies, stars and the mysteries of the universe – also plays a role in shaping his imagination.
“These unanswered questions inspire me immensely. They spark ideas, fuel my imagination, and often find their way into my writing in unexpected ways.”
Ram has poured so much passion into crafting the book that he loves every part of it. “But if I had to choose, my top pick would be an epic moment in the story where the modern world suddenly and seamlessly transitions into an enchanting ancient setting. The shift is unexpected and leaves the protagonists completely speechless.”
This turning point in the narrative enables the characters to realise that they are not ordinary individuals, but rather destined for something far greater. It features characters from the lost kingdom of Kishkindha, from the time of the Indian epic Ramayan, who come to life. “Additionally, a pivotal character from the Śrīmad Bhāgavatam – a divine bull – appears to deliver a powerful secret that lies at the heart of the story. It’s a moment designed to leave readers truly awestruck.”
Moments like this elevate the book beyond adventure, tapping into themes of destiny and cosmic purpose.
Ram’s literary influences are broad and global. He cites The Lord of the Rings as a foundational inspiration. “Tolkien’s world-building is peerless,” he says. Among Indian writers, Amish Tripathi’s Shiva Trilogy made a lasting impact. “I deeply admire the way he reimagines mythology with a fresh, contemporary voice.”
Dan Brown’s fast-paced, code-cracking thrillers also played a part in shaping Ram’s approach to suspense and pacing.
As the trilogy unfolds, Ram promises the stakes will grow higher and offer more adventure in the next two books. His aim from is to captivate young readers and draw them into the fascinating world of ancient history, from India’s rich cultural heritage to other great civilisations. “At the heart of this trilogy is a deeper mission: to subtly introduce key messages and teachings from ancient scriptures, making them engaging and accessible. In the second instalment, readers will meet even more characters drawn from ancient texts who come alive to guide and sometimes challenge the protagonists. The story continues to expand in scope, magic, and meaning.”
He explains that the trilogy draws inspiration from the legendary Samudra Manthan – the churning of the ocean – a pivotal moment in ancient Indian history when there was an epic struggle between the Devas (gods) and Asuras (demons). “This symbolic event, representing the eternal battle between good and evil, becomes even more central as the series progresses. In the second and third books, this theme intensifies, with antagonists gaining strength.”
The mythological elements, combined with significant historical events, are woven together to create memorable moments for readers. “My goal is not just to make the sequel better, but to elevate it in a massive way. Expect more magic, more fantasy, and a deeper, darker setting where multiple characters chase their own agendas on the path to an ultimate revelation.”
What makes a great novel, he believes, is the ability to completely absorb a reader.
“A great book is unputdownable. It should grip the reader so fully that they do not want to do anything else until they’ve turned the last page. When a novel feels as addictive as binge-watching a Netflix series, the writer has truly succeeded.”
He says for that to happen, everything must align. “The story must connect. The plot must feel fresh and original. The language should be simple yet powerful. The style needs to inspire. The characters must come alive, so much so that the reader feels what they feel, roots for them, fears for them, and even wants to take revenge on the antagonists themselves.”
For aspiring writers, Ram has one central message: don’t stop until you’re holding the paperback in your hands. “That moment is worth every struggle,” he says.
And why should readers pick up his novel now available in UK? Ram smiles: “You don’t just want to read a book, you want to live in it. That’s how I feel every time I pick up a great story. It should pull you in, leave you breathless, and never let go. If you're ready to experience history like never before, in a universe that is both ancient and astonishingly new, then Nectar on the Seven Hills – The Pure Seed is your next adventure. Truly magical. Admirably global. Ambitiously rooted in ancient wisdom. The characters will leave you awestruck. The plot will give you goosebumps.”
Nectar on the Seven Hills – The Pure Seed is available now, published by Om Books International
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We’re also both very physical with our humour and play off each other well
After a smash-hit UK debut, India’s most-watched crowd-work comedy duo is back – and this time, they’re armed with an even wilder new show. Abishek and Nirmal: The Great Indian Positivity House invites audiences into a bizarre world where you can anonymously confess your darkest deeds and most questionable opinions.
Staged at Soho Theatre in London from July 21–25, the show will then head to the Edinburgh Fringe in August. It promises their signature fast-paced crowd work and razor-sharp improvisation. With no two shows ever the same, they aim to make every night unrepeatable and unforgettable. Eastern Eye caught up with the dynamic duo to talk about comedy chemistry, on-stage secrets and their biggest influences.
What made you two want to team up?
Abishek: We come from similar backgrounds, consume similar content, and laugh at each other’s jokes. A middle-class upbringing, a love for theatre, and a shared passion for the same kind of humour brought us together.
Did you both expect to become such a successful double act?
Nirmal: It struck me early on during touring. Initially, we’d do 20 minutes each and then come together for the final 20, which audiences really enjoyed. We soon realised our on-stage chemistry worked. We’re also both very physical with our humour and play off each other well. (No innuendo intended.)
