NITIN GANATRA ON HIS ACTING JOURNEY AND LEAVING MUCH-LOVED ROLE MASOOD
by ASJAD NAZIR
An entire generation of British Asian actors can thank Nitin Ganatra for blazing a trail with winning performances in diverse mediums during a 24-year career filled with many memorable moments.
The gifted actor has shown off his impressive range in theatre, cinema and on a variety of TV projects, which includes EastEnders’ longest-serving Asian character, Masood.
Although he has played many marvellous roles, perhaps his biggest achievement has been an impressive body of work in a country that doesn’t open many doors for talent of south Asian origin.
The fearless actor, who recently returned to the stage after a gap of 16 years, is playing a wizard in a forthcoming series and looking to crossing more frontiers.
Eastern Eye caught up with Nitin to speak about his impressive journey, leaving EastEnders, hopes and advice he would give aspiring actors.
How do you look back on your journey as an actor?
I like to look forward, not backwards, or at least appreciate what’s in front of me. But, after 24 years as a professional actor, I realise that you never really ‘arrive’. I’ve managed to survive and sustain a career that has lots of flaws. There are good jobs and lousy jobs, but most actors just want to work and be creative. Being paid is even better. Being Asian has had its difficulties. There is much to address with institutional racism. However, I am blessed to have worked with so many amazing people. Om Puri, Anupam Kher, Johnny Depp, Ray Winstone! I have done work I am very proud of, even when I had only one line. When I look back, I think, I’ve done pretty well. But when I look forward, I think, I could do better. In the end, it’s better to stay present.
You have played diverse roles in various mediums, but which was the most challenging?
Boredom is the most challenging thing for me. I’m not sure if a particular medium is harder than any other. You can learn anything if you apply yourself. I think I enjoy moving from medium to medium.
Which of your characters have you enjoyed playing the most?
I enjoyed Kholi from Bride and Prejudice a lot as I had fun creating the character. (Director) Gurinder Chadha trusted me to work on it and come back with this outrageous loveable fool. It was a joy to perform. And, recently, I did a play called End Of The Pier playing Mohamed where I effectively had only one big scene. There was a real thrill in trying to work out how to find this character and shape the journey in this one big scene. It was a very challenging role.
How do you look back on your journey in EastEnders?
Being on EastEnders was a strange and humbling experience. I have huge respect to the people that I work with day in day out creating stories, scripts and filming. People are very quick to judge soaps as a little lowbrow or sensationalist, but once you work there, you realise how much effort goes into working at such an intense pace to deliver four episodes a week. My journey on the show has had its ups and downs, but always been fruitful. Masood has been the longest-serving Asian character in EastEnders’ history and is deeply loved by audiences, and has become one of the first cross-over characters. On a daily basis, people from all walks of life and cultures stop me to tell me how much they relate to Masood. An Asian character has rarely appealed to such a varied group of people. So, I am proud of my contribution to making this one of the best-loved Asian characters in the UK television history.
What has been your most memorable moment as Masood?
My very first scene with the legendary Phil Daniels! I was in awe!
How do you feel about letting go of Masood and will he return?
In one way, I feel sad about letting go of the character. I feel that Masood had taken a seat so far back in the bus, that there was really nowhere to go, but off the bus. I feel that there is so much more to find in this character as he has an everyman quality to him (I say this through the response I get from the public from all walks of life). He can go in so many directions if the show so desired. But for now, as I say, I had to step off the bus. However, I also have a very strong urge to play characters in other shows and go back to being a creative actor. Will I ever return? Of course! I love Masood.
Recently, you successfully returned to the stage after a very long gap. Why did you take such a long break from the theatre?
It had been 16 years away from the stage. The reason for this is personal and profound. Theatre is what I love the most of all the mediums as it is where I started. But I had fallen out of love with it. Something in me changed and I’m not sure why. I simply didn’t believe it anymore, it felt fake, and that was not why I went into acting. I wanted to keep digging for the truth and being more honest. And I felt the opposite. So I stopped, for good, so I thought.
Tell us, according to you, what is the secret of a great performance?
Being truthful, being honest and being vulnerable, without tricks and vanity. But also to have stagecraft and discipline.
Does your approach change between theatre and television?
Essentially, nothing changes; do your homework, turn up knowing your lines and be professional. Leaving your ego outside and treating people with respect. However, moving from theatre to TV involves minor adjustments in your performance, technically. For example, you don’t need to be as big in your performance in a closeup. But you still need ‘energy’. It is a technical shift more than anything else.
