INDIA's top court on Wednesday (23) set aside an appeals tribunal order that allowed settlement of a payment dispute between the Indian cricket body and education technology company Byju's, handing a win to its US lenders who had opposed the settlement and a halt to insolvency proceedings.
Byju's was undergoing insolvency proceedings following a complaint by India's cricket control body which said it was not paid sponsorship dues. The two sides subsequently settled the dispute and the appeals tribunal halted the insolvency process.
However, in a ruling delivered on Wednesday, the Supreme Court of India said that the National Company Law Appellate Tribunal's earlier ruling allowing the settlement was incorrect as the company's founders could not have directly approached the appeals tribunal for settlement after the start of insolvency proceedings.
The settlement application, the court said, should have been filed through the company's insolvency administrator and before the National Company Law Tribunal (NCLT).
A spokesperson for Byju's declined to comment on the latest ruling.
Glas Trust - which represents US lenders who are claiming $1 billion (£820 million) in dues from a loan to Byju's - did not immediately respond to a request for comment.
Glas Trust had appealed the original settlement. It accuses the founders of Byju's of misusing the loan, something previously denied by Byju Raveendran.
The start-up was valued at $22bn (£18.04 bn) in 2022 before suffering setbacks including boardroom exits, an auditor resignation, and a public spat with foreign investors over alleged mismanagement. The company has denied any wrongdoing.
Raveendran spoke with the media last week for the first time since the insolvency case began and expressed hopes of staging a comeback.
"Whatever is coming, I will find a way out," he said.
Wednesday's order also asked for the settlement amount paid by Raveendran's sibling and co-founder Riju to be deposited with the lenders panel overseeing the insolvency process against the company.
DIRE humanitarian conditions in Myanmar and Bangladesh are driving more Rohingya to risk dangerous boat journeys to safety, such as one this month that ended in a sinking and estimates of 427 deaths, the UN refugee agency said last Friday (23).
The minority community’s plight might have been worsened by aid funding cuts, the agency added.
The humanitarian sector has been hit by funding reductions from major donors, led by the US under president Donald Trump, and other Western countries as they prioritise defence spending prompted by growing fears over Russia and China.
Two boats carrying some 514 Rohingya sank on May 9 and 10, carrying refugees who were thought to have left from refugee camps in Cox’s Bazar, Bangladesh, and Rakhine State in Myanmar. Only 87 survivors were found, UNHCR said.
The possible deaths of 427 people would make it the deadliest tragedy at sea involving Rohingya refugees so far this year, according to the agency.
That people chose to board boats during the annual monsoon season, which brings dangers such as strong winds and rough seas, reflected their desperation, the agency added.
“The dire humanitarian situation, exacerbated by funding cuts, is having a devastating impact on the lives of Rohingya, with more and more resorting to dangerous journeys to seek safety, protection and a dignified life for themselves and their families,” said Hai Kyung Jun, director of UNHCR’s Regional Bureau for Asia and the Pacific.
“The latest tragedy is a chilling reminder that access to meaningful protection, especially in countries of first asylum, as well as responsibility sharing and collective efforts along sea routes, are essential to saving lives,” Kyung Jun added.
The agency urged more financial support for Rohingya refugees in host countries including Bangladesh, and those displaced inside Myanmar. Its request for $383.1 million (£282.8m) for support in 2025 is currently only 30 per cent funded, it said.
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Staz Nair (pictured centre, with Shailesh Solanki, left, and Kalpesh Solanki) receives the Trailblazer Award at the ACTA 2025 ceremony.
VETERAN Asians in the arts and creative industries have urged the next generation of aspiring artists to stick with their passion and not give up in challenging times as “we need storytelling to survive”.
Meera Syal
Waris Hussein and Meera Syal were among the top winners at the annual Eastern Eye Arts, Culture and Theatre Awards (ACTA) in London last Friday (23), when south Asian achievers in the sector were recognised.
Waris Hussein
Hussein, who directed the first seven episodes of the BBC’s Dr Who in 1963, establishing the successful series, won the ACTA for outstanding contribution to the creative industry.
