India recorded its highest-ever annual renewable energy additions in CY2025 (January-December), adding nearly 37.9 GW of solar and 6.3 GW of wind capacity. Compared to CY2024, solar capacity increased by 54.7%, while wind installations recorded a significant increase of 85.3%.
In terms of cumulative installations, according to the data released by the Ministry of New and Renewable Energy (MNRE)till December 2025, India’s RE installed capacity reached ~258 GW. Solar energy contributes approximately 53% of the total RE segment, making it the largest contributor, followed by wind at 21%, large hydro at 20%, bio power at 4%, and small hydro at 2%.
Figure 1: RE installation trends in India, as of December 2025
Source: CEA, MNRE, JMK Research
Note: Solar capacity includes utility scale solar, rooftop solar and off grid/distributed solar capacity
India added about 28.6 GW of new utility-scale solar capacity in CY2025, marking a significant rise of about 54.6% compared to the installations in 2024. The significant increase in utility-scale solar capacity this year is primarily due to the commissioning of the long pending tenders awarded by various central and state agencies to the RE developers. Swift project execution due to the ISTS waiver deadline encouraged developers to fast-track installation activities, thereby acting as an additional factor. In addition, the open access sector has emerged as a key driver, accounting for more than 38% of the total utility scale solar installations during this year.
Furthermore, the expansion of domestic module and cell manufacturing has also supported the growth of solar installations in the country, with cumulative manufacturing capacity of modules and cells crossing the 200 GW mark by December 2025.
India added about 7.9 GW of new rooftop solar capacity in 2025, a 72% increase compared to 2024. Around 60% of these installations were added during the second half of CY2025. This growth can be attributed to the launch of the PM Surya Ghar: Muft Bijli Yojana.
In the off grid/distributed solar segment, about 1.35 GW was added in 2025, which is about 8.8% less than the installations in CY2024.
Figure 2: Solar and Wind energy capacity addition trends in India
Source: JMK Research
In the wind sector, about 6.3 GW of new capacity was added in 2025, nearly twice the 3.4 GW capacity added during 2024. The increase in wind capacity is mainly due to the dominance of open access capacity additions, which accounted for more than 60-70% of wind installations this year.
In terms of state wise installations in 2025, the top five states Gujarat, Rajasthan, Maharashtra, Gujarat, Karnataka and Tamil Nadu have collectively accounted for approximately 83.7% of the total solar and wind capacity installed in India. Gujarat led the installation tally for the 2025 with around 11.1 GW installed capacity, followed by Rajasthan (10.2 GW) and Maharashtra (9.7 GW).
Figure 3: State-wise Solar and wind capacity addition in India from January-December 2025
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Amazon recently showed off its recent acquisition in the wearables space–Bee, an AI device that can be worn as a clip-on pin or a bracelet.
Designed for recording conversations such as interviews or meetings, the device works as an AI companion. The tool can also learn about your preferences via Gmail, Google Calendar, or even Apple Health, TechCrunch reported.
The idea itself isn’t unique, and the wearables space has seen companies that have tried to build AI companions. Will Amazon’s Bee take off or end up in the gadget graveyard like the Humane AI pin remains anyone’s guess.
Meanwhile, Tamil Nadu government has signed a Memorandum of Understanding (MoU) with Sarvam AI to establish Sovereign AI Park in Chennai.
Moving on: Fancy a stay at a hotel on the Moon? A company called GRU Space recently announced that it is constructing habitats on the lunar surface and interested visitors can book their spots for about $250,000 to $1 million.
Speaking of those who can afford such expenses, the world’s top 20 billionaires hold about $3.8 trillion combined, a number that’s greater than the GDP of most countries.
Leading the pack is Elon Musk, who is worth $714 billion, driven by his $366 billion stake in SpaceX, which is valued at $800 billion. Here’s the complete list.
In today’s newsletter, we will talk about
Women founders mean business
Making commuting safer for women
Kazam eyes 2X jump in revenue in FY26
Here’s your trivia for today: Which country’s late monarch, King Bhumibol Adulyadej, got a patent for a rainmaking technology?
Venture Capital
Women founders mean businessAnkita Vashistha recalls the monthly pitch meetings as a member of the Indian Angel Network in 2012. Women founders were rare, and when they did appear, alongside male co-founders, they would sit silently as their male partners pitched.
“I realised that there were no opportunities for women, and even if there were, it was not a level playing field,” recalls Vashistha. “We were missing out on backing women entrepreneurs and shifting the narrative by giving them access to capital.”
Championing women founders:
Vashisht launched the Saha Fund in 2015, looking at early-stage tech focused on women, long before diversity in venture capital became a mainstream conversation.
Today, as the founder of Arise Ventures, she has backed over 520 founders, all while quietly building the infrastructure to change who gets funded in Indian tech.
With over a decade of experience backing women founders, Vashistha is pleased about the fundamental shift over the past few years. “Back in the day, women felt they had to build consumer products in fashion or similar areas. Now, we have women in deeptech, AI, biotech, cybersecurity, healthcare, and more. We have to celebrate women across all sectors,” she notes.
What the AI Build Process Looks Like in 2026Join ‘Built Different: How AI Developers Are Reworking Their Playbook’ - a live webinar as part of the ‘CodeCraft Masterclass’ series powered by Dell Technologies, focused on how AI builders are actually working today—what they’re running locally, what still goes to the cloud, and how they’re cutting down iteration time without losing control.
What we’ll talk about
How teams decide what runs locally and what scales out
How newer client-side AI systems are changing early development
Making commuting safer for womenFery Rides positions itself as India’s first women-led, zero-anxiety mobility platform, built “for women, by women”, and operates with a fully electric fleet. The platform offers on-demand rides, scheduled rides, and city rentals through bike taxis, and has expanded to cab services recently. Scheduled rides let users pre-book fixed time slots.
Safe rides:
Operations span a 10-km radius anchored by hubs at Millennium City Centre Gurugram metro station, where vehicles are stationed. Partners operate only within this zone to maintain steady availability and quicker pickups.
The platform is open to all women, though preference is given to those who can ride a bicycle. A driver’s licence isn’t mandatory; Fery assists new partners in obtaining one during onboarding.
Over the next two years, the startup plans to expand to 10 cities, including Bengaluru, Hyderabad, Chandigarh, and Chennai, with a partner network of 5,000+ sister partners and 10 million safe rides for women, targeting an ARR of Rs 100 crore.
Kazam eyes 2X jump in revenue in FY26EV charging startup Kazam is targeting a revenue of about Rs 85 crore in FY26 as it inches towards EBITDA breakeven, the company’s Co-founder and CEO, Akshay Shekhar, told YourStory.
Earlier this month, Kazam reported a revenue of Rs 40 crore in FY25, which is 3.5X times higher than the revenue it had reported in FY24. According to Shekhar, this increase can be attributed to the firm onboarding Bajaj Auto as a client. It commands a significant share of the electric three-wheeler market in India.
IPO: General Atlantic-backed cloud software player Amagi Media Labs is banking on media customers moving to the cloud to boost revenue, CEO Baskar Subramanian told Reuters. The Bengaluru firm, which provides software for the broadcast and streaming TV industries, launched a $199 million IPO on Tuesday.
AI deal: Apple is joining forces with Google to power its artificial intelligence features, including a major Siri upgrade expected later this year. The multiyear partnership will lean on Google’s Gemini and cloud technology for future Apple foundational models.
New project: Meta CEO Mark Zuckerberg announced the launch of Meta Compute, a new initiative designed to bolster the tech giant’s AI infrastructure. Zuckerberg said the company intended to drastically expand its energy footprint in the coming years.
Here's what else we have for you
IAI NEUSPHERE is back with Cohort 2 to collaborate with and accelerate Indian deeptech startups
In Partnership with IAI NeuSPHERE
India’s deeptech ecosystem is maturing rapidly, but achieving global relevance and scale requires the right collaborations. Israel Aerospace Industries (IAI) has opened applications for Cohort 2 of NEUSPHERE, its innovation acceleration program in India. Open to deeptech startups across multiple technology areas, the program offers access to global mentorship, networking opportunities, cash awards and an opportunity to win a paid POC worth up to $300K.
Which country’s late monarch, King Bhumibol Adulyadej, got a patent for a rainmaking technology?
Answer: Thailand.
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Inherited Frames, New Voices: The Anthikad Sons & Their Gentle Subversions
Sathyan Anthikad’s sons inherit his gentle humanist world, but subtly reshape it — softening masculinity, empowering women, and quietly questioning authority without breaking from the legacy. Neelima Menonwrites.
IN Sarvam Maya, when Prabhendu (Nivin Pauly) encounters a ghost in his room, his first instinct, despite being a practising Hindu priest, is not to perform a pooja to exorcise her. Instead, he responds first with fear and then with a lingering trepidation. The ghost, on the other hand, treats the encounter with striking casualness. She is furiously online shopping, nonchalant yet quietly conscious of her position, almost like a celluloid version of Casper than a figure of terror. Two things are being subverted here. First is the way the narrative treats Prabhendu’s profession, not as a sacred calling, but as everyday labour. And returning to it is merely considered a stopgap arrangement until he lands a break in the music industry. When he assists his cousin (Aju Varghese) with rituals, it feels less like a divine duty and more like helping out in a family business.
Akhil Sathyan’s treatment of the profession is striking in its lack of reverence, moral elevation, or spiritual awe. In doing so, the film quietly strips the priesthood of its assumed social superiority, presenting it instead as just another occupation shaped by circumstance and necessity. Secondly, the film treats the ghost with a cheeky irreverence. From naming her Delulu, a slang term for “delusional” (though it may be intended as a play on “illusional”) to the way she is written with a sharply practical worldview, she constantly cuts the priest down to size. Rather than embodying fear, mystery, or moral reckoning, Delulu functions as a grounding presence, more like a catalyst who nudges the hero along in his coming-of-age journey.
Interestingly, this echoes a narrative pattern often seen in Sathyan Anthikad’s films, where women are positioned less as independent agents and more as figures who guide or support the hero’s journey. But Akhil gives the template a contemporary reworking. In his debut, Pachuvum Athbutha Vilakkum, while Hamsadhwani functions as the moral and emotional anchor guiding the hero’s coming-of-age, her inner life is not shaped around his transformation. Her arc unfolds independently, with its own rhythms and resolutions. The hero may grow alongside her, but he does not define her.
In fact, in Anoop Sathyan’s debut Varane Avashyamund, the 50-something single mother Neena (Shobana) feels like a redemptive reworking of his father’s traditional female figures. She is a rare figure on screen, a happy, confident, and attractive single mother in her fifties. Neena is even given a superstar-style introductory song that celebrates her beauty. In a lovely scene where her brother casually explains Neena’s love life to her adult daughter, without embarrassment or moral judgment, Anoop quietly pulls down the pedestal on which mothers are usually placed in cinema. It is a pedestal that demands sacrifice and desexualisation, something his own father’s films are often accused of reinforcing. While the daughter still struggles with social conditioning, Neena remains a liberating presence, choosing to reach out for love again despite the trauma of an abusive marriage.
As for the male protagonists, they too echo the senior Anthikad template, vulnerable, ordinary, and often confused, though the juniors have introduced subtle subversions. That’s why Major Unnikrishnan in VaraneAvashyamund stands out as one of Suresh Gopy’s finest performances in the past decade, offering a layered reworking of his iconic angry-cop persona. Now in his fifties, the Major is seen attending therapy for his anger issues and yet is endearingly tongue-tied when he meets Neena. It somehow feels like the filmmaker’s imagined afterlife for that celebrated cop figure, long after the temperamental excesses of his youth. Similarly, Dulquer Salmaan’s Bibeesh in the same film wears a goofy exterior that masks the loneliness of being orphaned early and the quiet struggle to stay afloat. Prabhendu, too, is shaped by absence. He is still grieving his mother and is unable to fully reach out to his father. Together, these men are defined less by authority or bravado and more by emotional incompleteness, gently reworking familiar masculine archetypes.
As for the supporting characters, while the senior Anthikad’s creations remain timeless, his sons, even while working within that template, have managed to introduce some fascinating variations. So Urvashi’s Dr Shirley in Varane Avashyamund feels almost like a throwback to her collaborations with Sathyan Anthikad — playful, irreverent, and occasionally poignant. Johny Antony’s Dr Bose, meanwhile, is a psychiatrist who refuses to take himself too seriously. In Pachuvum Athbutha Vilakkum, Sujith (Altaf Salim) gets a delightful moment when he finds himself quietly bewitched by the Marathi woman who comes to Pachu’s house to collect the garbage. There is also Vivek (Sanju Sivaram), who tries and fails to present only his best self to Hamsadhwani. In fact, his interactions with Pachu generate the kind of dry, conversational humour that has become Akhil’s trademark. Aju Varghese’s Roopesh Namboothiri as Nivin’s cousin may feel familiar, but it is the small tweaks, especially the easy camaraderie between the two actors, that make the character work. More importantly, across these roles, the humour remains gentle and unforced, rooted in everyday interactions, and consistently lands with warmth.
Even the milieu and themes remain familiar, carefree, familial, and rooted in everyday relationships. There is nothing overtly ambitious here, just stories shaped by family, friends, and their gentle dynamics. Even conflict is marked by a distinct non-violence, reinforcing a sense of tameness and domesticity that feels clearly inherited. It will be interesting to see whether, going forward, they choose to stay within this comfort zone or attempt to change the game.
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OUR OTHER NEWSLETTERS
This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
MAMMOOTTY to Emraan Hashmi, this week's streaming releases feature some of our favourite names! But there's still more to explore. Among the exciting titles that have dropped on OTT platforms across languages this week areBha.Bha.Ba, Can This Love Be Translated?, Bandook , Industry season 4 and Dhandoraa. See more here.
What To Watch This Weekend
From prestige dramas to live sports, this guide brings together all the top releases you’ll want to stream this weekend. And here’s the best part: JioHotstar is now part of the OTTplay vault! Unlock acclaimed originals, blockbuster films and live sports from JioHotstar — plus content from 30+ other platforms — all for just ₹149 with the Power Play Monthly Pack.
A police probe into a communal issue in a small Kerala village leads the cops to discover a sinister case of serial killing. Cop Jayakrishnan is determined to nab the killer, who remains elusive. Megastar Mammootty appears as the serial killer, while Vinayakan plays the cop.
Led by Major Shaitan Singh Bhati, 120 Indian soldiers fought off an attack by almost 3,000 Chinese troops. The gritty film depicts the courageous battle and the heroic actions of the soldiers. Farhan Akhtar stars in the film, which is based on the 1962 Rezang La battle.
The crime drama series stars Emraan Hashmi as the customs inspector, Arjun Meena, at the Mumbai International Airport. He and his team take on a notorious smuggler as they seek to dismantle a complex global contraband network.
Downton Abbey: The Grand Finale follows Lady Mary, who gets embroiled in a public scandal, after her separation from Henry Talbot. Michelle Dockery plays Lady Mary in the drama, which takes a close and final look at the Crawley family.
Gurram Paapi Reddy, who comes up with more daring heist plan after his attempt to rob a bank fails. Naresh Agastya plays the reckless youth in this hilarious film, which also features Faria Abdullah, Brahmanandam and Yogi Babu.
Jonathan Pine (Tom Hiddleston) is back as The Night Manager returns with a thrilling sequel almost a decade after Season 2. This time, Pike is off to Colombia on a dangerous quest, which involves a notorious arms dealer.
Even though 2026 has only just started, Emraan Hashmi has already claimed it as his own. Haq was the actor's critically acclaimed legal drama, now streaming on Netflix, and he's clearly not slowing down as he is back with the latest series, Taskaree: The Smuggler's Web. Over the course of his twenty-plus-year career, Hashmi has expertly gone from being a 2000s "Serial Kisser" to a dominant figure in the streaming age. Read the interview here.
A Candid Chat with Nithish Sahadev
Director Nithish Sahadev, who had made his debut with the 2023 Malayalam film Falimy, helms his first Tamil film, Thalaivar Thambi Thalaimaiyil. Starring Jiiva in the lead role, the Tamil film is a Pongal release. Owing to the postponement of Jana Nayagan due to the censor row, Thalaivar Thambi Thalaimaiyil has preponed its release from January 30 to January 15. However, for Nithish Sahadev, it is a dream to get a Pongal opening for his debut Tamil feature. Read the interview here.
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Vir Das' Happy Patel: Khatarnak Jasoos Is A Good Hang
This genre-defying film is shaped by a humour that is homegrown yet specific, impossible to distil yet improbable to ignore. And much like its creator, it is a lot, Ishita Sengupta reviews.
Dir: Vir Das, Kavi Shastri
Cast: Vir Das, Mithila Palkar, Mona Singh, Sharib Hashmi
Playing in: Theatres
VIR DAS is a lot of things. He is an actor, host, stand-up comic, and author. He is also an Indian who carries the country to the world. A chunk of his comedic set pieces expands on this familiarity to critique ( Two Indias) and swathe the nation with nostalgic afterglow (For India). By doing so, Das occupies an interstitial space where he is both an outsider and an insider, possessing an objective gaze with subjective bias. His directorial debut, Happy Patel: Khatarnak Jasoos, is a culmination of this hybrid status. The genre-defying film is shaped by a humour that is homegrown yet specific, impossible to distil yet improbable to ignore. And much like its creator, it is a lot.
Helmed by Kavi Shastri and Das (both had worked together as actors in Imtiaz Ali’s 2009 Love Aaj Kal), Happy Patel is a nutty, chaotic comedy that is nothing like anything. It runs when it could walk, deflates when it could climax and chooses only to swing for the fences when it could…just not. It is as off-kilter as it gets, and while that is not necessarily the best thing, the (good) thing about Das’ assured outing is that it doesn’t care.
Taskaree: The Smuggler's Web Is Fun Till It Is Not
The Netflix series begins as a smart, textured look at the hidden machinery of smuggling, but its compulsion to outwit the viewer ultimately turns ingenuity into excess.
NEERAJ PANDEY'S latest Netflix series, Taskaree: The Smuggler's Web, rests on ingenuity. It foregrounds a world that is mostly wrapped in intrigue and focuses on a group of people who aren’t necessarily under the spotlight. In a streaming landscape crowded with an assembly line of thrillers, even an inventive premise counts a great deal, and Pandey offers it in plenty. His latest show is concerned with the machinery of customs and widespread smuggling syndicates that continue to bypass them — a swing that pays off till it does not.
Taskaree has a lot going for it. The newness of the worldbuilding (efficient and flashy – a Pandey trademark), the series’ resistance to design itself on the sole heroism of one character, the hint of humour scattered across the narrative, competent actors and a mindful research that rewards investment.
