#mumbai live latest news

[playermagic23]

Shah Rukh Khan honors Mumbai Police by distributing lunch outside Mannat on his birthday.

Shah Rukh Khan turned 59 on November 2 and celebrated with his wife Gauri and daughter Suhana by cutting a cake together. In addition to their private celebration, he attended a special indoor event to meet with admirers. Unlike past years, he did not address the hundreds of admirers gathered outside Mannat from his balcony. A recent video also showed his team handing food boxes to police officers stationed outside his house to help control the gathering.

A user on X (previously Twitter) released a video showing police personnel stationed outside Shah Rukh Khan's house receiving food hampers from the actor's staff. Some officers were seen swapping snack packages among themselves. The video's caption read, "Latest: King SRK's team sends food containers to Mumbai Police." King for a reason."

Shah Rukh Khan spent his birthday interacting with fans at a special event. He explained, "I got up late today because there was a supper last night. After waking up, I spent some time with my youngest, who was having problems with his iPad. Then my daughter had a problem: her outfits didn't seem right, and the fit was all off." He also posted an image from the event to his social media. On the work front, Shah Rukh will next be seen in Sujoy Ghosh's King, with his daughter Suhana, who made her debut in Zoya Akhtar's The Archies last year. The film will begin production next year, with a release date scheduled for Eid 2026. He last appeared in Rajkumar Hirani's Dunki.

[rightnewshindi]

नवी मुंबई के स्पा में महिलाओं से जबरन करवाया जा रहा था देह व्यापार, पुलिस ने तीन महिलाओं को किया रेस्क्यू

Sex Racket busted in Navi Mumbai: महाराष्ट्र के नवी मुंबई में पुलिस ने एक स्पा सेंटर पर छापा मार कर तीन ऐसी महिलाओं का रेस्क्यू किया है, जिन्हें देह व्यापार में धकेला जा रहा था। यह कार्रवाई महाराष्ट्र पुलिस के मानव तस्करी निरोधक प्रकोष्ठ (AHTC) की एक टीम ने खुफिया जानकारी मिलने के बाद की है। मानव तस्करी निरोधक प्रकोष्ठ (एएचटीसी) के सीनियर ऑफिसर पृथ्वीराज घोरपड़े के अनुसार उनकी टीम ने एक गुप्त…

[vikartaa]

Why Mumbai's luxury home sales are shattering records | Mumbai News - Times of India

NEW DELHI: Mumbai’s luxury property market, particularly in south and central areas, has experienced a remarkable decline in unsold inventory, reaching an unprecedented low in 15 years. Despite initial apprehension regarding excess inventory levels, the market has exhibited impressive growth since the outbreak of the pandemic.Why the decline in unsold inventory is happening currently: Increased…

[latestsports]

31 runs in 1 over. Arjun Tendulkar of MI becomes part of an unwanted tally.

At Wankhede Stadium on Saturday in the Indian Premier League (IPL) 2023, Mumbai Indians' Youngster Arjun Tendulkar took his debut wicket against Punjab Kings in front of the home fans. He also ended up being included in an unfavorable record. With his 16th over, Arjun delivered the second-most costly over by a MI bowler in the IPL after giving up 31 runs. Daniel Sams is ranked #1 after giving up 35 runs to the Kolkata Knight Riders (KKR) in 2022. Pawan Suyal against Royal Challengers Bangalore (2014), Alzarri Joseph against Rajasthan Royals (2019), and Mitchell McClenaghan against PBKS (2017) all let up 28 runs, tying them for third place. In Saturday's game, Arjun's over proved to be significant as it switched the momentum in Punjab Kings' direction. Read More...

[whileiamdying]

All the Films in Competition at Cannes, Ranked from Best to Worst

The twenty-two films that premièred in the 2024 festival’s main program offered much to savor and revile.

By Justin Chang May 26, 2024

The seventy-seventh annual Cannes Film Festival came to a startling and joyous conclusion on Saturday night, when the competition jury, chaired by Greta Gerwig, awarded the Palme d’Or, the festival’s highest honor, to “Anora,” a funny, harrowing, and finally quite moving portrait of a sex worker’s madcap New York misadventures. It was startling because the movie, though one of the best-received in the competition, had not been widely tipped for the top prize, which seldom goes to a U.S. film; with “Anora,” Sean Baker becomes the first American director to win the Palme since Terrence Malick did, for “The Tree of Life” (2011), thirteen years ago. And it was joyous not only because the award was bestowed on a worthy and remarkable film but because Baker used the occasion to deliver the best, most eloquent and impassioned acceptance speech I’ve ever heard a Palme winner give.