Actress Varada Sethu with their ACTAs
He told the audience at the May Fair Hotel, “Please, don’t give up... I persisted, and this is where I am.”
Waris Hussein (pictured centre with Jean Louis Nancy, left, and Nitin Ganatra)
Syal, who scooped the best theatre actress ACTA for her performance in A Tupperware of Ashes, said those who wish to enter the arts should keep going. The actress, writer and comedian also reiterated her call for more support in the arts and sought to reassure concerns among minority communities about the rhetoric around ditching diversity and inclusion targets.
Cauvery Madhavan for The Inheritance
Syal said, “It’s really easy to get worried, but everything is cyclical.
AA Dhand. The award was collected on Dhand’s behalf by Paul Trijbits , executive director of Virdee, and Kulvinder Ghir
“You have to be optimistic as an artist. Everyone in this room that has gone into the arts does it because they love it, and there’s nothing else they want to do. It’s risky and every Asian parent goes, ‘no, no, no,’ but you still do it.
Aakash Odedra and Rani Khanam for Songs of the Bulbul. MN Nandakumara, Sona Datta and Aakash Odedra
“And the reason is because we are ultimately optimistic. We believe in the power of storytelling, and we need storytelling to survive.
Neil Basu for Turmoil: 30 Years of Policing Politics and Prejudice. Kaly Kaul, Neil Basu and Swati Dhingra
“What so many other people have said is, without the stories we are seen as different. When you share your story, it’s a political act. It’s an act of rebellion. It’s an act of unity.
Professor Nandini Das, for Courting India: England, Mughal India and the Origins of Empire. Professor Nandini Das, Nimisha Madhvani and Anuja Dhir
“At the same time, you’re asking people to step in your shoes, and when they do that, they can’t other you because they’ve been in your shoes. So, storytelling is vital for our survival.”
Niraj Chag (pictured left with Raj Ghatak)
She added, “It’s survival, and you survive by banding with your tribe and supporting each other.”
Varada Sethu (pictured right with Vikash Bhai)
Syal’s contemporaries as well as the next generation of actors and directors were in the audience, among them her daughter Milli Bhatia.
Shanay Jhaveri for The Imaginary Institution of India: Art 1975-1998 at the Barbican. The award was collected on behalf of Shanay Jhaveri by the Barbican’s Ali Mirza
Hussein, who received a standing ovation as the award was presented to him, recalled the challenges of his generation from the 1960s. “It sounds very difficult… (for) the younger generation,” Hussein said.
Bradford 2025 and the Bradford Literature Festival.Julia Randell-Khan from the Bradford Literature Festival and Dan Bates from Bradford, UK City of Culture
“You’ve got to face the realities. Thank god, today we can all make a statement.
Mikhail Sen (pictured right with Ayesha Dharker)
“Way back in the 1960s, we had a problem. We had a man called Enoch Powell... and we had to try and make something of ourselves.”
Amit Roy
Hussein recalled how he entered the industry after completing his education in England. He said, “I’m very grateful to the BBC. They gave me my first break (to direct Dr Who), and I’m very loyal to it.
Nihal Arthanayake
“I don’t know whether I was the first ever to be a kind of experiment or something or other, but at least it proved to be something that worked out. Do not give up being an experiment. Do follow in the footsteps of whoever we are and some of us today,we persisted and succeeded.”
Adam Karim for Guards At The Taj. Adam Karim with Farzana Baduel
Since their launch in 2016, the annual Eastern Eye ACTAs have recognised talent among south Asians in the artistic and creative sectors.
Reeta Chakrabarti (pictured with Lord Rumi Verjee, right)
More than 20 winners were honoured at the event last Friday, from music to literature and community engagement.
Ram Murali for Death in the Air. Vaseem Khan, Ram Murali and Neil Basu
Among those who won was the writer AA Dhand, whose crime fiction book based in Bradford was adapted by the BBC as a short series, Virdee. Its lead actor, Staz Nair, also won an award.