For the large part of the seven episodes, these work in favour of the series. Taskaree takes place largely in the Mumbai airport (the fact that several scenes are shot in a crowded set-up adds to the texture). A rap from the Finance Minister brings substantial changes in the customs department in the city. An honest officer, Prakash Kumar (Anurag Sinha), is brought in. He, in turn, brings him a cohort of honest officers: Arjun Meena (Emraan Hashmi), Ravinder Gujjar (Nandish Sandhu) and Mitali Kamath (Amruta Khanvilkar). They face Bada Choudhary (Sharad Kelkar), a billionaire running a syndicate outside India. The officers’ effort to upend the network forms the crux.
In Vaa Vaathiyaar, Nalan Kumaraswamy weaponises the idea of MGR, the screen hero, staging a pulpy vigilante drama that is as much about cinema’s myths as it is about the state’s abuse of power, writes Aditya Shrikrishna.
Dir: Nalan Kumaraswamy
Cast: Karthi, Krithi Shetty, Sathyaraj, Rajkiran
Playing in: Theatres
NALAN KUMARASWAMY has been around Tamil cinema forever now. Yet the first winner of Naalaya Iyakkunar, the programme that gave us a handful of new-age filmmakers still working today, has only made three films. It’s surprising, considering the prolific output of his contemporaries and the value of the singular voice he brings to cinema. Thirteen years after his debut, his third film, Vaa Vaathiyaar, finally made it to theatres this week. The one quality that stands out in Nalan’s work is the postmodernism that permeates his characters and extends beyond mere window dressing in his frames. It is present in entirety of Soodhu Kavvum(2013) and very much central to his script contributions in Thiagarajan Kumararaja’s Super Deluxe(2019). Funnily enough, his sophomore film Kadhalum Kadanthu Pogum (2016) is far from cynical and serves as one of the best romantic films from Tamil in the past two decades. Vaa Vaathiyaar is marketed as a masala or commercial fare from Nalan, and it is easy to see why.
Vaa Vaathiyaar possesses all of Nalan’s staples in its design. It is about Rameshwaran (Karthi in terrific form in a scenery-chewing role) who came into this world just as MG Ramachandran, the star, actor, leader and politician, breathed his last. Ramu’s grandfather (Rajkiran) is one of the MGR crazies, one for whom the matinee idol is life-sustaining oxygen itself. He realises Ramu is MGR reborn and nurtures him in his hero image. Ramu learns to fight, he learns to question injustice and playfully pretends to be the neighbourhood vigilante long before his adult life. A freak admonishment from his grandfather turns him away and into the dark side of MN Nambiar. While the grandfather always wanted him to be an upright police officer (incidentally, MGR’s first-ever film role), Ramu grows up to be the cookie-cutter corrupt cop. To stand out, he wears a checks-laden uniform he stitched out of a safari suit that’s not exactly khaki-coloured. He is unapologetic about his wicked ways and hides them from his grandfather out of love. While MGR’s film references and songs waft in and out, Nalan sets this up in a fictitious city of Masila (from that song, yes), which is pulpy in its veneer, and SMK is the party in power. These bits recall a more tongue-in-cheek Nalan as does giving Sathyaraj — as business magnate Periyasamy — the same buck teeth his famous character, Ammavasai, sported in Amaidhi Padai (1994).
The one newsletter you need to decide what to watch on any given day. Our editors pick a show, movie, or theme for you from everything that’s streaming on OTT.
Each week, our editors pick one long-form, writerly piece that they think is worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
The usual routine for the first post of the year is my list of predictions. This is a bit of an indulgence. But like all indulgences, I love doing them. There isn’t any science to them, nor are these so specific with binary outcomes that you can truly gauge how accurate you were at the end of the year.
Over the years, however, I have tried to be more specific with predictions with a tighter range of figures wherever possible and avoided extrapolating a trend to arrive at a prediction or two. There’s a pleasure in looking at trends and then taking an imaginative, bucking-the-trend leap about where a thing or two will end up. But that was when things were normal and boring. And, when peering into the future brought a minor frisson of excitement into my boring life.
We live in the age of Trump now, where daily events and announcements are such sharp departures from the past that you can only shake your head in disbelief and update your priors. This may seem like making predictions daunting. On the contrary, I think it makes them more fun.
So, I had more than my usual share of fun in coming up with the ten predictions for 2026. There’s only one key difference about this set of predictions from those made in previous years. In the past, I tried to keep my predictions individually distinct but mutually compatible. Simply put, the consequences of one prediction, were it to come true, wouldn’t negate the other predictions. I have done away with this kind of compatibility. This is because Trump is shaking up geopolitics in a manner that all bets are off on what this year could bring in terms of one-off events. Any of these one-off events, if they come true, could obliterate every other prediction about the economy or the market.
With that out of the way, here are my somewhat specific predictions for 2026.
Almost every fear that the traditional liberals have now about Trump upending the post-Cold War global order will come true this year. This includes the US engineering at least three more regime changes. My guesses are Iran and Cuba, apart from Venezuela, of course. I had this prediction even before Maduro’s evacuation. Further, Trump and Vance will bully Denmark and the EU into ceding significant but not full control of Greenland while coming within a hair’s breadth of using the military option there. And finally, this will mean the end of NATO as we know it, and I won’t be surprised if he imposes an embargo on federal funding for NATO until some of his other absurd demands are also met. I’m being conservative here about the possibilities. The Trump administration loves spectacle, projects its domestic insecurities onto the world (especially Europe), expecting them to act in the MAGA way and can spin any act, however absurd, as being America First. This is the recipe for more madness.
Outside of these US-led interventions, things will be much quieter in the rest of the world, unlike the belief that the US, Russia and China agreeing to and carving out their spheres of influence will lead to more military interventions. I don’t see China doing anything tangible on Taiwan beyond the usual optics of naval exercises around it or involving itself in fresh territorial disputes in Southeast Asia or India. It needs access to markets to continue to keep its export engine chugging, and it can ill-afford political clashes and embargoes. China hasn’t shown even an iota of interest in protecting its “allies” (Iran, Venezuela) and challenging the US. All it wants this year is to let its exports rise unfettered and get the GDP growth back to 5 per cent. At least 2026 isn’t going to be the year for China to indulge in geopolitical muscle flexing. Something similar holds true for Russia, too. It will find a way to close a deal with Ukraine because it can’t afford to have more tightening of screws on its economy or further commitment of Western Europe to arm itself and Ukraine. Barring Iran, where I predict a regime change, West Asia will be quieter too. Netanyahu will focus on winning the elections to stay out of prison, and Saudi Arabia and the UAE will be busy whitewashing their reputations and taking away business and investments from the rest of the world.
Surprisingly, in 2026, Europe will buck the trend of right-wing parties gaining ground in elections. I think the overt support from the MAGA crowd plus the US national security strategy document published last month that openly seeks to support “patriotic European parties” and “to help Europe correct its current trajectory” will backfire. The firm stand by the current leaders to Trump’s bullying, to China’s dumping and promised manufacturing stimulus will steal some of the thunder of the right. The result of this will be seen in their underperformance across the board: of Farage’s Reform UK in the midyear local elections, AfD losing what seems like a slam dunk now in state elections in Germany and similar setbacks in France and the Netherlands for right-wing parties. And, in perhaps the most visible sign of this, Orban will lose in Hungary this April.
On the global economy, things will be fairly stable because, as I mentioned back in October 2025, we have gone past peak Trump. Nothing surprises the market anymore, and every possible geopolitical lurch is already priced in. The dollar will continue to weaken with all major currencies as investors will continue to derisk from Trump volatility, long-term US deficit math and inflation challenges. Trump will continue to impose random tariffs based on his whims, but the average US tariffs that are currently at about 14 per cent will stabilise within a 100 to 200 basis points from here.
The independence of the Chair of the Federal Reserve will be compromised as Trump will hire a lackey to replace Powell. But this won’t make any medium-term difference. Inflation is the single biggest risk to any thesis about the US economy for 2026. My prediction is that it will continue to rise and go beyond 3 per cent by year-end as the real impact of tariffs flows through the system. A new Fed Chair who will cut rates to keep Trump happy will soon have to deal with even more inflation that will hurt the Republicans' chances in the mid-term and, more importantly, along with the weakness of the dollar, spook bond markets. The bond markets are the ultimate disciplining mechanism, as we have seen in the past, and even Trump kind of understands it. My guess is we will go through this cycle once during 2026 before order is restored and the Fed Chair starts to do things independently.
China will be at its best behaviour around the world as it figures out how to dump the excess manufacturing capacity it has built up post COVID-19. China will be on a PR overdrive through the year, talking all the right stuff and mending fences all around the region, including with India (I predict a Modi-Xi summit during the year). China has had a record export surplus in 2025 through some front-loading of its exports before Trump tariffs came up, and by its strategic use of intermediate bases like Vietnam and Malaysia to bypass trade restrictions. 2026 will beat that record before real measures against Chinese dumping take shape around the world. The Chinese stock market, which benefited in 2025 on the back of historic cheap valuation and AI momentum from the Deepseek breakthrough, has given a false sense of the strength of its economy. There is no respite for its domestic economy - consumption isn’t picking up, fiscal deficit is above 10 per cent, total debt to GDP ratio is almost at 300 per cent, and real estate troubles and a weak banking sector continue to hamper it. China needs the world now more than ever but it will find during the year that the world isn’t willing. This will mean fairly targeted anti-China trade measures from Western Europe that will push China to work on a compromise. Expect multiple trade deals that will look like wins for Europe.
Many had predicted an AI bust in 2025. I was absolutely sure it wasn’t happening. Now there’s a stronger belief that the AI bubble will bust in 2026. I’m still sceptical. It’s true that there is almost no relational justification for the capital that has gone into AI investments in 2025. But for the bubble to bust, there has to be a shortage of capital or a spectacular surprise in the financial performance of those betting big on AI. I see neither of them happening this year, unless, of course, there is a serious flight of capital out of the US because Trump does something that’s beyond the realm of imagination right now (starts a nuclear war, for instance). There will be a minor correction perhaps among the so-called AI stocks (maybe 10 per cent), but there is no crash coming here in 2026. Instead, we will see real gains from AI showing up in multiple sectors and much stronger use cases that will justify the hype.
It will be business as usual for the Indian economy. GDP growth at a little over 7 per cent, inflation back to 4.5 per cent, and market indices at about 5 per cent higher. There won’t be any interest rate cuts, and I see the RBI letting the rupee breach 100 to a dollar during the year. The defence of INR beyond a point is not helping with the liquidity that’s needed to keep domestic credit and consumption going. I expect the budget next month to be significantly more reform-oriented because this is the last opportunity to do so for this team. The 18 months after the budget are dotted with five big state elections that will preclude any big move. The budget will have a significant tax break across slabs to boost consumption momentum, which is already flagging after the GST rate cuts last quarter. I expect more specific deregulation measures, including rationalisation of entire regulatory bodies and ministries in the budget.
BJP will lose Assam to its surprise and make significant gains in Tamil Nadu (10-15 seats) and Kerala (5 seats) assembly elections. West Bengal, where I have been twice in the past month, will be too close to call, but I sense a hung verdict with part of TMC breaking away to form the government with outside support of the BJP. UDF will win Kerala, with Shashi Tharoor positioning himself as a CM candidate during the campaign. But his rise to the post will be scuttled by the central leadership.
By the end of the year, a significant breakaway group will threaten to quit Congress and form a new party. Therefore, this will be the last year of Rahul Gandhi leading the Congress or maybe even the Congress as we know it. The moment of reckoning for the post-Modi BJP won’t arrive in 2026 (it will wait till UP elections). But I expect some serious jostling to begin between the Amit Shah and Adityanath factions during the latter part of the yea,r leading to Adityanath threatening to resign (but not resigning) as the CM in the run-up to UP elections in 2027.
Global Policy Watch: The Long History of Non-fuel Mineral Geopolitics
Global issues relevant to India
—Pranay Kotasthane
The weaponisation of minerals seems unprecedented, but it really isn’t. While people are well aware of instances when fuels (oil, gas, etc.) were weaponised, past cases of non-fuel minerals being weaponised are hard to recall. That creates a perception that China’s hold over rare earths is unprecedented and undefeatable.
Yet, there are multiple prominent cases in which the geopolitical leverage countries had because of their dominance over critical minerals dissipated quickly. It’s not as if these countries stopped producing the minerals; they just couldn’t weaponise them for too long.
Take the case of Cobalt. It was the in-fashion dual-use material of the 1970s. One tonne of it went into every F-16’s jet engine. The US imported almost all of it, most of which came from then-Zaire (Democratic Republic of Congo). The USSR was signing mineral agreements with African countries, providing technical assistance in exchange for a share in total output. Modelled on the OPEC, there were cartels for Bauxite, Copper, and the like. A US Congressman termed the situation the ‘materials myopia’ of the West. And then, things came to a head when some rebels occupied mining regions in Zaire, leading to a supply cutoff and a sudden price increase.
And yet, there was no repeat of the 1973 Oil Crisis. What really happened?
A combination of several moves eventually reduced the strategic edge that Cobalt-producing countries enjoyed. First, the high prices made Cobalt mining in other, more stable countries lucrative—mining in Canada, Brazil, and Australia picked up.
Even as these new mining projects were taking shape, prior research on substitutes for Cobalt was commercialised much more quickly. The more abundant Molybdenum began displacing Cobalt in certain alloys as jet engine makers warmed to new composites and carbon fibres.
Next, companies began to economise. Just like we read reports today that every electric car, submarine, or jet fighter uses X kgs of neodymium, without which the world would come to a grinding halt, there were similar concerns about Cobalt in the 1970s. But the demand proved more elastic than people had assumed. Non-priority uses of cobalt were reduced by using other materials in alloys, and when substitution wasn’t possible, efficiency improvements helped contain overall demand.
The fourth leg was government intervention. Military stockpiles were built to meet emergency defence applications. For the broader commercial market, governments also took up price-risk mechanisms and offtake guarantees.
The net result wasn’t that Congo was displaced as the world’s major Cobalt producer; it still accounts for over 70 per cent of global supply today. Rather, Cobalt itself was displaced as the hitherto indispensable material necessary for dual-use applications. Once substitutes were developed, the hackles were lowered, Cobalt stopped being a geopolitical talking point, and the world became comfortable with buying Cobalt from Congo once again.
Several such instances exist in the near past. China cut off tungsten exports to the US during the Korean War in the early 1950s. China had been supplying half of American demand at a dirt-cheap $16 per pound. Then came the operationalisation of the Defence Production Act of 1950, which allowed the government to offer offtake guarantees, write off investments, and provide low-interest loans. The US government guaranteed a price of $63 per pound to domestic miners, and within three years, domestic firms were producing thrice the government’s reuired demand.
Similarly, Mercury was another dual-use material of the 1950s, crucial for walkie-talkies and ammunition. A looming shortage and rising prices caused widespread furore. But through the same process of market-led substitution and alternative sources backed by government guarantees, the strategic significance of Mercury went down.
I see a version of these Cobalt, Tungsten, and Mercury stories playing out in the case of China’s weaponisation of rare earths, too. As I have written in multiple editions, substitutes will be operationalised, alternative sources will emerge, and efficiency improvements will reduce per-unit requirements. Additionally, the Law of One Price (LOOP) will play its role. China’s extensive export controls have meant that the international prices of Chinese rare earth oxides (say in Europe) are at least three times the domestic prices in China. Under such stark conditions, many Chinese companies will be willing to take the risk of evading controls in exchange for the promise of extravagant profits. Shell companies might be set up, and third countries might be used to convert ‘black’ rare earths into ‘white’. LOOP will kick in, and the price differential will wither away.
Given these trends and in the spirit of making falsifiable predictions, I claim that by December 2028, China will lose its geopolitical leverage due to its dominance in rare earths. While it will remain the world’s largest rare earths producer, the strategic importance of these materials will decline. China will stop putting additional export controls on these technologies and begin diluting existing ones by that time.
Hope this newsletter will be alive three years from now to test this prediction. But if not, I am sure some sharp readers are keeping track.
Matsyanyaaya: Pax Silica! Ab Tera Kya Hoga India? Part 2
Big fish eating small fish = Foreign Policy in action
—Pranay Kotasthane and Tannmay Kumarr Baid
(An edited version of this article first appeared in India’s Worldon 16th January 2026)
In January 2026, the United States envoy, Sergio Gor, invited India to join Pax Silica. Pax Silica is a US-led effort with an aim to align partners across semiconductors, AI infrastructure, and critical minerals. The stated objective of the initiative is to reduce dependencies in the technology supply chain and shape how the AI economy is built.
This invite came barely a month after New Delhi was conspicuously absent from the initiative’s inaugural summit in Washington. Some suggested that the absence reflected India’s declining relevance in Washington’s technology calculus, while others inferred that it proves India was a lightweight in the semiconductor domain.
Despite the alarmism, one of us (Pranay) had blogged that India’s initial absence from Pax Silica matters far less than the noise suggested, and that India would eventually become a part of the grouping. That position seems to have held its ground. The core reason is simple: India already sits at the centre of the global semiconductor and AI ecosystem, with or without formal membership. The absence reflected ongoing trade frictions and tariff disputes, rather than a downgrade of India’s role in the US technology strategy.
India is deeply embedded
Framed as a new organising principle for the global silicon and AI supply chain, Pax Silica aims to coordinate trusted partners through policy alignment, joint projects, and investment coordination to diversify supply chains, with an outward focus on reducing dependence on China. That ambition was understandable. But even then, the way the initiative was launched suggested it was more a political signal than an operational framework.
Read in that light, India’s absence weakened Pax Silica on paper, but it did not materially alter or affect India’s position in the global technology ecosystem.
India is, and remains structurally embedded in the semiconductor value chain. Pax Silica does not, and cannot, change that in the foreseeable future. This is important because semiconductor design is explicitly identified as a core pillar of Pax Silica. In this segment, India is already indispensable. Nearly every top-25 fabless semiconductor company by revenue operates large design centres in India. Crucially, these are not peripheral support offices. Most of them work on core intellectual property and system-level design. These are the processes that are at the heart of chip development cycles.
This massive base that global companies have in India is driven by incentives, talent availability, and ecosystem depth. The Indian government claims that nearly 20 per cent of the global chip design talent is in India. Any attempt to bypass India’s design base would impose higher costs and slower innovation on the very firms Pax Silica seeks to support. In that sense, India is already inside the tent where it matters most upstream.
This design strength also explains why India’s absence from a diplomatic grouping did not imply exclusion from future technology gains. The semiconductor supply chain is not neatly modular. Design, software, and systems integration are tightly coupled with downstream manufacturing and deployment. Pax Silica may seek to coordinate trusted production nodes, but it cannot exclude India, which is where a significant chunk of the thinking, testing, and iteration already takes place, and hope to succeed.