Reading from prepared remarks, Baker singled out two other filmmakers in the competition, Francis Ford Coppola and David Cronenberg, as among his personal heroes. He dedicated the award to sex workers everywhere, a fitting tribute from a filmmaker who has put their lives front and center, with drama, humor, and empathy, in movies like “Starlet” (2012), “Tangerine” (2015), and “Red Rocket” (2021). He tossed some exquisite shade in the direction of the “tech companies” behind the so-called streaming revolution—including, presumably, Netflix, which came away as one of the night’s big winners; its major acquisition of the festival, Jacques Audiard’s musical “Emilia Pérez,” won two prizes. And, in a moment that drew rapturous applause, Baker delivered a plea on behalf of theatrical films, declaring, “The future of cinema is where it started: in a movie theatre.”

I was fortunate to see all twenty-two films in the Cannes competition on the big screen, projected under superior conditions in houses packed with fellow movie lovers. It’s my hope that, when these movies are released in the U.S., as the great majority of them likely will be, you will seize the chance to see them on the big screen as well—even “Emilia Pérez,” which Netflix may not keep in theatres for long, but whose bold dramatic and stylistic risks have the best chance of winning you over if they have your undivided, wide-awake attention.

I have ranked the movies in order of preference, from best to worst. Here they are:

1. “Caught by the Tides”

Jia Zhangke, a Cannes competition veteran, has long been the cinema’s preëminent chronicler of modern China (“Mountains May Depart,” “Ash Is Purest White”), mapping its social, cultural, and geographical complexities with great formal acumen, and also with the longtime collaboration of his wife, the superb actress Zhao Tao. Jia’s latest work, drawing on an archive of footage shot in the course of roughly two decades, unfurls a story in fragments, about a woman (Zhao) and a man (Li Zhubin) who fall in love, bitterly separate, and have a melancholy reunion years later. It’s an achievement by turns fleeting and monumental: a series of interlocking time capsules, a wrenching feat of self-reflection, and a stealth musical, in which Zhao dances and dances, standing in for millions who have learned to sway and bend to history’s tumultuous beat.

2. “All We Imagine as Light”

As the first Indian feature invited to compete at Cannes in nearly three decades, Payal Kapadia’s narrative début (after her 2021 documentary, “A Night of Knowing Nothing”) would be notable enough; that the movie is so delicately felt and sensuously textured is cause for outright celebration. Winner of the festival’s Grand Prix, or second place, it tells the story of two roommates, Prabha (Kani Kusruti) and Anu (Divya Prabha), who work as nurses at a Mumbai hospital. It teases out their personal circumstances—Prabha’s estrangement from her unseen husband, Anu’s frowned-upon romance with a young Muslim man (Hridhu Haroon)—with a quiet truthfulness that, like the glittering lights of the city, lingers expansively in the memory. (A forthcoming Sideshow/Janus Films release.)

3. “Grand Tour”

The Portuguese director Miguel Gomes (“Tabu,” “Arabian Nights”) delivered some of the most virtuosic filmmaking in the competition—as the jury recognized by giving him the Best Director prize—with this characteristically yet extraordinarily playful colonial-era travelogue. Shifting between color and black-and-white, set in 1917 but full of fourth-wall-breaking anachronisms, the movie tells a story of sorts about a roving British diplomat (Gonçalo Waddington) and a fiancée (Crista Alfaiate) he’s in no hurry to marry. But its true fascination lies in the humid atmosphere and wanderlust-inspiring splendor of its East and Southeast Asian locations, ranging from Singapore and Bangkok to Shanghai and Rangoon. It’s a movie to get lost in.

4. “The Seed of the Sacred Fig”

It’s impossible to absorb this blistering domestic drama without thinking of its dissident director, Mohammad Rasoulof, who recently fled Iran after being sentenced to prison and a flogging. (His appearance at his film’s première made for one of the most emotional moments in recent Cannes memory.) Shot entirely in secret, the story follows a Tehran-based husband (Missagh Zareh) and wife (Soheila Golestani) who are increasingly at war with their progressive-minded young-adult daughters (Mahsa Rostami, Setareh Maleki) during nationwide political protests led by women. The result is a thriller of propulsive skill and blunt emotional force, marrying the muscularity of an action film to the psychological intensity of a chamber drama. (A forthcoming Neon release.)

