India superstar Virat Kohli told on Saturday (30) how he goes to isolated places like the mountains in Bhutan to escape his cricket-crazed homeland.
Facing an even more intense social media spotlight since he married Bollywood actress Anushka Sharma in 2017, the Indian captain said the escapes were the only way the couple can preserve their "own space".
"Virushka", as the couple are known to Indian media, went to Bhutan for Kohli's 31st birthday in early November.
"We loved going to treks and interacting with people. On a daily basis you don't get to interact with people," Kohli said.
"There we would go on bike rides and in between meet some local people and talk to them. It was beautiful, it was like getting back to being human beings before we became famous."
Kohli, now one of the biggest earners in sport, said there has been a "drastic change" over the past four years as his fame has grown along with the importance of social media.
He said that before, "people would respect our space," without the couple being snapped for a picture wherever they go.
"From 2015 onwards my career grew and social media was also growing simultaneously. It gets difficult understanding this transition that's why we like being in our own space all the time."
Kohli also said his wife was a "soft target" for criticism because of his position.
"Some of the things that come out are really funny. Without actually checking with anyone people come to conclusions. The lies are spoken so much they start becoming truth," said Kohli.
"People in this day and age don't bother finding out the truth when someone's a soft target like her. We don't get hurt by it but we need to explain to people what the truth is."
I recently joined the incredible team at the Asian Sports Foundation. It is an honour to work alongside passionate individuals such as Shazia Ali, Harleen Kaur and Angus Martin. Since it was founded by Jug Johal, the Asian Sports Foundation has worked to transform inactivity into active living, promoting better wellbeing and greater representation of Asian communities in sport and physical activity.
This is a cause close to my heart. The undeniable power of sport and movement to improve both physical and mental health cannot be overstated. It is a message I have consistently championed, alongside a commitment to equity and inclusion, which is why I am so excited to contribute to a charity that truly embodies this ethos.
In recent weeks, my conversations with Parkinson’s UK and various Asian community groups about boosting wellbeing through activity have shed light on a critical issue: Parkinson’s is on the rise, yet awareness and support remain limited, especially within South Asian communities. The stories I have heard have been deeply moving and point to a pressing need for change.
One person told me about their family’s experience. “We didn’t know much about Parkinson’s at the time,”
They said – a sentiment echoed by many. There is little information about the condition within the community, and it is often shrouded in stigma. In some circles, it is even viewed as a ‘curse’. The diagnosis came as a devastating blow. “We were shocked. All our dreams and plans to see the world came crashing down.” Their honesty reflects the profound emotional impact and isolation many families face.
For those unfamiliar, Parkinson’s is a complex, progressive brain condition. It is the fastest-growing neurological condition in the world, affecting around 153,000 people in the UK. With over 40 symptoms – ranging from tremors and pain to anxiety – and no known cure, the challenges are immense. But staying active and connected can make a real difference.
Parkinson’s is a complex, progressive brain conditionInstagram/ itsmitamistry
This is where organisations like Parkinson’s UK are so vital. They support people at every stage of the Parkinson’s journey, and their efforts to raise awareness in marginalised and ethnic communities are commendable. Their work builds on a strong foundation, which includes local events, essential support services and a pioneering Race Equality in Research programme, aimed at improving understanding and treatment across all communities.
My aim – and a key focus for the Asian Sports Foundation – is to amplify these efforts through inclusive, impactful programmes. We want to act as a bridge, connecting communities with the support and information they need. If you or someone you know is
experiencing symptoms, please know that you are not alone. The journey can be overwhelming, but there are people who care and resources that can help.
I would genuinely love to hear from you. Share your experiences, tell me how we can help, and if you are part of a grassroots community group, let us work together to break the silence and build a more informed, supportive environment for all.
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Bollyday has rewritten the rulebook on clubbing – and frankly, it feels long overdue.
Whoever said you need moonlight to find magic clearly has not stepped onto the spectacular, LED-lit dance floor at this daytime Bollywood bonanza.
From the moment the doors opened at Popworld in London, Bollyday fizzed with the kind of unfiltered joy usually reserved for weddings or late-night parties – except here, you still get home in time for a proper night’s sleep (and Sunday roast prep).
The 4pm to 9pm window is sheer genius. No frantic dash for the last tube, no overpriced taxis, and no bleary-eyed ‘never again’ mantra the next morning.
Parents can drop in after football practice, dog owners can pop out without fretting about late-night walks, and early-rising professionals can toast the weekend without sacrificing their productivity.
Daytime parties are not new – but Bollyday bottles the concept, shakes it with Bollywood sparkle, and serves it ice cold.
