The Chennai Central-New Jalpaiguri Express derailed near Jakhapura railway station in Odisha’s Jajpur yard on Thursday morning with no loss of life or injury reported following the derailment, East Coast Railway officials said.

Senior railway officials have rushed to the site and are closely monitoring restoration and safety-related activities, they further said.

“A minor derailment involving Train No. 22611 Chennai–New Jalpaiguri (MAS–NJP) Express occurred at 8.51 am on today morning while the train was passing through Jajpur Yard (JKPR). An AC coach and two General coaches derailed within yard limits. The train was moving at a very slow speed at the time of the incident”, the ECoR said in a statement.

There has been no loss of life or injury to passengers. Passenger train operations remain unaffected, it added.

The passengers are being suitably accommodated, and the affected coaches are being detached. To ensure passenger convenience, additional coaches will be attached to the train as required, they concluded.

The ICC has unveiled the broadcast plans for the Men’s T20 World Cup, featuring 20 teams and 55 matches, running from February 7 to March 8.

Co-hosted by India and Sri Lanka, the tournament will be accessible worldwide through TV, digital, audio, and emerging platforms.

Alongside the main tournament, official warm-up matches will be broadcast on select TV and digital platforms, allowing fans to get an early look at the teams before the opening game.

In India, JioStar will broadcast the tournament to fans via Star Sports on linear TV and through the JioHotstar digital platform.

All fixtures will be accessible in five languages—English, Hindi, Tamil, Telugu, and Kannada—on JioStar’s TV and digital coverage, with additional regional feeds in Bengali, Bhojpuri, and Haryanvi available on JioHotstar.

Coverage in Marathi and Indian Sign Language will also be provided for all team India matches, semi-finals, and the final on JioHotstar.

Building on the success of earlier ICC events, a vertical live feed will be offered in English and Hindi on JioHotstar, catering to mobile-first viewers.

In addition, on JioHotstar, viewers will also have the option to enjoy the games in 360 view and via the Multi-cam feature, which allows engagement with the live match from specific POVs/vantage points, including Hero, Stump, Battery, Field view, and Multi-View.

JioStar has partnered with PVR – Inox for nationwide screenings of multiple matches during the T20 World Cup.

Star Sports will also be accessible to viewers in Sri Lanka, Bangladesh, Nepal, Bhutan, and the Maldives through its distribution partners across the subcontinent.

For co-host Sri Lanka, Dialog TV will serve as the official broadcast partner, offering extensive coverage across the island. This includes live telecasts on linear TV, the ThePapare.com website, and the Dialog Play mobile app.

Additionally, Dialog TV will provide a Sinhala language feed for all matches on both their linear and digital platforms.

Coverage will be further expanded through Dialog TV’s free-to-air partner, TV Supreme, as well as Sri Lanka Telecom’s PEO TV platform.

Fans in the United Kingdom and Ireland can watch the action on Sky Sports Cricket and Sky Sports Main Event, with digital streaming through NOW. Sky Sports will also offer Hindi commentary for the semi-finals and the final.

Furthermore, since Italy is participating in their first ICC Men’s T20 World Cup, Sky Italia will broadcast all Italy matches, along with the semi-finals and the final, live on their platforms.

Proteas fans can catch all the live action through SuperSport’s extensive TV and digital services across sub-Saharan Africa.

In Australia, coverage will be on Prime Video, with an extra Hindi commentary feed accessible for all India matches, semi-finals, and the final.

Fans in New Zealand can watch the matches on SKY Sport, which will also provide Hindi commentary for all India games, including the semi-finals and the final.

In Pakistan, coverage will be provided by PTV and Myco, with support from digital partners Tamasha, ARY Zapp, and Tapmad. Additionally, the ICC will create an Urdu commentary feed for Pakistan matches, which will be broadcast on PTV Home and streamed by digital partners.

Willow TV will continue providing live coverage of ICC events in the United States and Canada. All 55 matches will be streamed in both English and Hindi, with free access to all USA matches for viewers in the US and Canada. These matches will also be available free of charge on Willow’s official YouTube channel.

Commentary in English and Hindi will be accessible via Willow DTC and CricBuzz DTC platforms, while other Willow platforms will carry only the English commentary. In partnership with popular social media personality Jomboy, Willow will offer fans an alternative commentary option for the USA vs. India and USA vs. Pakistan matches.

In the UAE and the larger MENA region, the tournament will be broadcast on CricLife Max, which is accessible via StarzPlay. Moreover, fans throughout the Middle East can watch StarzPlay’s coverage of the ICC Men’s T20 World Cup on the big screen, thanks to partnerships with VOX (UAE, KSA, Kuwait, Qatar, Bahrain, Oman), Reel (UAE), Roxy, Cinepolis, Star (UAE), Mukta (Bahrain), and Epix Cinema (Bahrain).

ESPN will broadcast all matches live in the Caribbean Islands, while the Disney+ app will stream the event across Latin America. Additionally, some matches will feature Portuguese commentary on ESPN’s linear TV platforms in Brazil.

Total Sports Management (Bangladesh) will broadcast the event via leading linear channels T Sports & Nagorik TV, as well as on the digital platform Rabbithole.

Additional broadcasters include PNG Digicel (Pacific Islands), Hub Sports 4 (Singapore), and Lemar TV (Afghanistan), which will also offer commentary in Pashto and Dari. In Nepal, Kantipur TV will air the tournament, with some matches produced locally in Nepali.

The Nepali commentary will also be accessible in certain regions through ICC.tv, expanding reach to Nepali-speaking viewers. In the Netherlands, NOS will live stream all matches involving the Netherlands, catering to cricket fans in the country.

For viewers in Malaysia and Hong Kong, matches can be watched on the CricBuzz channel through their partnerships with Astro Cricket and PCCW.

Additionally, the tournament will be available in-flight and at sea on Sport 24, allowing fans to stay up to date on the action while travelling.

All remaining territories will be streamed live and free via the ICC’s own platform, ICC.tv. Besides live match coverage, ICC.tv will offer commentary in multiple languages, including Japanese and Bahasa, with some matches also available live on the ICC’s official YouTube channel.