Which genre do you prefer as an actor?
I am very lucky as I am able to move very easily between genres. I can go from drama to comedy. As I mentioned earlier, I hate getting bored. It’s my worst enemy, so moving between different styles keeps me awake and interested in my work.
Work-wise, what can we expect next from you?
Last year, I had a small part in the Hell Boy movie and another film called Eaten By Lions and the play End Of The Pier as well as being briefly on EastEnders. I have just finished a guest role in Midsomer Murders and am currently working on CBBC-Netflix show called The Worst Witch, where I am playing a wizard. Never played a wizard before. And I’m having a fabulous time.
What is the master plan going forward?
I don’t have one, not anymore. I think, with more and more young Asian writers, directors and producers coming on the scene, I am hoping there will be a shift in the current diversity ditch we are trapped in. In the meantime, I am writing and pitching ideas to channels and production houses. I can’t sit here and wait. Got to be pro-active.
Do you have a dream role you would love to play?
I don’t. I just want to play good, strong, funny and challenging roles that are relevant to the plot and on an equal status to my Caucasian colleagues. But, there are lots of shows I would like to be in.
Does it sadden you that there are more great opportunities for actors of south Asian descent in America than a multi-cultural place like the UK?
It grinds you down continually trying to remain optimistic that things will change and as creative artists, we will be going for opportunities equal to anyone else in the industry. Unfortunately, it is not like that, and it hasn’t changed as much as the mainstream would like to believe. And, right now, there is a wonderful blooming of talent and opportunities in the US, which does make the UK look a little unprogressive. But, we have talent. We have skills. We have stories. We just keep banging on that glass ceiling. It would help if all these rich Asian philanthropists would fund us - then, may be, we could have our own Asian superstars, just like Bollywood.
Are things changing for the better in terms of colour-blind casting in the UK or is there a long way to go?
There is still a long way to go. It is great that there is a quota to be filled and there has to be an Asian or Blackface in every show. But the question is, what is that Asian, black, disabled actor doing in the story? Are they just peripheral to the white leads or are they central characters? Ask yourself this next time you watch any show on television; it’s an interesting game to play.
What is the best professional advice anyone ever gave you?
It was from my first director on EastEnders. He said, ‘Don’t change! Be open to notes, be professional and always bring something to the table. But, fame and mo-ney change people, don’t change’. His name is Micheal Owen Morris and I am forever grateful for his advice.
Is there any key advice you would give young actors?
I think the Asian in me says, have a plan B. Get a degree. Once you get into this profession, you might change your mind. So, have a plan B. But also, follow your heart. It’s a tough profession to work in. There are lots of rejections and insecurities. So, do it only if you love it. And last, be good at your craft. Never be average, challenge yourself in being the best you can be.
Today, what inspires you?
Children and young people inspire me. They have an openness and willingness to try with their 100 per cent. It’s something all actors should keep alive in themselves, that openness. My children inspire me. They teach me to lead by example. They keep me laughing at life.
Who is your acting hero?
There are lots. Robert De Niro, Al Pacino, but also Charlie Chaplin, Laurel and Hardy, Om Puri and Naseeruddin Shah. Actors who have both heart and craft.
Why do you love being an actor?
Because I study human behaviour for a living, using the world around me. Nature, animals, children, art, literature, poetry and everything else. And in doing that, I lose myself and my ego in the work, and inevitably begin to grow as a human being, otherwise, what’s the point?
The tense deliberations in Harvey Weinstein’s New York sex crimes retrial have descended into open conflict. Jurors are reportedly attacking each other, pressuring hold-outs, and improperly considering the disgraced movie mogul’s notorious past, information explicitly banned from their discussions. This internal strife forced the jury foreperson to urgently alert the judge on Monday morning about a “situation which isn’t very good”, casting serious doubt on their ability to reach a fair verdict.
Infighting and forbidden arguments taint deliberations
According to a court transcript, the foreperson painted a grim picture for Judge Curtis Farber. Jurors are “not on the same page”, with some actively “attacking” others in a bid to change minds. Crucially, they are “pushing people” by bringing up Weinstein’s public history, details not presented as evidence during this specific trial.
As per reports, Jurors are in a heated debate during Weinstein retrial deliberationsGetty Images
This is similar to the earlier “playground stuff” reported last week, where one young juror felt unfairly “shunned” and questioned the fairness of the process, though the judge kept him on the panel. The jury itself signalled deep divisions, requesting a reread of “reasonable doubt” rules and guidance on “avoiding a hung jury”.
