Paris 2024: Indian shuttler Lakshya Sen enters men's singles quarters
Lakshya Sen follows Parupalli Kashyap and Kidambi Srikanth, who reached the quarter-finals in the London and Rio Olympics in 2012 and 2016, respectively.
By EasternEyeAug 01, 2024
India's Lakshya Sen won a straight-game victory over HS Prannoy to become the third male player from India to reach the quarter-finals of the Olympics badminton competition on Thursday.
The 22-year-old from Almora in Uttar Pradesh, a Commonwealth Games champion and a 2021 World Championships bronze medallist, secured a 21-12 21-6 win over world No. 13 Prannoy in a 39-minute pre-quarter-final match.
Sen follows Parupalli Kashyap and Kidambi Srikanth, who reached the quarter-finals in the London and Rio Olympics in 2012 and 2016, respectively.
Currently ranked 22, Sen will face 12th seed Chou Tien Chen of Chinese Taipei in the quarter-finals.
"I think having tough matches gives you confidence. I am now ready to go deep into the tournament. It will be a tricky match against Chou, I have to go and recover well and give my 100 per cent," Sen said after the match.
Sen maintained steady defence and mixed his attack well. Prannoy, who played a three-game match the previous evening, looked tired and offered little resistance in the 39-minute contest.
This match marked the end of Prannoy's campaign, who had recovered from a bout of Chikungunya to compete in his first Olympics.
Sen started strong, leading 7-4, and maintained control as Prannoy struggled. Sen comfortably closed out the opening game.
In the second game, Sen quickly wrapped up the contest after leading throughout.
Gangs of Wasseypur 2 released on August 8, 2012, cementing Nawazuddin Siddiqui as a leading force in Indian cinema.
His portrayal of Faizal Khan became a pop culture phenomenon for its authenticity and intensity.
The role opened doors to acclaimed projects such as The Lunchbox, Manto, Sacred Games and more.
Nawazuddin’s rise from uncredited roles to international red carpets remains one of Bollywood’s most inspiring journeys
How Gangs of Wasseypur 2 turned Nawazuddin Siddiqui into a household name www.easterneye.biz
Thirteen years ago today, Gangs of Wasseypur 2 hit cinemas and introduced audiences to one of the most iconic characters in Indian film history, Faizal Khan. For Nawazuddin Siddiqui, who until then was known for smaller but striking appearances, the role became the turning point that transformed him into a household name.
With Faizal’s slow drawl, piercing stare, and intensity, Nawazuddin delivered a performance that was unlike anything audiences had experienced before. Every pause, every understated expression, and every memorable line delivery blurred the line between actor and character, creating a portrayal that would go on to enjoy cult status.
The film’s success catapulted him into the mainstream, but Nawazuddin used that momentum to explore a diverse range of roles. From the tender, nuanced storytelling of The Lunchbox to the edgy unpredictability of Badlapur, the layered portrayal of Manto, and the global hit Sacred Games, he proved his ability to transcend genres and formats, equally at home in independent cinema and big-budget entertainers.
His journey is the kind that inspires countless aspiring actors; a self-made success story in an industry often dominated by glamour, connections, and star legacies. Starting with blink-and-miss parts, Nawazuddin’s rise was built entirely on relentless dedication, skill, and the courage to take risks with unconventional roles.
Nawazuddin Siddiqui marks 13 years since his iconic turn as Faizal Khangetty images
Today, Nawazuddin Siddiqui is no longer just an acclaimed actor, he is celebrated as one of Indian cinema’s most enduring and versatile performers. Thirteen years after Gangs of Wasseypur 2, Faizal Khan remains a benchmark for breakout performances, and Nawazuddin stands as proof that great storytelling can create legends.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.
Iyla Sundarsingh McKaig has been cast as Hema in Netflix’s Unaccustomed Earth
18-year-old actress from Cleckheaton joins Netflix’s upcoming drama Unaccustomed Earth
Cast alongside Freida Pinto, Indraneil Sengupta and Adi Roy
Series based on Jhumpa Lahiri’s acclaimed short stories
Written by Madhuri Shekar and directed by Ritesh Batra
A Yorkshire teenager has landed a breakthrough role in a major Netflix series.
