As dusk fell on Sunday (15), police smashed their way into the main library of New Delhi's Jamia Millia University, firing tear gas shells as scores of terrified students barricaded doors and hid inside bathrooms to protect themselves.
Video footage shot by a student inside the library shows dozens of young students - including several women - scrambling for cover, cowering beneath desks, and jumping over metal and broken glass dividers as they attempted to flee.
More than 600 students sought shelter inside the building as violence raged around the university in southeast Delhi, after thousands gathered to protest a controversial new citizenship law that has sparked days of violent unrest.
Indian prime minister Narendra Modi's government insists the Citizenship Amendment Act is necessary to help persecuted minorities from Muslim-majority Afghanistan, Bangladesh and Pakistan who settled in India before 2015.
But the move has triggered a severe backlash, with widespread clashes in the country's north and a rash of protests across universities - including in Jamia.
On Sunday, some protesters set buses alight and battled stick-wielding policemen on a major thoroughfare nearby.
In a statement, the student community of Jamia said they disassociated themselves from the violence, which was perpetrated by some elements to discredit their peaceful protests.
Asad Malik, a lecturer in Jamia's law department, said school officials had stood by the campus gates, checking ID cards to ensure only students entered the nearly 100-year-old public university amid the chaos on Sunday.
However, police said some vandals did manage to enter the Jamia and officers only followed them into the campus after they were pelted with stones from inside the university.
"Miscreants and rowdy elements had entered the university and police went inside the campus chasing this crowd, to pull them out," M.S. Randhawa, a police spokesman told reporters on Monday.
Malik, however, said when police started shooting tear gas inside the university, there were only students inside.
Saliha P.P., a 22-year-old masters student, said she was on the Jamia campus when she saw more than 100 policemen storm the campus, fire tear gas and charge students with batons.
"There were continuous sounds of tear gas," she said. "They were just beating any students they saw so cruelly."
On Monday morning, sections of university library lay in ruins. Windows were smashed, chairs lay broken and scattered. Crushed glass covered corridors and tables.
Reuters witnesses saw tear gas shells and blood splattered on the library floor. At least two surveillance cameras had been smashed.
Jamia's vice chancellor Najma Akhtar said police had entered the campus without permission, injuring around 200 students. The university, which has a large number of Muslim students, plans to seek a government enquiry into the violence.
"The brutality with which they behaved with students is not acceptable," she told media on Monday.
At least five students told Reuters they did not see any women police personnel among the force that stormed the campus, as is required by law in India when females are on the scene.
A police spokesman did not respond to respond to multiple requests for comment on the allegations of brutality or the reported absence of female officers.
'DEATH IS ON THE OTHER SIDE'
Madiha Aziz, a postgraduate student, was on the first floor of the library, sitting under a desk in the darkness after other students switched off the lights.
"We thought we will be safe inside the library, the college authorities will protect us," she said, speaking with Reuters at her home a few kilometres away from Jamia.
From a window, looking down, Aziz said she saw dozens of police pounce on students and beat them up. Three other students also told Reuters they had seen police thrash students in and around the library.
Petrified, some tried to barricade themselves inside using library cupboards.
"The police beat us a lot, they did a lathi charge inside the library," said law student Mohammad Anas, using the Hindi word for a baton.
With tear gas canisters exploding inside, second-year student Mohammad Shahzad said some ran to the washrooms to hide or wash their eyes with water.
"But police dragged them out and beat them up," he said.
Some bathroom doors inside the library building lay smashed on Monday, seemingly kicked in from the outside.
Still cowering under a desk, Aziz thought it was all over, when police stormed in after banging loudly on the doors.
"I thought my death is on the other side," she said. "It was a night of horrors."
It was after 7 p.m. local time when police began clearing the library building, said three students who had sought refuge inside.
"Outside the central library staircase around 200 students were asked to sit down. Then we were asked to keep both our hands on our heads and we were asked to get out," Anas said.
Others, who sought shelter in surrounding buildings, met a similar fate.
Hisham Siddiqui, a doctorate student, said he was inside a mosque on the university campus when more than a dozen police burst in.
"They smashed the glass doors and entered inside," he said, heavily bandaged and seated in a wheelchair outside Alshifa hospital late on Sunday night.
After being beaten and falling unconscious, Siddiqui said he managed to hobble out, before being taken to a hospital.
"Our faith is strong, we will continue fighting," he said, as he was wheeled out of the hospital.