Manufacturing cannot be wished away
India’s manufacturing role, while still emerging, is no longer hypothetical. Eight OSAT (Outsourced Semiconductor Assembly and Test) plants and one commercial CMOS fab are under active construction. While these projects do not compete with Taiwan or South Korea on advanced logic nodes, they do not need to. Assembly, testing, and packaging are becoming increasingly cutting-edge to squeeze out better performance without necessarily making transistors smaller. This is also where diversification is most feasible and easiest to achieve.
In the coming decade, India is likely to emerge as a meaningful OSAT node. If the objective is to reduce concentration rather than just signal alignment, then having capacity in a large, independent market is a huge asset, not an inconvenience.
The same logic applies to artificial intelligence. Pax Silica places heavy emphasis on AI infrastructure and deployment, yet India sits close to the centre of both. Indian software firms are well-positioned in what Kai-Fu Lee has described as “enterprise AI”, where models are integrated into business processes rather than built from scratch. This adoption, rather than just creation, is where most economic value is likely to accrue over the next decade.
India is also one of the largest potential markets for AI deployment across finance, logistics, healthcare, manufacturing, and public services. An effort to shape the global AI economy while leaving out both major integrators and a market of this scale will struggle to deliver returns for participating firms. AI supply chains do not end at data centres. They end where systems are deployed at scale.
Looking Ahead
The first cut of participants in Pax Silica reflected diplomatic convenience rather than supply chain completeness. We have seen this before. Coalitions built around technology tend to expand in phases. Early announcements prioritise ease of alignment over comprehensiveness.
There is also a risk of over-securitisation. Treating AI and semiconductors purely through a national security lens can narrow choice and raise costs. Recent easing of certain chip export controls and deals with China in rare earths suggest that even Washington recognises the limits of blunt restriction. China will continue to remain a player in the AI, semiconductor and critical minerals market in the future, and an attempt to cut it off entirely is neither feasible nor economically wise. The aim must remain to reduce single-source dependence.
Timing and next steps
A more plausible explanation for India’s initial absence lies in trade frictions rather than strategic distance. Tariff disputes continue to weigh on India–US economic ties. It is reasonable to hypothesise that India may have chosen not to join a high-visibility economic grouping while being singled out on trade, or that the US may not have chosen to include India at that moment. This made the absence a bargaining position, not an outright rejection of cooperation, as subsequent events now suggest.
There is precedent for this approach. India was not a founding member of the Mineral Security Partnership either. That triggered similar concern at the time. India joined later, once the contours of the grouping were clearer and its interests better reflected. Pax Silica has followed a similar trajectory. Semiconductor and AI firms with deep exposure to India have little incentive to see India permanently excluded from any framework that shapes their operating environment.
Even in December, there was little reason for alarm. Semiconductor firms have continued to expand design and engineering work in India. AI providers have continued to invest in Indian data centres and deployment to monetise their models. OSAT capacity under construction did not hinge on the outcome of one summit.
India’s continued priority should be domestic execution: improving manufacturing competitiveness, reducing regulatory friction, scaling packaging and testing capacity, and focusing on AI deployment. Delivering on these projects will be the make-or-break factor for India.
Reading and listening recommendations on public policy matters
[Paper] Ore Wars: The Problem of U.S. Dependence on Foreign Materials, a 1982 paper by John Orme, is a prescient take on mineral geopolitics.
[Puliyabaazi] A conversation on the opportunities, barriers, and information asymmetry in the legal market in India, ft. Bhargavi Zaveri.
[Article] Amitabh Kant on the five reforms India needs. Good to see this line in the article: “to export competititvely, India must import efficiently.” We’ve been talking about this since 2020 in this newsletter.
Good morning, and welcome to Vittles! Today’s essay is a long read by Joe Zadeh about the persistent fears in the West surrounding the reheating of rice. It’s the first piece that we’re publishing online from our second print issue, on the theme of ‘Bad Food’. The magazine contains lots of other deeply researched and engaging pieces about contemporary food culture – specifically the messy, unglamorous and chaotic aspects of it. You should buy a copy.
Speaking of things to buy, we have added five extra tickets for our sold-out event this Wednesday at Oxford House with Ixta Belfrage, Melek Erdal and Rukmini Iyer. These are sure to sell out so act quickly!
‘What are you talking about?’ Dad asked me, a look of incredulity on his face. ‘I’ve been reheating rice all my life.’ It was a warm Saturday evening. We were sitting at the dining table in his home in Gateshead, drinking beer and eating from a plastic tub of M&S bell peppers stuffed with ricotta. I had just told him that I was researching a story about the dangers of reheated rice – more specifically, the illness that has come to be dubbed ‘fried rice syndrome’ or ‘reheated rice syndrome’ across the Western world. Search those terms on most platforms, and you’ll find hugely popular posts issuing dire warnings about the condition. ‘Hospital workers say it’s some of the worst cases of food poisoning they’ve ever seen. And it can lead to death,’ reported food52, in a TikTok post with more than 431,000 likes at the time of writing.
Dad didn’t take this news well. He got up from the table, marched to the fridge, took out a glass container and started pointing at it animatedly. ‘What is this?’ he asked, before taking a second identical container from the fridge and waving it around. ‘And this, what is this?’
‘Rice,’ I said.
‘Exactly,’ he said defiantly. ‘And I will reheat some tomorrow, and the next day and the next day.’
Like many Iranians, my dad takes rice very seriously. When we cook polow together, he says things like ‘Careful!’, ‘Be gentle!’ and ‘You need to keep an eye on your rice, Mister!’ as if we were bathing a newborn baby. Despite having been divorced for twenty-nine years, his ex-wife – who is British and, incidentally, my mother – still cooks perfect Iranian-style rice due to how ardently she was drilled on his methods. When asked if he owns a rice cooker, he takes great pleasure in saying: ‘You’re looking at it.’
According to the food52 video, you should eat rice within a day of cooking it. After that window has passed, they advised viewers to ‘just throw it away. Just throw away your leftover rice, friends, it’s really not worth it.’ They’re not the only ones making this claim. On LADBible, a headline read: ‘“Fried rice syndrome” is real and can kill you, doctor says’. A post on the ‘r/TrueOffMyChest’ subreddit titled ‘I almost died from fried rice syndrome’ tallied over 500 replies. If you look at the comments on these posts, you’ll find lots of astonished people – frequently of Middle Eastern, Asian, African or South American descent – saying something to the same effect as Dad: I’ve reheated rice all my life, and I’ve never got ill. How can this be true?
This stark division in rice-reheating attitudes is almost comically widespread. While appearing on The Graham Norton Show in 2023, the British and Malaysian-Chinese stand-up Phil Wang joked that the main difference between white people and Chinese people is that the former are ‘absolutely terrified of reheating rice. For white people, rice has one chance to be food. And if there’s any left over after the meal, it just becomes poisonous straight away.’ Out of curiosity, I texted seven white friends to ask if they were brought up to believe that reheating rice was dangerous. All seven said yes.
Like my dear father, and Phil Wang, I have also been reheating rice all my life. As I write this, there is one container of rice in my fridge, and three in my freezer. Cooked white grains linger in my kitchen like coins in trouser pockets: forgotten for long periods, then rediscovered with joy. And I have never, to my knowledge, got sick from them.
As I plied Dad with more and more internet evidence of rice-related anxiety, he fell silent. We looked out the window into the back garden. The closing notes of the day’s sun played out on the grass. ‘China, India, Pakistan, Iran,’ he said, quietly. ‘Russia, Greece, Turkey, Japan,’ he continued, becoming louder and bolder. ‘Malaysia!’ I realised he was listing countries that ate rice. ‘There would be a lot less people in Iran if reheated rice was deadly. There are communities in Iran that are so poor, they eat rice for breakfast, lunch and dinner. They don’t have a fridge or a chiller. How can you explain that, Joseph? How?’
‘Like many Iranians, my dad takes rice very seriously. When we cook polow together, he says things like “Careful!”, “Be gentle!” and “You need to keep an eye on your rice, Mister!” as if we were bathing a newborn baby.’ … When asked if he owns a rice cooker, he takes great pleasure in saying: “You’re looking at it.”’
Of course, this wasn’t the first conversation I’d had about the dreaded syndrome. But I’d always thought that it was only a risk if you didn’t cook your rice properly in the first place, and so I’d dismissed it, with an air of superiority, as something not worth worrying about. But as the odd cultural divide became more apparent, my curiosity was piqued. How can so many people be terrified of reheated rice, while others live their lives in fluffy ignorance? Are the warnings overblown or have I – and most of the non-Western world – been dancing with death all these years? Is there something in the way that different cultures cook or store rice that protects against these toxic side-effects? And where did the very specific – and rather problematic – name fried rice syndrome come from? I felt compelled to find some answers.
Reheated rice fears have circulated for decades, but many of the recent posts on TikTok and other platforms seemed to have been triggered by the recirculation of a story about a young man in Belgium supposedly dying from fried rice syndrome. Despite regularly inspiring breaking-news-style posts – ‘Man, 20, found dead in his bed by devastated parents after he reheated common pasta dish’ reads a headline in the Sun from 2023 – the incident actually took place in 2008. As that headline reveals, the man hadn’t actually eaten rice, but leftover spaghetti (resulting in some online publications running confusing headlines like ‘20 Year Old Dies of “Fried Rice Syndrome” After Eating Leftover Pasta’). I texted the same seven friends from earlier to ask if they’d ever received warnings about reheating pasta as they had for rice. All seven said no.
According to a 2011 report about the case in the Journal of Clinical Microbiology, the man became sick after eating spaghetti leftovers that had been cooked five days earlier and then left in the kitchen at room temperature. Within 30 minutes of eating, he experienced a headache, abdominal pains and vomiting. He was found dead the following morning. The autopsy revealed the presence of the bacterium Bacillus cereus (B cereus), which was also detected in samples of the pasta dish that were analysed. The paper also references four other fatal cases attributed to B cereus food poisoning: two more associated with pasta, one with fried rice and one with noodles.
‘B cereus is the microorganism culprit behind the so-called fried rice syndrome,’ confirmed Enzo Palombo, a microbiologist at Swinburne University of Technology in Melbourne, whom I spoke to over Zoom. The name comes from Latin: ‘Bacillus’ means ‘little staff’ or ‘little wand’, while ‘cereus’ means ‘wax-like’. In your mind, picture a microscopic sausage that glistens and wiggles and can multiply into endless sausage links, and you’re not far off. B cereus is a close relative of the notorious Bacillus anthracis, responsible for anthrax. ‘Most of the time, it’s a benign presence,’ said Palombo. ‘But when the conditions are right, it has a few tricks up its sleeve that allow it to act as a food pathogen.’
An electron microscope image of B cereus. Credit: Mogana Das Murtey and Patchamuthu Ramasamy
Most food-borne bacteria are destroyed by heat during cooking, Palombo informed me. But B cereus is one of a few species capable of forming spores. ‘These spores are incredibly resilient: they can last for hundreds of years, and can resist acid, heat and other environmental conditions. They think they might even be able to survive in outer space.’ No matter how hot your stove, the spores of B cereus can survive in your food in a dormant state, waiting for an opportune moment to return, like a cryogenically frozen billionaire.
How do dormant spores turn into a nasty bout of food poisoning? According to Palombo, the ‘danger zone’ in microbiology is between 5°C (the temperature of the fridge) and 65°C (the temperature that food should rise above when cooked). ‘So, imagine you’ve cooked your rice or pasta and there is B cereus in there. You’ve killed the bacteria through cooking but the spores have survived. If you chill it right away, then you’re fine, if you reheat it properly then you’re fine,’ he told me. But if you leave it at room temperature for too long and there’s sufficient moisture, then the spores spring back to life and begin feeding on the starch while secreting toxins. ‘Bingo,’ Palombo continued, ‘these toxins are what will muck up your guts and cause you to have diarrhoea, vomiting or even more severe consequences.’
It’s worth emphasising that the Belgian case was rare and extreme – B cereus infection is usually mild, and hospitalisations are infrequent. The global mortality rate for cases associated with food poisoning is just 0.05%, and deaths generally occur in those predisposed to developing more severe illness (young people, old people, pregnant people and people with compromised immune systems).
Much of what Palombo and I talked about – danger zones and safe storage – felt intuitive. I don’t leave food out for hours. I divide big batches of cooked rice into smaller boxes so that it cools quicker. I always keep everything in either the fridge or freezer, and always thoroughly reheat. But I still felt deeply puzzled about some things. If B cereus is a risk with any starchy food, then why aren’t we as fearful of reheated pasta as rice? And if reheating rice does carry this potential to cause illness, why is the perception of risk so inconsistent across cultures?
‘It’s something I’ve always known about, but that just comes from a catering background,’ said Farokh Talati – Head Chef at St John Bread and Wine in London and author of the cookbook Parsi: From Persia to Bombay– when I asked him about rice anxiety. ‘Rice is the cornerstone of my cooking,’ he told me. ‘In my own home life, I’m loose. I’ll cook my rice, and put the leftovers in the fridge once it’s cooled down. When I heat it back up, I’m not there probing it, I just put a bit of coconut oil in a pan, fry the living crap out of it, and then eat it.’ But when it comes to his professional life, Talati has to be much more cautious, because of strict health and safety regulations. ‘But it’s not so much around just rice itself – it’s around everything we touch from raw foods to raw vegetables.’
I asked Talati if he had any theories about why rice might have acquired such a unique fear factor? He responded, ‘I can’t help but think: Is there something deeper going on? Is it something about how the West perceives the East? Is there something really ingrained in us here that sees rice as a scary thing, an unknown thing? What is this food that’s coming over? It’s not part of our cuisine – is it making us sick?’
Throughout history, rice has certainly been known to trigger animosity among Europeans. Friedrich Nietzsche wrote that eating rice caused one to become addicted to opium. The notable French gastronomist Jean Anthelme Brillat-Savarin – famous for his aphorism, ‘Tell me what you eat, and I will tell you what you are’ – thought eating rice made you soft and cowardly. Meanwhile, in his 1883 pamphlet, How, When and What to Eat: A Guide to Colonial Diet, the Australian doctor and novelist Stephen Mannington Caffyn cautioned that ‘We might expect to find rice-eaters everywhere a wretched, impotent, and effeminate race, and such is the case.’
It is certainly odd that food poisoning caused by B cereus has become so widely known as fried rice syndrome – a term used not just on social media and in news coverage, but even in peer-reviewed academic publications. I found it difficult to trace the exact historical origin of the name. The first complete scientific proof of B cereus as a microorganism capable of causing food-borne disease came in 1955, in Norway, and had nothing to do with rice – it was traced to a vanilla sauce prepared from corn starch that had been linked to a wave of illnesses in care homes and hospitals in Oslo.
‘Throughout history, rice has certainly been known to trigger animosity among Europeans. Friedrich Nietzsche wrote that eating rice caused one to become addicted to opium. The notable French gastronomist Jean Anthelme Brillat-Savarin … thought eating rice made you soft and cowardly.’
One of the earliest associations between B cereus and fried rice that I could track down was a 1973 article in the British Medical Journal that reported on eighteen outbreaks of food poisoning in the UK dating back to 1971, many of which had been traced to Chinese restaurants and takeaways where boiled rice was being stored at room temperature for long periods of time before being fried. But the phrase ‘fried rice syndrome’ was nowhere to be seen.
Around the time that this article was published, a completely separate food scandal associated with Chinese food had erupted, with misplaced fears about MSG stoked in the US by anti-Chinese racism and dodgy science. In a 1968 letter to the New England Journal of Medicine, Dr Ho Man Kwok wrote: ‘For several years since I have been in this country, I have experienced a strange syndrome whenever I have eaten out in a Chinese restaurant,’ before going on to describe symptoms that included numbness at the back of the neck, general weakness and palpitations. While Kwok posited MSG as only one possible cause among many, it was latched onto by scientists and the media. In 1969, experiments – now found to have been crucially flawed – appeared to confirm ‘Chinese Restaurant syndrome’ as a legitimate medical condition caused by MSG, one that could make you sterile and cause brain damage in babies. The subsequent public health scare lasted for decades.
It doesn’t feel like a stretch to posit that fried rice syndrome may have been coined during this racially charged moment in culinary history, in which food safety fears were being rampantly fuelled by a dislike and distrust of immigrant culture. ‘I think there is a bit of a stigma in how it has come to be named fried rice syndrome,’ said Palombo. ‘It seems to suggest that Asian food is the problem, but it’s not. Any starchy food should be considered a contamination risk.’
I was starting to understand how reheated rice, specifically, had become such a uniquely panic-inducing food for white people. But if beneath the noise there was still a very legitimate danger of food poisoning, why was this risk being so little discussed, underplayed or even ignored in other cultures? In essence: Why was my dad angry about this?
‘I had no idea this was a massive thing until I read your email,’ said Mandy Yin, founder of the Malaysian restaurant Sambal Shiok in North London, after I sent her links to the TikTok rice panic. At the same time, it didn’t surprise her. ‘Years ago, I was with my husband’s family – half Scottish, half Welsh – and we ordered a massive Chinese takeaway. Immediately after finishing, everyone refused to keep the rice. I was like: There’s so much food being wasted!’
Yin told me that at Malaysian street food stalls and markets, the rice for nasi lemak is often cooked in the morning, wrapped in banana leaf parcels along with sambal, peanuts, anchovies, and egg, and then sold throughout the day. In fact, in many cuisines, there is an abundance of recipes in which leftover rice is actively preferred over freshly cooked.
A beloved dish in Tamil cuisine called pazhaya sadam literally translates as ‘old rice’. Food writer and novelist Chitrita Banerji told me of a similar recipe in rural Bengal called panta bhat: ‘During the summer, people will pour water over leftover rice and just leave it – not in the fridge, but outside. The hot temperature outdoors will ferment it to create this kind of milky liquid. You eat it with raw onions and maybe some raw green chillies. It has a sharp, slightly funky taste. And that is considered very healthy and cooling for your body.’ I find it hard to believe that these recipes, widely circulated and often passed down through generations, would have survived if they were inherently poisonous.
Comparing the rates of B cereus poisoning between different countries didn’t help to clear things up much. At first glance, when you compare a Western nation like the US with China, the world’s leading consumer of rice, the data are striking. According to a US Centers for Disease Control and Prevention estimate from nearly twenty years ago, around 63,400 B cereus episodes occur annually in the US, whereas a ten-year survey of infections in China (from 2010 to 2020) logged only 7,892 cases in total. That suggests that far more people are getting sick from fried rice syndrome in the US than in China (particularly when the population discrepancy between the two is factored in). However, the methods used in these studies are so different as to basically preclude comparison – whereas the US figure is an estimate to account for likely under-reporting of mild cases, the Chinese survey focused explicitly on confirmed cases. Still, I couldn’t help but wonder: Might there be something in how different cultures are preparing and cooking rice that may somehow be preventing B cereus infections?