Besides live video, the ICC mobile app will also offer worldwide access to commentary in English. In the UK and Ireland, BBC will broadcast radio coverage, while in Australia, listeners can tune into ABC and SEN.

For Indian audiences, All India Radio will offer live audio commentary, and in Sri Lanka, Derana FM will provide live ball-by-ball commentary for all matches.

Actor Arjun Bijlani, one of the most recognisable faces on Indian television, has spoken candidly about the demanding working hours in the TV industry, describing them as “extremely difficult” and often underestimated.

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‘Television shoots are extremely demanding’

In an exclusive conversation with IANS, the actor reflected on how a standard 12-hour shift rarely remains limited to just those hours once preparation time, overtime, and travel are factored in.

Early call times and late pack-ups

Explaining the reality behind daily shoot schedules, Arjun pointed out that the day often starts much earlier than the official call time. For a 9 am shift, actors need to wake up by 7 am and leave for work by 8 am. Female actors, he added, are frequently called even earlier due to the time-intensive makeup process.

“Shooting usually goes on till 9 pm or even later,” Arjun shared, adding that removing makeup and costumes takes additional time. “After that, you still have to battle traffic while returning home, which makes the day even longer.”
‘The same routine repeats every day’

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The actor highlighted how the exhaustion compounds because the schedule remains unchanged the next day. With little time to rest or recover, the routine becomes mentally and physically draining over time.

Recalling earlier days in his career, Arjun said there were times when he ended up working 35 days in a 30-day month once extra hours were accounted for. “It used to be very, very difficult — mentally and physically,” he admitted.

Has the situation improved?

While acknowledging that the workload was harsher in the past, Arjun noted that things have improved slightly over the years. According to him, many producers now make an effort to wrap up shoots within the stipulated 12-hour window.

“Earlier, shoots would go on for 14, 15, even 18 hours. That has reduced now,” he said.

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Why 8-hour shifts aren’t practical

When asked whether television should move towards an 8-hour workday, Arjun explained why that isn’t technically feasible.

“If you’re doing a seven-day-a-week telecast, finishing work in eight hours is almost impossible,” he said, adding that shorter shifts would inevitably affect the quality of the final output. “If you want to deliver quality content, you have to put in those 12 hours.”

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India all-rounder Tilak Varma, who joined the national side after recovering from an injury recently, expressed gratitude to the BCCI and the Centre of Excellence (CoE) for helping him return to action sooner than expected.

Inspired by the aggressive batting around him, he said the atmosphere was electric and added that both he and the Indian team feel ready for the World Cup.

Tilak described the packed DY Patil Stadium and the crowd chanting his name as a big confidence boost, even in a warm-up match as India wrapped up their T20 World Cup preparations in style, defeating South Africa by 30 runs in a high-scoring warm-up match in Navi Mumbai on Wednesday.

“To be honest I did not expect but I will be back on the field this early. Really thankful for COE and BCCI. I always say that World Cup is my biggest dream to play. The way, I entered the ropes and, everyone was shouting ‘Tilak Tilak.’ So I didn’t expect that. I really felt nice and it also boost me when I was going in. The way Ishan was batting, I have seen him, the way Abhishek and everyone was batting, so I was also a bit like ‘Mai bhi maarunga jaake.’ I did not expect full crowd, the DY Patil was fully packed. It was just a warm up game but still the craze… Really thanks to everyone. The vibe was really terrific, and yeah- Tilak and the Indian team is ready for the World Cup,” Tilak said in a bcci.tv video.

Opting to bat first, the hosts put on a batting exhibition, led by Ishan Kishan’s explosive 53 off just 20 balls. Kishan and Abhishek Sharma gave India a flying start, racing to 80/1 inside six overs before both openers retired out to give others game time.

Tilak (45 off 19) and captain Suryakumar Yadav continued the onslaught with a rapid 66-run stand, while late cameos from Axar Patel, Rinku Singh, and a blistering 30 off 10 balls from Hardik Pandya powered India to an imposing 240/5.

In response, South Africa’s chase was rocked early when Arshdeep Singh dismissed George Linde for a duck. Aiden Markram and Ryan Rickelton briefly revived hopes with a 65-run partnership, but Markram retired out, and Dewald Brevis, Rickelton and David Miller’s wickets fell in quick succession, swinging momentum firmly back to India. Despite fighting contributions from Jason Smith, Tristan Stubbs, and Marco Jansen, South Africa fell short by 30 runs.

India now turn their focus to their World Cup opener against the USA on Saturday.

Union Home and Cooperation Minister Amit Shah on Thursday launched Bharat Taxi, India’s first cooperative-sector ride-hailing platform, at Vigyan Bhavan in New Delhi. The initiative is being positioned as a shift in India’s mobility landscape. Unlike commission-driven aggregator models, Bharat Taxi is built around cooperative ownership, with drivers placed at the centre of control, earnings and decision-making.

Speaking on the occasion, Shah said, “This launch of Sahkar Taxi is taking place in the presence of 800,000 Sarathi representatives and some cooperatives. Within three years, from Kashmir to Kanyakumari and from Dwarka to Kamakhya, across the entire country, this Sahkar Taxi is going to become a very significant means for the welfare of our taxi Sarathis.”

Ahead of the launch, Shah had described the development as significant for taxi drivers across the country. He said the platform would allow drivers to earn more while also becoming owners of the service, giving them dignity and long-term security.

On social media platform X, Shah highlighted the idea behind the project, saying cooperation allows people to come together, invest small amounts of capital and build something impactful. He cited Bharat Taxi as an example of that approach.

सहकारिता से बहुत सारे लोग मिलकर छोटी-छोटी पूँजी लगाकर कैसे बड़ी शुरुआत कर सकते हैं, ‘भारत टैक्सी’ इसका उदाहरण है।

आज का दिन टैक्सी चालक बहनों-भाइयों के लिए बहुत ही अहम है। उनके द्वारा शुरू की गई सहकारी क्षेत्र की पहली टैक्सी सर्विस ‘भारत टैक्सी’ का नई दिल्ली में शुभारंभ होगा।…

— Amit Shah (@AmitShah) February 5, 2026

What sets Bharat Taxi apart

According to the Ministry of Cooperation, Bharat Taxi has been conceptualised as a corrective to what it describes as exploitative aggregator-based systems. Drivers, called Sarathis, sit at the heart of the platform. They are not just service providers but part-owners, with a direct stake in how the service runs and earns.