5. “Anora”

The director Sean Baker is near the height of his storytelling powers with this dazzling (and now Palme d’Or-winning) portrait of a Manhattan strip-club dancer (a revelatory Mikey Madison) who impulsively marries the ultra-spoiled son (Mark Eydelshteyn) of a Russian oligarch. Much comic chaos ensues, some of it pushed past the brink of plausibility, but Baker’s multifaceted love for his characters proves infectious and sustaining, as does his belief that acts of unexpected kindness can redeem even the darkest nights of the soul. (A forthcoming Neon release.)

6. “The Shrouds”

Early on in this elegantly sombre yet mordantly funny new movie, which stars Vincent Cassel, Diane Kruger, and Guy Pearce, the director David Cronenberg, a master of cerebral horror, unveils his latest invention: a technologically advanced burial shroud that allows people to watch a loved one’s body decomposing in the grave. So begins a drolly fluid inspection of classic Cronenberg themes—the deterioration of the flesh, the instability of the image, the paranoia-inducing incursions of technology into every aspect of life—but imbued with a nakedly personal dimension that the director has noted in interviews; the story was inspired by his wife’s death, in 2017, from cancer.

7. “Megalopolis”

In this legendarily long-gestating passion project, which I’ve written about at length, Francis Ford Coppola posits that our fragile, battered civilization is headed the way of the Roman Empire. The grimness of that prospect is unsurprising from a director accustomed to peering deep into the heart of American darkness (the “Godfather” movies, “The Conversation,” “Apocalypse Now”). For all that, the filmmaking here glows with a particularly hard-won optimism, even a welcome sense of play—borne out by an ensemble of actors, including Adam Driver, Giancarlo Esposito, and especially Aubrey Plaza, who fully embrace Coppola’s rhetorical and conceptual flights of fancy.

8. “The Substance”

Sympathetic or sadistic? Feminist or misogynist? Coralie Fargeat’s body-horror bonanza, which won the festival’s award for Best Screenplay, has been one of the competition’s more polarizing hits, which is unsurprising; divisiveness should be expected from a story about an aging actress and TV fitness guru who, desperate to regain her youthful bod of yesteryear, effectively splits herself in two. Whether the outlandish premise (think “The Picture of Dorian Gray” by way of “Death Becomes Her”) and its blood-gushing fallout withstand intellectual scrutiny, there’s no doubting the ferocity of the two leads, Demi Moore and Margaret Qualley, or Fargeat’s sheer filmmaking verve as she pushes her ideas to their sanguinary conclusions.

9. “Motel Destino”

Just a year after the Brazilian director Karim Aïnouz appeared in competition with a surprisingly stiff-corseted English period drama, “Firebrand,” it was bracing to watch him rebound with the competition’s most sexually uninhibited and flagrantly horny title; corsets don’t apply here, and even underwear proves blissfully optional. Set at a seedy roadside motel where the clientele never stops moaning, it’s a feverishly shambling erotic thriller starring three very game actors (Iago Xavier, Nataly Rocha, and Fábio Assunção) in a romantic triangle that plays like James M. Cain with sex toys—“The Postman Always Cock Rings Twice,” as it were.

10. “Emilia Pérez”

A trans-empowerment musical set against the backdrop of Mexico’s drug cartels might sound like a dubious proposition on paper, and, for the many detractors of this genre-melding big swing from the French director Jacques Audiard (“A Prophet,” “The Sisters Brothers”), what actually made it onto the screen was no better. But I was disarmed from the start by Audiard’s quasi-Almodóvarian vibes, his touchingly imperfect embrace of song-and-dance stylization, and, most of all, his three leads: the remarkable discovery Karla Sofía Gascón, a scene-stealing Selena Gomez, and a never-better Zoe Saldaña. All three (along with Adriana Paz) were recognized with the festival’s Best Actress prize, awarded collectively to the movie’s ensemble of actresses; Audiard also won the Jury Prize. (A forthcoming Netflix release.)

11. “Oh, Canada”

After a tense trilogy of dramas about male redemption through violence (“First Reformed,” “The Card Counter,” “Master Gardener”), the writer and director Paul Schrader has taken a gentler turn with an adaptation of “Foregone,” a 2021 novel by the late Russell Banks. (It’s his second Banks adaptation, after the 1997 drama “Affliction.”) In exploring the fragmented consciousness of an aging documentary filmmaker (played at different ages by Richard Gere and Jacob Elordi), Schrader bravely forsakes the narrative fastidiousness of his recent work and takes on grand themes of memory, mortality, and artistic self-reckoning, to formally ragged but sincerely moving effect.