Iyla Sundarsingh McKaig, 18, from Cleckheaton, has been cast as “Hema” in Unaccustomed Earth, a new eight-part drama inspired by Jhumpa Lahiri’s award-winning short story collection.
The series, produced by Netflix and Warner Bros Television, also stars Freida Pinto as Parul Chaudhury, Indraneil Sengupta (The Fame Game, Kahaani) as Jai, and Adi Roy (Broadway’s Aladdin) as Kaushik.
Iyla Sundarsingh McKaig has been cast as Hema in Netflix’s Unaccustomed Earth Articulate Agency
Story of love, belonging and scandal
Created by writer Madhuri Shekar (3 Body Problem, The Nevers) and directed by Ritesh Batra (The Lunchbox), Unaccustomed Earth delves into the lives of a tight-knit Indian American community in Cambridge, Massachusetts.
The drama follows a scandalous love affair that threatens to divide families and reshape long-held loyalties. Rich in cultural detail, the series explores themes of desire, identity and belonging.
A rising star from West Yorkshire
Iyla, of mixed Indian-British heritage, has been acting since the age of four. She trained at Articulate Drama School and is represented by West Yorkshire’s Articulate Agency, which specialises in launching young talent into high-profile TV and film roles. Her previous credits include Toxic Town on Netflix, Emmerdale, and CBBC’s Jamie Johnson, where she played Usma as a series regular at just 15. She recently finished her final exams and is now pursuing acting full-time.
Stacey Burrows, founder of Articulate Agency, praised Iyla’s dedication, calling her “one to watch” as she heads to New York for filming.
Speaking about her casting, Iyla said: “Yorkshire actors are more than just the place they come from. Look at Dominic West, Jodie Whittaker, Sean Bean — we have so much to offer to global productions, and it’s great to see that recognised.”
Articulate Agency has a strong record of securing major roles for its clients across Netflix, Sky, ITV, Amazon Prime, Disney+, HBO and the BBC. The agency also runs drama schools across Yorkshire, nurturing the next generation of screen talent. Unaccustomed Earth will stream on Netflix, with a release date yet to be announced.
Keep ReadingShow less
The British racing icon, currently driving for Ferrari, first posted a teaser on 28 July
Lewis Hamilton teased a cryptic announcement on social media for 8 August
Speculation ranges from retirement to leaving Ferrari
Recent form and emotional comments at the Hungarian GP fuelled further rumours
The likely reveal is linked to his non-alcoholic spirit brand, Almave
Seven-time Formula One world champion Lewis Hamilton has prompted speculation after teasing a mysterious announcement for today, 8 August.
The British racing icon, currently driving for Ferrari, first posted a teaser on 28 July, setting today's date as a moment for revelation. The post offered no detail only a vague visual and caption leading to wild speculation from fans and pundits alike.
Tensions were heightened following Hamilton’s disappointing performance at the Hungarian Grand Prix, where he qualified in P12 and finished outside the points, trailing well behind team-mate Charles Leclerc, who secured pole position.
Hungarian GP frustrations added fuel to the fire
After his early exit from Q2 at the Hungaroring where he’s previously claimed nine pole positions Hamilton expressed frustration, saying:
“Useless. Absolutely useless. They need to change driver.”
Although he later retracted those remarks and reiterated his love for racing and Ferrari, many interpreted the emotional outburst as a sign of deeper dissatisfaction. In the days that followed, social media and motorsport forums lit up with rumours suggesting the 39-year-old might announce his retirement or an early departure from Ferrari.
His comments on needing time to “reset” over the summer break, and predicting “tears” in the weeks ahead, further intensified speculation.
But is the announcement about business, not racing?
Despite the rumours, the most likely explanation is commercial rather than career-related.
Hamilton is a co-founder of Almave, a brand offering a premium non-alcoholic blue agave spirit designed to emulate the flavour of tequila. The brand, which launched in 2022, has received growing attention and Hamilton prominently features in its marketing.
On 7 August, Almave shared a social media post teasing something new coming on 8 August the same date Hamilton marked for his own reveal. A prior post also hinted at the launch of a new flavour, aligning the timelines and pointing to the announcement being related to his business venture rather than Formula One.
What’s next for Hamilton?