Bharat Taxi is registered under the Multi-State Cooperative Societies Act, 2002, and was set up on June 6, 2025. It runs without commissions or surge pricing. Profits will go straight to the drivers. There are no exclusivity clauses, so Sarathis are free to work on other platforms if they wish.

The platform also puts strong emphasis on social security. Drivers are covered through health and accident insurance, retirement savings options and access to a dedicated support system for day-to-day assistance. Support centres are currently operational at seven locations in Delhi, offering emergency assistance, verified ride data and on-ground help.

To promote women’s participation, initiatives such as “Bike Didi” have been introduced. More than 150 women drivers have joined the platform so far.

Launch programme and expansion plans

During the launch programme, Shah honoured several top-performing Sarathis for their contribution to the cooperative mobility ecosystem and distributed share certificates, reinforcing the principle of “Sarathi Hi Malik”.

Each of the honoured drivers will be getting personal accident insurance and family health coverage of Rs 5 lakh each. On the occasion, nine Memoranda of Understanding were also exchanged with public and private stakeholders to strengthen digital integration, safety standards, operational efficiency and service delivery.

It was earlier reported that more than 1,200 Sarathis from across the country will attend the launch, reflecting the platform’s growing national reach.

According to official figures, about four lakh drivers and over 10 lakh users have registered on Bharat Taxi so far. Nearly Rs 10 crore has been distributed directly to drivers.

When ‘Melania’, the much-talked-about documentary on Donald Trump’s wife and current US first lady, finally hit UK cinemas, it arrived with drama, headlines, and plenty of political noise. What it did not arrive with was a box office bang.

Despite weeks of media buzz and controversy, the film quietly slipped into British theatres and quietly slipped out of public attention just as fast.

A loud build-up, a quiet opening

In its first weekend in the UK, ‘Melania’ opened at a modest No 29 on the box office chart. That’s not exactly the kind of number you frame on the wall.

The documentary, directed by Brett Ratner, made just £32,974 across 155 cinemas. That works out to an average of £212.80 per screen. In box office terms, that’s pocket change.

The low numbers raised eyebrows, especially since Amazon reportedly paid a massive $75 million to distribute and promote the film. Compared to that figure, the UK opening looks tiny. Still, industry insiders say it wasn’t the total disaster many expected.

Why journalists rushed in

Amazon chose not to show the film to critics before release. That move only added fuel to the curiosity. On Friday, reporters rushed to cinemas across the UK to see what the secrecy was about.

The result? Lots of notes. Not many regular viewers.

Better in the US, still not a hit

Across the Atlantic, the film did slightly better but still stumbled. In the US, ‘Melania’ made $2.9 million on its opening day from 1,778 cinemas. That beat early predictions but didn’t change the bigger picture.

The film was soon overtaken by an unexpected rival.

The real winner of the week wasn’t political or glamorous. It was scary.

‘Iron Lung’, an independently made horror film by YouTuber Mark Fischbach, crushed expectations. Made for just $3 million, the film has already earned $21 million worldwide.

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In the UK, ‘Iron Lung’ reached No 4 at the box office with £948,731. It even beat Jason Statham’s action film ‘Shelter’ by a small margin.

At the top of the UK box office was ‘Hamnet’, Chloé Zhao’s emotional, Oscar-nominated drama. It made £1.4 million last week, taking its total to a strong £14.8 million.

Compared to that, ‘Melania’ barely made a ripple.

The documentary focuses on the 20 days leading up to Donald Trump’s second inauguration in January 2025. Critics haven’t been kind. Reviews have been largely negative, with the film sitting at just 10 per cent on review platforms.

Hollywood is no stranger to reinvention, but Amazon is taking reinvention to the next level by handing the megaphone, script, and even the camera partially to artificial intelligence (AI).

Yes, you read that right. The streaming and studio giant is betting big on AI to reshape how movies and TV shows are made and insiders are buzzing with less excitement and more concern.

The AI Studio: Amazon’s secret lab

Behind the glossy Prime Video logo, a small, ambitious team called AI Studio is quietly trying to change filmmaking forever. Led by veteran executive Albert Cheng, the group is intentionally lean following Jeff Bezos’ famous “two pizza team” rule. This means the team is small enough to be fed with just two pizzas.

The AI Studio blends engineers, data scientists, and sprinkling of creative and business minds to create tools designed to speed up production, cut costs, streamline the creative process.

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Cheng calls it a “startup within a studio,” and the timing couldn’t be more interesting. Hollywood is grappling with skyrocketing production costs, making risky, big-budget projects harder to greenlight.

By using AI to handle some of the grunt work from pre-production planning to post-production tweaks Amazon hopes to produce more shows and films without inflating budgets.

Closed beta kicks off soon

Amazon plans to launch a closed beta of its AI tools in March inviting industry partners to test the technology in real-world production settings. The company expects to share results by May.

These tests will help the AI Studio figure out what actually works on a set, and how AI can complement human creativity rather than replace it.

The tools are designed to address what Cheng calls “the last mile” of production, the nitty-gritty details directors often wrestle with to maintain consistency and polish across shots.

Think battle scenes, massive crowd sequences, or even character continuity across multiple episodes. The studio’s first real-world example came with the second season of “House of David,” where director Jon Erwin used AI alongside live-action footage to create epic battle sequences expanding scale while keeping costs in check.

Humans are still in charge (until when though?)

While AI is at the center of the studio’s new strategy, Amazon is very clear. Humans will always lead the storytelling process. Writers, directors, actors, and designers will remain deeply involved at every stage. AI is being positioned as tool to enhance creativity, not replace it.

Cheng stresses, “We fundamentally believe that AI can accelerate, but it won’t replace, the innovation and the unique aspects that humans bring to create the work.”

This means AI might help with visual effects, script breakdowns, scene planning, or even subtle consistency fixes, but the core story, performances, and emotional beats will remain very human.