Professor Partha Mitter.Sundaram Tagore, Prof Partha Mitter and Rithika Siddhartha
Dr Who actress Varada Sethu was named best actress in the film, TV and drama category, while Rishi Nair won best actor in the same category for his role in the detective drama Grantchester.
Nair said he has noticed a change for the better in the past decade. “When I first started auditioning for any role, you walked into a room and there were 10 white guys and I was a token brown guy.
Susan Stronge (pictured right, with Richard Blurton)
“Now you go into an audition room, and there are people that look like me. We have an opportunity to portray these characters.
Soumik Datta (pictured right, with Sangita Myska)
“I never wanted to be the token doctor or terrorist. I wanted to be an actor, and I wanted to be a lead actor, but I never saw people who look like me.
Rishi Nair (pictured centre, with Samir Ahmed, left, and Rishma Dhaliwal)
“Now we are seeing people who look like me on TV playing these lead roles. And so for the next generation, I hope it gives them an opportunity to actually pursue it and go for it now.”
Meera Syal (pictured right, with Saima Mohsin)
In her acceptance speech, Sethu recalled being cast as a series regular opposite Ncuti Gatwa, a black actor, as Dr Who.
She said, “I remember us being in that room, and looking at each other, and (thinking) this is special.... so special.
Saachi Sen (pictured left with Darren Henley)
“Every time you see brown faces take up space, take up narratives, it normalises it… our stories are just as important as every other person’s stories, and also are relatable.
“We’re less othered that way every single time that happens. So to be part of anything that is making progress in that sense means a lot. It means progress and the future.”
Overview of guests at the annual ACTA ceremony at the May Fair hotel in London
Professor Partha Mitter won the Editor’s special award. He is regarded as “the most important living historian of Indian art” and has spoken out about why Indian art should not be distorted or seen through a Eurocentric lens because it was every bit as good as western art.
Mitter described how Indian art was regarded as second class (in comparison to Western art) because European esthetic norms were (wrongly) applied to it.
“The problem was that you cannot use the aesthetic traditions of another culture to judge Indian art,” he told the audience.
One of the night’s big winners was Staz Nair, for his role as Virdee in the BBC drama based on Dhand’s City of Sinners.
Nair said, “If we are great, we stand on the shoulders of giants”.
Paying tribute to the author, he added, “Amit [Dhand] told me his kids, when they play make-believe, like many of us do, they would fight over who would play the Hulk or Spiderman. And now they fight over who’s going to be Harry Virdee. This is what it’s all really about, isn’t it, representation and reflection. Heroes that look like us, sound like us, step outside of the box and hopefully help our kids stand taller and proud.”
Other winners included Reeta Chakrabarti (best presenter), Neil Basu (non fiction), Cauvery Madhavan (fiction), Ram Murali (crime fiction), Niraj Chag (music), Nandini Das (history), Adam Karim (best director) and Saachi Sen (emerging artist). She also performed two of her songs on the night.
Eastern Eye editor-at-large Amit Roy said, “We are resolved to help secure the future of British Asian arts by looking not at the next couple of years or even the next 10 years, but the next 25 years.”
He added, “It may not be a bad idea for Asian parents to make the arts fun for their children from the earliest age.”
Nihal Arthanayake was the compere and the event was supported by the Arts Council England and May Fair Hotel.
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The exit was soon after his criticism about the legislative centrepiece of Trump’s agenda
Billionaire and Tesla CEO Elon Musk has announced his departure from Donald Trump’s administration after completing a turbulent efficiency drive, during which he served as a special government employee.
The initiative aimed to cut thousands of federal jobs and reduce the size of the US government.
Musk thanked US President Donald Trump for the opportunity to contribute to the Department of Government Efficiency—also known as DOGE—via social media platform X.
“As my scheduled time as a Special Government Employee comes to an end, I would like to thank President @realDonaldTrump for the opportunity to reduce wasteful spending,” Musk wrote on X. He added that the DOGE mission “will continue and eventually become a way of life with this government.”
