Jio Platforms Ltd. is said to have chosen Morgan Stanley and Goldman Sachs to lead its blockbuster IPO that would peg the valuation of India’s largest telecom operatort at $133-182 billion.
The Jio Platforms IPO is likely to an even split of new shares and those offloaded by existing private-equity shareholders. (Bloomberg)
The digital unit of Reliance Industries Ltd. is ready to file IPO papers once India’s finance ministry clears a SEBI proposal to allow 2.5% public float for mega IPOs, The Economic Times reported on Tuesday citing people familiar with the matter.
The Jio Platforms IPO is likely to an even split of new shares and those offloaded by existing private-equity shareholders KKR & Co., Silver Lake and Vista Partners. Strategic investors, including Google LLC and Meta Platforms Inc., are likely to retain their stakes at 7.75% and 9.99%, respectively.
Jio Platforms IPO: The context
Plans for a Jio Platforms IPO were first announced by RIL Chairman Mukesh Ambani during the company’s annual general meeting on 2 September 2025. Things have moved swiftly since then.
In October, informal talks with banks began for a potential listing in the first half of 2026. The Jio Platforms IPO could raise more than $6 billion with RIL selling just 5% of the company, Bloomberg News reported in July. That’s far more than the record $3.3-billion raised in Hyundai Motor India Ltd. in 2024.
By November, the informal talks had progressed to such an extent that the investment bankers—yet unchosen—were proposing a valuation of as much as $170 bilion (~ ₹15.3 lakh crore) for Jio Platforms. That’s higher than peer Bharti Airtel Ltd.’s market capitalisation of ₹12 lakh crore.
In December, RIL reportedly started work on a draft red-herring prospectus. The filing of the DRHP and formal appointment of bankers will happen after new rules on Indian IPOs come into effect.
In January 2026, Reuters reported that Reliance Industries is eyeing a 2.5% stake sale in Jio Plaforms at an estimated valuation of $180 billion.
According to Jefferies, Jio Platforms’ valuation stands at $180 billion. At that valuation, a 2.5% stake sale would raise $4.5 billion, dwarfing Hyundai Motor India’s $3.3 billion IPO last year.
Ricky Ponting’s place among cricket’s all-time greats is undisputed. The Tasmanian born batter finished his international career as Australia’s leading run-scorer in both Test and ODI cricket, with 13,378 and 13,704 runs respectively — remarkable tallies that underline his prolific mastery across formats.
But beyond the centuries and captaincy accolades, Ponting had a lesser-known passionate side: his love for professional wrestling, and in particular, WWE legend The Undertaker. Former Australia fast bowler Jason Gillespie recalled that obsession with a blend of affection and amusement.
“Ricky Ponting is probably one of Australia’s greatest ever players and the leading run-scorer for Australia. He was also a wonderful captain,” Gillespie recalled while speaking on SEN’s The Sporting Capital.
“I remember one season — I think it was 1997 or ’98 — I was injured and had hurt my back, so I’d spent some time out. The team had come to Adelaide, and I knew Ricky was a massive wrestling fan. He absolutely loved The Undertaker.”
Gillespie said he gifted Ponting the centre-spread poster of the legendary wrestler, sparking the Australian cricketer’s obsession.
“I had a wrestling magazine where the centre spread was a poster of The Undertaker, so I tore it out. I went in while the Australian boys were training and gave it to Rick. I said, ‘Mate, I’ve got this poster of The Undertaker.’ He looked at it, just nodded, and put it straight into his bag.
“The next day, he went out and made a hundred. After that, for the rest of the summer, he refused to remove that Undertaker poster because cricket is a very superstitious game — and a lot of sportspeople are. He said, ‘This Undertaker poster was in my bag when I got a hundred, so it’s not leaving.’
“He’d put it in his locker wherever he went, and every time he came back, the Undertaker poster would be there. He kept making runs, and it just went on. I don’t know how long it lasted before the superstition finally wore off, but yeah — Rick was a big fan.”
Ponting’s anecdote illustrates a side of elite sport not often discussed: the rituals and beliefs athletes carry with them in pursuit of success. Superstitions are woven through cricket’s rich tapestry — from Sachin Tendulkar’s practice of putting on his left pad first before going out to bat, to players obsessing over locker-room seats or lucky numbers. The sport’s long rhythms and fine margins seem to invite these personal talismans and routines, as players seek a sense of control over unpredictable outcomes.