While Hamilton’s results so far in his first season with Ferrari have been underwhelming, and frustrations are understandably high, there is no concrete indication that he intends to retire or leave the team at this stage.
The likely announcement appears to be tied to his brand partnerships, specifically Almave, which is gaining traction in the non-alcoholic premium beverage space.
Still, with Hamilton, the intersection of sport, identity, and entrepreneurship continues to intrigue. Whatever the announcement may be, it reflects the multi-faceted nature of one of Britain’s most celebrated athletes.
Keep ReadingShow less
Kiara Advani as Kavya Luthra in War 2 after months of disciplined preparation
Kiara Advani followed a structured, protein-rich diet for her War 2 role alongside Hrithik Roshan and Jr NTR.
Nutritionist Nicole Linhares Kedia revealed her meals included protein pancakes, grilled chicken, avocado and sattu chaas.
The transformation was achieved without crash diets, focusing on balance, recovery and a strict sleep schedule.
Kiara’s first on-screen bikini appearance comes in the YRF Spy Universe’s highly anticipated 2025 release.
Kiara Advani’s striking new look in War 2, her debut in the YRF Spy Universe, is the result of months of planning, discipline and precision. Starring alongside Hrithik Roshan and Jr NTR, the actress plays Kavya Luthra, and her first-ever bikini scene on screen has already become a talking point.
Speaking to Pinkvilla, Kiara’s nutritionist Nicole Linhares Kedia revealed that the goal was to get the actress in “the best shape of her life” without resorting to shortcuts. “She didn’t want crash diets or quick fixes. She wanted something sustainable, holistic and something that made her feel strong,” Nicole said.
Kiara Advani as Kavya Luthra in War 2 after months of disciplined preparation Instagram/bollyhunter
What was Kiara Advani’s diet plan for War 2 ?
Kiara’s mornings always began with protein pancakes, a non-negotiable part of her day. Made from oat flour, walnut flour, protein powder, maple syrup or monk fruit, water, and topped with fresh berries and homemade hazelnut butter, the dish was so integral that her team recorded a video tutorial before her European shoot.
Her main meals were built around lean protein and fresh produce, including grilled chicken, light curries, asparagus, baby potatoes, avocado, edamame and hummus with vegetable crudités. For hydration and recovery, she relied on sattu chaas, a protein-rich buttermilk drink with roasted Bengal gram flour, cumin and coriander, perfect for long shooting days in the sun.
Nicole emphasised that nothing about her diet was extreme. “We didn’t do any drastic cutting or water depletion. Everything was planned to maintain her energy levels while keeping her in peak condition,” she explained.
Kiara followed a sustainable protein-based diet for her War 2 roleInstagram/kiaraaliaadvani
How did Kiara prepare for her bikini scene?
The preparation for the much-discussed bikini sequence in War 2 focused on steady, sensible adjustments rather than sudden transformations. Sodium, water and fibre intake were tweaked gradually, ensuring Kiara stayed energised while looking her best on camera.
Even on location in Tuscany and Rome, her team coordinated with local chefs to ensure meals aligned with her nutritional needs. Fresh local produce was sourced, menus were tailored to her macros, and every dish was designed to match her training demands.
War 2 marks Kiara Advani’s debut bikini scene in the YRF Spy UniverseInstagram/realbollywoodhungama
Why recovery and rest were just as important
Nicole highlighted that sleep was as crucial as diet. “We were intentional about setting a circadian rhythm. Everything, including meal timings, training sessions and even caffeine, was structured around it,” she said. With an early bedtime of 8 pm, Kiara ensured her body had enough time to recover from intense workouts and long shoot days.
Her disciplined approach meant she could balance high-energy action scenes with demanding training sessions, avoiding burnout while maintaining her physique.
Kiara’s transformation stands out because it wasn’t built on deprivation. Instead, it was about how sustainable eating, consistent workouts and proper rest can deliver results without compromising health. The actress has not only impressed fans with her glamorous War 2 look but also set an example of balanced preparation in an industry often known for extreme methods.
With the film’s release set to be one of the biggest in Indian cinema, her turn as Kavya Luthra could mark a defining career moment, one fuelled by discipline, planning and an unshakable commitment to her craft.
Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
The body in its stylised repose is already stirring to take flightManzu Islam
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence. In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1