Teachers play a very important part in our lives. But we always forget our teachers. Time and again Bollywood has reminded us the importance of a teacher. From Jeetendra’s character in Parichay to Amitabh Bachchan’s role in Black to Aamir Khan in Taare Zameen Par to Rani Mukerji’s Naina in Hichki, we have had many films that showcased the importance of a teacher. And now, it’s time to witness the story of one more teacher on the big screen. I am talking about the film Super 30 which is based on the life of educationalist and mathematician Anand Kumar.
For the uninitiated, Anand Kumar is the man who teaches underprivileged kids for IIT-JEE, the entrance examination for the Indian Institutes of Technology. The movie showcases his journey from a sharp student to a papad seller to a teacher who starts earning very well to a person who decides to leave his job and starts teaching underprivileged kids for free. Kumar is surely an inspiring figure and Vikas Bahl wonderfully gets his story on the big screen.
The screenplay of the film is engaging and keeps us hooked throughout for those 154 minutes. It has scenes that will make you smile, laugh and even cry. However, we cannot ignore that Vikas has taken a few cinematic liberties here. There are scenes that would have not happened in the life of Anand Kumar, but we are shown in the film and we can see that it is dramatised for audiences to enjoy it. By the way, brushing up your maths and physics knowledge will help you enjoy the movie more. There are a couple of scenes where Hrithik asks a question to his students and even you feel like calculating and answering it. Also, the dialogues in the film are very good, especially, this one, ‘Raja ka beta raja nahi banega, raja wahi banega jo haqdar hoga’.
Super 30 is packed with some fantastic performances. Hrithik Roshan is excellent in the film. This is clearly one of the best performances of his career. Pankaj Tripathi is amazing and will make you laugh whenever he appears on the screen. Mrunal Thakur’s role in the film is quite small, but she has acted well. Amit Sadh has an extended cameo in the movie, and he impresses us a lot. Nandish Sandhu plays the role of Anand Kumar’s brother Pranav and he is damn good. The kids in the film are outstanding. The casting of the kids is perfect.
The movie has a few songs, but the one that will stay with you even after the film is over is Basanti No Dance. The song has been shot wonderfully and it is one of the highlights of the film. Even the background score is simply fantastic.
Overall, Super 30 is a well-made film with no dull moments. Hrithik Roshan and other actors shine throughout the film.
Radiohead frontman Thom Yorke has spoken out about the war in Gaza for the first time, criticising both Israeli Prime Minister Benjamin Netanyahu and Hamas. In a detailed Instagram post published on Friday, Yorke also addressed the emotional toll of being pressured to comment on the conflict, which he said had impacted his mental health.
Yorke, known for keeping a low profile on political issues, said he had remained silent until now out of respect for victims of the ongoing war. However, he acknowledged that his lack of public comment had led some to interpret his silence as complicity.
“For those who need to know… let me fill in the blanks,” he wrote, explaining his previous reluctance to speak out. He described how he had struggled after an incident at a Radiohead concert in Melbourne last year, where he was heckled by a pro-Palestinian audience member urging him to condemn “the Israeli genocide in Gaza”.
“I remained in shock that my supposed silence was somehow being taken as complicity,” Yorke said. “That silence… has allowed other opportunistic groups to use intimidation and defamation to fill in the blanks, and I regret giving them this chance.”
In his statement, Yorke condemned both sides of the conflict. He referred to Netanyahu and his government as “a crew of extremists”, stating: “This ultranationalist administration has hidden itself behind a terrified and grieving people… to further their ultranationalist agenda with terrible consequences.”
Yorke has previously criticised Netanyahu. In 2017, when Radiohead performed in Tel Aviv despite calls to cancel the show from pro-Palestinian advocates, Yorke defended the band’s decision but also spoke out against the Israeli government.
Turning to Hamas, Yorke criticised the group’s actions on 7 October 2023, when it launched an unprecedented attack on Israel that killed around 1,200 people and led to over 200 hostages being taken. He questioned why more hostages have not been released and said, “Hamas chooses to hide behind the suffering of its people in an equally cynical fashion for their own purposes.”