His offboarding process from the White House began on Wednesday night.
Although Musk’s role was always intended to be temporary, his departure came shortly after he criticised a key part of Trump’s legislative agenda.
Musk expressed disappointment with the president’s budget bill, which includes multi-trillion-dollar tax cuts and a major increase in defence spending. He stated that “a bill can be either big or beautiful, but it cannot be both,” referring to Trump’s description of it as a “big, beautiful bill.” He warned that the bill could seriously undermine the DOGE mission.
He also called the president’s flagship tax legislation too expensive.
Tensions had also emerged between Musk and several Trump cabinet officials. Musk initially pledged to cut “at least $2 trillion” from the federal government budget, but later revised the target to $150 billion. He openly criticised White House trade adviser Peter Navarro, calling him a “moron” for rejecting his proposal for “zero tariffs” between the US and Europe.
As a result of the DOGE programme, around 260,000 out of the 2.3 million-strong federal civilian workforce have either been made redundant or accepted voluntary severance.
Musk’s exit was as low-key as his appointment, with no formal discussion with the president. However, he had been permitted to serve as a special federal employee for up to 130 days a year, and Trump had previously announced that Musk’s tenure would end in May.
The Tesla and SpaceX owner has now pledged to refocus on his business interests, which have struggled during his political stint.
Tesla experienced a 13 per cent drop in sales, and a 45 per cent fall in stock prices—later recovering to a 10 per cent dip. Investors are facing a difficult period, while activists have launched aggressive campaigns to boycott the company.
Musk has spent roughly $300 million supporting Trump’s presidential campaign and other Republican causes. However, he now says he plans to reduce his political spending, stating: “I think I have done enough.” Despite promising Trump’s advisers a $100 million contribution this year, the funds have yet to be delivered.
LORD Karan Bilimoria has been awarded an honorary fellowship by the Royal College of Physicians and Surgeons of Glasgow for his services to education and business.
The fellowship was presented during a ceremony last Wednesday (21) by college president Professor Hany Eteiba.
Bilimoria joined the college’s newest fellows and members at the event celebrating achievements in medicine, surgery, dentistry and podiatric medicine.
He said it felt like a dream come true and recalled seeing doctors with FRCS Glasgow qualifications while growing up in India.
Eteiba praised Bilimoria’s commitment to improving education and supporting students worldwide.
He said the college looked forward to collaborating with the peer to help provide high-quality and accessible education.
Path-breaking Pakistani film The Glassworker is the country’s first-ever hand-drawn animated feature and was selected as its official Oscar entry for 2025. The dubbed English version of debut director Usman Riaz’s contemplative Urdu-language original closed this year’s UK Asian Film Festival.
Clearly influenced by the works of Studio Ghibli and legendary Japanese animator Hayao Miyazaki, the lovingly crafted story is set in a fictional town and centres on Vincent, a gifted young glassblower who works for his pacifist father, and Alliz, the spirited violinist daughter of a fierce military officer. Their relationship blossoms just as the threat of war looms. What unfolds is a poignant tale of love, art, duty, patriotism and difficult choices during turbulent times.
The emotional sincerity and visual richness of the film are striking. It blends the romance of star-crossed lovers with a thoughtful exploration of human connection and an anti-war message. The warm, detailed animation – with its rich colours and fine textures – is beautifully accompanied by an evocative score. A standout moment features Alliz performing a solo violin piece, which is particularly moving.
While the film’s various elements come together with care, what prevents this meticulously crafted project from reaching masterpiece status is its uneven writing, which proves increasingly frustrating. The script’s flaws make parts of the narrative, especially the ending and a supernatural subplot, confusing and affect the pacing. As a result, some aspects feel underdeveloped.
Even so, this remains one of the most unique films ever produced in Pakistan. It is a testament to what can be achieved when creative vision and a desire to innovate are backed by hard work and conviction. As both director and composer, Usman Riaz has opened the door for a new generation of South Asian animators to dream bigger. With stronger writing, Pakistani animation could soon compete on the global stage.
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