Searching for answers, I came across the work of Paul W Sherman, a biologist at Cornell University who spent a large chunk of his academic life studying the social life of naked mole rats. In the late 1990s, he collaborated with a graduate student called Jennifer Billing to investigate a uniquely culinary question: Why did humans start using spices in food? And why, despite a now-established global spice trade, is their use far more important in some cuisines rather than in others? Could it be, they posited, that people in hotter countries use more spices because spices kill bacteria that grow faster in warmer climates, keeping their food safer to eat?
Sherman and Billings surveyed 107 ‘traditional’ cookbooks from thirty-six countries globally, creating a database of nearly 7,000 recipes, across which forty-two spices were used. Their analysis found that countries with higher average temperatures appeared to add more spices to their recipes relative to countries with lower average temperatures. They also discovered that higher average temperatures (where food-borne pathogens would be more prolific) were associated with the use of spices with stronger antimicrobial effects. They concluded that beneath the veneer of cultural differences in taste preference, culinary spice use might also have an evolutionary premise.
It’s certainly rare that I cook plain rice without any spices added at all. I’m usually riffing on one Iranian recipe or another, which almost always involve turmeric, sometimes saffron and occasionally clove, cinnamon, ginger or cumin. Likewise, when Talati told me how he cooked what he described as ‘plain rice’, it still involved ‘boiling it with spices like star anise, cinnamon, clove and cardamom’. Similarly, Yin said that, when cooking rice, ‘I do generally always use garlic and white pepper, oyster sauce and soy sauce, and some sort of chilli sauce or sambal feature regularly too.’
Star anise, clove, cinnamon, turmeric, ginger and garlic have all, in peer-reviewed scientific papers, shown antimicrobial effects that inhibit B cereus in some shape or form. And they aren’t the only ones: similar studies are out there for the antimicrobial effects of ingredients including rosemary, black pepper, coriander, oregano, thyme, galangal, onion, capsicum and pomegranate (a popular ingredient in Iranian cooking). Even the banana leaf, mentioned by Yin as packaging for parcels of rice, displays antimicrobial properties, although I couldn’t find any studies of its effect on B cereus specifically.
‘I’d become less wary of rice in particular, and more wary of room temperature itself. Will I now think twice about the tempting arancini and frittatina di pasta that sit out on cafe counters in Italy next time I’m on holiday? Yes. Will I try at least one anyway because risk excites me? Yes.’
Could the use of certain spices in various cultural methods of rice preparation be preventing the proliferation of fried rice syndrome? I put my spice thesis to Palombo. He agreed that traditional medicinal plants have a lot of antibacterial compounds. ‘Before modern methods of food preservation, people would rely on stuff like this,’ he said. ‘Salt is also an inhibitor of microbial growth, so if you’re adding salt to your rice when you cook it, that might have an effect too.’ I started to think of all the Iranian recipes I cook at home, which my dad taught me and his mother taught him, as not just guides for good meals, but as repositories of traditional knowledge, from a time before fridges and microwaves, in which many of the ingredients had been combined in particular ways for a myriad of now-forgotten-yet-essential reasons. And like a child reciting a prayer, I was now repeating these actions, without ever truly understanding why.
The spice theory is interesting, but it is just a theory. Since Billing and Sherman published their work in the nineties, some of their findings have been challenged. A 2021 study in the journal Nature Human Behaviour painted a more complicated picture, which suggested that spice use is better predicted by socioeconomic factors like poverty and poor health outcomes than by temperature or infection risk. And when I asked Banerji about the use of spices to cook rice in Bengal, she was quick to burst my bubble: ‘In Bengal, the day-to-day rice is cooked plain, without any added spices or even salt. The use of cinnamon, cardamom, cloves, bay leaves, or even saffron is seen for more “fancy” recipes, like pilafs and biryanis. It is not daily food.’
How then to think about fried rice syndrome after everything I’d learned? It was certainly more complicated than a simple public health warning. The name itself is useless and misleading, and probably originates from a particularly racist moment in culinary history. Yes, improper storage and reheating of your rice can make you sick, but so can the same treatment of any starchy food. I’d become less wary of rice in particular, and more wary of room temperature itself. Will I now think twice about the tempting arancini and frittatina di pasta that sit out on cafe counters in Italy next time I’m on holiday? Yes. Will I try at least one anyway because risk excites me? Yes.
I walked away from this intensive phase of research with a very odd picture of the world, one divided into two tribes: the reheaters and the dumpers. Box by box, the faithful reheaters filled their fridges and freezers with cooked rice, building for the future, like beavers constructing a mighty dam. Meanwhile the other tribe, the fearful dumpers, poured their leftovers into a never-ending waterfall of perfectly edible white grains that showered down into a black abyss, deep into the underworld.
That evening, once Dad had calmed down, we did what we do best: we cooked rice. He’d been to the Kurdish shop on Sunderland Road to get fresh dill and fava beans so that we could make baghali polow, an Iranian rice dish that people have been cooking since at least since the Safavid Dynasty. We washed basmati ritualistically five times and then parboiled it. Steam bellowed from a big pot, dill leaves were separated from stalks, fava beans were rinsed. We drained and washed the parboiled rice again, then mixed it with the dill and beans. We added oil, butter and turmeric into the pot, carefully placed and sizzled some thinly sliced potato and delicately spooned the rice back in. Dad said, ‘Careful!’ a lot. Melted saffron was drizzled over, and then the lid went back on for an hour.
We ate the baghali polow together and watched the football, and Dad told me all his rice memories: about being taught to cook by his mum; about living in a Caspian seaside town in Mazandaran and smelling the rice fields in the summer (‘a lovely sweet smell’); about how in Iran, your Sunday best clothes that you’d wear for special occasions are called ‘lebas polo khori’ – ‘rice-eating clothes’. When the game finished and I got up to leave, he presented me with three glass containers of leftover baghali polow, which I took home, and which I would ultimately reheat, the next day, and the next day and the next.
Joe Zadeh is a British-Iranian writer based in the north east of England. He writes fast-paced and wide-ranging nonfiction about the things that underpin our everyday lives, but often escape scrutiny. His longform essays have questioned the way we think about time, examined the cultural history of charisma, and shone a light on the consequences of the modern world's addiction to concrete. Previous bylines include the Guardian, VICE, and Rolling Stone. He currently works as a contributing writer for the US publication Noema.
Ibrahim Rayintakath is an illustrator and art director based in his coastal hometown of Ponnani, India. His editorial work, which explores themes of culture, politics and mental health, has appeared in various outlets like the New Yorker, the New York Times and NBC.
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KRITI SANON to Vikram Prabhu, this week's streaming releases feature some of our favourite names! But there's still more to explore. Among the exciting titles that have dropped on OTT platforms across languages this week are Cheekatilo, 45, Steal, andA Knight of the Seven Kingdoms , . See more here.
What To Watch This Weekend
From prestige dramas to live sports, this guide brings together all the top releases you’ll want to stream this weekend. And here’s the best part: JioHotstar is now part of the OTTplay vault! Unlock acclaimed originals, blockbuster films and live sports from JioHotstar — plus content from 30+ other platforms — all for just ₹149 with the Power Play Monthly Pack.
Riteish Deshmukh, Vivek Oberoi, and Aftab Shivdasani are back with the latest installment of the adult comedy. The three men come up with another bold ploy, Love Visa. But this time, the wives of the leading men decide to have fun on their own.
Cop Kathiravan is tasked with taking an accused, Abdul, from the Vellore prison to the court. During the long bus ride, Kathiravan learns more about Abdul and his dark past. Vikram Prabhu and LK Akshay Kumar star in this Tamil drama film.
A meteor crash shocks the superstitious people of a remote village during the 1980s as strange events begin to unfold. A young scientist arrives, seeking to unravel the mystery. Aadi Saikumar leads the film, along with Archana Iyer.
Kiccha Sudeep stars as Ajay Markandaya or Mark in this action-packed thriller. The film follows the events after Mark's mother is attacked and a young girl is abducted. Vijay Kartikeyaa has directed the film.
This female-led series narrates the tales of four women who come together after the unexpected demise of Minoti's husband. However, things turn more dangerous as they are chased by cops and an ex-con man.
Psychology researcher Mukti forges a relationship with student leader Shankar, only to cut off ties with him. Their paths cross again years later. Dhanush and Kriti Sanon star in this romantic drama.
Arjun Ashokan, who had back-to-back releases last year across genres, begins 2026 at the Kerala box office with his latest Malayalam movie, Chatha Pacha . In an interview with OTTplay, Arjun discusses his role in this action-packed entertainer, how he prepares for each role that comes his way, his upcoming films and more. Read the interview here.
A Candid Chat with Sobhita Dhulipala
Sobhita Dhulipala returns to Telugu cinema after a very long time with the crime suspense film Cheekatilo (a Prime Video original). Vishwadev Rachakonda also appears in the lead role in the suspense thriller, directed by Sharan Koppisetty. Sobhita speaks about returning to Telugu cinema, her character, the backdrop of Cheekatilo, and her future projects. Read the interview here.
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Perhaps no one in living memory has spanned the two cultures of Britain and India as sensitively and closely as Sir Mark Tully, the BBC’s veteran broadcaster, who died in New Delhi age 90 on January 25, a Sunday as he would have wished. His loss will be felt throughout South Asia and across the world where listeners to the BBC will remember the rich tones of his warm but powerful voice, not just reporting on India and its neighbors, but also leading Something Understood, a weekly faith and music-oriented BBC radio program.
I first met Mark in Sri Lanka during the Tamil uprising of 1983 and quickly realized he was a tough and persistent reporter, but with a ready smile for people he met, charming them with fluent Hindi as well as his cultured English. He was a kind, caring and religious man, who once thought of becoming a priest. His broadcasting, and later his books, were often strongly influenced by a deep sense of right and wrong, which partly led to strong negative views about modern development.
Mark Tully immersed himself in the countries he covered and developed a wide circle of friends and trusted contacts ranging from poor villagers to those at the top of government who frequented his home in Delhi. They all helped him deliver revealing reports that uncovered the stories of a region going through massive change. Later his books, with iconic titles like No Full Stops in India that was published in 1991, vividly portrayed aspects of life in the remotest parts of the subcontinent.
Famous on the BBC’s radio air waves across South Asia, he was scrupulous about his detachment, even though he was specially lauded in Pakistan in the 1980s. People there listened out for his radio reports on the Movement for the Restoration of Democracy (MRD) that aimed at unseating the country’s military dictator, General Zia ul-Haq. I remember how, in a country where the media had little freedom, the BBC brought hope crackling down the airwaves with news of the MRD’s rallies and protests.
Mark was the BBC’s New Delhi-based bureau chief for 20 years and foreign correspondents were frequently chased by children calling out “Are you Mark Tully, Are you Mark Tully?” One day, near the Pakistani city of Hyderabad, a colleague and I were asked the question at a chai stall. “Yes, I am!” I said, exasperated by the repeated questions. Stirring the chai, the stall holder spoke to me in his own language and, when I didn’t reply, declared “You’re not Mark Tully, you don’t speak Urdu!”
Sometimes the Tully name was used more threateningly. In December 1992, he had become the symbol of all that was resented about the international media by the Bharatiya Janata Party’s Hindu extremists who were targeting foreign journalists after demolishing a revered 16th Muslim Mosque in Ayodhya. (A new Hindu temple was opened on the site by prime minister Narendra Modi early in 2024).
Tully escaped with some other journalists, rescued by a nearby temple priest. “We were surrounded by a huge mob screaming, ‘Death to Mark Tully!’ and ‘Death to BBC’,” he later told the Los Angeles Times for a profile headed “The BBC’s Battered Sahib: Mark Tully has been expelled by India, chased by mobs and picketed. He loves his job.”
His big events ranged from India-Pakistan wars, the Russian occupation of Afghanistan and the foundation of Bangladesh, to the uprisings in Sri Lanka and elsewhere. I saw him center stage on stories like the Indian army’s storming of the Sikh Golden Temple in Amritsar, the assassination of prime minister Indira Gandhi, and Union Carbide’s Bhopal gas disaster. He was always aware that what he said on the air waves could have a much more immediate and maybe cataclysmic impact than most newspaper reports.
He irritated and infuriated successive governments and was expelled from India along with other foreign correspondents during Indira Gandhi’s 1975-77 State of Emergency, but was awarded the highest civilian honors. In India he received the Padma Shri (for distinguished service) in 1992 and the Padma Bhushan (for distinguished service of higher order) in 2005. In the UK, he was knighted for his contribution to journalism in 2002, though he rarely used his full Sir Mark Tully title.
Mark was born on October 24, 1935, in Calcutta (now Kolkata), where his father was with Gillander Arbuthnot, a British managing agency firm. His mother’s family had worked for generations in what is now Bangladesh.
He was brought up, colonial style, with a European nanny, then at a British boarding school in Darjeeling north of Calcutta. His teenage school years were spent at Marlborough College in the UK. That was followed by Trinity Hall at Cambridge University, where he studied theology, but abandoned the idea of becoming a Church of England priest after two terms at a theological college.
Mark often said that he didn’t think his lifestyle would have fitted with being a priest, mentioning beer and whisky, and sometimes talking about his complex personal life. “There’s always been a dichotomy in my character– very religious, yet morally really rather bad,” he told The Independent newspaper in 1994. “I simply wasn’t confident of my own moral integrity,” he said in an interview with The Hindu newspaper. “And the Church mattered enough to me— as it still does — so that I didn’t want to let it down.”
Mark Tully with his partner Gilly at Kipling Camp, Madhya Pradesh, for Christmas 2011 – and Kim, the resident labrador
He remained married to his wife Margaret after she returned to London from India in the early 1980s, and spent the rest of his life based in Delhi with his partner, devoted assistant, and sometimes co-author Gillian (Gilly) Wright
“It reflects great credit on my wife and on Gillian,” he said in the Independent interview. “After such a long relationship, I didn’t want a divorce and have to write ‘finis.’ I wanted to remain friendly with her (Margaret) and my children.” Asked about this in a 2004 interview with the Cambridge University alumni magazine Cam, he replied: “I can’t speak for my wife or Gilly….Of course, I am not comfortable with the situation, not least because it doesn’t conform with the teachings of the Church.”
After abandoning what he saw as his vocation as a priest, he did not know what to do, so taught for a while and then spent four years working with a housing charity in Cheshire.
His life was transformed when he joined the BBC in 1964. A year later he moved to India, initially in management but quickly transferring to reporting, becoming the bureau chief, a post he held for 20 years. Aided by his deputy, Satish Jacob, and in later years by Gilly, he travelled extensively across the sub-continent, building relationships that included top political leaders and covering ordinary people’s miseries and their gradually changing lives as well as the big events.
If there has been criticism of his coverage, it is that he was – and remained – too critical and opposed to the development and modernization that has replaced traditional lifestyles and attitudes. He did not, of course, advocate continuing poverty or a lack of development, but he refused to accept that western-style consumerism and other forms of change were the way to achieve progress. He was also a virulent critic of the current Indian government’s Hindu nationalism.
No Full Stops had been “didactic,” he later admitted (in the preface to his next book) pleading that, along with economic growth, it was also necessary to “protect the country’s ancient culture, not merely ape…. the sterile materialism of the modern Western culture.”
With Mark at my farewell party as FT correspondent, July 1988
He was not afraid to air unfashionable views, as he showed over India’s widely condemned caste system on the BBC’s Desert Island Discs in 2003. “We have to look to the good and the bad in the caste system,” he argued. “The good side of it is that it offers security, it offers companionship, a community to belong to and that sort of thing.”
Mark has said that his passion for India was greater than his passion for journalism. He was happiest travelling the country talking to contacts and reporting and commenting on what he saw and heard on the radio.
He did not easily adapt to television and the BBC’s increased commercialization, and thought change should come by “evolution not revolution.” That led to him resigning from the BBC in 1994 after he was told to stop voicing his criticisms. But he continued to do occasional programs – in 2017 for India’s 70th year of independence, he and Gilly made a memorable cross-country journey that combined his hobby as a railway buff with reflections on the emerging India.
Away from the constraints of daily reporting, Mark became a prolific author, producing a total of more than a dozen books that vividly explored life in India with titles like India in Slow Motion and India’s Unending Journey as well as No Full Stops. Recently he was in the final stages of editing a memoir-style autobiography that Gilly will now complete.
Mark was also celebrated as the leading host on Something Understood, the BBC Radio 4’s Sunday morning program of words and music that started in 1995. Listeners tuned in from all over the world. Focused on faith, spirituality, and human life, this took him back to his original vocation till the BBC ended the series in 2019.
Regretting the BBC’s decision, Mark told the Radio Times magazine that he felt sad because he knew a lot of listeners liked it. “They say two things to me about it – that there is nothing else like it on the radio, and that this is what radio should be all about. And I think that’s true.” So many listeners instantly mention this when they hear the name Mark Tully – and tune in when the BBC runs repeats.
Mark is survived by his wife Margaret and four children, Sarah, Sam, Emma and Patrick, and by his partner Gillian.
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Chipmaker NVIDIA is investing $2 billion in AI cloud-computing firm CoreWeave, marking another milestone in the world of AI infrastructure partnerships.
CoreWeave has become the poster child of the AI boom. Meanwhile, industry watchers have recently raised questions about circular deals within the industry.
Speaking of AI, users can now order food, groceries and even book restaurant tables via conversational AI tools such as ChatGPT, Claude, and Google Gemini, thanks to a new feature on Swiggy.
Meanwhile, Pinterest plans to cut around 15% of its 4,500-strong global workforce as the social media company embraces AI, CNBC reported. It is unclear which roles or geographies will see job cuts.
ICYMI:Parents, teens and schools have taken social media giants, including Meta and YouTube, to court over their role in creating addictive content.
Lastly, in a move that is expected to boost trade between India and European countries and reduce reliance on the US, New Delhi and the EU signed a historic deal on Tuesday, per Reuters. The talks, which reportedly ran on and off for two decades, gained momentum after Washington recently imposed a 50% tariff on some Indian goods.
European Commission president, Ursula von der Leyen, called the agreement the “mother of all deals”.
In today’s newsletter, we will talk about
Big Tech seeks tax, regulatory measures
Payoneer’s local currency bet
Policy-driven equity conversations
Here’s your trivia for today: Which country is also the world's largest archipelago?
Union Budget Big Tech seeks tax, regulatory measures
India has seen mega investment announcements by Big Tech firms Google, Microsoft and Amazon, and there is a rush to build cloud and AI infrastructure. The industry bodies representing these firms and data centre operators have sought more favourable tax and regulatory measures that would ensure long-term policy certainty.
Nasscom (National Association of Software and Service Companies) has sought a clear statutory clarification that procuring hosting or colocation services from an Indian data centre operator does not create a business connection or permanent establishment for the foreign CSP when the Indian operator is remunerated at arm’s length, according to Ashish Aggarwal, Vice President and Head of Public Policy, Nasscom.
Policy clarity:
Assocham (Associated Chambers of Commerce and Industry of India) has also sought full GST input credit on data centre construction, including civil work, power systems, design, engineering, project management, and consultancy services. It has also sought profit-linked income tax deductions.