The AI Studio isn’t working in isolation. Amazon is collaborating with multiple AI providers and relying on Amazon Web Services (AWS) for cloud support. By integrating large language models and other AI tools into the workflow, the studio hopes to give creators a flexible toolkit for both pre- and post-production.

Cheng also emphasised intellectual property protection, ensuring AI-generated content doesn’t inadvertently get absorbed into other AI models, something studios are especially sensitive about in an era where content can be digitally copied or repurposed with ease.

Industry names are already on board: producers like Robert Stromberg (“Maleficent”), actors-turned-producers like Kunal Nayyar (“The Big Bang Theory”), and former Pixar/ILM animator Colin Brady are exploring how AI can be applied responsibly and creatively.

The studio is testing everything from virtual character modeling to scene composition, aiming for practical tools that directors and designers actually want to use.

The cost factor

Hollywood is expensive, and Amazon is feeling the pinch just like everyone else. “The cost of creating is so high that it really is hard to make more, and it really is hard to take great risk,” Cheng said.

AI, in this view, is a financial lifesaver. By fast-tracking certain tasks, the studio can produce more content, take on riskier stories, and experiment with ambitious projects that might have been financially impossible before.

But AI adoption hasn’t been painless. Amazon recently made headlines with its largest-ever layoffs; around 30,000 corporate jobs since last October, including cuts at Prime Video. The company partly cited AI-driven efficiencies as a reason.

Star power and AI anxiety

It’s not just execs who are watching AI closely. A-list actors including Emily Blunt have voiced concerns about AI’s growing presence in entertainment. The fear? AI versions of actors like digital replicas or AI-generated performances could someday reduce the demand for real humans.

Amazon, however, is emphasising a model where AI assists rather than substitutes. In practical terms, that means actors and writers continue to anchor the creative process. In the meantime AI helps with more tedious or technical aspects. But well, who knows?

The bigger picture

Amazon’s AI push is part of broader trend across Hollywood and Silicon Valley. Nearly every major tech and media company is experimenting with AI to improve workflows, cut costs, innovate creatively.

The next few months will be telling. The closed beta in March and results expected by May could set new benchmark for AI in Hollywood. If successful, Amazon could produce more ambitious shows and films faster (with equal number of layoffs, of course).

Six minors were arrested for allegedly gang-raping a minor girl after consuming adult content on mobile phones in Odisha’s Balangir district, Superintendent of Police (SP) Abhilash G said.

According to police, the incident occurred on December 27, 2025, but the family of the survivor filed a complaint after a video went viral on social media. The accused were produced before the Juvenile Justice Board, following their arrest.

“An incident occurred in the Turkela police station area of Balangir district. There has been an allegation that some minors gang raped a minor girl after watching adult content. After the video went viral, the police arrested six minors on the complaint of the minor’s family. However, according to the complaint, all the arrested minors are known to the victim. This incident occurred on December 27. The minor and her family remained silent out of shame, but the video went viral a few days ago. Afterwards, the affected minor and her parents filed a complaint with the police station,” SP Abhilash G told reporters.

He added, “The police, the child protection officer and the Child Welfare Committee investigated the matter. Their mobile phones have been seized by the police. The accused have been arrested and produced before the Juvenile Justice Board.”
Inspector General (IG) Sambalpur, Himanshu Lal, said that the accused were influenced by adult content on mobile phones and social media.

“Our police have investigated this incident properly. These minors were misguided and influenced just by the adult content on mobile and social media. This is the root of the crime. While this is a sensitive issue, it is important to keep everyone aware, and the police will also work in this direction,” Sambalpur IG said.
Further details on the investigation are awaited.

Delhiites began Thursday morning with air quality in the ‘poor’ category, even as the India Meteorological Department (IMD) predicted a clear sky along with shallow fog.

As per the Central Pollution Control Board (CPCB), the national Capital’s average Air Quality Index (AQI) stood at 279 at 6:00 am. The reading showed a noticeable improvement from Wednesday, when the city’s air quality was recorded in the ‘very poor’ range with an average AQI of 339.

Among the various monitoring locations, Lodhi Road, Narela and Dilshad Garden registered the best air quality levels on Thursday. These stations recorded AQI readings in the ‘moderate’ category. Data from 39 monitoring stations across Delhi showed that 18 stations remained in the ‘very poor’ range, while the rest reported ‘poor’ air quality.

Several parts of the city continued to experience ‘very poor’ pollution levels. Anand Vihar recorded an AQI of 332, Bawana stood at 306, and Ashok Vihar registered 320. Other areas with similarly high pollution levels included Dwarka Sector 8 (328), RK Puram (314), Rohini (322) and Patparganj (307), according to CPCB data.

At the same time, some pockets of the capital witnessed comparatively better air quality. Aya Nagar recorded an AQI of 214, while Chandni Chowk stood at 218. Sonia Vihar also showed improvement with an AQI of 299, though these readings still remained within the ‘poor’ category.

DTU also recorded ‘poor’ air quality with an AQI of 264. Other locations such as Mandir Marg (214), Najafgarh (258) and CRRI Mathura Road (226) reported similar pollution levels, remaining in the ‘poor’ range.

Narela, however, performed better than many other parts of Delhi, recording an AQI of 195 and entering the ‘moderate’ category, as per CPCB figures.

Under the AQI classification system, readings between 0 and 50 are considered ‘good’, 51 to 100 ‘satisfactory’, 101 to 200 ‘moderate’, 201 to 300 ‘poor’, 301 to 400 ‘very poor’ and 401 to 500 ‘severe’.

The CPCB had reported on Wednesday that the overall air quality in Delhi was in the ‘very poor’ range, with the city’s average AQI recorded at 339.

Looking ahead, the IMD has forecast partly cloudy skies along with shallow fog during morning hours over the next five days. No weather alert has been issued for Delhi during this period.

From February 8, moderate fog is expected to return. The weather department has not released any warning for the coming days. Temperatures are likely to remain largely stable, with maximum temperatures expected to stay between 22 degree Celsius and 24 degree Celsius, while minimum temperatures may range from 8 degree Celsius to 11 degree Celsius.