Others were left shattered though, and many students were seen wheeling suitcases and leaving the campus on Monday.
"I'm a student here. I study law here. I was to answer an exam on the constitution today, but what's left of it?," Anugya Jha told media as she was leaving the campus on Monday.
"What constitution do I go back and study now? Have they left any of it?" said Jha, tears streaming down her face. "I do not feel safe in this entire country anymore. I do not know where I may go and be lynched today, by the police itself."
Temba Bavuma of South Africa lifts the ICC World Test Championship Mace with teammates following his team's victory on Day Four of the WTC final against Australia at Lord's Cricket Ground on June 14. (Photo: Getty Images)
AIDEN MARKRAM's century helped South Africa secure a five-wicket win over Australia in the World Test Championship final at Lord’s on Saturday. With this result, South Africa claimed their first major global title in men’s cricket.
Set 282 to win, South Africa reached the target before lunch on the fourth day, finishing on 282-5. Markram was dismissed for 136 after bringing his team to within six runs of victory.
The Proteas resumed on 213-2, needing 69 runs more. Markram, who had been out for a duck in the first innings, was unbeaten on 102 at the start of the day. Captain Temba Bavuma was on 65 despite struggling with a hamstring injury.
South Africa’s history in knockout games had often been marked by defeats, including 18 failed attempts in previous ODI and T20 World Cups. They had only reached one final before this – last year’s T20 World Cup in Barbados, where they lost to India after requiring just 30 runs from the last 30 balls with six wickets in hand.
On Saturday, however, South Africa held on to win. A team without many big names succeeded where players like Allan Donald, Shaun Pollock, AB de Villiers and Jacques Kallis had not.
South Africa had an early setback when Bavuma, adding only one run to his overnight score, was caught behind off Australia captain Pat Cummins. His partnership with Markram ended at 147, but South Africa were still in control at 217-3.
With clear skies and a flat pitch, conditions were in the batters’ favour. Markram continued, cutting Cummins for four and later pulling him again to bring the target down to 50.
Cummins brought on Nathan Lyon, hoping for spin. But it was Mitchell Starc who got a breakthrough, bowling Tristan Stubbs for eight with a delivery that cut in sharply.
Australia took the new ball with South Africa at 268-4, needing just 14 more runs. Markram then drove Josh Hazlewood’s first ball for four and followed it up with three more runs off the next.
He fell shortly after, pulling Hazlewood to Travis Head at midwicket. His 207-ball innings included 14 fours.
Markram walked back to a standing ovation. Several Australian players shook his hand.
Kyle Verreynne then scored the winning run. He might have been out had Australia had any reviews remaining. South Africa’s 282-5 became the second-highest fourth-innings chase in a Lord’s Test, behind the West Indies’ 344-1 against England in 1984.
Kagiso Rabada also played a key role in the victory, finishing with match figures of 9-110.
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King Charles, wearing a black armband to pay respects to the victims of Air India plane crash, attends the Trooping the Colour parade on his official birthday in London. (Photo: Reuters)
A MINUTE's silence for the victims of the Air India plane crash was observed on Saturday during the Trooping the Colour parade in London marking King Charles's official birthday. Some members of the royal family wore black armbands during the ceremony.
A Buckingham Palace spokesperson said King Charles, 76, had requested changes to the parade “as a mark of respect for the lives lost, the families in mourning and all the communities affected by this awful tragedy”.
The crash on Thursday involved a Boeing 787-8 Dreamliner that was taking off from Ahmedabad in eastern India and heading to London's Gatwick Airport. A total of 279 people, including passengers, crew and individuals on the ground, were killed.
Among the victims were 52 Britons. The only survivor identified so far is British national Vishwash Kumar Ramesh from Leicester.
Following the disaster, King Charles said in a written statement that he was “desperately shocked by the terrible events” and extended his “deepest possible sympathy”.
Royal family attends parade
Trooping the Colour is a military tradition that dates back over 200 years and marks the monarch's official birthday. The event begins at Buckingham Palace, proceeds down The Mall, and concludes at Horse Guards Parade, where the King receives a royal salute and inspects the troops.
Hundreds of people gathered along The Mall and outside the palace to view the event. A small group of anti-monarchy protesters were present, carrying yellow signs that read “not my king” and “down with the crown”.
King Charles, who continues weekly treatment for an unspecified cancer, was accompanied by Queen Camilla. Also present were Prince William, 42, his wife Catherine, and their children George, 11, Charlotte, 10, and Louis, seven.