With respect to rationalisation of renewable power, Assocham has asked for the redesigning of ISTS (inter-state transmission system) charge waivers with lower capacity thresholds, reduction of wheeling charges, and allowing banking of renewable power for data centre parks.
The industry body has also requested the government to increase the budget of IndiaAI compute from Rs 10,000 crore to upwards of Rs 40,000 crore to “reflect real demand for sovereign model and AI use cases”.
The WISE Tech India Pitchathon 2026 continues with its next set of regional editions.
Six editions are scheduled across India in February and March , focused on identifying early-stage start-ups building practical, high-impact solutions.
Open to founders with a working MVP and early traction, selected start-ups will pitch before a curated jury of ecosystem experts, with top performers progressing to the WISE Tech India Pitchathon 2026 – Grand Finale . More regional editions will be announced as the season progresses.
For years, cross-border transactions were riddled with challenges for Indian small and medium businesses (SMBs) looking to sell overseas, due to high costs, unpredictable settlement timelines, and opaque foreign exchange conversions.
But this landscape has begun to shift, says Gaurav Shisodia, Vice President & Country Manager for India at Payoneer, a global payment platform. According to Shisodia, changes in payment infrastructure and access to local collection systems are enabling a broader range of Indian SMBs to participate in global commerce and look beyond traditional markets such as the United States and the United Kingdom.
Key takeaways:
Historically, international payments for Indian exporters relied almost entirely on SWIFT transfers. Platforms such as Payoneer allow Indian SMBs to collect payments in buyers’ local currencies through multiple methods while settling funds transparently into Indian bank accounts.
Improved payment access has also widened the geographical network for Indian exporters. While the US and UK once dominated outbound trade flows, SMBs are increasingly exploring markets in Europe, Middle East, and Southeast Asia.
Looking ahead, Payoneer plans to deepen its investment in India and is also setting up a product and R&D hub in Gurugram and a global operations centre in Bengaluru. It has also applied for a payment aggregator licence in India.
For millions of women in Tamil Nadu, joining the workforce is only the first hurdle. Staying on, advancing, and balancing paid work with care responsibilities stand as more complex challenges. The upcoming Global Women Summit 2026 aims to place these realities at the centre of policy conversations, bringing together the state, industry, and civil society to think of ways to reimagine women’s work.
‘The Global Women Summit 2026 — SheLeads’, scheduled for January 27 and 28 at the Chennai Trade Centre, is poised to become one of Tamil Nadu’s most significant platforms for shaping the future of women’s work and economic participation.
Deal: Anta Sports Products, China’s biggest sportswear brand, on Tuesday said it would acquire 29.06% stake in German sportswear maker Puma from the Pinault family for 1.5 billion euros ($1.8 billion). The deal will make Anta Sports the biggest shareholder in Puma.
Data gathering: Ride-hailing giant Uber said it has set up a new division called the Uber AV Labs through which it will collect data for its autonomous vehicle partners, such as Waymo, Waabi, and Lucid Motors.
Turning a corner:Aerospace company Boeing’s sales surged nearly 60% in the fourth quarter as the planemaker battled a string of crises that affected its reputation. At 160, this is its strongest quarter of aeroplane deliveries since 2018. It had made 57 deliveries in the same period last year.
Did you know?
Which country is also the world's largest archipelago?
Answer: Indonesia
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This EV report analyses the movement in market shares (EV share) of the top vehicle categories, key vehicle-selling states, and key players in the Jan 2025-Dec 2025 period (CY2025) in the Indian electric vehicle (EV) space.
Sales Trends
Vehicle Category-wise EV Sales: The cumulative EV sales in India reached 79,76,184 units by the end of CY2025. The annual EV sales surpassed 23 lakh vehicles in CY2025, with registered electric two-wheelers (E2W) accounting for 57% of total EV sales, followed by passenger electric three-wheelers (E3W-P) with an approximately 29% market share.
State-wise EV Sales: Uttar Pradesh, Maharashtra, Karnataka, Tamil Nadu, and Delhi were the top EV-selling states till CY2025, collectively accounting for over 50% of the EV share. In terms of CY2025 sales share, Uttar Pradesh, Maharashtra, Karnataka, Tamil Nadu, and Madhya Pradesh emerged as the leading states in EV sales.
Annual Market Shares
Electric Two-Wheelers (E2Ws):On an annual basis, the E2W segment recorded an increase of ~11% in CY2025 over CY2024. TVS Motors, Bajaj Auto, and Ather were the top 3 E2W players in CY2025, accounting for more than ~60% market share in registered vehicle category sales.
Electric Three-Wheelers (E3Ws): Electric Three-Wheelers (E3Ws): On a year-on-year basis, the combined registered sales of passenger and cargo E3Ws in CY2025 grew by approximately 15% compared to CY2024.
In the E3W Passenger segment, Mahindra Last Mile Mobility, Bajaj Auto, YC Electric, TVS Motor, and Saera Electric emerged as the top five players in CY2025, collectively accounting for around 35% of the market. Within this segment, the L5 E3W Passenger category was dominated by Mahindra, Bajaj, and TVS, which together held a combined market share of approximately 84%. In contrast, the L3 E3W Passenger segment saw YC Electric, Saera Electric, and Dilli Electric as the leading players, with a combined share of about 15%.
In the E3W Cargo segment, Mahindra Last Mile Mobility, Bajaj Auto, YC Electric, Dilli Electric, and J.S. Auto were the top five players in CY2025, together capturing nearly 25% of the market. Within the cargo category, Mahindra, Bajaj, and Omega Seiki led the L5 E3W Cargo segment, with a combined market share of approximately 54%. Meanwhile, in the L3 E3W Cargo segment, YC Electric, Dilli Electric, and J.S. Auto were the top three players, jointly accounting for around 16% of the market.
Electric Cars (E-Cars): On a yearly basis, E-Car sales registered an increase of ~82% in CY2025 over CY2024 sales. Tata Motors was the top E-Car player, accounting for more than 39% of the entire market share, followed by MG Motor which accounted for ~29% of the market share.
Electric Buses (E-Buses): On an annual basis, E-Bus sales witnessed a jump of ~18% in CY2025 over sales in CY2024. Olectra Greentech, PMI Electro and Switch Mobility were the top 3 E-Bus players accounting for 68% of the total E-buses sold in CY2025.
EV Penetration Trends
State-wise EV Penetration: refers to the % of electric vehicle registrations out of total vehicle registrations in a state during a given period. In CY2025, Tripura recorded the highest EV penetration at 18.38%, followed by Assam (14.30%), Delhi (13.89%), Kerala (11.34%), and Goa (10.76%), making them the top five states by EV penetration.
Player-wise EV Penetration: refers to the percentage of an OEM’s EV sales out of its total vehicle sales during a given period.
E2W segment: TVS Motor recorded the highest EV penetration at 5.26%, followed by Bajaj Auto (4.68%). Among legacy OEMs, Honda entered the EV segment with an EV penetration of 0.06%.
E3W – Passenger segment: Mahindra last mile mobility registered the highest EV penetration at 96%, followed by TVS Motor (43.98%).
E3W – Cargo segment: Mahindra last mile mobility again led with an EV penetration of 63.66%, followed by Atul Auto (18.03%).
E-car segment: MG Motor India recorded the highest EV penetration at 74.34%, followed by Tata Motors (12.13%).
State-wise Charging Stations: In CY2025, India recorded over 29,000 public charging stations, with Karnataka, Maharashtra, Uttar Pradesh, Delhi, and Tamil Nadu together accounting for more than 55% of the country’s total charging infrastructure.
The legacy automaker posted the highest-ever monthly sales of its electric two-wheelers in January—coming in at 31,731 units, commanding a 28.8% market share.
The company also closed 2025 strong by selling the most number of EVs in 2025.
Ola Electric, on the other hand, has had a dramatic fall from grace, from being the market leader for electric two-wheelers last January to coming in last among its peers this year.
In other news, remember when Geoffrey Hinton, the Godfather of AI, said that jobs involving physical labour were AI-proof? Not if new-age startups have anything to say about it.
AI startups are raising billions to develop software brains for robots that could work anywhere from oil rigs to construction sites.
Lastly, meet the new winners of the 68th Grammy Awards. From Kendrick Lamar sweeping five categories to Bad Bunny making Grammy history as the first Latin artist to win album of the year, the night was one for the books.
Also, catch today’s piece on an entrepreneur’s extraordinary journey from building a terrace startup to running a $300 million empire, all from his hometown of Trichy, Tamil Nadu.
In today’s newsletter, we will talk about
Ather Energy sees 50% rise in Q3 revenue
A brandy giant betting on luxury whisky
AI to solve farm labour crisis
Here’s your trivia for today: What did Nestle freeze dry in 1938 that led to the development of powdered food products?
Electric Mobility Ather Energy sees 50% rise in Q3 revenue
Ather Energy reported a 50.1% rise in revenue on the back of surging sales of its electric two-wheelers. The company reported a revenue from operations of Rs 953.6 crore in the three months ended December 31, compared with Rs 634.9 crore in the year-ago period.
Key takeaways:
The EV maker also managed to narrow its losses by 57.7% to Rs 83.6 crore.
Ather Energy sold 62,265 units during the quarter—the highest it has sold in a three-month timeline—compared to 39,744 units sold in the year-ago period.
The company’s growth outlook looks strong based on its new low-cost EL platform, expected to launch later this year. Ather is banking on the better price point it will offer and its flexibility to achieve inroads into North Indian markets in particular.
For decades, Tilaknagar Industries (TI) has been synonymous with brandy in India. In the 1980s, it entered branded spirits with Mansion House Brandy. Today, Mansion House is the largest-selling brandy in India and the second-largest worldwide, cementing TI’s reputation as a brandy-first company.
In 2025, the company formally established House of TI as its luxury vertical, housing Monarch Legacy Edition and, more recently, Seven Islands Pure Malt Whisky.
Spirited away:
Seven Islands marks TI’s long-awaited and serious entry into whisky, India’s most aspirational and largest spirit category, with over 60% of market volumes. Named after the seven islands that once formed Bombay, the whisky draws inspiration from the city’s history of convergence and reinvention.
Launched in Maharashtra at Rs 5,200 a bottle, the brand is expected to expand to two to three more domestic markets this financial year and reach near pan-India distribution by the next.
The luxury push is unfolding alongside one of the most significant transactions in the Indian alcobev space. TI recently announced the acquisition of the Imperial Blue whisky portfolio from Pernod Ricard—one of the largest deals in the sector.
Azhaan Merchant saw a massive labour shortage in India’s farming sector after examining various horticulture value chains across rural Maharashtra. While much of the industry was trying to compensate for the shortage through mechanisation, Merchant understood that this approach was neither cost-effective nor practical.
Instead, he believed the solution lay in technology—in rethinking how agricultural labour is discovered, deployed, and managed at scale. That conviction led Merchant, who, along with Gourav Sanghai, founded Bharat Intelligence.
Metals:President Donald Trump will launch a strategic critical-minerals stockpile with $12 billion in seed money to insulate manufacturers from supply shocks. The venture, dubbed Project Vault, will marry $1.67 billion in private capital with a $10 billion loan from the US Export-Import Bank to procure and store rare earth minerals for automakers, tech firms, and other manufacturers.
Slump:Gold and silver prices have continued to fall after a dramatic reversal of a rally that had pushed precious metals to record highs. Spot gold prices fell nearly 10% at one point while silver slumped by 15% before both metals recovered some ground.
AI plans: Oracle shares fell about 4% in premarket trading, after it outlined plans to raise $45 billion to $50 billion this year to expand its cloud infrastructure, fueling investor concerns about its rising debt load. The software company said the fundraising was aimed at expanding cloud capacity to meet contracted demand from major customers such as AMD, Meta, Nvidia, OpenAI, TikTok, and xAI.
Here's what else we have for you
Capital One India: Driving innovation with a country-wide Hackathon and AI Summit In partnership with Capital One
Capital One India’s fifth edition of Pinnacle, its flagship AI Summit, brought together over 250 leaders, technologists and innovators in Bengaluru to explore the future of AI and Machine Learning. The summit marked the culmination of Capital One Launchpad, a month-long nationwide hackathon that attracted more than 5,000 registrations across India. Focused on applying AI to real-world challenges in agriculture, Launchpad showcased innovative, agentic AI solutions designed to support informed decision-making on the ground. Fourteen finalist teams presented their ideas to a distinguished jury, with winners announced at Pinnacle. Beyond the conversations on AI and ML, the summit reinforced Capital One India’s continued commitment to nurturing a purpose-driven innovation ecosystem.
How Sigma University is building an MSME-first startup ecosystem in Gujarat In partnership with Sigma University
While India’s campus startup culture often revolves around hackathons and pitch decks, Vadodara-based Sigma University is taking a different approach – one rooted in MSME realities, capital discipline, and execution. Through its Sigma Entrepreneurship Development & Incubation Centre (SEDIC), the university has built a structured idea-to-PoC pipeline that prioritizes deployable solutions over vanity metrics.
Its flagship platform, NOVA, has already unlocked over Rs 1 crore in potential investments by testing startups on execution, not just ideas. With NOVA 2.0 focusing on applied AI, vertical SaaS, sustainable engineering, agritech, and rural innovation, Sigma University is building a regional startup ecosystem shaped by relevance and real-world impact. Read the article to know more.
What did Nestle freeze dry in 1938 that led to the development of powdered food products?
Answer: Coffee
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Mayasabha Is A Fascinating Film Engulfed By Its Own Excess
Rahi Anil Barve's sophomore outing is a startlingly original film with its own language and worldbuilding, where greed is placed at the centre — both as a site of seduction and the reason for undoing, writes Ishita Sengupta.
IN A FAIR WORLD, someone who made Tumbbad, a fantastical film on greed, wouldn’t have to wait nearly a decade to make his next feature. In a fair world, the filmmaker wouldn’t have several projects on the back burner, battling uncertain fate. But such a world doesn’t exist, and Rahi Anil Barve is not just aware of this; he is subjected to it and through his films, he has made an art out of it. His sophomore film is posited in a similar universe of avarice.
There are more similarities. Like Tumbbad, Mayasabha: The Hall of Illusion is a startlingly original film with its own language and worldbuilding, and like the 2018 outing, greed is placed at the centre both as a site of seduction and the reason for undoing. Barve also uses the emotion as a scalpel to instigate the human heart and reveal it. The result is a fascinating film that becomes increasingly indulgent across its runtime but offers enough merit to signal that most of it is earned.
Mayasabha is set in a rundown theatre. The owner is a man called Parmeshwar Kumar (a triumphant Jaaved Jaaferi), a gas-mask-wearing, temperamental man living in the present but held hostage by the past. Once upon a time, he was a successful film producer, but today he languishes in memory. The eeriness of the space makes it only easier. Parmeshwar lives in a labyrinthine movie theatre that is shrouded in cobwebs and memories. Years ago, his wife, also an actress, had left him for someone else, and since then, he imprisoned himself and dunked himself in self-pity.
The other occupant is Vasu (a terrific Mohammad Samad), his young son who, unlike his father, is aware of a world outside but is equally fearful. He wears a helmet indoors, which starts to make sense when Parmeshwar throws violent fits of anger, only to hug his son the next minute. When Vasu invites two of his friends, the lulled momentum of the place shifts.
Premiered at IFFR 2026, Mayilaa blends humour, ritual and neo-realist detail into a sharp portrait of a mother and daughter navigating loss, labour and dignity.
Aditya Shrikrishna writes.
IF YOU POSSESS above average knowledge of contemporary Tamil cinema, Semmalar Annam might be familiar. Maybe you cannot place the name, but you will recall the face, a face unfortunately stereotyped by Tamil filmmakers. She is an actor with such ferocious presence that if you give her half a decent role, she will single-handedly lift a film. Films like Leena Manimekalai’s Maadathy and Jaikumar Sedhuraman’s Sennai are a testament to this talent, but my favourite Semmalar performance came in a short film, Arikarasudhan’s Ullangai Nellikkani , an adaptation of Gabriel Garcia Marquez’s The Woman Who Came at Six o'clock. She has also directed short films, and now her debut directorial feature, Mayilaa, premieres at the International Film Festival Rotterdam this week in the Bright Future section. The 97-minute feature, produced by Newton Cinema and presented by Pa. Ranjith, is quite indicative of the promises in this section full of debutantes.
Written by Semmalar Annam and shot by Vinoth Janakiraman (editing by Sreekar Prasad), Mayilaa progresses like a part-humorous, part-dramatic parable, one where past trauma manifests as spiritual possessions and even anger and outrage filter through trance. We meet Mayilaa (Melodi Dorcas) and her daughter Sudar (Shudarkodi Vinesh) as they attend a ritual at dawn. The goddess of worship is our protagonist’s namesake, possibly named because of her penchant to dive into a trance at the drop of a single religious ululation. The womenfolk try to calm Mayilaa while the kids discuss ghost stories and how their mothers’ trance scares them, one of them noting that when it comes to terror, her father trumps all. Mayilaa’s savings are wiped out by her wastrel husband (Semmalar restricts us from witnessing his full physical form; he exists in tiny specks of movements), and the land where she works as a labourer picking metal waste is sold off, leaving her in search of a new livelihood. That’s when her entrepreneurial spirit sparks, and she decides to sell straw mats. Amidst all this, Sudar is constipated.
Semmalar fills her frames with women, all of them working class and all of them in their elements when together. Even the little shrine has a priestess performing the sacred duties, no man in sight. We meet a truckload of women singing in jubilation as they travel to work, only to practise dead silence when a man gets on. These are moments where Mayilaa gets a neo-realist treatment, the supporting arcs and stray characters enjoy a moment of their own, unburdened by the principal character’s predicaments. A group of women sing in unison or playfully at each other as they work the land; we only find out later that they are Mayilaa’s colleagues. As Mayilaa embarks on the road to sell mats, she meets another of her kind, a young woman selling books for children, and after a brief tussle in trying to attract customers, the two women bond over their shared struggles in the heat.
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OUR OTHER NEWSLETTERS
This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
As it enters its fourth season, the series leaves the trading floor to expose how ambition, insecurity and self-worth shape modern professional life. Peter Wattwrites.
WHENIndustry first aired in 2020, it seemed, ostensibly, to be a drama about a recent cohort of ambitious young graduates entering the cut-throat world of investment banking. But as the opening season unfolded and its central characters were established, it became clear that although the trading floor of the fictional-but-all-so-familiar Pierpoint and Co. was its setting, this was not just a show about finance.
In 2021, I had the opportunity to speak to the show’s co-writers and creators, Mickey Down and Konrad Kay. In this conversation, Down described the show as “a universal take on workplace culture”, which, he explained, was why they gave it such a generic title.