If British Asian DJ royalty had a throne, Shai Guy would be polishing the crown. His reputation precedes him – yet he still managed to overdeliver.
He slid through an eclectic mix of 70s and 80s disco-era anthems, noughties earworms and today’s stadium-shaking hits.
Just when you thought you had the set figured out, he dropped slick western house cuts and Afrobeat flourishes that sent hands skyward.
Bollyday
The dance floor never emptied – not once. Even the self-confessed two-left-feet brigade found themselves belting out choruses they did not know they knew.
Cross-generational Bollywood adventurers shared the space in perfect, sweat-soaked harmony.
It is rare to see Gen Z TikTokers trading moves with aunties reliving their early 90s bhangra gig glory – but Bollyday makes that collision feel entirely natural.
Non-Asian guests turned up out of curiosity and left draped in imaginary chiffon, convinced they had stumbled onto the set of a Karan Johar epic.
Set in the heart of London, the venue is as convenient as it is atmospheric.
The retro-futuristic dance floor glowed underfoot – think Saturday Night Fever meets Dil Dhadakne Do.
Scenic photo ops were practically compulsory; birthday crews made full use, balloons in tow.
British Asian nights out have come a long way since the daytime bhangra circuits of the 80s and 90s.
Bollyday is the next leap: an inclusive, wellness-friendly, rhythm-heavy celebration that proves you do not need darkness to turn up the heat.
With the mental health benefits of dancing well documented, this matinee rave feels as good for the soul as it does for the step count.
Bollyday
Uniqueness, practicality, cross-generational appeal and a stellar soundtrack make Bollyday an instant classic – expect copycats soon.
But for now, mark your diaries: the next Bollyday returns to London on Saturday, 6th September, with plans to go nationwide shortly afterwards.
Tickets will evaporate faster than a filmi teardrop.
For its trailblazing timetable, sublime venue and Shai Guy’s pitch-perfect DJing, Bollyday earns a full, unreserved five stars.
Go once and you will wonder why we ever surrendered our sleep to nightlife in the first place.
This week sees the release of Aamir Khan’s new film Sitare Zameen Par. Marketed as a ‘spiritual sequel’ to the multi-award-winning 2007 drama Taare Zameen Par, the film is in fact a remake of the 2018 Spanish movie Campeones — and it appears to be packed with copied moments from start to finish.
Social media users have already forensically compared the trailer with the original and pointed out identical scenes, alerting Hindi cinema fans to the 2023 American remake (Champions) and a 2022 German version (Weil wir Champions sind).
Unlike the many Bollywood productions that shamelessly steal storylines without credit, Sitare Zameen Par is an official adaptation. But it is arriving in an era where the remake formula no longer works — and now feels like a desperate, lazy shortcut.
Judging by the performance of most remakes in the past decade, the model is no longer viable. In today’s digital age, recycling someone else’s work is not just commercially risky — it is cultural suicide.
Aamir Khan
In the so-called golden age — or more accurately, the morally grey era — of Hindi cinema, producers routinely lifted entire plots from international films or South Indian blockbusters.
Streaming platforms did not exist, YouTube had not yet archived global cinema, and social media had not empowered legions of film detectives gleefully exposing plagiarism frame by frame. Bollywood operated in a vacuum — and in that silence, rip-offs flourished.
Aamir Khan, ironically now on the receiving end of backlash after the ill-fated Forrest Gump remake Laal Singh Chaddha, was once a master of the borrowed blockbuster.
Akele Hum Akele Tum was essentially Kramer vs. Kramer with playback singing. Mann was a musical version of An Affair to Remember. Ghulam borrowed heavily from On the Waterfront. Dil Hai Ke Manta Nahin was a near-copy of It Happened One Night, and Raja Hindustani drew inspiration from Jab Jab Phool Khile.
Even Ghajini was a remake of a Tamil film, which had itself stolen the core idea from Memento. These films succeeded because most of the audience had never seen the originals.
They were cinematic secrets whispered among cinephiles, not dissected in Instagram reels or exposed in viral X threads.
Back then, it was so easy to plagiarise without consequence that legendary screenwriting duo Salim–Javed regularly lifted scenes and story ideas from global cinema for their 1970s blockbusters.
In the following decade, Javed Akhtar reportedly pitched the story of Main Azaad Hoon (1989) to producers as an original concept — they only discovered after production began that it was lifted from the Hollywood classic Meet John Doe.
While occasional remakes like Kabir Singh and Drishyam have succeeded, most Hindi remakes in recent years have crashed and burned — especially in the age of social media, streamers, and video sharing sites.