12. “The Girl with the Needle”

This stark and terrifying black-and-white drama from the Swedish-born, Polish-based director Magnus von Horn (“Sweat”) was perhaps the competition’s bleakest entry. Set in Copenhagen immediately after the First World War, it pins us so mercilessly to the hard-bitten perspective of Karoline (an excellent Vic Carmen Sonne), a factory seamstress who becomes pregnant out of wedlock, that we scarcely notice her story shifting in a different, more sinister direction. It’s a bitterly hard-to-stomach brew of a movie, at once hideous and beautifully made, with a chilling supporting turn by Trine Dyrholm as a friend whose interventions turn out to be anything but benign.

13. “Three Kilometres to the End of the World”

The setting of this well-observed but emotionally opaque drama, from the Romanian actor turned director Emanuel Pârvu, is a small rural village where a closeted teen-age boy, Adi (Ciprian Chiujdea), is brutally beaten after being caught in an intimate moment with a male traveller. Pârvu teases out the legal, psychological, and moral fallout with the pitch-perfect performances and laserlike formal focus that have become hallmarks of new Romanian cinema. But, though the movie is persuasive enough as an indictment of small-town religious fundamentalism and homophobia, it proves curiously incurious about Adi’s perspective, to the detriment of its own human pulse.

14. “Kinds of Kindness”

After his Oscar-winning period romps “The Favourite” (2018) and “Poor Things” (2023), the Greek director Yorgos Lanthimos scales back—but goes long—with a sprawling, increasingly tedious compendium of comic cruelty. My favorite of the film’s three disconnected stories, all featuring the same actors, is the one where Jesse Plemons (the ensemble M.V.P., as the jury recognized with its Best Actor award) plays Willem Dafoe’s Manchurian candidate; my least favorite is the one where Emma Stone joins a sweat-worshipping sex cult. The one where Stone slices off her finger and cooks it for Plemons falls—much like the movie in Lanthimos’s over-all œuvre—somewhere in the middle. (A Searchlight Pictures release, opening June 21st in theatres.)

15. “Bird”

My admiration for the English filmmaker Andrea Arnold (“American Honey”) is such that I’m eager to revisit her latest rough-and-tumble coming-of-age story and find that I undervalued it. Arnold is certainly skilled at integrating recognizable actors, which in this case includes Barry Keoghan and Franz Rogowski, into her grottily realist frames, and she has an appealing lead performer in Nykiya Adams, as a twelve-year-old girl who overcomes persistent abuse and neglect. But the story may lose you—as it lost me—with a magical-realist turn that magnifies, rather than minimizes, the tortured-animal symbolism that has often dogged Arnold’s work.

16. “Beating Hearts”

An exchange of insults at a high-school bus stop provides a saucy meet-cute for a good girl (Mallory Wanecque) and a ne’er-do-well boy (Malik Frikah); so begins a raucous and endearing love story for the ages, in which the director Gilles Lellouche, with outsized glee and little discipline, merrily appropriates the conventions of classic Hollywood musicals and gangster flicks. The result is much too long at nearly three hours—the story spans several years, with Adèle Exarchopoulos and François Civil playing older versions of the two leads—but I can’t say I didn’t warm to its rambunctious cornball charm.

17. “Limonov: The Ballad”

Why make a film about Eduard Limonov, the globe-trotting Russian dissident poet and punk provocateur reviled for his pro-fascist sympathies? The filmmaker Kirill Serebrennikov never musters a satisfying answer in this muddled English-language bio-pic, despite an energetically uninhibited central performance by Ben Whishaw and a cheeky panoply of filmmaking techniques—jittery camerawork, lengthy tracking shots—meant to catch us up in the épater-la-bourgeoisie exuberance of Limonov’s revolt. Considering his earlier work, I prefer the rebel-youth vibes of “Leto” (2018) and the dazzling cinematic assaults of “Petrov’s Flu” (2021), both of which also screened in competition here.