Meanwhile, the New Delhi Municipal Council (NDMC) announced on Wednesday that Kaka Nagar has become the first residential colony to adopt a fully mechanised and dust-free cleaning system. NDMC Chairman Keshav Chandra said the initiative is aimed at improving air quality and promoting sustainable sanitation practices in urban areas.

Across northern India, cold wave conditions and fog continued on Thursday, with the IMD issuing warnings of dense to very dense fog in several states during morning and night hours. The persistent fog has been accompanied by a sharp drop in temperatures, especially across the Indo-Gangetic plains, where minimum temperatures have fallen by 2 to 3 degrees Celsius below normal.

According to the IMD, dense fog is very likely at isolated places in Uttar Pradesh. Dense fog is also expected over Bihar, Himachal Pradesh, Uttarakhand and West Madhya Pradesh. In Uttarakhand, the IMD has flagged the possibility of ground frost at multiple locations, which may affect crops and also create difficulties for early morning commuters.

The IMD further stated that minimum temperatures across northwest India are unlikely to witness any major change in the next few days. However, Uttar Pradesh may see a gradual fall of 2 to 3 degrees Celsius. In central and eastern parts of the country, night temperatures are expected to decline over the next 48 to 72 hours before settling.

Under the influence of an active western disturbance, isolated to scattered rainfall and snowfall is likely over Jammu & Kashmir, Ladakh, Himachal Pradesh and Uttarakhand on February 5 and 6. The IMD has issued yellow alerts for these regions, advising caution due to slippery roads and reduced visibility in higher altitude areas.

The Delhi Police Special Cell has arrested Baljinder, an ambulance driver and his associate Rohit alias Kirat in connection with the incident of pro-Khalistan slogans found written at two locations in Delhi before January 26th.

The cell reported that the entire plan was hatched in Canada, and Sikhs for Justice founder Gurpatwant Singh Pannun had offered Rs 2 lakh to the two accused to carry it out. The mastermind of the plan was in direct contact with Pannun.

“A close associate of Sikhs for Justice founder Gurpatwant Singh Pannun had hired the two accused to carry out the act. The entire plan was hatched in Canada, and Pannun had offered Rs. 2 lakh for this task. The mastermind, a resident of Tilak Nagar, had gone to Canada a few days before January 26th and was in direct contact with Pannun,” the Delhi Police Special Cell said.

The Delhi Police Special Cell had registered an FIR against Sikhs for Justice (SFJ) terrorist Gurpatwant Singh Pannun on January 23rd for allegedly issuing threats to create unrest in the national capital ahead of Republic Day on January 26, officials said.
The case was registered under Sections 196 (promoting enmity), 197 (imputations prejudicial to national integration), 152 (acts endangering sovereignty, unity, and integrity of India), and 61 (criminal conspiracy) of the Bharatiya Nyay Sanhita (BNS).

According to police sources, Pannun had released a video on social media claiming that his “sleeper cells” had put up pro-Khalistan posters in Rohini and Dabri areas of the national capital.

However, upon verification, the Special Cell found no pro-Khalistani posters at the locations mentioned by Pannun.

Hold Onto Me Review: Summer in Cyprus has never looked so bittersweet. In the sun-soaked world of 11-year-old Iris, played for the first time by Maria Petrova, the warm, carefree days along the coast are suddenly interrupted by grief, confusion, and an unexpected reunion. Her grandfather has passed away, and her estranged father, Aris (Christos Passalis), is back in town for the funeral. But Iris isn’t willing to let him slip away again.

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This is the premise of ‘Hold Onto Me’ (Greek: ‘Κράτα Με’), the Greek-language film that just had its world premiere at the Sundance World Cinema Dramatic Competition and won the Audience Award. Directed by Cypriot filmmaker Myrsini Aristidou, the story blends tender childhood memories, family drama, touch of mischief, all framed against the island’s stunning coastal scenery.

The girl who won’t back down

Iris is not your typical 11-year-old. She’s tough, independent, street-smart. With her mother off on holiday with a new boyfriend and her older brother Fivos (Nicolas Metaxas) barely in the picture, Iris has had to learn how to navigate life on her own. Her closest companion is Danae (Jenny Sallo), a teen more interested in boys than babysitting, leaving Iris to explore the world (and her emotions) largely alone.

What makes Iris so compelling is her fearlessness and vulnerability in equal measure. Petrova’s performance is subtle yet commanding. It carries almost the entire weight of the film. She’s steely, mischievous, real. Whether she’s confronting her father or scheming with him, Iris feels like a real child navigating world of grown-up confusion.

Father and daughter, rewritten

Enter Aris, Iris’s estranged father. He’s not a picture-perfect dad by any means. He’s rough around the edges and more interested in selling his father’s belongings than reconnecting with the daughter he abandoned years ago. But as the story unfolds, so does his heart.

The dynamic between Iris and Aris is fascinating because it’s messy, awkward, completely believable. Their relationship doesn’t start with hugs or tearful confessions. Instead it begins with Iris convincing him to let her tag along despite his repeated attempts to shoo her away. She’s persistent, clever. Eventually, he starts to soften, first in small, cunning ways (using her charm to swindle strangers), then in truly touching moments that reveal the father he could have been all along.

Christos Passalis delivers a quietly mesmerising performance showing a man with layers of flaws and fragments of love (and of course, toxic parenting).

Mischief, crime, unexpected bonds

Iris and Aris reconnect in unusual ways. Their bonding includes petty crimes and small schemes, which is not your classic wholesome father-daughter journey. But it works, because it’s a film. Iris is no angel, nor is her father, and Aristidou doesn’t pretend otherwise. Their flawed humanity makes the story relatable. It’s a tale where forgiveness is earned slowly, love is complicated, childhood resilience shines through even in morally gray circumstances.

The storytelling is quite naturalistic. Early on, the audience might not even realise that Aris is Iris’s father. Their initial awkwardness combined with minimal exposition allows their chemistry to develop. Organically.

As film progresses, it introduces subtle thriller element that adds tension without breaking the emotional core. Risks and consequences of their actions are explored. It shows even in a seemingly idyllic summer, life is never without stakes. These sequences amplify the emotional payoff.

Should you watch this film?