Mistrial denied, but jury reminded “Stick to the evidence”
Weinstein’s lawyers, citing a “tainted” and “runaway jury”, immediately seized on the turmoil to demand a mistrial. Defence attorney Arthur Aidala argued jurors were “ganging up” and considering “things that were not brought into this trial”. Prosecutors countered that some past context was legally permissible. Judge Farber denied the mistrial but took swift action. He hauled the entire jury back in, sternly instructing them that deliberations must focus only on evidence presented during the retrial concerning the three specific charges, including rape and criminal sex acts involving three women. He reiterated they must disregard anything else they knew about Weinstein.
Weinstein jury divided by heated disputes over forbidden pastGetty Images
The jury ended Monday claiming they were “making progress”, even asking for coffee to fuel further talks and requesting to revisit some testimony. However, the damage from the infighting and forbidden discussions lingers.
Weinstein, 73, already serving a long sentence for a separate California rape conviction, awaits this jury’s verdict on charges stemming from allegations by a former production assistant, an aspiring actress, and a model. This retrial, ordered after his landmark 2020 New York conviction was overturned, remains a critical, though now deeply troubled, chapter in the #MeToo saga he set to fire.
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Since April 2024, British citizens and settled residents have needed to earn at least £29,000 to apply for a partner visa. (Representational image: iStock)
THE UK’s independent Migration Advisory Committee (MAC) has said the government could lower the minimum income requirement for family visas but warned that doing so would likely increase net migration by around 1 to 3 per cent.
Since April 2024, British citizens and settled residents have needed to earn at least £29,000 to apply for a partner visa.
The MAC has proposed a new threshold of between £23,000 and £25,000, which it said would still allow families to support themselves without needing to earn above minimum wage.
It also suggested that setting the threshold between £24,000 and £28,000 could prioritise economic wellbeing over family life.
The panel opposed the previously announced plan to raise the threshold to £38,700, calling it incompatible with human rights obligations, including Article 8 of the European Convention on Human Rights.
MAC chair Prof Brian Bell said the final decision was political but urged ministers to consider the impact of financial requirements on families.
The report recommended keeping the income threshold the same across all UK regions and not raising it for families with children.
Campaigners criticised the lack of a recommendation to scrap the threshold entirely.
The Home Office said it would consider the MAC’s findings and respond in due course.
Gifts are not just gestures of politeness or ways to mark an occasion. They reflect the structure of society, its values, customs, and even economic models. Gifting can teach us what a particular culture considers appropriate, meaningful, touching, or symbolic.
Who gives gifts, when, what is given, and how — each of these details carries implicit social messages. In some cultures, price matters; in others, it's the packaging or the practicality. How a society structures gift-giving reveals its internal ethics, priorities, and even levels of trust.
It’s no coincidence that in fast-paced urban cultures, new formats emerge—such as bento cake London—small, personalized treats that reflect a desire for restrained, thoughtful gestures in socially dynamic environments.
East and West: Different Approaches
Japan: The Art of Etiquette
In Japan, gifting is a refined practice governed by precise rules. The presentation and context of a gift often matter more than the item itself. A gift that’s too expensive can cause discomfort. Balance and modesty are essential, and symbolism and aesthetics — including wrapping, texture, and color — are deeply significant.
The US and Europe: Spontaneity and Individuality
In Western cultures, uniqueness and personal meaning are valued. A gift is a way to express emotions, humor, or personality. Creativity is encouraged, and formal rules are minimal. However, corporate or institutional gifting may follow specific regulations, including value limits.
The Middle East and Asia: Hospitality and Generosity
In many Arab and Asian cultures, gifts are woven into hospitality rituals. Generosity is seen as a social virtue. Lavish gifts are often used to demonstrate respect and honor. But symbolic meanings also matter—certain colors or items can carry specific messages and must be chosen carefully.
Gifts as Reflections of the Times
Gifts also reveal how society evolves in response to technology, economic trends, and globalization. A few notable shifts include:
Digitalization: Digital gift cards, subscriptions, and online services are replacing physical items
Minimalism: Conscious consumption encourages small but meaningful gestures
Personalization: The focus is shifting from universal items to tailored experiences
Cross-cultural exchange: Cities now blend dozens of gifting traditions in one space
New formats — themed boxes, eco-friendly gifts, or edible mini-compositions — reflect a search for balance between individuality and social awareness.