Ponting’s exploits on the field speak for themselves. Bursting onto the international scene as a teenager in the mid-1990s, he became a defining figure of Australia’s dominant era. He captained the side to back-to-back Cricket World Cup titles in 2003 and 2007 and was a fixture in an Australian team that set new standards in international cricket. His penchant for aggressive stroke-play and tactical acumen made him a thorn in opposing bowlers’ sides, and his leadership record remains among the best in the game’s history.
After hanging up his boots, Ponting transitioned seamlessly into roles that kept him at the heart of the sport. He has worked as a respected commentator, offering insight drawn from years at the highest level, and has served in coaching capacities, including mentoring roles at international and franchise levels.
As head coach of the Punjab Kings in the Indian Premier League, Ponting has been working towards reviving the fortunes of a perinnialy under-achieving team. Punjab made significant strides in IPL 2025, reaching the playoffs for the first time in over a decade under the leadership group of Ponting and Shreyas Iyer.
Thousands of fans gave Bigg Boss Kannada 12 winner Gilli Nata a hero’s welcome.
Gilli Nata welcomed by thousands of fans
Videos posted online by fans show Gilli waving to the crowd as he drives through Malavalli in a van. One video shows him accompanied by his team, dressed in a white suit, and responding to the cheering crowd that showers him with flowers. Police are also seen trying to control the crowd on his way home.
Another video, however, taken from an elevation, shows just how many people turned up to welcome him home. Thousands of people can be seen running along his van, climbing onto parked buses and vehicles, and cheering for him. The fans blocked traffic, and the police can be seen making a way for Gilli to pass.
A video shows Gilli and another person being given an aarti before they head into his house. Some videos also show the comedian leaving his home with his trophy, driving a different car, and shaking hands with fans who stop him on the road.
Gilli Nata’s Bigg Boss Kannada 12 win
The grand finale of Bigg Boss Kannada Season 12 was aired on Sunday evening on Colors Kannada and JioHotstar. As many fans had predicted, Gilli won the show after getting the most audience votes. Rakshita Shetty secured the first runner-up position.
Ashwini Gowda finished as the second runner-up while Dhanush Gowda, Mutant Raghu and Kavya were eliminated in sixth, fifth and fourth places during the finale. Gilli took home a ₹50 lakh cash prize and a Maruti Suzuki Victoris car after his win.
Gaza – When Steve Witkoff announced “phase two” of the ceasefire, it sounded like the update everyone has been desperate for here in Gaza. Something in the way he said it – phase two – really made it sound like things might finally be turning the corner.
In less than 24 hours, another announcement followed. The White House named the members of a new “Board of Peace”, tasked with overseeing a technocratic committee that would manage the day-to-day governance of post-war Gaza. The committee will be led by Dr Ali Shaath, a former Palestinian official, who is presented as part of a forward-looking plan for reconstruction and stability.
On paper, it appears to be a movement. Like structure. Like planning for a future beyond war.
But on the ground in Gaza, there isn’t a sense of confidence. There is doubt – and a lot of it.
Many Palestinians here struggle to understand how a board meant to rebuild Gaza can include people who have openly supported Israel, especially when the destruction is still everywhere you look, and no one has been held accountable.
Buildings are still in ruins. Families are still grieving. Entire neighbourhoods are gone. Against that backdrop, talk of governance and reconstruction feels disconnected from reality.
For families who have lost their homes, their loved ones, and their sense of safety, the contradiction is hard to ignore. It’s difficult to be asked to trust a future designed by people who seem untouched by the present pain and untouched by responsibility for it.
For those whose daily life is characterised by the constant buzz of drones and sudden Israeli air attacks, nothing’s really shifted.
Parents still think hard about where their kids will sleep tonight. Aid workers still map their routes, not by where help is most needed, but by which roads might actually get them through alive. Families still hush up at night, straining to hear if the quiet will hold or if the fighting will break out again.
All these official statements? They feel miles away from what’s actually happening. Phase two might exist in some news release, but for most people, life still feels stuck right where it started.
You don’t feel a ceasefire in speeches or headlines. You feel it in what’s missing, the sudden silence, the easing in your chest, the nights that don’t end with a jolt. That’s what people are waiting for. Not the label, not the milestone. Just the change itself.
After months of loss and exhaustion, it’s normal to want to believe things really are getting better. Diplomats cling to the idea of progress. Governments need to say momentum’s building. But the people actually living this? They just want something steady. They want to know tomorrow won’t be worse than today, that they can wake up and not flinch.