You can call ‘Hold Onto Me’ a meditation on fractured families, childhood independence, and the small yet profound ways humans reconnect. Aristidou has a signature style. It is evident in her earlier shorts like ‘Semele’ (2015) and ‘Aria’ (2017). They also explore young girls navigating complex relationships with their fathers. Here she expands that vision into a full-length feature.

For a first feature, ‘Hold Onto Me’ is remarkably confident. It doesn’t rely on spectacle or melodrama. It’s quiet, intimate, and emotionally precise. Yes, the middle section loses a bit of pace. But the storytelling and performances recover quickly.

Aristidou’s Cyprus is both familiar and fresh. Her characters flawed but lovable. Her narrative is tender but not sentimental.

Yes, life is messy, love is complicated. Sometimes the smallest acts like holding onto someone, not letting go, make the biggest difference. That’s the moral of the story. That’s it!

The makers of Mirzapur: The Movie have officially announced that the much-awaited film adaptation of the popular crime drama will release in theatres on September 4. The announcement was made on Thursday via Excel Entertainment’s official Instagram handle, giving fans their first clear look at the film’s cinematic scale.

 

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A poster that sets the tone

The newly unveiled poster immediately signals the franchise’s trademark violence and power struggles. Set against a sprawling golden desert, it features a convoy of rugged SUVs racing through the dunes, kicking up thick clouds of dust. A dark trail resembling blood cuts through the frame, underscoring the brutality the series is known for.

The title MIRZAPUR appears in bold, cracked red lettering, with THE MOVIE positioned beneath it. The release date, September 4, 2026 is prominently highlighted.

The caption accompanying the post read, “Ab dekhiye bhaukaal bade parde par,” inviting audiences to experience the world of Mirzapur on the big screen.

Also Read: Siddhant Chaturvedi opens up about his UP roots, language struggles and finding his voice

From web series to film adaptation

Set in the Purvanchal region of Uttar Pradesh, Mirzapur centres on Akhandanand “Kaleen” Tripathi, a powerful crime lord whose grip over the district fuels an unending cycle of violence, ambition and betrayal.

The series has remained one of India’s most popular crime dramas since its debut.

Returning faces and new additions

The film brings back key cast members including Pankaj Tripathi, Ali Fazal, Shweta Tripathi, Rasika Dugal and Divyenndu, while also introducing new faces such as Jitendra Kumar, Sonal Chouhan and Ravi Kishan.

The earlier seasons featured an ensemble cast that included Divyendu Sharma, Vikrant Massey, Kulbhushan Kharbanda and others, with subsequent seasons adding actors like Vijay Varma and Isha Talwar.

Also Read: Shriya Pilgaonkar returns back from the dead as Sweety in ‘Mirzapur: The Film’

Shoot wrapped earlier this year

The film wrapped production on February 1. Announcing the shoot wrap, Shweta Tripathi shared a clapperboard image on social media, followed by a group picture of the cast and crew, captioned, “It’s a wrap Mirzapur The Movie.”

Produced by Excel Entertainment, Mirzapur: The Movie marks the franchise’s first theatrical outing, expanding its gritty universe beyond the streaming space.

Also Read: ‘Mirzapur: The Movie’ wraps Varanasi shoot: Ali Fazal, Shweta Tripathi, Pankaj Tripathi share their journey

Disney has done something fans have been dreaming about for decades: brought back ‘The Muppet Show’ for its 50th anniversary, and in a way that actually feels like the real deal.

No over-the-top modern updates, no unnecessary CGI, just Kermit, Miss Piggy, Gonzo, Fozzie, and yes… Rizzo the Rat, back where they belong; on a rickety old stage.

Also Read: ‘Love Story’ on JFK Jr & Carolyn Bessette explores tragic American romance | Cast, episodes, release date

It’s been decades since Jim Henson’s puppets first charmed the world, but this special proves one thing that some things are timeless. And some things, apparently, deserve a little more spotlight than ever.

Bringing back the originals (and doing it right)

Disney’s past attempts at reviving The Muppets were…well, let’s say they were inconsistent. From half-hearted reboots to forgettable guest appearances, it seemed like no one could capture that exact Henson magic.

But this time, the formula is simple. Put the puppets where they shine best: a theater stage with big, messy sketches, celebrity guests, and pure, unfiltered heart.

Critics are loving it. Rotten Tomatoes gives the special a perfect 100% score, matching the original run from 1976-1981. Audiences? They’re even more thrilled, giving it a 97% rating compared to the 91% of the old series.

For those who need a refresher, ‘The Muppet Show’ originally aired from 1976 to 1981, producing five seasons and 120 episodes. Jim Henson, Frank Oz, Jerry Nelson, Richard Hunt, and Dave Goelz delivered a kind of vaudeville for TV.

Seth Rogen, nostalgia, and the perfect revival

Enter Seth Rogen, the man who grew up with these puppets and now has brought them back exactly as they were. Critics agree it’s a triumph. But more than that, it’s a love letter to every fan who ever squealed at Kermit’s banjo, cringed at Fozzie’s jokes, or swooned at Miss Piggy’s diva antics.

The Muppets aren’t just puppets. They’re cultural icons. Since debuting in 1955, they’ve appeared in ‘Sesame Street’, ‘Saturday Night Live’, ‘The Muppet Show’, and numerous movies.

The 2026 special brings him back front and center. After teasing appearances on social media earlier this year, Rizzo now stars in a musical sketch with Sabrina Carpenter.

A stage full of mishaps, exactly what fans love

That’s the beauty of ‘The Muppet Show’. Chaos is part of the charm. Gonzo on rocket rollerblades? Check. Miss Piggy losing her wig mid-sketch? Check. Fozzie bombing a joke? Double check. Every Muppet faces disaster, and it’s delightful. Except Rizzo. He handles mayhem like a pro, a sly smile and quick quip always ready.

Rizzo may be back, but he isn’t performed by Whitmire anymore. Bradley Freeman Jr. now brings the rat to life, capturing the exact tone, timing, and personality that fans loved. The transition is seamless.

Disney finally cracked the code: don’t overcomplicate the Muppets. Let them be messy, heartfelt, funny, and unpredictable. Sprinkle in some celebrity guests, stage mishaps, and a little musical magic, and you’ve got television gold.