What’s been your most memorable moment as a duo?
Nirmal: After every show, we’d go out with some audience members and ask them to show us around their city. I think our last day at Edinburgh Fringe was epic – we were up till 4 am dancing, drinking pints, with a flight back to India at 8 am. Total chaos. Abishek: Touring internationally will always be a core memory. I’ll never forget our first show in Dubai – it felt so surreal. We genuinely felt taller than the Burj Khalifa that day!
How would you describe your brand of comedy?
Abishek: We do a lot of crowd work and improv. Our biggest strength is our physical comedy, combined with (self-proclaimed) impeccable chemistry on stage.
What drew you to interactive comedy?
Nirmal: I love stand-up, but it takes a year or two to build a solid hour. Audience-interactive shows let us flex our improv muscles and keep it fresh every night. We never ran out of shows this way. And repeat audience could enjoy our shows too. It’s liberating – we get to respond to the exact moment we’re in. And we love being surprised by the crowd.
What’s the biggest challenge of interactive comedy?
Abishek: You never know how a joke will land. You have to read the room well and only prolong an interaction if the person is clearly enjoying it.
With no two shows ever the sameInstagram/ theabishekkumar
How much of your routine is planned in advance?
Nirmal: The beginning, middle, end, and format are always set. But that’s it. We’ve built our shows on the road, so we keep adding and experimenting with new bits.
What’s the secret to great improvisation?
Abishek: Ride the scene’s energy – no matter how dumb the premise sounds. Go with the flow. BS with full conviction!
How do you stay in sync on stage?
Nirmal: It’s muscle memory at this point. I know when he’ll take a punchline or jump in, and he knows when I’ll interrupt. It’s built over time by doing this again and again.
What has performing in the UK been like?
Abishek: Amazing. We’ve toured the UK multiple times now, and every visit feels like coming home, thanks to the huge Indian diaspora.
How do UK audiences compare to those in India?
Nirmal: I love our international audiences – they come for a sense of familiarity. They’re away from home, and our references, language, and vibe create that comfort. For at least an hour and a half, it feels like home.
The beginning, middle, end, and format are always setInstagram/ theabishekkumar
Do you have creative differences – and how do you manage them?
Abishek: We do, but we don’t shy away from tough conversations. We’re brutally honest with our feedback and open to change. That’s the healthy part of this duo.
Tell us an embarrassing secret about each other.
Nirmal: When Abishek is sleep-deprived, he goes full chaos mode – like an elephant about to mate. He starts doing sixth-grade-level pranks on everyone around. This is a 30-year-old man. Abishek: Nirmal has to poop before every show. The moment the announcement plays, he’s off to the loo.
Who are your comedy heroes?
Abishek: Robin Williams, Russell Peters, Jim Carrey, Adam Sandler, Ricky Gervais... and Indian legends like Nagesh and Crazy Mohan, who’ve had a huge influence on me. Nirmal: Kanan Gill, Rahul Subramanian, Kenny Sebastian, Hasan Minhaj, Aziz Ansari and Dave Chappelle.
Why should people come to your London shows?
Nirmal: To feel like you’re in South India for a whole hour. It’s better than the North. (I say this in jest.) I could have said I’m joking, but I had to say jest, didn’t I? It is a nice word though.
Abishek & Nirmal: The Great Indian Positivity House at Soho Theatre in central London from July 21-25. www.sohotheatre.com
Grenfell Uncovered, Netflix’s new feature-length documentary about the 2017 Grenfell Tower disaster, has been widely praised by reviewers and early viewers for its serious and emotionally resonant portrayal of one of the UK’s worst modern tragedies.
Directed by Olaide Sadiq, the film retraces the events leading up to the fire that claimed 72 lives and sparked a national reckoning over building safety, housing policy, and corporate responsibility.
Reviewers highlight structured storytelling and emotional impact
Critics have noted that while the film does not introduce new findings beyond what was already published in the 2024 final report of the Grenfell Inquiry, it succeeds in conveying the scale and depth of the disaster to a global audience. Several reviewers praised the documentary’s editing, with The Guardian calling the timeline “agonisingly well-paced” and noting its ability to balance personal accounts with broader systemic failings.
The film weaves together the first 999 call, testimony from bereaved families, and a detailed exploration of decisions made by companies and public authorities. Reviewers have drawn attention to how the documentary contrasts human loss with what the inquiry called a “merry-go-round of buck-passing” by corporations and officials.
Personal stories placed at the centre
The emotional core of Grenfell Uncovered, according to several reviews, lies in the personal testimony from those who lost loved ones. These are presented alongside findings about companies such as Arconic and Celotex, which the public inquiry found engaged in “systematic dishonesty” in relation to the cladding materials used on the tower.
Critics have said the film powerfully illustrates how profit motives, weak regulation, and political decisions intersect with devastating human consequences.