But right now, that feeling isn’t there. Promises are uneven, timelines keep slipping, and too many commitments just fade into the background. For people living through it, this doesn’t feel like peace on the move; it feels like everything’s hanging by a thread, ready to snap at any minute. Just calling it “phase two” doesn’t make it feel any safer.
And then there’s that quieter hurt that comes from hope getting stretched too thin. When official words don’t match real life, people learn to lower their expectations. Hope turns into something fragile – something you hold close but don’t trust too much, because getting let down again just stings. Announcing progress before anyone can feel it doesn’t build trust. It erodes it.
This isn’t about throwing out diplomacy. It’s just about honesty. If “phase two” is going to mean anything, people need to feel it in their daily lives: Fewer funerals, hospitals that actually work, roads that don’t feel like traps, days where fear isn’t always there.
Real peace grows in those small, ordinary moments, walking down the street without bracing yourself, sleeping through the night without planning how to run if things go wrong.
Until those moments show up, “phase two” is mostly just a symbol. And symbols, no matter how hopeful, can’t keep anyone safe. Only real change does that.
For people living day to day, peace isn’t about the next announcement. It starts when they can get through a night and believe the ceasefire will still hold in the morning.
AR Rahman’s son, Ameen, defended his father fiercely on social media.
AR Ameen posts PM Modi’s praise for AR Rahman
Ameen and his sisters, Khatija and Raheem, posted a series of old videos and pictures on their Instagram stories in defence of their father. One video shows Rahman waving to a massive crowd at a cricket stadium as his Oscar-winning song Jai Ho plays over the speakers. He also posted a picture of his father with President Droupadi Murmu and another of him receiving a National Award from her.
Ameen also posted pictures and videos of Rahman performing with Coldplay’s Chris Martin. One video shows Prime Minister Narendra Modi saying, “Be it AR Rahman’s music or Rajamouli’s storytelling, it has become a voice of Indian culture and won the hearts of crores of people worldwide.”
Khatija also shared the same videos and pictures on her Instagram stories. Raheema posted notes calling out people for arguing over communal lines. One note she shares reads, “They don’t have time to read the Bhagavad Gita, the Qur’an or the Bible – the sacred words that teach love, peace, discipline, and truth. But they have all the time in the world to argue, mock, provoke, abuse, and disrespect each other.”
The note continues, “This isn’t religion. This is what blind society, half-baked education, toxic politics, and broken parenting have created – a generation more loyal to hate than to humanity.” Another note reads, “Bhagvat Gita and Quran never fight in library. But, ironically those who fight over them are those who never went to library.”
What did AR Rahman say?
After Rahman was slammed online for his comments on ‘communalism’ in Bollywood and ‘divisiveness’ of Chhaava, he posted a clarification video. “Music has always been my way of connecting, celebrating and honouring our culture. India is my inspiration, my teacher and my home. I understand that intentions can sometimes be misunderstood. But my purpose has always been to uplift, honour and serve through music. I have never wished to cause pain, and I hope my sincerity is felt,” he said in the video.
Ahead of the Winter Olympics in Milan-Cortina, Italy, which begins on February 6, Alpine ski star Lindsey Vonn, 41, set pulses racing as she joined the viral picture trend online, where people are posting throwback snaps from 2016 given it’s a decade since.
Vonn, a gold medal-winner at the 2010 Winter Olympics in Vancouver, shared a topless picture of herself from a Sports Illustrated photoshoot among other photos.
Former tennis ace Caroline Wozniacki reacted to Vonn’s post, saying “You haven’t aged a day.”
Vonn, returned the compliment: “Ah, neither have you.”
PARK CITY, Utah — The Sundance Film Festival may be a little bittersweet this year. It will be familiar in some ways as it kicks off on Thursday in Park City, Utah. There will be stars, from Natalie Portman to Charli XCX, and breakout discoveries, tearjerkers, comedies, thrillers, oddities that defy categorization and maybe even a few future Oscar nominees. The pop ups and sponsors will be out in full force on Main Street. The lines to get into the 90 movies premiering across 10 days will be long and the volunteers will be endlessly helpful and cheery in subfreezing temperatures.
The Sundance Film Festival prepares to bid farewell to Park City, and Robert Redford
But the country’s premier showcase for independent film is also in a time of profound transition after decades of relative stability. The festival is bidding farewell to its longtime home and forging forward without its founder, Robert Redford, who died in September. Next year, it must find its footing in another mountain town, Boulder, Colorado.