Donald Trump is staying on the sidelines. The US president, who at one point hinted he might weigh in on the blockbuster media fight between Netflix and Paramount Skydance over Warner Bros. Discovery, has now decided to sit this one out.

In a candid chat with NBC News’ Tom Llamas ahead of the 2026 Super Bowl, Trump admitted he hasn’t been involved and is letting the Justice Department handle the drama.

Also Read: Netflix acquires Warner Bros: Will this $72 billion deal save or shatter Hollywood?

“I haven’t been involved,” Trump said. “I must say, I guess I’m considered to be a very strong president. I’ve been called by both sides. It’s the two sides, but I’ve decided I shouldn’t be involved. The Justice Department will handle it.”

One winner, no surprises

Trump didn’t hold back on acknowledging the tension. He recognised both companies’ competing claims while reminding that, in the end, only one will come out on top.

“There’s a theory that one of the companies is too big and it shouldn’t be allowed to do it, and the other company is saying something else,” Trump said. “They’re beating the hell out of each other. And there’ll be a winner.”

His comments mark a sharp shift from last month, when he had suggested he might personally get involved in deciding whether Netflix should be allowed to snatch up Warner Bros.

The deal that has everyone talking

The media world has been buzzing since December, when Netflix, co-led by Ted Sarandos and Greg Peters, announced plans to acquire Warner Bros. Discovery including HBO and HBO Max for a jaw-dropping $82 billion.

But Paramount Skydance, led by David Ellison (and backed by his father, Oracle co-founder Larry Ellison), countered with a hostile $108.7 billion offer for the entire company, cable networks included. Notably, the Ellisons are known Trump supporters.

Warner Bros. ultimately rejected Paramount’s offers, preferring Netflix’s bid. That move triggered a lawsuit from Paramount Skydance, demanding more transparency on how Warner Bros. made its decision. Netflix quickly sweetened its offer, turning it into an all-cash deal putting even more pressure on Paramount.

Trump’s Hollywood pivot

Just a few weeks ago, Trump sounded more curious than hands-off. When asked if Netflix should get the green light, he said:

“Well, that’s the question. They have a very big market share, and when they have Warner Bros., you know, that share goes up a lot. So I don’t know. That’s going to be for some economists to tell. … And I’ll be involved in that decision, too, but they have a very big market share.”

Clearly, that’s changed. The president now sees the media battle as a Justice Department matter leaving the streaming giants to duke it out on their own. Or is he just playing?

American Doctor Review: If you thought documentaries were all calm narration and polite interviews, Poh Si Teng’s ‘American Doctor’ is here to blow that illusion apart. From the first frame, you are thrown into Gaza’s war-torn streets, where bombs fall, hospitals crumble, and ordinary civilians, mostly women and children, become unintended targets of political warfare.

The film follows three American doctors, Dr Feroze Sidhwa, a trauma surgeon from California; Dr Mark Perlmutter, an orthopedic surgeon from North Carolina; and Dr Thaer Ahmad, an emergency physician from Chicago with Palestinian roots. They volunteer to treat patients amidst the chaos.

Also Read: Barbara Forever Review: Love, politics, lesbian iconography that made Barbara Hammer a cinematic revolutionary

And trust me, this is not your average “war documentary”. There’s no gentle soft-focus imagery or blurred gore. Teng’s camera shows everything raw, unfiltered, unflinching. By the end, you feel every thud, every cry, every life lost in a hospital that was supposed to be a sanctuary.

The human story behind the headlines

At its heart, ‘American Doctor’ is not a political screed. It’s a story of human decency, of doctors who risk their own lives to save strangers. But make no mistake, the politics are impossible to ignore. As the camera follows these physicians, you see not just the physical wounds of war but the moral injury inflicted on everyone caught in its crossfire.

Perlmutter, with his sharp Southern candor, openly condemns Israel’s military actions and Netanyahu’s far-right government. Sidhwa, the Zoroastrian-American surgeon, quietly carries a burden of loneliness and survivor’s guilt. And Ahmad’s struggle is deeply personal. He is born in Chicago to Palestinian parents. And here, he faces bureaucratic hurdles and repeated refusals to enter Gaza, desperate to help the people of his heritage.

Yet all three share one thing in common. They have a commitment to healing in the most horrifying circumstances imaginable. Watching them work, it’s impossible not to feel their grief for the civilians they try to save.

Of and off Gaza

The film’s most harrowing moments are the hospital bombings. Teng spares nothing. And, we see the first blast hit Nasser Hospital, then the second strike moments later, injuring healthcare workers who had rushed in to help the wounded.

These sequences are gut-wrenching, but they’re also crucial. As Dr. Perlmutter says in the film: “You’re not dignifying them unless you let their memory, their bodies, tell the story of this trauma… You have the responsibility, as I do, to tell the truth.”

This is journalism as advocacy. This a call for the world to see what’s really happening beyond soundbites and political spin.

Three doctors, three stories

Perlmutter has seen other war zones, but nothing shook him like Gaza. The endless casualties, the bombed-out hospitals, the helplessness; it left him distant from his partner back home. In Gaza, he’s a force of nature, smuggling antibiotics past security, rushing into disaster zones, and forging bonds with Palestinian colleagues. His anger at the Israeli regime is blunt, often peppered with colorful expletives that feel more human than political.

Yet beneath that fire is a deep moral urgency. He doesn’t just treat wounds. He bears witness, using his voice to confront what he sees as systemic injustice.

Sidhwa brings a quieter, more introspective energy. Having worked with Perlmutter before, he shares the same commitment to Gaza but carries a heavier personal burden. The film shows moments of vulnerability. Dating feels impossible. Normal life seems distant. The trauma of what he witnesses shadows every decision. For him, volunteering is both calling and weight. This perhaps is a paradox of purpose and pain.

Yet Sidhwa’s eloquence and calm resolve shine through. He repeatedly questions targeting of hospitals and challenges viewers to confront the uncomfortable reality of money, politics, indifference all contribute to civilian suffering.