For the first time, a television drama was treating contemporary corporate cultures and graduate work with an unprecedented seriousness, sensibility and insight. It managed to capture, in heightened form, pressures that are recognisable far beyond the world of the trading floor and the corporate boardroom.
Indeed, Industry is about work, and how central work has come to all facets of our lives. As it heads into its fourth season and beyond the trading floor, the show is set to expose the all-consuming nature of work more than ever before.
Industry was, and remains, a show about how work has become more than a mere site of economic activity. For some people, work is the main arena in which a person’s self-worth is awarded or withdrawn. In this, ambition is sharpened into pathological obsession, and the employment contract contains a Faustian logic where total submission to work will be answered with “more” – more money, more power, more life.
In its fourth season, Industry continues to capture the tragic underbelly of modern professional life. The tone is set in the opening episode by Harper Stern, the series’s most vivid engine of ruthless ambition.
Early on, she announces: “The story of our lives – giving everything to something that kills you.” If the previous seasons are anything to go by, this line works as a verdict not only on her, but on the entire grammar of contemporary professional life.
With Pierpoint collapsing in the finale of season three, the pathology of work that Industry has shed a light on is definitively revealed as a universal issue – the trading floor was simply its first and most visible stage. As the workplace drama grows outward beyond the office, the conditions of competition, appraisal, self-preservation and self-assertion are set to be revealed as something even more totalising.
In episode one, Harper is introduced on her 30th birthday as heading her own fund. By episode two, she has already alienated her investors. And, by episode three, she is starting again – back alongside her old Pierpoint mentor, Eric Tao, pitching a new venture to investors.
Harper may be an extreme case, but she shows, in concentrated form, what a constantly changing and increasingly insecure job market is: the imperative of perpetual reinvention and self-assertion to gain and maintain employment. These characters and real-world workers do all of this in the pursuit of a future that is always promised and never quite possessed.
Indeed, a dark irony and dramatic tension in Industry is that it so often places its characters near power – money, titles, access, invitations – only to show how little control they possess.
For instance, the two remaining characters from the first season have risen in status: Harper begins season four as head of an asset management fund, and Yasmin is now tied to the peerage through her marriage to Sir Reginald Henry Ferrers de Chartley Norton Muck, the failed green-tech prince of season three.
However, they remain perpetually devoured by the same forces that shaped their self-destructive trajectories (and relationship) from the beginning. The difference now is that these forces have extended beyond the office and have spilled over into the intoxicating worlds of politics, start-ups, high-finance, aristocracy and celebrity.
The spilling over of work culture is most clear in episode two, where Harper attends a birthday party hosted by Yasmin. As ever, the lines between work and play, networking and socialising, intimacy and leverage blur into a heady mix of debauchery, embarrassment and new business opportunities.
Only those who refuse to keep any part of life separate from the job are set to gain: “It starts and ends with work. And being proven fucking right”, Harper tells Eric in episode three.
Season four will likely be bigger and glossier but also the bleakest yet: more wealth, more ambition, more politics, and more reputational warfare. But, more subtly, we can expect Industry to reveal more of what has been its deepest cruelty and deepest truth from the beginning: that for so many, life no longer interrupts work – life is work.
Peter Watt is a Lecturer in Organisation, Work and Technology at Lancaster University. This essay originally appeared on The Conversation and has been republished here under the Creative Commons License.
Premiered at BIFFes, The Tablet reveals Aravind Siva as a filmmaker of realism and restraint, where patience allows anxiety, care and hope to surface through everyday life. Aditya Shrikrishna reviews.
ARAVIND SIVA’s Tamil film The Tablet begins innocently. Prabhu (Hemanathan), ten years old, is getting ready for school, and our point of view is his goody boy face as he shuffles through things in his modest home. He finds what he’s looking for and is eager to get out when his mother insists on combing his hair. He goes to school and calls his friend Ramesh outside. In the few seconds it takes for the friend to answer his call, two smug-looking boys playfully tease him before Ramesh joins, and they run away from the densely concentrated areas of the school. Prabhu gives Ramesh the tablet he’s stolen from home and says it is for immunity and strength, and both can put on some weight and become strong. Ramesh takes it promptly, and during the morning assembly, he faints.
The Tablet premiered this week at the Bengaluru International Film Festival (BIFFes) as part of the Asian Cinema Competition. Written by Siva in his debut directorial, the film maintains the mystery of the tablet well past the halfway point of the film. Kayal (Raichal) is a single mother who works as a grocery store attendant in Sivakasi. Outside of Prabhu, her only family is her brother Guna. Siva lets on that Guna is her only confidante, and they are both planning to go to Chennai at the end of the week. What for? We will learn later. Siva neatly lines up small-town sensibilities of the film, neither villainising nor valorising anything. The grocery store owner makes a comment on employing educated women when Kayal asks for leave. Prabhu’s schoolteacher, Divya, played by Mullaiyarasi, is understanding and even apologetic when she demonstrates mild curiosity about the tablet.
These are the moments where we get nuggets about Kayal’s well-guarded life. We can see that hers is a normal life, the usual struggle in keeping a job, taking care of her only son and making ends meet while also looking after both their health. Siva illustrates this through simple scenes like Kayal thinking twice before giving in to ice cream. She comes up with three different lies to three different people about the trip to Chennai. But something else is out of the ordinary about her that makes her feel regretful and small, embarrassed even. We soon deduce that she and her son are HIV survivors. A tense scene occurs in the government hospital. Kayal visits to get the medicine that is not available in the local pharmacy, and she is made to wait for the doctor. Siva films this from a distance in the hospital corridor, and while the camera doesn’t move, Kayal’s anxiety gradually escalates. She is worried about her ailment becoming public, about being late for work and the availability of the medicine. The nurse whispers a snide comment, and she walks out. Siva demonstrates tremendous control over his shot here. It is only a medium shot, and we cannot even register the contours of Raichal’s — a terrific performer whose best turn came in Good Night (2023) — face, but her mere physicality and fidgety disposition convey the point.
The film grammar here is unorthodox for the usual mainstream Tamil cinema. It is mostly filmed in static shots with little to no camera movement or score, and hardly makes a big deal about the tablet. It doesn’t even insist that we must know what is ailing Prabhu and his mother. The ambition here is to be as realistic as possible. A male teacher in school nonchalantly beats up his students and orders imposition. The assembly in the government school consists of some marching instructions followed by the most reluctant recitation of a Thirukkural verse before the National Anthem. People speak without dramatics and the tone is observational. The film communicates the mother’s anxiety just by using top-angle shots at her home with the simple sound of a lizard chirping, as she searches for the tablet or packs for the bus to Chennai. It’s not surprising that before this, Aravind Siva assisted PS Vinothraj in his debut film Koozhangal(2021).
Shot by Vinoj Kaveri, The Tablet has modest ambitions and hits them all, making for a promising debut from Aravind Siva, a voice to watch out for. The ending is quietly reassuring. Prabhu asks his mother if actors like Sivakarthikeyan live in Chennai. She says yes, but adds that a lot of ordinary people like themselves live in Chennai too. It says something about the kind of stories Siva wants to tell.
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This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
PRABHAS to Kapil Sharma, this week's streaming releases feature some of our favourite names! But there's still more to explore. Among the exciting titles that have dropped on OTT platforms across languages this week are Finding Harmony: A King’s Vision, Nellikkampoyil Night Riders , Nari Nari Naduma Murari, Psych Siddharthaand Shabad – Reet Aur Riwaaz. See more here.
What To Watch This Weekend
From prestige dramas to live sports, this guide brings together all the top releases you’ll want to stream this weekend. And here’s the best part: JioHotstar is now part of the OTTplay vault! Unlock acclaimed originals, blockbuster films and live sports from JioHotstar — plus content from 30+ other platforms — all for just ₹149 with the Power Play Monthly Pack.
As he sets out to find his estranged grandfather, the youth Raju finds himself in a mansion with a supernatural entity. Telugu star Prabhas leads the horror comedy, while Sanjay Dutt is seen as his grandfather.
The anti-Hindi imposition agitations of Tamil Nadu are at the centre of this period drama film, set during the 1960s. Sivakarthikeyan stars as the youth Chezhiyan, who joins the protests in this Tamil film, helmed by Sudha Kongara
Kapil Sharma is back on the silver screen with Kis Kisko Pyaar Karoon 2. He stars in the lead role of Mohan, who ends up getting married to women from different faiths. Anukalp Goswami helmed this comedy film.
The Lincoln Lawyer Season 4 follows the events after a dead body is found in the trunk of lawyer Mickey Haller’s car. Manuel Garcia-Rulfo is back as the lawyer Haller along with Neve Campbell and Becki Newton.
Mindiyum Paranjum revolves around a young married couple who are in a long-distance relationship as the husband works in the Gulf. Unni Mukundan and Aparna Balamurali play the lead roles in this heartwarming tale.
This Punjabi drama film depicts the bond between two brothers. Jimmy Sheirgill stars in the lead role of Amarjit Singh, while Manav Vij is seen as his disabled older brother in the film on family values and sacrifices.
Anaswara Rajan, a household name in Malayalam cinema, thanks to her films like Rekhachithramand Super Sharanya, is coming back to Tamil cinema after a while. As she promotes her latest Tamil film With Love, Anaswara says, “To be honest, it feels like a debut,” in conversation with OTTplay. Read the interview here.
A Candid Chat with Akhil Sathyan
The hit Malayalam film Sarvam Maya, starring Nivin Pauly, recently made its online premiere on JioHotstar and OTTplay Premium, winning more love. In an interview with OTTplay, the film's director, Akhil Sathyan, discusses some of the film's unresolved plot points as well as the challenges of filmmaking. Read the interview here.
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The Reserve Bank of India kept the status quo—and its key repo rate—unchanged, boosted by a positive economic outlook and easing external headwinds.
The RBI's six-member monetary policy committee voted unanimously to keep the rate at 5.25%, with the monetary policy stance remaining ¨neutral¨.
Some good news for small businesses: The RBI has also proposed doubling the limit on collateral-free loans for small enterprises as a means of strengthening last-mile lending.
The real estate sector also gets some benefits, with banks now being allowed to lend to real estate investment trusts under prudential safeguards.
Coming to Big Tech, Amazon shares dropped after the company unveiled plans to spend $200 billion this year on data centres, chips, and other equipment. Primarily, investors fear that its massive AI bet may not pan out in the long run.
Are tech giants locked in a fast-escalating arms race in building AI infrastructure? The Big 4 companies—Alphabet, Amazon, Meta Platforms, and Microsoft—have together forecast capital expenditures of a mind-boggling $650 billion in 2026 for data centres and other AI equipment.
Component manufacturers have been the biggest winners from all this. The semiconductor industry will reach $1 trillion in revenue this year for the first time, boosted by the AI boom and the global spread of computer chips.
In today’s newsletter, we will talk about
Fixing India's debt collection industry
Veranda Learning Q3 profit soars 110%
Helping tribal farmers reclaim millet
Here’s your trivia for today: Which comic book company was founded as Timely Publications?
Startup Fixing India's debt collection industry
In 2019, Ananth Shroff was travelling abroad when he missed a credit card payment. Unable to reach him on his usual number, the bank contacted his family and threatened legal action. The experience cost the bank a customer and planted the seed for DPDzero.
Founded by Shroff and Ranjith BR, the startup provides an AI-powered debt collection platform for banks, fintechs, and NBFCs in India. It helps lenders recover overdue payments through automated reminders, tailored payment plans, and borrower behaviour analysis.
Money talks:
DPDzero offers three products. Pre-delinquency management ensures borrowers pay on time. Flow management handles borrowers who've missed payments but whose loans haven't been classified as NPAs. Recovery manages loans that have already been written off, where lenders have provisioned these losses to the RBI.
Currently, 15% of collections are handled entirely by AI, while 85% involve human agents. The system operates in Hindi and Tamil, as the startup develops others.
The startup says its current run rate is nearly Rs 140 crore in monthly collections, handled through 650 agents who make around 140,000 calls every day. It tracks zero escalations as a key metric alongside collection rates and costs.
Education services provider Veranda Learning Solutions reported a surge in Q3 profit, as a sharp rise in student enrollments and a strategic focus on cost optimisation under its "Veranda 2.0" restructuring plan bolstered the bottom line.
Key takeaways:
This strategic pivot marks a transition from the company's "Veranda 1.0" phase, which was characterised by rapid acquisitions and expansion to build a unified technology stack across diverse learning formats.
The Chennai-based company, which offers services ranging from K-12 education to professional certifications, saw its Q3 net profit jump 110% to Rs 17 crore. Its revenue from operations surged 52% to Rs 117 crore.
Within the specific business segments, the Commerce Test Prep vertical remained a primary growth engine with revenue more than doubling to Rs 80.2 crore, while the Government Test Prep division delivered record admissions exceeding 10,000 students.
Social Impact Helping tribal farmers reclaim milletOn most days, sunlight is the only reliable power source in Kunri, a small tribal village near Kadambur in Tamil Nadu’s Erode district. In the hilly landscape close to the Sathyamangalam Tiger Reserve, electricity has long been patchy or doesn’t exist at all.
For generations, tribal families consumed mostly millets, which grew well on these terrains, but never had a chance to make a livelihood out of these crops. Today, a Rs 23.5-lakh solar-powered millet processing centre, launched in December in Kunri, is changing how tribal farmers engage with their harvests.
Crypto: Bitcoin bounced off its recent low on Friday after narrowly avoiding falling below the key $60,000 mark, but some market commentators suggested there’s more selling to come. The sell-off comes amid a continued drop in tech stocks in the US.
Concession: India has scrapped a planned concession for small cars in upcoming fuel-efficiency rules after automakers, including Tata Motors and Mahindra & Mahindra, argued it would benefit only one company. A September draft had proposed leniency for petrol cars weighing 909 kg or less—a carve-out widely seen as favouring Maruti Suzuki, which controls 95% of India's small car market.
Scale back: Stellantis CEO Antonio Filosa said the automaker plans to move forward as one company amid speculation that it would be better off selling brands or splitting up after disappointing results. His comments came hours after the company announced $26 billion in charges from a business restructuring plan.
Did you know?
Which comic book company was founded as Timely Publications?
Answer: Marvel
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Rakkasapuradhol Puts The Spotlight Back On Old-Fashioned Investigation
Rava Saranga’s taut whodunnit follows a troubled cop guided by instinct and evidence, elevated by sharp writing and standout performances from Raj Shetty and Anirudh Bhat. Subha J Raowrites.
THE BEST THING about Rakkasapuradhol is that writer-director Ravi Saranga has his eye on the end target, and does not deviate much from the core plot. Every side story, barring one, leads up to the big reveal or serves that thread. And that is why when the movie ends, the appreciation is mostly stunned silence, not rapturous claps. Because you know you’ve been taken for a ride of the director’s choosing, and it takes time to get off the high of the sumptuously shot climax.
Starring Raj Shetty, Archana Kottige, Gopalkrishna Deshpande, Swathista Krishnan, child actor Nisha and Anirudh Bhat, all of whom are in fine form, the film hits the sweet spot because the story lands well, and you feel the fear and nervousness. The technical crew — cinematographer William David, editor Majunath Ganesh, art director Mohan B Kere and composer Arjun Janya contribute to this. If this had been another time, I’d have probably loved a less-loud BGM, but this one seems to work with the masses, and in the state Kannada cinema is in now, getting the audience back to the theatre takes precedence over certain artistic preferences.
What I loved most about Ravi’s writing (co-writer: Kranthi Kuma) is the empathy and curiosity with which he approaches the subject — 90 marks, especially, for not belittling mental illness and for reiterating the importance of medicine. Some minor characters do refer to the word ‘mental’ but are shut down soon enough. The 10 marks that got taken away are for the colour shaming of the cop, the snide remarks, the initial scenes in the police station that needed less flab, the mental health angle of another character, and the unfinished tale of the person handling the graves.
Raj Shetty plays Shiva, a troubled cop with schizophrenia who is back after a hiatus. He loves his alcohol, and his seniors give him a low-crime station so that a good officer like him bounces back fast. He arrives in the village of Rakkasapura, steeped in superstition and the lore of the Kolli Devva, and equal adoration for a local swamiji who presides over a temple dedicated to Shiva. There are very few cases, because the Swamiji takes care of most issues, and for the rest, there are coconuts wrapped in red cloth, and brooms placed in front of houses. The police station is there, in name. The cops don’t know how to write a report, and call for an ambulance or the forensics team, because, so far, there has been no need to.
Madhan's debut is an earnest, adult take on arranged-marriage romance, undone by frenetic editing, an incessant score, and a screenplay that treats love like set-piece action. Aditya Shrikrishna reviews.
IN Madhan's directorial debut, With Love, Monisha (Anaswara Rajan ) and Sathya (Abishan Jeevinth ) meet on the arranged marriage circuit. Sathya is a designer, and Monisha is an influencer with over a million Instagram followers. If there is anything particularly modern about this film, it is that Monisha asks about his “boring” design job. While her job is indeed one with the times — monetising social media — design apparently is already boring. It is a harmless word, but, wonder what choicest descriptors she would have used for the more common arranged marriage qualifications in the Tamil family circuit: engineering. Not pretty, one imagines. Having said that, we don’t get films that skirt the arranged marriage route often in Tamil cinema, at least in recent times. While the practice would have been a more common fixture on screen four decades ago or so (think 1986’s Mouna Ragam), the more famous contemporary (using the word loosely) examples include Dum Dum Dum (2001), Parthiban Kanavu(2003) and a few more. All those films begin with conflict, either the couple actively hating each other or the idea itself abhorrent to one of them (usually the hero, the man).
In With Love, things are more amicable. Sathya’s elder sister arranges this meeting with Monisha, and although he is first stumped by the number of tables in the restaurant holding exactly such meetings, Monisha eventually finds him. With Love is also a multipronged love story. Monisha and Sathya aren’t the only couple in love. As they recount their past connection (they went to the same school, he was in twelfth when she was in tenth) in Trichy, we learn about their very different school crushes and romantic non-escapades. They are non-escapades because both fail spectacularly in their endeavours. Madhan’s screenplay gives Sathya’s story first: his crush on Muslim classmate Anisha, his untiring shyness and almost a stubborn will for inaction. Madhan daydreams and loses Anisha to a friend, and Monisha’s incessant search for trouble and drama pulls her away from Balaji.
The film plays these two love stories back-to-back as their adult versions recall the stories through rose-tinted glasses. What makes this routine storytelling interesting is how their paths cross as we visit traces of Sathya’s love failure in Monisha’s. They, inadvertently and almost reluctantly, played a part in each other’s fruitless exercises. We see Sathya waiting impatiently for Anisha in the background as Monisha describes her first walk home with Balaji. A main character becomes a background artist who, unbeknownst to himself or herself, becomes a main character again in someone else’s story. While the romantic events — meet cute, songs, comedy — are only functional, the design keeps things going. The film cuts between blushing looks and stinging wisecracks relentlessly, sacrificing its rhythm in the process. Sean Roldan’s incessant background score doesn’t help; it plays on like this is a modern mass masala film (a problem there too). Madhan doesn’t seem to regard silence or yearning or even longing, ingredients for felt romance. He treats love like set-piece action.