No appearance by Harry and Meghan
Catherine, 43, the Princess of Wales, had earlier announced in March 2024 that she had been diagnosed with an unspecified cancer. In January 2025, she said she was “in remission” and has since gradually resumed public engagements.
Prince Harry and his wife Meghan did not attend the event. The couple stepped down from royal duties in 2020 and now live in the United States. Reports in the UK media suggest that relations between Harry and other members of the royal family remain strained, with minimal communication between him and his brother William.
Although Trooping the Colour is held in June, King Charles was born in November. The tradition of a second birthday celebration was introduced in 1748 by King George II to ensure the monarch’s birthday could be marked in better weather.
Saturday's parade coincided with a major military parade in Washington led by US President Donald Trump on his 79th birthday.
Parle Patel has been a magnetic force in entertainment for nearly 15 years, combining laughter, language and layered identity into sketches, stage shows, radio and social media reels.
The “all-round entertainer”, best known as a fierce champion of Gujarati culture, has gained a loyal global following that spans from London to the heartlands of India.
This year, the popular British talent added another significant milestone to his creative journey by making a winning debut in Gujarati cinema with the film Umbarro. With a unique blend of humour, heart and heritage, Patel has added another huge chapter to an inspiring story of proudly representing his community.
Eastern Eye caught up with the great British hero to discuss his creative journey, film debut, inspirations and future plans..
In Gujarati film Umbarro
How do you reflect on your creative journey? I take stops throughout the year to reflect on what I have done creatively and see if it aligns with my values and aspirations. This includes time away from the UK to reflect. I also think about inspiring figures I look up to and see if I can build on what I have taken on board from them.
You have always championed Gujarati culture. How important is that to you? My main aim was always to speak up for those not properly seen within our Gujarati community. I started making comedy because not enough was being said, explored or celebrated about us. After nearly 15 years, it is not just about ethnicity or religion, but about representing anything you feel is not seen or heard. Now, it is also important for me to celebrate other Gujarati artists and talent too, by highlighting them through my platforms.
You have done diverse work from the online space to theatre, but which has been closest to your heart? All of them have bits of my heart. Each has helped me in different ways. YouTubing and being online showed me you can just start with yourself and build an audience – especially now, when people need that community. It built a worldwide audience. I never thought people in India would like my content, or that I would be doing shows in the US. And getting recognised on a tiny island in Thailand? The power of the internet is mind-blowing.
What about radio and theatre? Theatre is just as good, but different. Hearing everyone laugh together, or the silence during a serious bit, is so raw and real. You know what has made them laugh. Online, you get ‘lol’, or emojis, which is not the same. Radio is another world, with just the voice. It is massively challenging making comedy or saying what I think without the face or acting. Each one is different, but they all fit together – like bits of me, Parle.
How does all your amazing previous work compare to working in a Gujarati film produced by a company from India? With digital content, it is a one-man team, but in film, there is an entire cast and crew helping you stay energised. There are also random people or guests who have come to watch the shoot. So, it is a very different environment, where you really learn to focus with so much going on around you. The team was like a family – so warm and helpful. My fantastic director was so supportive. He never made me feel like this was my first feature film.
How did you feel when you got that film offer? It was really exciting. To work for a director, Abhishek Shah, whose work I am immensely inspired by – like Hellaro, which was a superhit globally. Also, for this role, I had to specifically represent British Gujaratis, and that was going to be fun.
Thumbnail from his social media reel
Tell us about Umbarro and your character. The film follows the lives of seven Gujarati women from different walks of life, travelling to London on a tour. Each lady has a different backstory that needs healing. It beautifully shows that there is no one type of Gujarati woman and has a beautiful element of sisterhood. They help one another through issues like grief, loss and relationships, but also empower each other. I was playing Simran, a half-Punjabi and half-Gujarati. That was where the humour stemmed from. All our characters were on a journey, and had gender-neutral names, which is important when there is not that much representation.
What was your most memorable moment from this Gujarati film journey? A few special things happened. What really struck me was how much the team persevered without ever complaining. Freezing night shoots, a 12th take – everyone just rallied with pure dedication to Gujarati storytelling. Then connecting with senior actors and legends, who knew my UK comedy stuff? It was heart-warming and humbling when they asked my opinion. The Northern Lights also appeared during a shoot, which felt like a sign and blessing. That was unforgettable.