It’s no surprise that legacy will be a through-line at this year’s final edition in Park City. There will be screenings of restored Sundance gems like “Little Miss Sunshine,” “Mysterious Skin,” “House Party” and “Humpday” as well as Redford’s first truly independent film, the 1969 sports drama “Downhill Racer.” Many will also pay tribute to Redford at the institute’s fundraising event, where honorees include Chloé Zhao, Ed Harris and Nia DaCosta.
“Sundance has always been about showcasing and fostering independent movies in America. Without that, so many filmmakers wouldn’t have had the careers they have,” said “Mysterious Skin” filmmaker Gregg Araki. He first attended the festival in 1992 and has been back many times, including at the labs where Zhao was one of his students.
Quite a few festival veterans are planning to make the trip, including “Navalny” filmmaker Daniel Roher. His first Sundance in 2022 might have been a bit unconventional but ended on a high note with an Oscar. This year he’s back with two films, his narrative debut “Tuner,” and the world premiere of “The AI Doc: Or How I Became an Apocaloptimist,” which he co-directed with Charlie Tyrell.
“We’re going through a weird moment in the world … There’s something that strikes me about an institution that has been evergreen, that seems so entrenched going through its own transition and rebirth,” Roher told The Associated Press. “I’m choosing to frame this year as a celebration of Sundance and the institute and a future that will ensure the festival goes on forever and ever and ever and stays the vital conduit for so many filmmakers that it has been.”
Over the past four decades, countless careers have been shaped and boosted by the festival and the Institute. Three of this year’s presumed Oscar nominees — Paul Thomas Anderson, Ryan Coogler and Zhao — are among those the Institute supported early in their careers.
Jay Duplass, who first came to Sundance in 2003 with his brother, Mark, with what he calls a “$3 film” said it was the place where his career was made.
“I’d probably be a psychologist right now if it wasn’t for Sundance,” Duplass said.
While he’s been to “probably 15 Sundances” since, it hasn’t lost its luster. In fact, when a programmer called him to tell him that his new film “See You When I See You” was selected, he cried. The film is based on a memoir in which a young comedy writer attempts to process the death of his sister . It’s one of many films that finds humor amid grim subjects.
As always, the lineup is full of starry films as well, including Cathy Yan’s art world satire, “The Gallerist,” starring Portman, Jenna Ortega, Sterling K. Brown, Zach Galifianakis and Da’Vine Joy Randolph. The romantic drama “Carousel,” from Rachel Lambert, features Chris Pine and Jenny Slate as high school exes who rekindle their romance later in life. Araki is also bringing a new film, “I Want Your Sex,” in which Olivia Wilde plays a provocative artist who takes on Cooper Hoffman as her younger muse.
“It’s kind of a sex-positive love letter to Gen Z,” Araki said. “It’s a comedy. It has elements of mystery, thriller, murder — a little bit of ‘Sunset Boulevard’ … it’s fun, it’s colorful, it’s sexy. It’s a ride.”
Wilde also steps behind the camera for “The Invite,” in which she stars alongside Seth Rogen as a couple whose marriage disintegrates over the course of an evening. Olivia Colman is a fisherwoman looking to make the perfect husband in “Wicker,” co-starring Alexander Skarsgård. Zoey Deutch plays a Midwestern bride-to-be seeking out her celebrity “free pass” in the screwball comedy “Gail Daughtry and the Celebrity Sex Pass.” And Ethan Hawke and Russell Crowe lead the Depression-era crime drama “The Weight.”
Pop star and noted cinephile Charli XCX will also be out and about, starring in the self-referential mockumentary “The Moment,” and appearing in “The Gallerist” and “I Want Your Sex” as well.
The 2026 festival features a robust lineup of documentaries too, which have a good track record of snagging eventual Oscar nominations and wins. There are a handful of films about famous faces, including basketball star Brittney Griner, Courtney Love, Salman Rushdie, Billie Jean King, Nelson Mandela and comedian Maria Bamford.
Others delve into newsy subjects past and present, like “When A Witness Recants,” in which author Ta-Nehisi Coates revisits the case of the 1983 murder of a boy in his Baltimore middle school and learns the truth. “American Doctor” follows three professionals trying to help in Gaza. “Who Killed Alex Odeh” examines the 1985 assassination of a Palestinian American activist in Southern California. “Everybody To Kenmure Street” is about civil resistance to deportations in Glasgow in 2021. And “Silenced” tracks international human rights lawyer Jennifer Robinson in her fight against the weaponization of defamation laws against victims of gender violence.