Praise for Netflix’s decision to commission the documentary
Media observers have commended Netflix for producing a one-off film on such a politically sensitive topic at a time when many streaming platforms are opting for safer, more commercial programming. Some called it a “rare act of public-interest filmmaking” and noted that, despite global trends favouring true crime and celebrity-driven content, Grenfell Uncovered focuses on accountability and justice.
- YouTubeYouTube / Netflix
Political figures featured in the film
The film includes an interview with former Prime Minister Theresa May, who addresses criticism of her response to the fire, particularly her decision not to meet survivors during her first visit to the site. Reviewers have pointed out that while May has previously expressed regret, the interview adds weight to the film’s broader themes of inaction by those in power.
Other institutions, including the Cameron government, the Royal Borough of Kensington and Chelsea, and the London Fire Brigade, are also examined in relation to their roles in the lead-up to and aftermath of the fire.
A reminder, not a revelation
While some reviewers noted that the documentary does not reveal much beyond what was already known, they argue that it is an important retelling for audiences who may not have followed the inquiry closely. In this context, critics say the film succeeds in its aim: to remind viewers of the tragedy’s preventability and the need for lasting change.
Grenfell Uncovered is currently available to stream on Netflix.
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Priyanka Chopra opens up about an on-set injury while filming Heads of State
Priyanka Chopra Jonas has opened up about a minor but shocking accident that occurred while filming her new action-comedy Heads of State, which premieres on Prime Video on 2 July. Appearing on The Tonight Show Starring Jimmy Fallon, the actor recalled how she injured her face during a high-intensity scene, losing a piece of her eyebrow in the process.
The incident took place during a rainy stunt scene that required her to fall and roll on the ground as the camera closed in. “The camera operator came in a little closer, I came in a little closer, and boom! The matte box hit me right here,” she said, pointing to her eyebrow. “It took out a chunk. I was lucky it didn’t take my eye.”
Despite the bleeding cut, Priyanka didn’t halt filming. Instead, she reached for surgical glue, patched herself up on set, and wrapped up the day’s shoot. “I didn’t want to come back and shoot in the rain again,” she joked.
In the film, Chopra plays Noel Bisset, a sharp MI6 agent pulled into chaos after a diplomatic mission unravels. She stars opposite John Cena and Idris Elba, who play the heads of state she’s tasked with protecting. The actor shared that her character does a fair amount of the heavy lifting when it comes to action, including hand-to-hand combat and stunts.
While discussing the film, Chopra also spoke about the off-screen dynamics with her co-stars. She revealed that Cena and Elba hadn’t met before the shoot, so she stepped in to ease the introductions. “I was like the buffer. I had to make sure we didn’t just start punching each other,” she laughed.
She also mentioned how the set was filled with laughter, banter, and plenty of pranks, most of them aimed at her. “I guess I was the easy target,” she admitted.
Directed by Ilya Naishuller, Heads of State features an ensemble cast including Paddy Considine, Carla Gugino, Jack Quaid, Stephen Root, and Sarah Niles. The film will be available in English, Hindi, Tamil, Telugu, Malayalam, and Kannada.
Up next, Chopra is set to appear in SSMB 29 with Mahesh Babu and The Bluff, where she plays a reformed pirate.
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On World Music Day, we revisit the songs that made Shreya Ghoshal more than just a singer, but a sound that shaped our lives
From soul-stirring ballads to playful love anthems, Shreya Ghoshal has given us songs for every emotion. On World Music Day, we’re celebrating the magical voice that has become the soundtrack to our lives. Whether it's heartbreak, romance, devotion or pure joy, Shreya doesn’t just sing a song, she lives it. Here are 12 timeless tracks that define her legacy as India’s most beloved singer.
1. Sunn Raha Hai (Female Version) – Aashiqui 2
Raw and haunting, Shreya’s version of this heartbreak anthem gave it a delicate intensity that cut straight to the soul. You could hear the silence between the words and feel it.
2. Tujh Mein Rab Dikhta Hai (Female Version) – Rab Ne Bana Di Jodi
Her serene, soft rendition turned this romantic track into a quiet prayer. Shreya’s voice here isn’t just melodious — it feels like devotion in motion.
Only Shreya could match Geet’s wild, carefree energy with such powerful vocals. This Sufi-tinged love song bursts with reckless joy and she’s the reason we still belt it out like we’re in the snow.
The debut that made history. From the iconic “Ishhh” to her classical finesse, Shreya arrived like a storm of talent and walked away with a National Award.
One of Bollywood’s most romantic songs wouldn’t be the same without her. Shreya’s emotional depth pairs perfectly with Rahat Fateh Ali Khan’s vocals, a duet that still gives goosebumps.
A recent hit that shows she’s still at the top of her game. Her voice glides with elegance and warmth, bringing vintage romance into a modern love story.
From every "Ishhh" to every high note that made us cry, Shreya Ghoshal isn’t just a singer, she’s an emotion.
On World Music Day, we celebrate her voice like a constant companion through our best memories, toughest heartbreaks, and everything in between.