How much do you love that Gujarati cinema has been on the rise? I am so happy and grateful that directors in the industry have not given up or stopped. They are so passionate about the Gujarati language. For ages, I felt like the only one who cared. But then this ‘renaissance’ happened after that lull since the golden oldies. There is often a bias against our regional films. People say, ‘I cannot speak Gujarati, so I will not watch’, but they happily watch a series like Squid Game with subtitles. Surely, it’s about the story?
You have worked on so many different mediums and platforms. What is the plan going forward? With so many things happening globally, I feel my audience is really hungry for more online content. People want to connect, feel a sense of community, and escape as well. In the beginning, I was almost told off for making escapist content. But I think it is important to help people escape the stresses of day-to-day life and laugh at relatable funny things. So, everyone is definitely going to see more online content. It is how people from remote locations get to connect with Gujarati language, comedy and culture.
What about other platforms? I will go back to the stage in some capacity. I really hope to connect with people who want to collaborate and are also passionate about telling authentic stories – especially ones about British Gujaratis, Asians, Hindus and Indians here in the UK. There is so much more that is waiting to be told. I just want to keep representing.
Are you hoping to work in more films? I would love to work in more films. I will always push myself and audition for roles that I feel I can play. I will always try my best to take training and learn more about each medium.
What inspires you creatively? It can be a spark from anywhere. But proper inspiration comes from stories – my own life and family. During tough times, you remember the bad stuff, right? But later, you can choose how to look back – grief, drama or comedy. I pick comedy. It is a human superpower. Turning sad memories into funny ones, adding my ‘masala’. It may not be funny at first, but give it a day or two. That is being a comic – spinning the mundane. Loads of my videos are just everyday stuff, heightened a bit.
Tell us about the family aspect. My parents are a massive inspiration. Dad put me in front of the camera first and taught me how to frame a shot. Mum has always been sharp, witty and has a love for Gujarati dance. I grew up around that. They are proper powerhouses, making me see the funny everywhere. My partner shows me the funny in stuff I would miss. Being with someone who loves comedy and theatre unlocks so much. We get through the mad times by just laughing.
Instagram: @planetparle
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Father’s Day reflects a wide range of traditions shaped by history, culture and emotion
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.
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Jungkook under fire for wearing Make Tokyo Great Again cap at BTS concert rehearsal
BTS star Jungkook has issued a public apology after sparking backlash for wearing a cap with the phrase “Make Tokyo Great Again” during a rehearsal for J-Hope’s concert. The phrase, seen as politically loaded, upset many fans in South Korea, with some calling it offensive and thoughtless.
The singer, who recently completed his mandatory military service, said he was unaware of the slogan’s sensitive background and admitted that he should have been more cautious.
Jungkook of K-pop supergroup BTS at an outdoor sporting facility in Yeoncheon Getty Images
Slogan draws backlash over political and cultural sensitivity
Jungkook was seen in an all-black outfit and the now-controversial cap during rehearsals for the Hope on the Stage concert on Friday in Goyang. The slogan on the cap, “Make Tokyo Great Again,” echoed political phrases linked to Japanese nationalism and was previously used by Tokyo Governor Koike Yuriko. Some South Korean fans were quick to point out that the phrase has been associated with anti-Korean sentiments and accused the singer of being “careless.”
The similarity to Donald Trump’s “Make America Great Again” also added fuel to the fire, as netizens debated the political undertones and the potential implications of a global star wearing such a phrase publicly. Social media lit up with disappointment, with many questioning how Jungkook could overlook such a sensitive issue, especially given the historical tensions between South Korea and Japan.
— (@)
Jungkook responds: “No excuse for my carelessness”
The 27-year-old singer responded quickly to the criticism through a heartfelt message on Weverse. “I sincerely apologise for the disappointment and inconvenience caused by the hat I wore during rehearsals. I didn’t realise the historical and political context behind the phrase,” he wrote. “There’s no excuse. I was careless. I’ll make sure to be more thoughtful from now on.”
He also confirmed that the cap was discarded immediately and acknowledged that he had hurt many of his fans unintentionally. The apology was met with mixed reactions. While some appreciated his honesty, others felt the damage had already been done.
— (@)
This incident comes just days after Jungkook completed his 18-month military service alongside Jimin. The Hope on the Stage concert marked his return to the spotlight, with all seven BTS members reuniting on stage, drawing cheers from fans. Jungkook had recently released Never Let Go, a song dedicated to fans during BTS’s 11th anniversary.