And some don’t fit into any easy category, like “The History of Concrete” in which filmmaker John Wilson takes what he learned at a “how to sell a Hallmark movie” seminar and tries to apply it to a documentary on concrete.
There might be a bit of wistfulness in the air too, as everyone takes stock of the last Sundance in Park City and tries to imagine what Boulder might hold.
“It feels very special to be part of the last one in Park City,” Duplass said. “It’s just a super special place where, you know there are going to be movies there with giant stars and there’s also going to be some kids there who made movies for a few thousand dollars. And they’re all going to mix.”
Araki, like Redford, knew long ago that the festival had outgrown Park City. It will be strange to no longer have its iconic locations like Egyptian Theatre and Eccles and The Ray anymore, but it’s also just a place.
“The legacy and the tradition of Sundance will continue no matter where it is,” Araki said.
Leus du Plooy’s rapid fifty and a three-wicket haul for Prenelan Subrayen powered Joburg Super Kings into the playoffs of the SA20 with a comprehensive 44-run victory over Paarl Royals.
Prenelan Subrayen of Joburg Super Kings celebrates the wicket of Waqar Salamkheil of Paarl Royals
Du Plooy provided much-needed impetus with a 27-ball 54 including five hits to the fence and three over it which took the Super Kings to a competitive 166 for five.
In reply, the Royals crumbled under pressure and despite a 25-ball 32 (4 fours) from Lhuan-dre Pretorius and Dan Lawrence’s 45 (29 balls; 1 four, 3 sixes), they were shot out for a mere 122 in 18.1 overs.
In an all-round bowling show for the Super Kings, South African spinner Subrayen returned with a match-winning spell of 3.1-0-14-3 while Nandre Burger (2/29) and Imran Tahir (2/17) also chipped in with tidy performances.
Akeal Hosein and Wiaan Mulder claimed one wicket each.
The Super Kings struggled for momentum for a large part of their innings as opener Neil Timmers (39 off 37 balls; 4 fours), Michael Pepper (27 off 23 balls; 3 fours, 1 six) and Matthew de Villiers (27 off 23 balls; 1 four) could not impose themselves.
It was a late assault from Du Plooy who had earlier replaced the injured regular captain Faf du Plessis, hitting a vital half-century towards the end where the Super Kings also added 32 runs off the last two overs.
The Royals stumbled through their run-chase and the absence of regular skipper David Miller due to an injury also did not help their cause.
Sunrisers Eastern Cape topped the points table after the group stage with 28 points and will take on the second-ranked Pretoria Capitals (24 points) in the first qualifier on Wednesday.
The Royals, who finished third with 24 points, will meet the Super Kings again in the all-important Eliminator at Centurion on Thursday.
Stock market today: Indian equity benchmarks, Nifty50 and BSE Sensex, opened flat in trade on Tuesday on weak global cues. While Nifty50 was above 25,550, BSE Sensex was just above 83,200. At 9:16 AM, Nifty50 was trading at 25,573.05, down 12 points or 0.049%. BSE Sensex was at 83,204.62, down 42 points or 0.050%.Analysts expect the stock market to remain range-bound in the near term, with investors closely tracking global cues and the ongoing corporate earnings season. Analysts have cautioned that any escalation in geopolitical tensions could weigh on sentiment.Dr. VK Vijayakumar, Chief Investment Strategist, Geojit Investments Limited says, “The volatility in the market is likely to continue in the near-term till some clarity emerges regarding the US- Europe standoff on Greenland tariffs. Since both sides have hardened their positions, the uncertainty will continue for some time. A new development is likely today if the US Supreme Court ruling on Trump tariffs goes against President Trump. But there is no certainty on whether the ruling will happen today. If it does, the ruling might change the scenario completely overnight. From the fundamental perspective, there are good news as well as not so good news for the market. The good news is that the IMF has raised India’s FY 26 GDP growth rate to 7.3% confirming the robust performance of the economy despite many headwinds. An area of concern is that early Q3 results do not indicate a recovery in earnings growth. This is likely to change when the results of auto companies start flowing in since this sector has done well in Q3 and it is heartening that the growth momentum is continuing in the sector.”“Geopolitical and geoeconomic issues will continue to dominate in the near-term and will influence the direction of the market. Investors can watch the developments and continue to follow a policy of nibbling at high quality stocks on declines.”Asian equities opened lower on Tuesday as renewed tariff threats by US President Donald Trump linked to Greenland revived trade concerns, dampening risk appetite across regional markets. The cautious tone spilled over into currency and bond markets, with the dollar sliding to a one-week low in early trade amid a broad selloff in US equities and government bonds following fresh warnings from the White House directed at the European Union.On the domestic front, foreign portfolio investors continued to pare exposure, selling shares worth Rs 3,263 crore on Monday. Domestic institutional investors, however, provided some support to the market, emerging as net buyers to the tune of Rs 4,234 crore.(Disclaimer: Recommendations and views on the stock market, other asset classes or personal finance management tips given by experts are their own. These opinions do not represent the views of The Times of India)