18. “Parthenope”

Nearly every new picture from the Italian auteur Paolo Sorrentino could be reasonably called “The Great Beauty,” the title of his gorgeous 2013 cinematic tour of Rome. (It left that year’s Cannes empty-handed, but won the Oscar for Best Foreign Language Film.) His latest work remains most intriguing for its ambivalent but still sensually overpowering vision of the director’s home town, Naples, from which springs a modern-day goddess, named after Parthenope, a Siren from Greek mythology. She’s played by Celeste Dalla Porta, a great beauty indeed and an empathetic screen presence, though only fitfully does her character seem worthy of this movie’s epic enshrinement.

19. “Wild Diamond”

Another disquisition on beauty and its discontents, this time from the débuting French writer and director Agathe Riedinger. She hurls us the life and busy social-media feed of a nineteen-year-old, Liane (a terrific Malou Khebizi), who has nipped, tucked, and tailored every part of herself to realize her dream of being selected for a hot new reality-TV series. Part influencer-culture cautionary tale, part bad-girl Cinderella story, the movie glancingly suggests the soul-rotting effects of beauty worship, but it falls victim to the trap that Liane is trying to avoid: in a sea of worthy candidates, it doesn’t especially stand out.

20. “The Apprentice”

Donald Trump’s attorneys have threatened legal action to block the release of this drama about his early rise to fame and wealth under the mentorship of the attorney Roy Cohn (Jeremy Strong). It speaks to the useless proficiency of Ali Abbasi’s movie that the prospect of such censorship provokes more indifference than outrage. Shot to evoke cruddy nineteen-eighties VHS playback, the movie is well acted by Strong, Maria Bakalova as Ivana Trump, and an increasingly makeup-buried Sebastian Stan as Trump himself, depicted from the start as a sack of shit that gets progressively shittier. It’s not dismissible, but it’s hardly the stuff of revelation, either.

21. “Marcello Mio”

In this trifling meta-comedy from the French filmmaker Christophe Honoré (previously in the 2018 Cannes competition with the lovely “Sorry Angel”), the actress Chiara Mastroianni embarks on a strainedly whimsical personal odyssey to examine the legacy of her late father, the legendary Italian actor Marcello Mastroianni, and her own conflicted place therein. To that end, she spends much of this overstretched movie in “8½” and “La Dolce Vita” black-suited drag as she navigates a roundelay of industry in-jokes; among the French cinema luminaries making appearances are Fabrice Luchini, Nicole Garcia, and, most welcome, Chiara’s mother, Catherine Deneuve.

22. “The Most Precious of Cargoes”

The French director Michel Hazanavicius continues his uneven post-“The Artist” run with this animated Second World War fable, adapted from a 2019 novel by Jean-Claude Grumberg (and narrated by the late Jean-Louis Trintignant). It has an affecting opening stretch, in which a baby girl, thrown by her desperate father from an Auschwitz-bound train, is rescued and raised in secret by a woodcutter’s kindhearted wife. But when the child’s provenance is discovered, stoking local antisemitism, the movie becomes a bathetic wallow in Holocaust imagery, drowned in an Alexandre Desplat score whose every surge turned my heart increasingly to stone. ♦

[dreamings-free]

Outkast’s Big Boi, EDM artist Zedd, U.K. band Nothing But Thieves, Norwegian artist Aurora, rapper Hanumankind, guitarist-composer Cory Wong will perform in Mumbai on March 8 and 9, 2025

Anurag Tagat Sep 10, 2024

American punk-rock heroes Green Day, pop artist Shawn Mendes, U.K. hitmakers Glass Animals and singer-songwriter Louis Tomlinson are among top-billed acts making their India debut at Lollapalooza India 2025 in Mumbai, between March 8 and 9.

The lineup for the third edition of Lollapalooza India also includes rap veteran Big Boi from Outkast, U.K. band Nothing But Thieves, Norwegian pop artist Aurora, electronic artists like Zedd, John Summit and Alok, American guitarist-composer Cory Wong (known for his work with acts like Vulfpeck), breakout rapper Hanumankind (also our latest cover star), South Korean indie rock band Wave To Earth and rising pop artists Isabel LaRosa and more. Folk-indie singer-songwriter duo Lullanas – comprising Indian-origin siblings – will also make their India debut at Lollapalooza India 2025.

More Indian artists adding heft to the lineup include singer-songwriter Dot., rappers Raftaar and KR$NA, Punjabi artist Talwiinder, sitarist and fusion artist Niladri Kumar, pop artist Lisa Mishra, rock artist Raman Negi, Ahmedabad rap favorite Dhanji, producer Spryk, pianist-composer Sahil Vasudeva, DJ-producer Anushka, multi-instrumentalist-producer Sid Vashi, singer-songwriter Raghav Meattle and indie multi-instrumentalist/producer Sudan.