Ahmad’s story is the most intimate. Though born in Chicago, his Palestinian heritage ties him to the land, to the people, and to the urgent need for care. The documentary follows his frustrating struggle to reach Gaza, blocked repeatedly by Israeli authorities.

At home, he’s a dedicated father and husband, but his heart is with the patients he cannot yet touch. His perseverance and determination are heartbreaking and inspiring.

Smuggling supplies and braving bombs

One of the film’s eye-opening threads is the practical reality of humanitarian work in Gaza. The doctors must smuggle antibiotics and surgical supplies through checkpoints and face constant threat of denial or detention.

Hospitals are hit repeatedly. Healthcare workers (over 1,700 since October 2023) have been killed. Souble-tap attack on Nasser Hospital is emblematic of this brutal reality.

Every operation, every patient treated, is defiance of the system that seeks to restrict aid. Teng’s camera doesn’t flinch at the gore, blood or tears.

Political subtext that can’t be ignored

‘American Doctor’ is primarily a humanitarian story. Its political undertones are undeniable. The actions of Israel’s army, support of the US government, global indifference to civilian suffering all come under scrutiny. Sidhwa, Perlmutter, Ahmad provide first-hand accounts of destruction of lives shattered by military aggression.

Sidhwa’s words at Sundance are particularly striking. “Americans deserve the opportunity to know what their money is being used for… Just to decide. ‘Do you really want this being done?’ I’m pretty sure the answer is ‘no’.”

The film doesn’t preach. It shows. And by doing so, it invites viewers to make moral and political judgments for themselves.

The emotional toll

One of the documentary’s most haunting elements is its depiction of the doctors’ emotional journeys. War is brutal, but the aftermath lingers. Perlmutter returns home struggling to reconnect with loved ones. Sidhwa faces isolation and loneliness. Ahmad deals with frustration and heartbreak at obstacles.

This isn’t just footage of medical procedures. It’s a window into trauma and personal cost of empathy in a world gone mad. Humanitarian work is never easy. And those who do it carry invisible scars alongside visible ones they treat.

Poh Si Teng’s direction is masterful in balancing realism with narrative clarity. The unblurred raw footage ensures audience experiences chaos as it happens. There’s just unvarnished truth of modern war and people who risk everything to alleviate its suffering. By comparing some scenes to dystopian fiction, this film shows disturbing truth.

Watching ‘American Doctor’ can be an emotional journey. It’s heartbreaking… often hard to watch. But it is an essential viewing. Teng’s documentary does what few films dare. It refuses to soften reality, yet never loses sight of humanity.

In a world increasingly numb to human suffering where we are watching the genocide televised, ‘American Doctor’ surely is a clarion call to see, to care, and to act.

The documentary premiered at Sundance 2026.

This week’s Grammy drama isn’t about a wardrobe malfunction or a surprise duet. It’s Billie Eilish telling it like it is, and her brother Finneas isn’t holding back either.

When Billie Eilish walked up to accept Song of the Year trophy for ‘Wildflower’ at the 2026 Grammys, she didn’t just smile and thank her team. Nope, she used her moment in the spotlight to make a bold political statement. In front of millions, Billie said, “no one is illegal on stolen land… and, yeah… f*** ICE.”

Also Read: Grammys 2026 Highlights: Kendrick Lamar, Billie Eilish, Lady Gaga, Dalai Lama define the night | Major winners

Her speech didn’t just shock the audience. It lit up social media and grabbed headlines everywhere. Fans loved it, critics rolled their eyes, but Billie’s point was clear that she isn’t afraid to mix art with activism.

Finneas strikes back on Instagram Threads

Standing by his sister every step of the way, Finneas hopped on Instagram Threads to defend her. He called out “very powerful old white men” who were apparently upset about Billie’s speech. And then came the mic-drop line: “We can literally see your names in the Epstein files.”

Billie wasn’t the only artist making waves with political commentary this year. Bad Bunny, the Puerto Rican superstar, took the stage with his own pointed message while accepting the Best Música Urbana Album award for ‘DeBÍ TiRAR MáS FOToS’.

Before giving thanks, Bad Bunny told the audience, “ICE out. We’re not savage, we’re not animals, we’re not aliens. We are humans and we are Americans.” He continued with a reminder that love is stronger than hate: “If we fight, we have to do it with love. We don’t hate them. We love our people. We love our family.”

What’s undeniable is that Billie Eilish, Finneas, and Bad Bunny are part of a growing group of artists using their fame to push for change. Awards shows used to be safe, scripted events. But now, they’re stages for social messages, personal beliefs, and unapologetic honesty.

The US Drug Enforcement Administration on Thursday said it collaborated with Government of India law enforcement partners to identify, investigate, and dismantle dangerous criminal organizations that engage in these types of illegal drug trafficking operations.

The US Drug Enforcement Administration, with the cooperation of the US Attorney’s Office for the Eastern District of New York, announced the seizure of more than 200 website domains tied to an India-based transnational criminal organization (TCO) working within the United States and allegedly responsible for at least six fatal and four non-fatal overdoses. The TCO tied to these illegal online pharmacies has been under investigation by DEA’s Rocky Mountain Field Division since 2022.

Beginning on January 27, 2026, DEA field offices throughout the United States conducted multiple operations leading to the arrest of four individuals along with the issuance of five Immediate Suspension Orders (ISO) and one Order to Show Cause (OTSC), both of which are administrative actions taken against DEA registrants in order to protect the public from dangers to public health or safety.

Under the Controlled Substances Act (CSA), DEA regulates the handling, storage, and distribution of controlled substances in the custody of pharmacies. The CSA stipulates that pharmacies are only authorized to dispense controlled substances upon receipt of a valid prescription, issued for a legitimate medical purpose, by an individual practitioner acting in the usual course of his or her professional practice.

Investigators determined the operators of these online pharmacies and their co-conspirators were illegally dispensing and shipping diverted medications, without valid prescriptions, to customers throughout the United States, violating the CSA and dangerously infiltrating a closed system of distribution intended to keep patients safe.
Over the course of this investigation, DEA identified thousands of customers who purchased medication through these online pharmacies. Subsequently, DEA has sent more than 20,000 letters to the public requesting information in support of this ongoing investigation.