Symbols and Meanings: What’s Behind the Gift
Every gift has both material and symbolic value. For example:
Books — a sign of trust or intellectual connection
Flowers — short but meaningful emotional messages
Food — warmth, care, shared experience
Crafts — respect for culture and uniqueness
Small details, such as the origin, wrapping, or an attached note, form part of the gift's “language.”
Gifting in an Era of Social Change
Today, gifts are increasingly becoming acts of communication rather than consumption. We are not simply giving “objects” — we’re sending messages: “I’m thinking of you,” “I understand you,” “You matter to me.”
In an age of abundance and constant motion, light, unpretentious, and intentional gestures are valued more than ever. A mini cake, a single flower, a handmade card, a spontaneous note—these gifts speak of attention and emotional awareness.
Conclusion
Gifts are cultural markers. Through them, we learn how a society constructs relationships, what it values, and how it expresses respect or affection. Observing how gifting traditions change allows us to track broader transformations — from ethics to economics.
Modern gifts are becoming quieter, lighter, and more mindful. This shift signals that it’s not what we give that matters most, but how—and why—we deliver it.
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At the heart of this redesign is a newly developed material called Liquid Glass
Apple has introduced a new software design across its platforms, aimed at making apps and system interactions more expressive, seamless, and engaging. The update brings a cohesive visual experience that spans across iOS 26 beta, iPadOS 26, macOS Tahoe 26, watchOS 26, and tvOS 261, providing users with a more fluid and immersive digital environment.
At the heart of this redesign is a newly developed material called Liquid Glass, which enhances the visual dynamism of apps, system elements, and user interfaces. This translucent material intelligently reflects and refracts surrounding content, creating a more vivid and intuitive experience while ensuring focus on essential elements.
Introducing Liquid Glass
Liquid Glass is inspired by Apple’s work on visionOS and incorporates advancements in hardware, silicon, and graphics technologies. The material is designed to mimic real-world glass, dynamically adapting to surrounding colours and transitioning seamlessly between light and dark environments.
Developed through collaboration between Apple’s design and engineering teams, Liquid Glass utilises real-time rendering, adjusting to movement with specular highlights that enhance visual depth. This results in a more immersive and responsive experience, whether using an iPhone, iPad, Mac, Apple Watch, or Apple TV.
Apple introduces a delightful and elegant new software design
Apple previewed a new software design, crafted with Liquid Glass, that makes apps and system experiences more expressive and delightful.
- YouTubeYouTube/ Apple
The Liquid Glass aesthetic extends to small interactive elements, including buttons, sliders, switches, and text fields, as well as larger UI components, such as tab bars and sidebars. Users will notice these refinements in system experiences like the Lock Screen, Home Screen, notifications, and Control Centre.
Refinements to app design
Apple’s design update also brings a modernised approach to app layouts, ensuring greater harmony between hardware and software. The redesign eliminates rigid rectangular formatting in favour of soft, rounded edges, aligning app elements with the curved contours of modern Apple devices.
Navigation components, including toolbars, tab bars, and sidebars, have been refreshed using Liquid Glass, offering a layered visual effect that enhances interaction. When scrolling in iOS 26 beta, for example, tab bars seamlessly shrink to emphasise content, only expanding when users scroll back up.
In iPadOS 26 and macOS Tahoe 26, sidebars now reflect and refract surrounding content, ensuring users maintain a sense of context while navigating apps. These refinements extend to core apps such as Camera, Photos, Safari, FaceTime, Apple Music, Apple News, and Apple Podcasts, making interactions more intuitive and visually appealing.
System-wide enhancements
The new software design is integrated into core system elements across iOS 26 beta and Apple’s wider ecosystem. Updates to the Lock Screen, Home Screen, Dock, and widgets improve personalisation and accessibility, with Liquid Glass introducing specular highlights and dynamic colour adaptation.
On iPhones and iPads, the Lock Screen’s time display is now crafted from Liquid Glass, allowing it to fluidly adapt and fit elegantly behind wallpaper subjects.
On Macs, macOS Tahoe 26 enhances personalisation with widgets and app icons that adjust to light and dark appearances, custom tints, and a clear, refined look. The menu bar is now completely transparent, increasing the sense of screen space and visual depth.
A new opportunity for developers
For developers working with SwiftUI, UIKit, and AppKit, Apple has introduced updated APIs to facilitate the integration of Liquid Glass into third-party apps.
These tools allow developers to leverage the new design elements, making interactions more fluid and engaging while preserving familiarity for users. With this update, Apple is encouraging developers to refresh their app designs, ensuring consistency with the next-generation interface introduced in iOS 26 beta.