The announcement in September makes for meme-friendly news for Green Day, known for songs like “Wake Me Up When September Ends.” The band announced their India debut on Instagram and said, “Another first for us!! India, you’ve been calling our name… and it’s finally time to answer. We’ll see you in Mumbai next March for @LollaIndia.” The trio comprising Billie Joe Armstrong, Mike Dirnt and Tre Cool released their most recent album Saviors in 2024 and will likely dig into all-time hits like “Good Riddance (Time Of Your Life),” “American Idiot,” “Boulevard of Broken Dreams” and more. Shawn Mendes, known for hits “In My Blood,” “Treat You Better” and new single “Why Why Why,” returns to the live stage after more than two years on his current tour, which includes Lollapalooza India.

Louis Tomlinson, who has a big following in India following his time with pop group One Direction, will also make a long-awaited India debut. Fellow Brits Glass Animals are a big draw on the back of releasing their new album I Love You So F***ing Much in July, but primarily due to their 2020 hit “Heat Waves,” which was the seventh-most streamed song in India on Spotify in 2022.

Glass Animals founder Dave Bayley – who visited India as a 16-year-old – told Rolling Stone India in 2020, “Thank you for the support, I hope you are staying safe and healthy. We can’t wait to come and visit.”

In a wholly new strategy, Lollapalooza India’s 2025 lineup is out six months in advance of the multi-genre festival taking place in March. BookMyShow Live also took a similar approach while announcing the lineup for their festival Bandland, which is taking place on Nov. 23 and 24 in Bengaluru.

Get Lollapalooza India 2025 tickets here.

[foodsies4me]

I really like your bolos series! Though, each chapter I wonder ‘is this when the trainees come in and hijack the story’ so that’s a new development. Never had that thought before when reading a fic😂

Anyway, I’m really enjoying the story so far and getting already attached to Alec’s new gaggle of children and your other OCs

Could you say something about the setting/worldbuilding? Is it the same as your Golden series? In terms of Alec’s standing with other institutes and the clave and how things are with the downworld and things like that (Don’t feel pressured to answer!)

I am delighted to hear that thought crosses your mind. No the trainees aren't at the hijacking the fic point quite yet, though the rookies sure are doing their best to pick up the slack, but they'll get there. And when they do, the poor inhabitants of the Spiral Labyrinth won't know what hit them.😂

I am sorry for the long ramble that's going to come your way, but talking about worldbuilding is something that puts me straight into infodump mode.

The worldbuilding is slightly different between Bolos/Bridges and the Golden series (that is getting another spinoff because of a particular someone who knows who they are). Alec is only an Acting Head at the moment though that's going to change because the Clave aren't the only ones that can be scheming in the background, whereas in the Golden series, he becomes the HOTI pretty early in the fic. Standing wise, Alec has earned himself a LOT of brownie points/respect in the eyes of those present during the meeting with Magnus. So, he's got a pretty good standing at the moment with several institute heads, which will help later in the story.

The Mumbai incident is still a thing that happened, though, so maybe not brownie points everywhere. Also, that means that the backstory for Arjun getting to the institute is still the same. Then again, the backstory for most trainees - not that any of it has really been given - is mostly the same between Bridges/Bolos and the Golden series. The only exception I can think of is Max, who didn't have his traumatic near-death experience after Maryse and Robert failed at being parents again.

The situation with the downworld is completely different from the Golden series. Without giving away too much, there is a reason Magnus is acting the way he is, and as you can guess the Clave/shadowhunters are mostly to blame for it. The dynamic with the Elders is also different given that a lot of downworlders live in the Spiral Labyrinth at the moment and the warlocks don't want to simply rule over the others, so to speak. Also, Magnus' dynamic with the rest of the downworld is very different for reasons already mentioned in passing but will be mentioned in more detail in later chapters. But yeah, Magnus is a far bigger deal in this fic than he is in the Golden series, even with him being one of the Elders in the Golden series.

Some of the worldbuilding when it comes to the cultural aspect is similar. The different names and forms of address still play a role (and one day I will get to writing down the Nephilim naming thing in a chapter without the muse deciding to throw it out in favor of something else). The greetings are different though! As are the marriage traditions, outside of the gold for shadowhunters and blue for warlocks. Also, the family oath that Alec used isn't a thing in the Golden series.