The painful list of failures from just the last five years includes Bachchhan Paandey, Jersey, HIT: The First Case, Vikram Vedha, Thank God, Mili, Shehzada, Selfiee, Bholaa, Sarfira, Baby John and Deva.
These films have become redundant because the originals are often available online — and even if you are unaware of the source, someone in the comments section will be happy to point it out.
Hrithik Roshan
Now with Sitare Zameen Par, the cycle repeats. The original Taare Zameen Par worked because it was original and honest.
It was not borrowed from overseas or adapted from the South — it emerged from a sincere concern for children with dyslexia, a subject Bollywood had never explored before.
Trying to recreate that emotional impact through a tired remake formula risks tarnishing the very legacy Aamir Khan helped create.
This is not just another film — it is his third-layer adaptation of a story that has already been remade multiple times in other languages.
But this is not only about Aamir. The industry as a whole must confront the fact that today’s audience is smarter, more connected, and far less forgiving.
In what is arguably the worst creative slump in Hindi cinema history, original storytelling is no longer a luxury — it is a necessity.
Instead of spending crores (over £100,000 or ₹1 crore) on designer costumes, scenic locations and remake rights, Bollywood should be investing in screenwriters.
Remember them? The underpaid, under-credited creatives with actual ideas? They are the ones capable of pulling this industry out of its current rut.
There is a generation of hungry young filmmakers and writers eager to tell new stories. But their scripts are gathering dust while remake kings chase the faded echoes of past glory.
It is time to retire the remake — or at least cut them back drastically.
Audiences deserve better. Bollywood deserves better. Hindi cinema cannot keep indulging the egos of creatives who, frankly, have run out of creativity.
That includes even the so-called perfectionists like Aamir Khan, whose own last home production Laapataa Ladies was not spared plagiarism accusations.
A struggling industry cannot build a future by xeroxing the past. It is time to stop photocopying and start creating.
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Its appeal lies in its unpredictability, emotional expressiveness, and the thrill of collecting
A mischievous elf-like toy called Labubu has gone from niche collectable to global cultural phenomenon. Created by Hong Kong-born artist Kasing Lung and popularised by Chinese toy giant Pop Mart, Labubu has captured the imaginations of collectors from Beijing to London and beyond, with celebrity endorsements and long queues at retail stores fuelling its rapid rise.
The birth of Labubu
Labubu originated as a character in The Monsters, a picture book series by Lung. With its signature wide eyes, pointed ears and toothy grin, the figure was designed to be kind-hearted yet chaotic, charming in a deliberately imperfect way. The name “Labubu” itself doesn’t mean anything; it was invented for the character.
The toy first gained traction when Pop Mart acquired licensing rights in 2019. Pop Mart, founded by Wang Ning in 2010, had already found success with blind-box toys—sealed packages that keep the buyer unaware of which toy they’ve purchased until they open it. This model, combined with Labubu’s offbeat appeal, became a winning formula.
Global popularity and celebrity power
Although Labubu gained popularity in China early on, its international breakthrough came post-pandemic. Fans describe the toy as an “anti-cute” character that resonates with those tired of perfect aesthetics. Its appeal lies in its unpredictability, emotional expressiveness, and the thrill of collecting.
The Labubu frenzy went global in 2024, particularly after Thai K-pop star Lisa from BLACKPINK posted about the dolls. Soon after, global celebrities including Rihanna, Dua Lipa, Kim Kardashian, and David Beckham were seen with Labubu toys, turning the quirky character into a fashion accessory and internet talking point. Rihanna, for instance, was photographed with a Labubu clipped to her designer handbag, while Kardashian showed off her full collection online.
Booming sales and global reach
The celebrity exposure helped drive international demand. Pop Mart now operates over 2,000 vending machines—nicknamed "roboshops"—as well as more than 130 stores in over 30 countries. By the end of 2024, nearly 40% of its total revenue came from outside mainland China.
Sales have soared, and Pop Mart’s market value now surpasses that of Western toy giants like Mattel and Hasbro. In early 2025, the company reported a rise of nearly 500% in international revenue compared to the previous year.
The role of scarcity and surprise
A key part of Labubu’s success is its blind-box marketing strategy. Collectors never know exactly what version they’re getting; some are common, while rare “chaser” variants are far harder to find. This element of chance keeps consumers coming back for more. Some fans have even learned to weigh or shake boxes in hopes of guessing the contents.
Collector Desmond Tan, for example, says he often purchases multiple boxes in a single visit. He finds particular joy in identifying rare editions through feel alone, a practice now widespread among collectors.