The latest
Apple’s latest design update represents a significant leap forward in user interface aesthetics and functionality. With Liquid Glass at the core of iOS 26 beta and its companion platforms, the visual experience is more immersive, adaptive, and dynamic than ever before.
By combining seamless transitions, refined navigation, and optimised system elements, Apple has crafted a modern and visually engaging software design, reinforcing its commitment to delivering elegant and intuitive digital experiences.
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Forsyth’s reporting took him to politically volatile regions
Frederick Forsyth, the internationally renowned author of The Day of the Jackal, has passed away at the age of 86. His agent, Jonathan Lloyd, confirmed the news, describing Forsyth as one of the world’s greatest thriller writers.
With a career spanning more than five decades, Forsyth penned over 25 books, selling 75 million copies worldwide. His work, including The Odessa File and The Dogs of War, set the standard for espionage and political thrillers. Bill Scott-Kerr, his publisher, praised Forsyth’s influence, stating that his novels continue to define the genre and inspire modern writers.
From fighter pilot to novelist
Born in Kent in 1938, Forsyth lived a life as thrilling as his novels. He joined the Royal Air Force (RAF) at 18, becoming one of the youngest pilots in the service. However, his passion for writing led him into journalism, where he worked as a foreign correspondent for Reuters and the BBC.
Forsyth’s reporting took him to politically volatile regions, including Biafra during the Nigerian Civil War. His experiences there deeply affected him, shaping the narratives of many of his future works. In 2015, he revealed that he had worked with British intelligence agency MI6 for over 20 years, drawing on his real-life encounters with espionage for his novels.
The birth of The Day of the Jackal
Forsyth’s literary breakthrough came in 1971 when he published The Day of the Jackal. At the time, he was struggling financially and decided to write a novel as a way out of his difficulties.
“I was skint, in debt, no flat, no car, no nothing, and I just thought, ‘How do I get myself out of this hole?’” Forsyth later recalled. “And I came up with probably the zaniest solution – write a novel.”
Set in 1963, the book tells the gripping story of an English assassin hired to kill French President Charles de Gaulle. It quickly became a bestseller and was adapted into a film in 1973, starring Edward Fox. The novel’s impact continued decades later, with a TV adaptation starring Eddie Redmayne released in 2024.
An enduring literary legacy
Forsyth’s ability to blend real-world political intrigue with compelling fiction cemented his reputation. His follow-up novel, The Odessa File (1972), explored Nazi war criminals and was later adapted into a film starring Jon Voight.
Other major works include The Fourth Protocol (1984), which became a successful film starring Michael Caine and Pierce Brosnan, and The Dogs of War (1974), inspired by mercenary conflicts in Africa.
His latest novel, Revenge of Odessa, co-written with Tony Kent, is set to be published this August.
Tributes from colleagues and admirers
Following Forsyth’s death, tributes poured in from fellow authors, entertainers, and public figures.
Jonathan Lloyd reflected on Forsyth’s extraordinary life, recalling how they had recently watched a documentary on his career, In My Own Words, set to air later this year on BBC One.
Bill Scott-Kerr described working with Forsyth as one of the highlights of his career, praising his professionalism and meticulous approach to storytelling. Forsyth’s background in journalism, he noted, gave his novels a sharp sense of realism and ensured they remained contemporary and engaging.
Forsyth was awarded a CBE for services to literature in 1997Getty Images
Singer Elaine Paige, a personal friend, expressed her sadness, calling Forsyth’s knowledge of world affairs unparalleled. Andrew Lloyd Webber, who collaborated with Forsyth on Love Never Dies, the sequel to Phantom of the Opera, thanked him for his ability to craft stories that will endure for generations.
Conservative MP Sir David Davis, who considered Forsyth a close friend, described him as a man of honour, patriotism, and courage, as well as an outspoken defender of the armed forces.
Recognition and personal life
Forsyth was awarded a CBE for services to literature in 1997, honouring his immense contribution to British storytelling.
He was married twice and had two sons with his first wife, Carole Cunningham. His second wife, Sandy Molloy, passed away in October 2024, just months before his death.
Passing marks
Frederick Forsyth’s influence on thriller writing is undeniable. From his groundbreaking debut with The Day of the Jackal to his final works, he leaves behind a literary legacy that will continue to captivate readers for years to come. His ability to merge real-world intrigue with gripping narratives made his books essential reading for fans of espionage fiction.
Forsyth’s passing marks the end of an era, but his stories will live on, shaping the genre and inspiring new generations of thriller writers.