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This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
‘Addiction machines’--that’s how social media platforms including Facebook and YouTube were described during a recent court hearing in California.
The trial, which began earlier this week, will likely lead to closer scrutiny of social media platforms and set a benchmark for future cases. Over the course of the next few weeks, experts, and family members of children who have been affected by the companies and representatives of the tech giants will present their testimonials, according to the BBC.
Meanwhile, India wants social media platforms to increase policing of deepfakes and other AI-generated impersonations, according to multiple media reports. It has also shortened the time given to platforms to take down such content, in a move that could significantly affect how social media companies work in one of the world’s largest market for internet services.
In the world of technology, data and AI company Databricks has completed $5 billion of new equity financing and secured about $2 billion of additional debt capacity, lifting total new investments to more than $7 billion and valuing the business at about $134 billion.
Lastly, how’s your work week going? We bet that whatever latest office struggles you are facing pales in comparison to the absolute chaos unfolding at South Korean cryptocurrency exchange Bithumb. The company is scrambling to recover more than $40 billion of cryptocurrency, which it accidentally gave away in the form of Bitcoins last week.
While the company has managed to recover most of the lost crypto, about $9 million remains unaccounted for after recipients sold or withdrew the funds, The Guardian reports.
Ouch!
In today’s newsletter, we will talk about
Wakefit’s bottomline turnaround
Fidelity’s innovation-driven strategy
Livelihoods for tribal communities
Here’s your trivia for today: What planet was the first to be discovered by mathematical prediction and not observation?
News Wakefit’s bottomline turnaroundOmnichannel mattress and furniture player Wakefit doubled its profit sequentially to Rs 32 crore in the December quarter, sending its shares 7.8% up on NSE, the company shared in an exchange filing on Tuesday.
In a separate filing, the company also announced the appointment of ex-Myntra exec Parul Gupta as its new chief financial officer, effective February 10.
Doubling profits:
In its first quarterly disclosure since its public debut in December last year, the company announced an operating revenue of Rs 421 crore in the third quarter, a growth of 9% from Rs 385 crore it clocked in the corresponding quarter of last year. During the same period, the company turned around its bottom line with a profit of Rs 31.8 crore against a loss of 2.4 crore last year.
On a sequential basis, the company saw its topline grow 11% from Rs 376 crore, and profits doubled from Rs 15.9 crore in the September quarter.
The company has been sharpeningits focus on high-volume, small-ticket categories like curtains and tabletop décor to build customer trust and funnel shoppers toward larger furniture purchases. Looking ahead, the company is also betting on experiential retail to sustain this momentum.
Interview Fidelity’s innovation-driven strategyFinancial services firm Fidelity International has been engaged with India over the last 25 years in technology, finance, human resources, and legal expertise sectors. The company’s global capability centre (GCC) has now evolved into a strong leadership location as individual leaders, along with their teams have a seat at the decision-making table.
In an interview with EnterpriseStory, Rohit Jetly, Head of Global Platform Solutions Delivery and Site Head — India, explained the key role this GCC is playing for the company globally. “We bring the energy, fresh ideas and brilliant tech innovations,” he remarked.
Key takeaways:
According to Jetly, Fidelity International’s approach to AI involves redefining a new operating model, which is AI-driven and agentic AI-driven. AI is also an integral part of ensuring productivity gains, as well as in alpha generation.
What sets Fidelity’s GCC apart from the rest is that the firm does not consider its India centre as an offshore location, he adds. As a result, several global roles are now based within the country, and there is a lot of global participation from India.
The company has gone live with its first conversational AI agent called Freya, which can engage with customers, answer their queries and understand their intent. It has also built agility in these agents so they can be deployed in any geography.
Environment Livelihoods for tribal communities Introduced to India as an ornamental plant, Lantana camara spreads aggressively, forming dense thickets that crowd out native grasses, shrubs and saplings, altering forest structure and limiting the space available for wildlife to forage and move.
This month, the Tamil Nadu Forest Department began a focused effort in the Mudumalai Tiger Reserve to remove lantana from forest areas and repurpose it into biomass. The idea was to link ecological restoration with livelihood opportunities for the indigenous tribals, such as Kurumba,s who have been living along forest fringes for generations.
Physical AI: Chinese tech giant Alibaba on Tuesday launched an AI model designed to power robotics, as more companies bet on this field. Called RynnBrain, the model is designed to help robots comprehend the physical world around them and identify objects.
Weak outlook: A decline in demand for sodas across North America and Asia reflected on Coca-Cola’s earnings report. The company has forecast muted revenue growth for 2026 after missing Q4 expectations. The beverage maker has been raising prices to offset input costs.
Environment: The scientific community is celebrating the cancellation of a $10-billion dollar project in Chile. The proposed green hydrogen plant, they say, would have impacted the clearest skies in the world. The project was under evaluation by the South American country’s environment regulator for almost a year.
Did you know?
What was the first NASA Mars rover named?
Answer: Sojourner
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CHIRANJEEVI to Mona Singh, this week's streaming releases feature some of our favourite names! But there's still more to explore. Among the exciting titles that have dropped on OTT platforms across languages this week are Predator: Badlands,Surya: Power of Love , Bandwaale and Red Eye Season 2. See more here.
What To Watch This Weekend
From prestige dramas to live sports, this guide brings together all the top releases you’ll want to stream this weekend. And here’s the best part: JioHotstar is now part of the OTTplay vault! Unlock acclaimed originals, blockbuster films and live sports from JioHotstar — plus content from 30+ other platforms — all for just ₹149 with the Power Play Monthly Pack.
Chiranjeevi stars as national security officer Prasad, who has been separated from his children after his divorce with Sasirekha. Nayanthara plays Sasirekha in this action comedy, directed by Anil Ravipudi.
Ed and Lorraine Warren now have to confront a demonic legacy that resurfaces after decades as their daughter Judy is threatened. Patrick Wilson and Vera Farmiga play the lead roles in this chilling conclusion.
Season 2 of the popular Punjabi series delves into the investigation of a woman's brutal murder after her body is found in her brother's barn. SI Dhanwant Kaur (Mona Singh) and ASI Amarpal Garundi (Barun Sobti) set to out to find the truth.
This film follows the probe after an infant is abducted from a hospital in broad daylight. Hospital attendant Sanal is blamed for his negligence as the police try to locate the baby. Nivin Pauly, Sangeeth Prathap and Lijomol Jose play key roles.
The horror comedy revolves around a luxury hotel in North Bengal, which is haunted by spirits. Two couples try to deal with the eerie happenings that are linked to a construction on a graveyard. Mimi Chakraborty and Soham Majumdar play key roles.
In this rural comedy drama, actor Jiiva plays panchayat leader Jeevarathnam who has to ensure the smooth conduct of a wedding. But a death in the neighbourhood upends the wedding preps. Nithish Sahadev directed the film.
Kannada actor Chaithra J Achar is just two-film old in Tamil, if you count her latest release My Lord, starring Sasikumar and directed by Raju Murugan. But the actor is already fluent in the language, as she speaks like a local, with no borrowed accents. Chaithra opens up about learning Tamil for My Lord, Raju Murugan’s faith in her, and playing a rooted, strong character in the political satire. Read the interview here.
A Candid Chat with Suvinder Vicky
Savinderpal Vicky, better known as Suvinder Vicky, gained fame with projects like Kohrra and CAT. His latest release is the series, Shabad (streaming on Zee5 via OTTplay Premium). The actor relived what it was like trying to be a Ragi singer on reel when he did not even know singing in real life. Thankfully, he found a reference and things turned around. In an exclusive interview with OTTplay, Suvinder got candid about Shabad, Kohrra 2, Mona Singh, Punjab 95 and more. Read the interview here.
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How Malayalam Cinema Navigates Devotion, Desire & Defiance
From the moral entanglements of the 80s to contemporary self-destruction and queer defiance, Malayalam cinema has resisted ornamental romance for something far more elemental.
Neelima Menon writes.
HISTORICALLY, Malayalam cinema has rarely indulged its lovers in grand fantasy. It has always thrived at two emotional extremes: either love is uncomplicated and seasoned into the quiet comfort of old-age contentment, or love dares to risk everything. We have shown little patience for decorative romance and gone for love that has either lived-in and gently weathered or been flung into the fire of social defiance and personal upheaval. And we have seldom lingered in the in-between, what they call the safe, ornamental middle.
The Defiant, and Fate-Driven 80s
There is a reason why Padmarajan’s Thoovanathumbikal (1987) continues to be eulogised, and it is not because the romance is poignant. In fact, the film unsettles more than it soothes as it stretches itself between defiance, no-strings attachment and emotional unconventionality. When Jayakrishnan (Mohanlal) meets the charmingly aloof Clara (Sumalatha), he is still smarting from Radha’s rejection (Parvathy). What follows is more a moral entanglement than a love triangle. If Radha gestures toward stability and permanence, Clara hovers like an intoxicating guilt, desire dressed up as inevitability. And when one woman ultimately removes herself to make way for the other, the resolution feels suspiciously convenient, almost indulgent of a distinctly male fantasy. Padmarajan, ever the stylist, softens this convenience with rain-drenched frames and trippy music, lending the choice a romantic veneer. Perhaps that is why it still resonates, not because it is ideal, but because it taps into something unspoken: the quiet allure of having love bend itself around male indecision.
But his Namukku Parkaan Munthirithoppukal(1986) moved in the opposite moral direction. When Solomon (Mohanlal) realises that Sophia (Shari) has been sexually abused by her stepfather, he refuses to let the societal apathy or the corrosive obsession with “purity” dictate the terms of his love. So instead of recoiling, he seeks her out. He doesn’t internalise the stigma but offers her reassurance. At a time when purity was often lazily equated with chastity, the film made a radical gesture: it separated violation from worth. That is perhaps why this romance still endures. It is not tempestuous or indulgent but steadfast. And in its quiet insistence that love need not be policed by patriarchal shame, their romance achieves something far more lasting than spectacle; it offers dignity.
Though in the same director’s Innale (1990), love attains an altogether different register, one of renunciation. When Dr Narendran (Suresh Gopi) finally comes face-to-face with his wife (Shobana), now living with amnesia and having built a new life with another man (Jayaram), the expected cinematic crescendo never arrives. There is no confrontation or insistence on marital rights; instead, all you witness is recognition and withdrawal. When he sees that she is happy, he chooses to walk away. In that moment, he lets go of possession and ego, surrendering not because he loves less, but because he loves without entitlement. That is what makes the climax of Innale linger like an unhealed wound. It denies us closure, denies him victory, and in doing so, elevates love to something almost sublime, a quiet grace that hurts precisely because it is so selfless.
In Yathra (1985), directed by Balu Mahendra, love is measured not in intensity but in endurance. When Unnikrishnan (Mammootty) finally reunites with Thulasi after years of wrongful imprisonment, and we see her waiting, tearful, grey-haired, lamps lit in trembling hope, the moment carries the weight of time itself. This is not tempestuous romance or indulgent fantasy but love that has survived absence, stigma, and the slow erosion of years. That is why the final image lingers not as a spectacle, but as a proof that patience, too, can be a form of passion.
In Adoor Gopalakrishnan’s Mathilukal, love is stripped to its barest elements. A jail inmate (Mammootty) falls in love with a woman he never sees and only hears on the other side of a prison wall separating the male and female wards. What begins as a fragile respite from loneliness gradually deepens into intimacy sustained entirely through conversation. There are no exchanged glances, no shared spaces, not even a touch. And yet, the romance feels profoundly embodied. In transcending the usual grammar of love (proximity, possession, physicality), Mathilukal reveals something more elemental: two solitary humans reaching for each other across a barrier, finding poignancy in voice alone.
What MT Vasudevan Nair achieves through Oru Cheru Punchiriis a romance that feels at once ordinary and sublime, functional yet profoundly poignant. At the heart of this love story is an elderly couple who have weathered the turbulent highs and lows of life and have now arrived at a space of such unadulterated peace that it almost feels sacrilegious, as a viewer, to intrude upon their quiet joy. Living in a village, immersed in life’s smallest pleasures, they seem to exist in a realm where the world’s anxieties momentarily fall silent. It is a love that has outlived desire and settled into devotion, where companionship itself becomes the highest form of romance.
There is a similar form of companionship in Pranayam(2011), in the relationship between Mathew (Mohanlal), confined to a wheelchair, and Grace (Jayaprada). They are not young, yet not quite elderly either, and within that in-between space, desire still flickers unmistakably. Despite physical constraints, passion lingers: in the way he glances at her, in the faint tremor in her voice when she speaks to him. Pranayam is, at its core, a film about second chances. It persuades you that love, when anchored in something enduring and sincere, can weather any storm, not by avoiding it, but by surviving it together.
When the married Deepthi (Meera Jasmine) falls in love with Economics Professor Nathan (Mammootty) in Shyamaprasad’s Ore Kadal, what lends this ostensibly forbidden affair its rare poignancy is the film’s carefully non-judgmental gaze. If Deepthi feels newly alive after years of emotional abandonment within her marriage, Nathan, too, after an initial resistance, finds himself swept away by the relationship’s almost destructive intensity. Their relationship is neither glorified nor condemned and is allowed to exist in all its fragility and contradiction. So when Deepthi reaches out to Nathan in the end, what one feels is not moralistic disapproval, but a lingering, complicated empathy, for loneliness and the human desire to feel seen.
It is difficult to think of a romance as inherently melancholic, stirring, and self-destructive as the one between Mathan (Tovino Thomas) and Appu (Aishwarya Lakshmy) in Mayaanadhi. If Mathan has always operated on the wrong side of the law, Appu has, over the years, endured and forgiven him in cycles. Each time he strayed, she would detach; each time he returned seeking absolution, she would allow herself to be won over again. Even amid the everyday humdrum of their separate pursuits, they kept circling back to one another, through snubs, arguments, bruised egos, and silences. In Mayaanadhi, it is a tragedy that ultimately immortalises them. And yet, strangely, one is left with the feeling that theirs is a love too restless to end, as though it might seek reunion in another lifetime.
When the mute Ameer first lays eyes on Akbar as he flagellates himself during the ritual of Kuthu Ratheeb, Moothon stages a moment that feels at once spiritual, earthly, and quietly seismic. Thus born is a love story marked by defiance, a romance that is already conscious of the boundaries it will be forced to confront. If Ameer’s silence makes his longing more luminous, Akbar, who is caught between faith, fear, and desire, gradually finds himself disarmed by a connection he can neither name nor resist. The film grants it the same emotional legitimacy as any other romance, shaped by vulnerability, yearning, hesitation, and surrender. And perhaps that is why, when the story bends toward tragedy, it wounds with such quiet force. We are not mourning an act of rebellion; we are mourning a love that felt deeply, irrevocably human.
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The one newsletter you need to decide what to watch on any given day. Our editors pick a show, movie, or theme for you from everything that’s streaming on OTT.
This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
Tamizh: 'All Struggles For A Common Cause Should Find Reflection In Cinema'
In a conversation with Subha J Rao, writer-director-actor Tamizh speaks of his tryst with policing, his childhood inspiration, the ecosystem that made him, and what he hopes to contribute to cinema.
AT A TIME when most cop films in Tamil glorify the uniform and celebrate the over-the-top violence and encounter killings, some choose to be different. They focus on the nitty-gritty, the behind-the-scenes work, and the sheer exhaustion of it all.
Recent examples would be Vetrimaaran’s Visaranai (2016, Netflix) and Viduthalai (2023, 2024, Prime Video), RDM’s Kavalthurai Ungal Nanban (2020, YouTube), Franklin Jacob’s Writer (2021, Aha, Prime Video), Tamizh’s Taanakaaran (2022, JioHotstar), and the more recent Sirai (2025, ZEE5), written by him and directed by Suresh Rajakumari.
Taanakaaran and Sirai remind you why Tamizh is a welcome new voice in Tamil cinema. Because the former cop, who was born and raised in Rameshwaram, can look power in the eye and state home truths. But he is also observant enough to catch the fleeting moments of bonding in a deeply unequal relationship. His cops are not trigger-hungry, but they are not without malice, either. They can be strict, but also kind. In both films, one emerges with knowledge of how the police department actually works. The sharp crease of the khaki uniform, polished shoes and pistols shine in most cop movies, but this writer-director celebrates the rigorous paperwork, the interactions with the judiciary and the sheer exhaustion that comes with handling law and order. And, humaneness is always at the higher end of the scale here.
Siraiis another of those December releases that took its time to find box-office love. After a good run in theatres, it is being rediscovered on ZEE5 , and social media feedback shows that a well-made film will find its audience. Somehow.
Tamizh is also an actor, with performances in Asuran, Jai Bhim and Run Baby Runcoming in for appreciation.
Edited excerpts from an interview with the writer-director-actor, who speaks of his tryst with policing, his childhood inspiration, the ecosystem that made him, and what he hopes to contribute to cinema.
***
Everyone’s been wondering how you capture the life of police personnel with nuance, but few know you’ve been one in real life…
That’s true. I spent 12 years in the department. I had to join when I was 23 due to family pressures, and I began my career in the battalion in Manimuthaaru, then went to Delhi’s Tihar, Vellore and Chennai. I’ve done hundreds of remand trips and have visited most jails in the state. I’ve interacted with judges, argued with department folks, and also been that person who was reprimanded for a favour someone else asked for. After 12 years, I decided I had to step out to pursue my passion for cinema.
From the age of 23 till 35, I got to see people closely — those who were kind at heart while following the rules. In fact, when I applied to work with Vetrimaaran Sir as assistant director during Visaranai, he told me that I had the ability to clearly express what was stored in the deepest recesses of my heart. Also, he noticed that I never took up the cudgels on behalf of my former colleagues. He felt I could discern the good from the bad and approach anything with objectivity. And, so, I began my journey with him.
There’s a strong sense of fairness in your writing. Communism makes its presence felt too…
I was surrounded by family members who belonged to the movement. Even though I was in the police department, I would attend Communist meetings. Early on, it instilled some values in me — to ask for the greater common good. It would land me in trouble, but things worked themselves out.
That said, I am particular that my film stays true to its roots, but also works at the box office. It does not make sense to make just “exhibition pieces”. I have to be honest with the script, I must take cognisance of the underprivileged and their issues, and I must find a way to offer hope.
Hope floats in your writing. People discover their humaneness, systems bend and change for the better, and in Sirai, love triumphs.
As a person, I believe that love that has fought so much should not lose. We were particular about how our climax would be — one of change. The couple should win, the conscientious cop should win, and the producers should also win.
How have your days in the department influenced you?
