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By:

Bharati Dubey

17 May 2026 at 1:38:10 am

After Don-3 controversy, Ranveer’s next film goes on floors

Mumbai: After months of attention surrounding his reported exit from Don 3, Ranveer Singh has finally moved on to his next major cinematic venture. The actor’s ambitious survival spectacle Pralay has officially gone on floors in Mumbai today, marking the beginning of filming on one of the most ambitious and scale-driven projects in Indian cinema. Headlined by Ranveer Singh and directed by Jai Mehta, Pralay is an original end-of-the-world action thriller that promises to take audiences into a...

After Don-3 controversy, Ranveer’s next film goes on floors

Mumbai: After months of attention surrounding his reported exit from Don 3, Ranveer Singh has finally moved on to his next major cinematic venture. The actor’s ambitious survival spectacle Pralay has officially gone on floors in Mumbai today, marking the beginning of filming on one of the most ambitious and scale-driven projects in Indian cinema. Headlined by Ranveer Singh and directed by Jai Mehta, Pralay is an original end-of-the-world action thriller that promises to take audiences into a world on the brink of annihilation. Produced by Ananya Birla’s Birla Studios, Hansal Mehta and Sahil Saigal’s True Story Films, and Maa Kasam Films, the film combines large-scale spectacle with a deeply human story of survival, courage and the instinct to fight for what matters most. The film marks Ranveer’s next major motion picture following Dhurandhar and Dhurandhar – The Revenge, which emerged as the highest-grossing film of all time. With Pralay, the actor once again ventures into unexplored cinematic territory, taking on a disruptive new concept that demands both physical intensity and emotional conviction. Ranveer will also serve as a producer on the film. The project comes at an important point in the actor’s career. His reported exit from Don 3 had generated considerable buzz, particularly as he was expected to carry forward one of Indian cinema’s most iconic franchises. With Pralay, Ranveer now turns the page with an entirely original story rather than stepping into another established universe. Joining him is Lokah breakout actress Kalyani Priyadarshan, who plays a pivotal role in the film and brings together another exciting performer from the new generation of Indian talent. For Ananya Birla, Pralay represents Birla Studios’ ambition to push the boundaries of mainstream Indian cinema by collaborating with contemporary creative forces. For True Story Films’ Hansal Mehta and Sahil Saigal, the project reflects their commitment to disruptive storytelling and content-driven cinema. Behind the camera, Jai Mehta leads the ambitious project. His work on Scam 1992: The Harshad Mehta Story, which he co-directed with Hansal Mehta, and Lootere has earned widespread acclaim. With Pralay, he steps into a significantly larger canvas, bringing together an ensemble of creative and technical talent from India and around the world. Set against the unmistakable pulse and landscape of Mumbai, Pralay follows a relentless journey of survival against the terrifying possibility of an end-of-the-world catastrophe. The film aims to marry breathtaking spectacle with an emotional core, exploring what people are willing to do to survive when the world as they know it begins to collapse. The makers are shooting extensively at live locations in and around Mumbai, embracing the physicality and unpredictability of real-world environments. The approach is designed to add scale, texture and realism to the apocalyptic world while creating an immersive theatrical experience. The film had already undergone several months of highly technical and intensive pre-production before cameras began rolling. Its ambitious mounting and unusual premise have made Pralay one of the most talked-about upcoming projects in Indian cinema.

Quota Illusions

The Maharashtra government’s scrapping of the five per cent reservation for Muslims in jobs and education has closed the book on a decade-long political fiction in which the language of social justice was bent to the purposes of electoral arithmetic.


The decision, formalised through an amended Government Resolution, followed the expiry of the earlier ordinance and an interim court stay. But its political meaning was unmistakable. Under Chief Minister Devendra Fadnavis, the Mahayuti government has chosen to end a policy that was cynical rather than compassionate.


The quota has its origins in 2014, when the then Congress-NCP coalition government had announced it on the eve of elections with an eye to gaining minority votes. Naturally, the necessary legal scaffolding of data and the backwardness criteria that met judicial tests was never fully constructed.


Across India, reservation policy has too often been stretched beyond its constitutional logic to serve as a shorthand for inclusion. The intent of affirmative action, which is to remedy demonstrable social and educational backwardness, has been frequently diluted by gestures aimed at consolidating vote banks.


Defenders of the Muslim quota argue that withdrawing it sends a hostile signal to minorities. This charge rests on a misleading premise that Muslims as a whole are excluded from the reservation framework. In reality, Maharashtra already recognises social backwardness within the Muslim community through caste-based classifications whose entitlements remain untouched. What has been scrapped is not protection for the disadvantaged, but a religion-specific quota that courts have repeatedly viewed with scepticism.


The political backlash was predictable. The Congress and its allies accused the government of anti-minority intent, while the BJP dismissed the original quota as an unimplemented stunt. What this episode underscores is the corrosive effect of performative secularism. By repeatedly announcing policies that cannot survive legal scrutiny, parties cheapen the very idea of social justice. They also risk fostering resentment among beneficiaries who are promised gains that never materialise, and among others who see the system as arbitrary.


The Mahayuti’s move exposes the contradictions of its opponents. In 2020, the Uddhav Thackeray-led Maha Vikas Aghadi (MVA), which included Congress and the NCP, had sought to revive variations of the same idea, despite knowing its legal fragility. The result was a cycle of announcements and reversals that served politics better than people. Ending that cycle is arguably more honest.


Scrapping the Muslim quota does not solve the problem of deprivation within minority communities. But what it does do is reassert a basic principle that affirmative action must be based on backwardness, not belief.


The Maharashtra government’s decision is less about ideology than institutional hygiene. By withdrawing a legally hollow promise, it restores a measure of seriousness to a policy space long cluttered by symbolic gestures. In an era when identity politics rewards spectacle, such restraint is essential if reservations are to remain instruments of justice rather than illusions of inclusion.

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