Labubu dolls come in dozens of themed series, including “Exciting Macaron” and “Fall in Wild.” Limited editions and seasonal drops often sell out within minutes, both online and in-store. Prices range from £14 to £40 at retail, but rare items command much higher prices on resale markets.
Cultural soft power
The Chinese government has celebrated Labubu’s international popularity as a form of soft power. State media outlets like Xinhua have described the toy as an example of "Cool China"—a creative cultural product that resonates globally. This aligns with a wider push to promote Chinese intellectual property abroad, alongside video games and animated films.
Despite the success, the popularity has led to concerns over counterfeit products. Chinese customs officials recently confiscated over 70,000 fake Labubu toys, a sign of just how widespread the demand has become.
More than a toy
For many fans, Labubu represents more than just a collectable. It is an escape, a conversation piece, and in some cases, a personal symbol. Its curious charm, global reach, and viral appeal show how a character with no clear backstory can still capture hearts across continents.
What began as a quirky elf in a Hong Kong picture book has now become a cultural icon, equal parts weird, adorable and unstoppable.
A massive new cybersecurity report has revealed what experts are calling the largest data breach in history, involving over 16 billion login credentials. The records, uncovered by researchers at Cybernews, appear to come from a variety of sources and have raised alarm bells across the tech and cybersecurity industries.
Unprecedented scale of exposure
The data is spread across 30 different datasets, with individual troves containing between tens of millions and more than 3.5 billion credentials each. In total, the exposed records add up to 16 billion, a staggering number that equates to more than two credentials for every person on Earth.
Most of these credentials appear to have been collected through infostealer malware and other illicit methods. These tools typically capture usernames, passwords, tokens, cookies, and other metadata from compromised systems, packaging the data in a uniform structure, typically a URL followed by login details and passwords.
Not old data, but fresh and dangerous
What makes this breach especially concerning is the recency of the data. Researchers confirm that the datasets are not simply recycled from old breaches, but largely consist of new logs collected in recent months. Many include access credentials to services such as Apple, Facebook, Google, GitHub, Zoom, and Telegram.
Although some of the login pages referenced in the data are from popular global platforms, cybersecurity researcher Bob Diachenko clarified there was no centralised data breach at these tech giants. Instead, credentials linked to their login portals were likely captured via infostealers installed on individual users’ devices.
Multiple datasets, unclear ownership
The 30 datasets uncovered differ significantly in size and origin. The largest, containing over 3.5 billion records, is suspected to be linked to Portuguese-speaking regions. Other datasets hint at Russian sources or specific platforms like Telegram. Many have generic names such as “logins” or “credentials”, providing little insight into their exact source.
Despite the vast quantity of data, the researchers have been unable to identify a single entity behind the breach. It remains unclear whether the datasets were compiled by security researchers monitoring for leaks or by cybercriminal groups aggregating stolen information for exploitation.
While the datasets were only briefly exposed — typically via unsecured Elasticsearch or cloud storage instances — this short window was enough for experts to confirm their contents and raise concerns.
A blueprint for cybercrime
Experts warn that this is not merely a leak, but “a blueprint for mass exploitation.” The exposed credentials, which include sensitive data such as tokens and cookies, could be used for a range of attacks: from account takeovers and identity theft to ransomware campaigns and targeted phishing.
This kind of large-scale credential exposure is particularly dangerous for organisations lacking robust cybersecurity measures, including multi-factor authentication (MFA). Without these defences, hackers could easily use stolen credentials to breach systems and escalate attacks internally.
How users and organisations can respond
With the source of the leak uncertain and the extent of the damage unclear, there are few direct actions individuals can take. However, cybersecurity experts strongly recommend several key practices:
Use a password manager to generate and store strong, unique passwords for each service.
Regularly review accounts for unauthorised activity.
Run regular malware scans to detect and remove infostealers.
Diachenko, who contributed to the Cybernews report, stressed that while the breach doesn’t indicate failures at platforms like Facebook or Google, it still poses a widespread risk. “Credentials we’ve seen in infostealer logs contained login URLs to Apple, Facebook, and Google login pages,” he noted.
This implies that while the platforms themselves may be secure, any user who has been compromised by infostealer malware could unknowingly provide cybercriminals access to those services.
A reminder of growing data breach risks
This record-setting exposure is just the latest in a growing trend of large-scale data breaches. The fact that datasets of this size continue to emerge, often unnoticed for months, highlights the evolving nature of cybersecurity threats.
As digital services become more embedded in daily life, the potential fallout from data breaches expands. This incident serves as a stark reminder of the need for vigilant data hygiene, both for individual users and the organisations that serve them.