He also criticised the tone of some Free Palestine demonstrations, writing: “The unquestioning Free Palestine refrain… does not answer the simple question of why the hostages have still not all been returned. For what possible reason?”
The statement comes amid a wider debate in the arts community over the role of artists in political discourse. Yorke’s bandmate Johnny Greenwood, who is married to an Israeli and collaborates with Israeli musician Dudu Tassa, has faced calls to boycott Israel. Greenwood and Tassa recently cancelled UK concerts due to safety concerns following backlash over their association with Israel. In a joint statement, the duo rejected “censorship” and said artists should not be punished for their government’s actions.
Yorke acknowledged that his statement might not satisfy everyone. “I am sure that to this point, what I’ve written here will in no way satisfy those who choose to target myself or those I work with,” he said.
Reaction to the post was divided. While some fans welcomed the clarity, others criticised the perceived neutrality of his stance. One commenter called it “the most centrist thing I’ve read, and that’s not a compliment.”
Yorke’s statement reflects the increasing pressure on high-profile artists to take definitive positions on global issues, particularly the Israel-Gaza conflict. His remarks highlight the tension between public expectations and personal conscience, as well as the difficulties artists face navigating complex political landscapes.
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.
Gervais delivers a cheeky speech filled with sarcasm and dark humour
Ricky Gervais now has his own star on the Hollywood Walk of Fame, but it wouldn’t be a Ricky moment without a few jabs that made the room a bit tense. Known for pushing buttons with his jokes, the 63-year-old comedian didn’t hold back during his acceptance speech, which mixed dry humour with some edgy digs.
Looking around at the star-studded pavement, he jokingly pointed out some controversial names, including Michael Jackson, Bill Cosby, and Fatty Arbuckle, all of whom have faced serious allegations. Gervais, with a smirk, seemed to be making a comment on how celebrity and scandal often go hand in hand, especially in a place like Hollywood.
Ricky Gervais stands beside his newly unveiled Hollywood Walk of Fame starGetty Images
But beneath the usual sarcasm, Gervais did show a bit of sincerity. He said the honour left him “humbled” and credited his success to “luck, persistence, and going against the grain.” True to form, he also joked about his casual outfit, saying he wasn’t trying to be edgy, he just didn’t own a suit that fit.
The comedian’s place on the Walk marks him as the 2,813th inductee, joining names from Bob Marley to Stevie Wonder. His long career includes hits like The Office, Derek, and After Life, and he’s picked up multiple Emmys, BAFTAs, and Golden Globes along the way, the latter of which he’s hosted in infamous fashion.
Ricky Gervais adds his name to Hollywood Boulevard with a signature smirkGetty Images
Controversy has never been far behind him. His Netflix special Armageddon drew backlash even before release, with thousands signing a petition over jokes targeting terminally ill children. But Gervais brushed it off, saying people were reacting to headlines, not the actual performance. “They’re hecklers,” he said in an interview, dismissing the outrage as manufactured.
He’s defended his comedy by insisting it’s never personal and is just ideas explored through humour. “People often confuse the topic of a joke with its target,” he explained. His work, including darker series like After Life, often circles around deeper themes like death, grief, and morality, all wrapped in wit.
Fans gather to celebrate the star unveiling in classic Gervais fashionGetty Images
Whether you find him sharp or just plain insensitive, Ricky Gervais doesn’t plan to change his approach. He believes comedy should provoke, even if it ruffles feathers. And now, with a star on Hollywood Boulevard, he’s left a permanent mark, both on the pavement and the industry.
Keep ReadingShow less
Mumbai will now play Punjab Kings in Qualifier 2 in Ahmedabad on Sunday. (Photo: Getty Images)
ROHIT SHARMA’s 81 helped Mumbai Indians beat Gujarat Titans by 20 runs in the eliminator on Friday, knocking Gujarat out of the Indian Premier League.