There’s something unnervingly convincing about Anurag Thakur when he slips into character — so much so that even his family struggled to separate the man from the role. Whether he played a cop in Vikramaditya Motwane’s Black Warrant (2025) or took on the recently released Freedom at Midnight 2 by Nikkhil Advani, Thakur leaves a mark. Widely appreciated for his performance as Madanlal Pahwa, the actor talks to mid-day about his approach, tackling the lull between projects, and why theatre remains his first love.
Excerpts from the interview.
Showrunner Nikkhil Advani said your performance stood out and you are one to watch out for. What reactions have you been getting for Freedom at Midnight 2? Yes, Nikkhil sir called to thank me for trusting him with this [role]. He was glad it came out the way he wanted it. Sir told me, ‘You are my Manoj Bajpayee’. My sister, who didn’t know Madanlal Pahwa, asked my father about him. He told her, it was Anurag. The reactions have been unexpected and beautiful.
Still from ‘Freedom at Midnight 2’
You’ve been working in the industry since 2015. According to you, what has been your breakthrough project? According to the audience, of course, Black Warrant — it’s a Vikramaditya Motwane series and a beautiful show. [Despite] having worked for a long time, I’d also say Black Warrant, show-wise. [Since then], things have changed for the better.
When it comes to playing a real-life character compared to a fictional one, does your approach change? The basic approach is the same, where I focus on the backstory and the mental and physical transformation of it. But if I have a reference photo or a reference video of the character, then I obviously try to adapt to it. Luckily for me, Madanlal Pahwa’s reference is only in name, so I had the freedom to portray him the way I wanted.
Still from ‘Freedom at ‘Black Warrant’
How did you build the character without references? All the information I got from the script, I wrote it down in a diary. I also started reading up on him from books and the web. I researched what was going on in the country at the time. In one of the articles [I had read], he had lost his index finger while making a bomb. I asked Nikkhil sir if it was okay to keep the finger bent. I thought it would help me relate to Madanlal Pahwa more.
Did anything shown in the series differ from what you knew of the Partition story? I think the show was written in a very balanced and neutral way, so I did not feel any anomaly. I didn’t focus on what my opinion was in school [when we studied about the Partition]. When you have a director like Nikkhil sir, you trust his vision, writing, and everything he does. Moreover, I am not a critic, judge, or filmmaker; I approached it as an actor with sole focus on my character. To mentally [align with my character], I had to keep repeating in my head: Yes, I have to kill someone. How else would you actually convince yourself to kill or assassinate someone? The backstory, references, and the things that have happened with him during the exodus [convinced Madanlal] to do it.
It takes time to make a name in the industry and among fans. How do you keep your passion alive through the struggles? By working. I kept doing theatre and workshops with friends. I have been part of a theatre group in Delhi. I was also a teacher; I wrote, directed, and acted in plays when we formed a new group — Bayaar Theatre Group. I also keep sharpening my skills as an actor. Right now, I am not doing any films or web shows. But I am in the play Hum Hum, written by a close friend, on February 3. The play I’m performing on February 21 is called Aham Murakami, a Hindi-Japanese drama written and directed by Lovely Raj.
Between theatre and movies, what gives you creative satisfaction? Since I have spent more time on stage, right now it is theatre for me. But the more I am working on camera, I feel that there is no major difference between the two mediums. Some technical things are very different, like theatre requires teamwork, but on camera you can act alone, minus the technicians on set. After a point, both are the same for me. The ultimate goal is to be happy, honest [to my craft], to be able to keep exploring, and stay passionate.
