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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.

Savage Drift

The murder of Sharif Osman Hadi comprehensively exposes a Bangladesh that tolerates disorder, indulges radicals and misreads its neighbours.

Bangladesh is in accelerating disorder. Mob violence, attacks on minorities, and the vandalism of temples and historical sites are no longer exceptional events but recurring markers of a political order under strain.


The immediate trigger for the latest bout of frenzied violence was the killing of Sharif Osman Hadi, a key anti-India figure associated with last year’s July Uprising. Shot in the head by masked attackers in central Dhaka while launching his election bid, the 32-year-old died six days later in a Singapore hospital. His death has deepened instability as Bangladesh prepares for a consequential national election and grapples with strained ties with New Delhi.


In Dhaka, mobs vandalised and torched the offices of Prothom Alo and The Daily Star in the Karwan Bazar area. The ancestral home of Sheikh Mujibur Rahman at Dhanmondi 32, a museum and symbol of the Liberation War, was ransacked and set ablaze. In Chattogram, protesters gathered near the Indian Assistant High Commission, turning diplomatic premises into targets of street politics.


Beyond the capital, the violence has been more intimate and more brutal. In Dubalia Para village in Bhaluka upazila of Mymensingh district, Dipu Chandra Das, a Hindu man, was beaten by a mob, tied to a tree and his body set on fire following allegations of blasphemy.


This sustained domestic turbulence coincides with an ideological assault on Bangladesh’s founding narrative. The 1971 Liberation War, which ended Pakistan’s campaign of mass murder, rape and repression against Bengalis has been softened, relativised and in some quarters actively rewritten ever since the Yunus regime was installed in Bangladesh following the ouster of the pro-India Sheikh Hasina.


Pakistan, once the oppressor, is cautiously rehabilitated in public discourse, while India, whose intervention ended the carnage, is increasingly portrayed as a hegemonic threat. The revisionism is not a scholarly debate; it is a deliberate effort to reshape identity, prioritising religious nationalism over civic pluralism.


The removal of Sheikh Hasina was far from an organic domestic transition. Observers across South Asia describe it as the result of persistent U.S. influence - an exercise of deep-state instruments, from diplomacy to NGO networks - that destabilised the political equilibrium and created the conditions for a rapid regime change. Whatever the exact mechanics, the effect has been a rupture in authority followed by a vacuum that radical Islamist forces were quick to occupy.


These forces, long constrained by Bangladesh’s secular constitution and the historical memory of 1971, have now surged with newfound confidence. Over the past few months, temples have been desecrated, minority homes attacked and mobs have executed atrocities with appalling impunity.


The US feted, Nobel laureate Muhammad Yunus has been at the centre of this drift. His administration has oscillated between moral posturing abroad and indecision at home. His deliberately provocative remarks on India’s northeast ignited anti-India rhetoric that has now become commonplace on political platforms. In the wake of the attack on Osman Hadi, Yunus sought India’s assistance to arrest and hand over the shooters, even as extremist elements insinuated Indian involvement. India categorically rejected these allegations, describing them as a false narrative advanced by radicals.


It is regrettable that a person of Yunus’ stature fails to see that India remains Bangladesh’s principal neighbour, largest trading partner and unavoidable strategic interlocutor. His dangerous embrace of Pakistan since Hasina’s ouster offers neither substantive economic support nor security guarantee but foretells ominous days for Bangladesh.


After a Bangladeshi court sentenced Hasina to death in absentia, Dhaka’s subsequent calls for Hasina’s extradition have been met with studied restraint by Indian officials.


India has also rejected claims that Awami League leaders are directing political activity from Indian soil, reiterating that it does not permit its territory to be used for destabilising a neighbouring state. At the same time, New Delhi has made clear that elections which effectively exclude the Awami League would struggle to command credibility.


For New Delhi, a Bangladesh that criminalises its largest political force, tolerates Islamist mobilisation and rewrites the legacy of 1971 risks sliding into chronic instability - an outcome India neither seeks nor can ignore. History is not infinitely forgiving. A country that allows its past to be vandalised should not be surprised when its present is set alight.

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