Mumbai, who chose to bat first, put up 228-5 at Mullanpur in New Chandigarh after a strong opening partnership between Rohit and England’s Jonny Bairstow, who scored 47.
Gujarat reached 208-6 in reply despite an 80 by opener Sai Sudharsan in the must-win playoff.
Mumbai will now play Punjab Kings in Qualifier 2 in Ahmedabad on Sunday. The winner will face Royal Challengers Bengaluru in the final on June 3.
Bairstow joined Mumbai ahead of the playoffs as some players left for international duties. He scored 47 off 22 balls to give Mumbai a quick start.
Rohit, who retired from Test cricket along with Virat Kohli, survived two dropped catches on three and 12 by Gujarat fielders. He went on to hit nine fours and four sixes in his 50-ball knock, earning him the player of the match award.
"I've got only four fifties (this season), I think I would have liked to get more," said Rohit. "Today, after having some luck going my way, I knew I had to make the most of it. I'm glad I could do that, and get the team into a good position."
Gujarat missed wicketkeeper-batter Jos Buttler. His replacement, Sri Lanka’s Kusal Mendis, dropped two catches.
"Not easy when we drop three sitters, especially in the powerplay," said Gujarat skipper Shubman Gill. "Not easy for the bowlers to control."
Bairstow missed his fifty when Sai Kishore took his wicket with Gerald Coetzee catching a rebound from Sudharsan.
Rohit went past 7000 IPL runs and completed his 47th fifty in the tournament with a four. Suryakumar Yadav made 33 in 20 balls, hitting three sixes and one four before falling to Kishore.
Gujarat fought back in the middle overs as Prasidh Krishna dismissed Rohit and Siraj took Tilak Varma on 25.
Hardik Pandya ended Mumbai’s innings strongly with an unbeaten 22 off nine balls, as Coetzee gave away 22 runs in the final over.
In Gujarat’s reply, Gill fell lbw for one in the first over to former New Zealand pacer Trent Boult.
Sudharsan, who leads the IPL with 759 runs, kept Gujarat in the chase with an 84-run partnership with Washington Sundar, who scored 48.
Jasprit Bumrah bowled Sundar with a yorker, and England’s Richard Gleeson bowled Sudharsan to end Gujarat’s hopes.
Bumrah returned figures of 1-27 from four overs. Mumbai’s head coach Mahela Jayawardene said Bumrah is a "massive asset."
Impact substitute Sherfane Rutherford fell on 24 in the 19th over. With 24 needed in the final over, Gleeson bowled three balls before leaving the field with a cramp. Ashwani Kumar bowled the remaining deliveries to secure Mumbai’s win.
The tournament was extended by nine days after being paused due to a military conflict between India and Pakistan. Some overseas players, including Buttler, left before the playoffs.
(With inputs from agencies)
Keep ReadingShow less
The transfer comes amid broader efforts across the United States to confront the legacy of slavery
Harvard University has agreed to transfer a collection of historic daguerreotypes believed to be among the earliest photographs of enslaved people in the United States to the International African American Museum in South Carolina. The move follows a protracted legal dispute with Tamara Lanier, a Connecticut author who claims to be a descendant of two of the individuals pictured.
The images, taken in 1850, depict several enslaved individuals, including a man named Renty and his daughter Delia, who were forced to pose for the photographs by Swiss-born Harvard professor and zoologist Louis Agassiz. Agassiz commissioned the daguerreotypes as part of his now-discredited research to support polygenism — the belief that different races evolved separately and unequally.
The 15 photographs, stored for decades at Harvard’s Peabody Museum of Archaeology and Ethnology, include individuals identified as Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty. The images were rediscovered in 1976 and have since become central to wider discussions about American universities’ historical ties to slavery.
Ms Lanier, who filed a lawsuit against Harvard in 2019, argued that the photos were taken without consent and accused the university of profiting from them through licensing fees. Although her legal claim to ownership was dismissed in 2022 by the Massachusetts Supreme Judicial Court, she was permitted to pursue damages for emotional distress. The court also found that Harvard bore “complicity” in the “horrific actions” linked to the creation of the images.