The dynamic at the institute is slightly different as well. Alec's shadowhunters still respect him, but he's not as close with some of his fellow shadowhunters as he is in the Golden series because the "let's ridicule the latest bigot, who decides to be awful"-punishment isn't a thing. And, nothing to build a good rapport with your shadowhunters than to have them watch as you kick an asshole's ass while you're wearing a ridiculous outfit.

I ended up rambling a bit more than anticipated, oops. But yeah, these are some of the differences/similarities between both verses.

[beatricebidelaire]

Daniel Handler on living in San Fran

I moved to New York because New York was the center of everything literary. And I moved away from it for the same reason. (...) I wanted to work someplace where I wasn't attending a release party for every book written by everybody I knew. (...) There are all these books about young people in Manhattan. I think because San Francisco doesn't have a notion of itself as the center of the world, you're more likely to write about something else that interests you.

Daniel Handler's recommendations on places to visit in San Francisco

If you are not frightened of the cold, head over to the Dolphin Club and ring the bell. Wait for a while. Eventually someone will open the door and you will put a small amount of money into an envelope and sign a piece of paper saying you understand you are about to do something foolish. Then, go change into your bathing suit and swim in the Bay. It is very cold but you will see many beautiful things, including old ships, which you may touch, and sea lions, which you may not. A good thing to do while waiting for someone to answer the door is read a new book you have picked up at Green Apple, Booksmith, City Lights or any other of my town's amazing bookstores. If you see me in the water, I do not need rescuing although it might look like it.

Daniel Handler on the changes of San Francisco

“Changing” is a word applied so readily to “San Francisco” nowadays that it sounds like the town changed its name: I grew up in San Francisco, but I now live in Changing San Francisco. Twenty years ago, when it was just San Francisco and Lisa Brown was just my girlfriend, we didn’t see any wild animals around our apartment. Probably the wildest thing in our neighborhood was a sex club called Eros. We never visited it, and it was nondescript from the outside, but there’d been some articles about it, or maybe a piece on the radio, so people always asked us about it. “We live right near it,” we used to tell them. “It’s near our video store.” Nowadays, though, in Changing San Francisco, everyone asks about the tech industry. The tech industry is the presumed source of all changes in Changing San Francisco, from traffic to homeless encampments, from the new businesses that are springing up to the old ones closing their doors.

Daniel Handler on San Francisco and its tech industry

My novel has the tech industry in it, if only because it would be impossible to write about San Francisco without mentioning it, the way it would be impossible to write about Paris without mentioning food, or Mumbai without mentioning colonialism, and like food or colonialism or any other knotty topic, I’m not always sure what I’m talking about. I never hear the latest news or buy the latest gadget, but, like everyone else, I’m now guided on road trips by a talking map, even to places I’ve been countless times. If I’m on foot and I want to go home, I can summon a stranger who will drive me there and I don’t even have to talk to them. I give them all five stars, the highest rating. I don’t have the bona fide know-how to chart the tech industry’s influence, but I know it’s having an effect on San Francisco, or taking a toll is maybe what I mean. We now have a culture of tech bros in my city, although “tech bro,” as with “hipster” or “yuppie” before that, is a term only applied to other people. “I hate tech bros,” is something I’ve heard from more than one person who makes what any reasonable person would call a ton of money working for an internet site everyone uses. Twenty years ago, nobody said this, although, of course, people spouting nonsense is not a new phenomenon in San Francisco, or anywhere else.

Daniel Handler on scheming to get his wife to agree to move to San Francisco

I married a New England woman. She’s from a family where you live in Manhattan until you have a child, and then you move to Long Island. Or if you’re a rebel, Connecticut. That’s kind of what I thought was maybe going to happen. But also I’m a big propagandist for San Francisco, too. When she and I were first dating we spent a summer here, and I pretended that every spectacular thing that I took her to was a thing I’d stumbled upon. Like, “Oh, I’m hungry, do you want to have some dumplings right here? Could you use a little pick-me-up? Let’s just stop by Cafe Trieste! We’ll have an espresso. I go here sometimes …” Everything was the most spectacular version. And then I kept saying, “I’ll live anywhere, it doesn’t really matter to me!”