More than influence, I think it changed me, reaffirmed certain thoughts, and told me which path I should choose. In 2009, I attended a protest against the genocide of Tamils in Sri Lanka. There was some issue there, and I decided to leave. By then, a local cop caught hold of me. I was taken to the police station. I could not reply immediately, and later told them I was a cop too. That gentleman warned me, dropped me off outside the city limits, and told me to do my job properly.
The scene featuring Muslim police officer Khader Baasha has received a lot of love, as well as some hate. How brave do you think it was to have that scene at a time when members of the minority community are almost invisibilised, and are rarely seen in the ‘good Samaritan’ mould?
That scene was important to show that even a character (a constable) who is supposed to protect law and order, and to believe in the Constitution, presumes that accompanying a Muslim undertrial means he has to take more precautions. This is when the boy willingly surrenders at a police station because the cops accompanying him are not to be found.
Remember the incident when I got caught by the cops? That kind person who dropped me off was a Muslim cop. Every time I think of that incident, I wonder how differently it might have played out. A version of that person is Khader Baasha.
I am happy that many people in the police department seem to like what I speak about in my films. That gives me hope.
The courts can be lonely places where people sit stunned as their lives are decided. How did you strike a balance there — writing in both understanding judges as well as arrogant ones?
As a cop, I’ve done at least 500 escorts across Tamil Nadu in the nearly four years I was in escort duty. I’ve seen courtrooms and judges in every district. I’ve been to all the central jails. I can write a separate story about the judges I’ve met. Some of them have been very strict. One of them, in fact, made me take the stand when I went for a warrant extension, because the accused had not come, and said he would remand me the next time.
You’re directing Karthi in Marshal now. Why did you opt out of directing Sirai?
I was supposed to direct it, and had even taken an advance. By then, Karthi Sir gave me his dates for Marshal. My producer wanted me to shoot immediately. And so, I requested the producer of Sirai to appoint someone else as director. He wanted me to suggest someone because he felt I would get the right person. That’s when I thought of Suresh. I promised to help out in all ways I could.
At a time when a director wants the story-screenplay-dialogues-direction tag for himself, how did you decide to step back and only remain the writer?
Veteran director A Venkatesh Sir told me that this call to give one’s writing to another director will prove to be beneficial across the board. In fact, the Malayalam film industry has a name today because of its healthy respect for writers. They fix the writer first before roping in the cast and crew. The writer is the hero. And, we, the audience, keep wondering how they crafted something so lovely using that core idea. We face that lacuna in Tamil. We need to encourage more good writers and novelists into the film industry, and get them to write stories. We need stories by people who think and write in Tamil.
You were talking about the reading habit and Kuru novels (novellas) available in petty shops near bus stands. What was your initiation into reading like?
Till Class 12, I did not read anything other than school books. And then, I got introduced to one Mr Murugadas, publisher of Pudhiya Thadam. He, in turn, introduced me to Marathi writer V S Khandekar and Poomani’s works. Till then, I was only aware of pulpy novellas. I remember reading Vela Ramamurthy’s Irulappa Saamiyum Irubathioru Kidaayum. Movies and drama played a role in my life, too.
My mother was a huge Sivaji Ganesan fan. She would get big pictures of him framed, while I accompanied her to the shop. Then, I never knew I’d work with his grandson Vikram Prabhu. My mother listened to a lot of radio dramas, and they became a part of my life.
With your films, we have also seen a new side to Vikram Prabhu, who stands as a picture of poise and integrity...
He’s capable of great nuance and trusts the writing. He goes by the script. He will never ask for an elevation anywhere. For example, in Sirai, at that powerful moment when the inspector identifies himself as Muslim and ticks off a constable with bias, Vikram has no dialogue. And, he did not ask for one to be included, because he knew it was that character’s moment, not his. That trait, that kind of grace, is rare.
What kind of stories charm you?
Historical incidents and stories revolving around them. Even Marshal is based on a 1965 incident. I like to choose stories that have a historical element. I think all struggles for a common cause, including the freedom movement, have to find reflection in cinema.
Every generation has its heroes and changemakers. We see the GenZ of so many countries holding forth the flag of freedom. And, we should be brave and document it.
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OUR OTHER NEWSLETTERS
This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
From raw, outward anger to carefully contained longing, Mathew's performances suggest an actor who is steadily peeling back layers and seems more curious about inner conflict than outward flourishing, writes Neelima Menon.
IN Advaith Nayar’s Chatha Pacha: The Ring of Rowdies, after his victory, Savio (Arjun Asokan) launches himself toward the rousing crowd, arms flung wide, body still vibrating from the fight he has just won. He screams, waves, and performs his triumph until the camera breaks away to an imposing figure in a checked shirt. His brown eyes seem to size up the room in an instant, even as his twirling moustache announces both swagger and intent. And then a loud, deliberate whistle follows. Vetri had entered the arena! But what makes the moment land with such force is not just the staging, but the actor inhabiting it. For Roshan Mathew, whose career has been shaped by understatement and by characters who fold into their environments rather than dominate them, this was a heightened cinematic bravado. For once, he was not a character who was quietly observed but one designed to be witnessed. Vetri here was a promise of conflict, of spectacle, of a narrative about to tilt. Undoubtedly, it stands as perhaps his most rousing embrace of cinema in its loudest, most unapologetic form.
Most importantly, this was a moment he had to sell. And he does! Not long ago, the very same actor had stumbled while attempting a similar flip in Vysakh’s Night Drive, where his character is afforded a starry build-up and a dramatic reveal, only for the moment to land with an unexpected thud. Though the mechanics were all in place, Roshan simply couldn’t summon the kind of cinematic electricity that the scene demanded.
That makes this entrance all the more significant. Here, the swagger feels earned. That way, this moment functions less as a one-off high and more as a marker of evolution. Perhaps an indicator that Roshan Mathew is now ready to bend, stretch, and adapt himself across genres without losing conviction.
The beginning and after
His debut, however, was something of a damp squib, a blink-and-you-miss-it appearance in Adi Kapyare Kootamani, followed by a far more troubling role as a rapist in the Mammootty–Nayanthara headlined Puthiya Niyamam (2016). Neither part offered much room for nuance or visibility, leaving little indication of the actor he would eventually become. But then, ironically, it was in that very same year that Roshan found his first moment of reckoning. In Ganesh Raj’s Aanandam, a saccharine campus rom-com populated largely by newcomers, set in an engineering college and brimming with youthful chaos, Roshan, a trained theatre actor, managed to anchor himself within the noise. He played Gautham, a young man trying a little too hard to appear unfazed, to play it cool, especially in front of his girlfriend. It was a performance built on small, recognisable gestures rather than grand strokes.
It also helped that Roshan arrived at a moment when Malayalam cinema itself was in transition, opening its doors wider to fresh faces, unconventional casting, and a renewed commitment to realism. This was a landscape more forgiving of vulnerability than swagger, and for Roshan, whose strengths lay in restraint and emotional transparency, the timing could not have been more fortuitous. And then Geethu Mohandas’s Moothon(2019) happened.
Set against the quiet, insular rhythms of Lakshadweep, Roshan Mathew played Ameer, a mute man who falls helplessly, almost recklessly, in love with Akbar (Nivin Pauly), in a community where such desire was considered forbidden. Here, he communicates through a stillness that borders on the devotional, a Christ-like aura, and a gaze so tender that it even makes the otherwise serious Akbar blush. As Ameer, Roshan seemed to age overnight, from a boy into a man. The performance carried the accumulated weight of longing, grief, and emotional vulnerability, leaving us with a lingering ache. “At first, we had to get over the fact that we were two people who never acted together. Then it was the question of two straight guys playing gay characters, which requires a certain amount of comfort,” the actor had told this writer in an earlier interview. This was the kind of role that doesn’t just test an actor’s range but quietly recalibrates how he is perceived by filmmakers, audiences, and perhaps most decisively, by the actor himself.
Since then, whether by choice or compulsion, the actor has largely been part of films that astutely tapped into his strengths ( Night Drive being the notable exception). Be it the sinister loverboy in Kappela (2020), the unemployed husband in Choked (2020), the anxious young man searching for his missing fiancée in C U Soon (2020), or the amorous boyfriend eager to play out his fantasies in Aanum Pennum (2021), Roshan has rarely felt miscast. He slips into these roles with an ease that suggests an intuitive understanding of men on the margins, emotionally tentative, morally conflicted, and quietly intense.
Also, his seamless foray into Bollywood with Choked (2020) was proof of his adaptability. His face and body language, often reminiscent of a young Naseeruddin Shah, did not look out of place in any geography, thereby reinforcing the sense that Roshan Mathew belongs to a cinema that travels easily across languages and spaces. Take Zulfi, who does odd jobs for a living in Darlings (2022); it’s easy to believe that he has spent his entire life in a Mumbai chawl. And the scene in which he confides that he is in love with Shamshu (Shefali Shah) carries a disarming, almost naïve sweetness.
Casting against comfort
Actors often speak of their attraction to antagonist roles, where the moral ambiguity allows them greater freedom to explore their range. Though not entirely successful, Roshan does explore this terrain in Sreejith N’s Oru Thekkan Thallu Case (2022), which is set in a coastal village where two men engage in a petty, almost silly battle of egos. His Podiyan Pillai is deliberately unpleasant and steeped in entitlement, but then one could see the actor struggling to locate fresh variations within the character. Beyond a constant undercurrent of simmering anger, the performance rarely discovers new emotional registers. While Prasana Vithanage’s Paradise (2023), which pivots around an Indian couple celebrating their anniversary in Sri Lanka, aligns more closely with Roshan’s strengths. At the outset, Kesav appears to be a sorted and dependable young man, deeply committed to his wife (Darshana Rajendran). But as the narrative unfolds, certain situations expose the fissures within him and within the relationship itself. Roshan inhabits this moral grey with quiet nuance, allowing the character’s entitlement, insecurity, and affection to coexist without forcing easy judgments.
Two of his career-best roles that came in 2025 — CPO Dinanath in Shahi Kabir’s Ronth and the media professional Anish in Prashant Vijay’s Ithiri Neram — couldn’t be more diametrically opposed, and that contrast itself speaks volumes about Roshan Mathew’s evolution as an actor. Dinanath is young, idealistic, and painfully ill-equipped to make peace with the rot he encounters within the system. Anish, on the other hand, is much-married, and quietly haunted, grappling with the aching remnants of a past affair that refuses to loosen its hold.
In Ronth, Roshan lets helplessness and anger spill out with an almost abrasive rawness as the frustration sits close to the skin, erupting before it can be reasoned away. While in Ithiri Neram, the struggle is internalised; Anish is constantly policing his own emotions, trying to keep desire, guilt, and responsibility in careful balance as he is forced to choose between love and duty. Especially as Anish, Roshan walks a treacherous emotional tightrope, and he does so with remarkable control, never tipping into melodrama, never diluting the ache. And it’s in these restrained, conflicted spaces that he truly excels.
Though one can’t say this with certainty, after Chatha Pacha, Roshan Mathew does seem to have cracked open a new layer in his craft, one that could well introduce fresh turns in his career and choices. Even otherwise, his trajectory so far reveals an actor evolving quietly, finding strength in the depth and honesty of each transformation. And at this point, that alone feels like half the battle won.
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OUR OTHER NEWSLETTERS
This weekly newsletter compiles a list of the latest (and most important) reviews from OTTplay so you can figure what to watch or ditch over the weekend ahead.
Each week, our editors pick one long-form, writerly piece that they think it worthy of your attention, and dice it into easily digestible bits for you to mull over.
In which we invite a scholar of cinema, devotee of the moving image, to write a prose poem dedicated to their poison of choice. Expect to spend an hour on this.
SOUBIN SHAHIR to Rahul Bhat, this week's streaming releases feature some of our favourite names! But there's still more to explore. Among the exciting titles that have dropped on OTT platforms across languages this week are Tu Meri Main Tera, Hot Spot 2 Much, Main Tera Tu Meri, Chatha Pacha,and 56 Days. See more here.
What To Watch This Weekend
From prestige dramas to live sports, this guide brings together all the top releases you’ll want to stream this weekend. And here’s the best part: JioHotstar is now part of the OTTplay vault! Unlock acclaimed originals, blockbuster films and live sports from JioHotstar — plus content from 30+ other platforms — all for just ₹149 with the Power Play Monthly Pack.
Anurag Kashyap's neo-noir crime thriller follows Kennedy, who works as a cab driver but is a hired ruthless killer. Through the tale of this former cop, the film depicts the corruption in the police force. Rahul Bhat plays the lead, while Sunny Leone also appears in a key role.
The sports drama depicts the complicated yet discreet relationship between two hockey superstars from opposing teams. Hudson Williams stars as Shane Hollander while Connor Storrie plays Ilya Rozanoy in Heated Rivalry, which is based on Rachel Reid's novel series.
A puppy, believed to be lucky, is at the centre of this Tamil comedy-drama film. But it goes missing, sparking a search by both humans and canines. GV Prakash Kumar and Anaswara Rajan star in the film, directed by Uday Mahesh.
The police probe a string of brutal murders reported along the banks of the Malaprabha River in North Karnataka, which locals believe are due to crocodile attacks. Vijay Raghavendra plays Sub-Inspector Hanmappa in the seven-part series.
A routine patrolling duty takes an unexpected turn for SI Jancy and CPO Hareesh after an incident at midnight upends their lives, and they struggle to find the truth. Navya Nair and Soubin Shahir play the cops in Ratheena PT's film.
Alan Cumming will host the 79th British Academy Film Awards, while Bollywood star Alia Bhatt will join top actors like Cillian Murphy as a presenter. Viewers in India can watch the event from around midnight on February 23.
Uday Mahesh first debuted as a writer and director and helmed films like Naalai and Chakkara Viyugam. But he became more popular in the post-Covid era as Chellam sir, all thanks to the Hindi spy thriller series The Family Man. But not giving up on his initial career as a filmmaker, Uday Mahesh returns to direction after nearly two decades with the latest Tamil film, Lucky The Superstar. The film has opted for a direct-to-OTT release on JioHotstar via OTTplay Premium. Uday speaks to OTTplay about the film, his return to direction and more. Read the interview here.
A Candid Chat with Shivani Nagaram
Shivani Nagaram plays the female lead in the latest film, Hey Balwanth. Suhas plays the main lead in this Telugu film, which also has Naresh and Sudarshan in key roles. Shivani talks about her role, the fame she gained after Little Hearts, working with Suhas again, and more. Read the interview here.
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The US Supreme Court ruled to strike down President Donald Trump's sweeping tariffs, and said that he exceeded his authority by invoking a federal emergency-powers law to impose his global reciprocal levies.
The ruling brought much cheer to the retail markets, easing worries that tariffs would hurt the economic growth outlook and company earnings.
So, what now? Well, if Trump does choose to pursue alternative legislation to reinstate tariffs, there are still avenues—albeit with major caveats, and none of the leeway of the law previously being invoked.
Closer to home, India formally joined a US-led coalition to protect supply chains. The alliance, which includes countries such as Japan, South Korea, the UK and Israel, aims to strengthen critical minerals supply chains and deepen AI cooperation.
Even amid a supply crunch, OpenAI appears to be keeping its cool. The ChatGPT maker said it hasvisibility into what it is going to need regarding chip supply, while emphasising the need for international cooperation on AI governance, according to a Bloomberg report.
Lastly, Peak XV Partners is betting big on its India and APAC ventures, closing $1.3 billion in capital commitments to invest across its India Seed, India Venture, and APAC funds.
‘Tis the season to double down on AI!
In today’s newsletter, we will talk about
Sarvam targets AI beyond languages
General Catalyst’s $5B India bet
AI making commerce conversational again
Here’s your trivia for today: What type of natural perfume comes from beavers?
Artificial Intelligence Sarvam targets AI beyond languages
Sarvam AI, which created a buzz at the ongoing India AI Impact Summit 2026 with the introduction of a new model, has set a roadmap to bring out new innovations that go beyond its current focus on languages.
“We are not interested only in solving the language problem. That is a home turf for us, but we are interested in solving math, programming, and scientific questions with these models,” said Sarvam AI Co-founder and CEO Pratyush Kumar in a conversation with YourStory Founder and CEO Shradha Sharma at the India AI Impact Summit.
Promising days ahead:
Kumar explained that Sarvam AI is building general-purpose models, which perform tasks such as digitising documents, recognising speeches, and answering complex questions.
The strides made by Sarvam in a span of just two odd years have seen it being engaged with several state governments. It has signed agreements with Tamil Nadu and Madhya Pradesh, and is engaged in conversation with others like Odisha and Gujarat.
According to Kumar, the focus of AI companies in India should be to solve the country's harder problems through deeptech, though he added that this will take time.
The way India is going to lead in AI is through entrepreneurship,” General Catalysts’ CEO Hemant Taneja noted while giving a keynote address at India AI Impact Summit 2026.
The address follows General Catalyst’s announcement that it will invest $5 billion in India over the next five years—making it one of the largest VC commitments made to India—amidst the country’s expanding talent pool, favourable macroeconomic factors, and AI capabilities.
Key takeaways:
General Catalyst, which has backed Canva, Zepto, and Anthropic, will look to invest in companies across intelligence, healthcare, defence tech, fintech, and consumer technology.
A key point Taneja made was to dismiss the narrative that AI can take the jobs of young people and slow down progress. He requested Indian leadership to reject this narrative and instead, lean into it.
“A digital-native generation, given the right tools and platforms, will drive entrepreneurship, AI adoption, and economic participation at a scale no other country can match,” said Taneja.
Soon, you will be able to ask your fridge to buy a packet of milk for you. That, according to Harshil Mathur, Co-founder and CEO of Razorpay, is not a distant scenario but a logical extension of what he calls “agentic commerce”—payments embedded directly into conversational AI interfaces.
This week, Razorpay launched Agentic Payments on Claude in partnership with the NPCI, enabling users to order from Zomato, Swiggy, and Zepto within a chat interface at the India AI Impact Summit in Delhi. The rollout builds on an earlier integration unveiled with OpenAI at the Global Fintech Festival 2025, marking what the company describes as a sustained push into AI-native commerce.
Mega investment: NVIDIA is close to finalising a $30 billion investment in OpenAI, as the chipmaker moves to take a stake in one of its largest customers. The investment is part of a fundraising round in which OpenAI is seeking more than $100 billion.
Gadget: OpenAI has over 200 people working on a family of AI-powered devices that will include a smart speaker and possibly smart glasses and a smart lamp, the Information reported. The smart speaker, the first device OpenAI will launch, is likely to be priced between $200 and $300.
Rate cut: A majority of members of RBI’s MPC view current policy rates as suitable for the economy, according to minutes from the February meeting, though two members indicated potential for future rate cuts. Members also await the rollout of a new GDP data series later this month for a clearer read on the economy.
Did you know?
What type of natural perfume comes from beavers?
Answer: Castoreum
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