Harvard has not confirmed whether Ms Lanier is related to the individuals in the daguerreotypes. However, the university said it had “long been eager” to transfer the images to another public institution to place them in a more appropriate context. “Harvard has long been eager to place the Zealy Daguerreotypes with another museum or other public institution to put them in the appropriate context and increase access to them for all Americans,” a university spokesperson said. They acknowledged that Ms Lanier’s claim to ownership had created “a complex situation.”
The settlement now ensures that all of the images, not just those of Renty and Delia, will be transferred to the International African American Museum in Charleston, South Carolina — the region where the individuals depicted were once enslaved. Ms Lanier described the outcome as a “homecoming” and said she was “ecstatic” with the result.
“I have always known, first of all, that I could never care for the daguerreotypes at the level they would require,” she told the BBC. “There are so many ties that bind Renty and Delia and the other enslaved people to that particular part of South Carolina that to repatriate them there would be like a homecoming ceremony.”
Although the museum did not play a role in the legal proceedings, it has supported Ms Lanier’s genealogical research. Tonya Matthews, president of the museum, said the institution would display the images with “truth and empathy.”
“These are not gentle images and the story behind how they came to be is even more difficult to hear,” Ms Matthews said. “So to be in a space that has already created room for conversations about the inhumanity of slavery and enslavement and how far those implications echo even to today is what we do and it’s our mission.”
The transfer comes amid broader efforts across the United States to confront the legacy of slavery within academic institutions. In 2016, Harvard Law School retired a crest linked to an 18th-century slaveholder following student protests and a review of its historical ties.
While Harvard has not disclosed the full terms of the settlement, the decision to relinquish the images is seen as a significant development in the ongoing dialogue about historical accountability, reparative justice, and institutional responsibility.
Keep ReadingShow less
Taylor Swift celebrates full control over the music that launched her career
After years of fighting for control over her early music, Taylor Swift has bought back the master recordings of her first six albums. The deal marks the end of a bitter chapter in her career and gives her full ownership of every song she’s released since her teenage debut.
It all started in 2019 when Swift’s old label, Big Machine, sold her original recordings to music executive Scooter Braun. At the time, Swift called it her “worst-case scenario,” saying she wasn’t even given the chance to buy them herself. Instead, she was offered a deal where she’d “earn” back one old album for every new one she made. She declined. Braun later sold the masters to Shamrock Capital for around £222 million (₹1,848 crore), and Swift decided to take matters into her own hands.
Over the last few years, Swift has been rerecording her old albums and releasing them as Taylor’s Version, including Fearless, Red, Speak Now, and *1989*. These new versions allowed her to regain control and reduce the value of the originals owned by others.
Now, Swift has confirmed that she has officially bought her masters along with the rights to music videos, album artwork, concert films, and even unreleased songs from Shamrock. The price hasn’t been disclosed, but reports suggesting up to £800 million (₹6,656 crore) were exaggerated.
This move brings an end to a nearly two-decade-long struggle. She called it a dream she thought would never come true. In a note to fans, she thanked them for supporting her through it all and helping her get back what she lost.
Taylor’s Eras Tour spotlighted her catalogue as she reclaimed her legacyGetty Images
Of the original six albums, only Reputation and her self-titled debut are yet to be rereleased. Swift admitted she hasn’t finished rerecording Reputation, describing it as deeply tied to a difficult period in her life. Still, she hinted that both albums might see the light again, not out of necessity anymore, but as a celebration.
Swift’s Eras Tour, her biggest to date, presented her entire catalogue and has made over £1.6 billion (₹13,312 crore) globally. Along the way, she’s inspired newer artists to demand better deals, ones that let them own their own music from the start.
Justin Bieber faces backlash for ‘I love you’ comment on 17-year-old star Ariana Greenblatt’s post