[shivanixrao]

━ INTRODUCING SHIVANI RAO

full name. Shivani Rao

nickname(s). Shivi, Vani, SV

age. 33

birthdate. November 16th 1990

occupation. Dance Instructor / Owner of Feel the Beat dance studio

currently living in. Midtown

gender. Cis Female

pronouns. She/Her

hometown. Mumbai, Maharashtra, India

length of time in Wilmington. Five Years

face claim. Kiara Advani

connections. // pinterest.

trigger warnings. none

BIOGRAPHY;

Shivani Rao was born in Mumbai, India into a very loving home. She was the younger of two sisters and had no complaints throughout her early childhood. Her father and mother got the opportunity to move to New York when Shivani was about eight years old. They were going to be managing a Indian grocery store location in the suburbs and the girls would be transitioning to becoming American citizens. Her mother was already a US citizen as she had been born there, but her father had to work extremely hard to gain his own citizenship and while the girls were still young, and one of their parents was a citizen they were also able to gain citizenship a little easier. 

Middle school was the worst time for little Shivani’s life as she just did not fit in. She felt like while she was in a prominently Indian neighbourhood, she didn’t fit in with the kids born there either. And so she all but threw herself into dance. Dance had been a love of hers since she was back home in India and allowing it to move with her to New York had been important for Shivani. This love allowed her to thrive on a public stage and gain fame even if it was through the community. Still her father saw something in her performances and encouraged her to apply to Juilliard. At this point despite being relatively middle-class, she didn’t want to apply knowing that if she got accepted but didn’t get a scholarship all her dreams would crash. But given her financial standing and her exceptional talent, she’d managed to get a scholarship.

Those four years getting her bachelor of fine arts in dance had been nothing short of wonderful. She had found friends who understood that level of dedication and passion that she possessed as well. Upon graduation she’d opted to work on off-broadway for a few years and had been part of some shows while continuing to audition for broadway level shows as well. One day she’d been told she was one of the top two contenders and Shivani had to do anything she could to become the one on top. She did. She edged out her competition, her best friend at the time and made it. 

The success was short-lived though as it was during one of the shoes that her harness snapped and she fell to the stage from a bit of a height. Shivani’s ankle was severely damaged. Enough that the position would be filled by her understudy, that same best friend who had been her competition. Becoming a failure hadn’t sat well with Shivani at all and while her family told her that it was okay and she could always move back home to Queens, New York—she refused to do that. She had been living a life in Manhattan—she couldn’t go back to living with her parents. 

It took some time and a lot of different applications sent around the country until finally one picked up in Wilmington, North Carolina. They had a vacancy for a dance instructor and so Shivani packed up her belongings and made her way there. It had been an adjustment but she’s now been here for about five years and managed to buy out the previous owner of the dance studio as well. Her injury made is so that she couldn’t really ever put as much pressure on it as she once used to during practices but she was still able to teach dance and so she continues to do that, while trying to make peace with what her life could’ve been had she perhaps not messed up in the way she did. 

HEADCANONS;

shivani is quite religious and has a little mandir set up in a corner of her home.

she's often humming the latest indian track she's heard and ensuring everyone around her listens to it as well.

she loves cooking and will often be cooking for people even if they don't ask.

shivani's got two tattoos, both on her rib cages. one that says 'naach' which means dance in devanagari script. and the other is a pair of ghungroo's which was the first dance form she learnt.

she's classically trained in kathak, and jazz officially but doesn't get the chance to teach that anymore and does more hip hop and freestyle along with some simple ballet.

she will go to despicable lengths for a costco chocolate chip cookie, and the subway ones as well.

she misses her family quite a bit but knows that if she heads back to new york she'll feel like a failure because the rest of her family is successful and she doesn't think she's lived up to the potential her father saw in her.

she is almost always carrying a mini pharmacy in her purse, that and pretty much all essentials at all times.

has a little havenese dog that is named rolo and he is truly the love of her life.

attended a bachelorette party in vegas and ended up married on a whim. her parents still don't know and she'd prefer to keep it that way. (besides they got it annulled--maybe? 👀)

[brostateexam]

As the sea rises and the population booms, builders around the world are in a race to transform coastal bays and shallow seas into new land. Yet don’t mistake this rush of land reclamation as a response to the challenges we face. “It’s built for rich people,” explains Dhritiraj Sengupta, a physical geographer at England’s University of Southampton. Sengupta’s latest research shows there’s been a huge increase in the use of reclaimed land for luxury hotels, shopping areas, and high-end living spaces—developments designed to boost a city’s global reputation.

Dubai, in the United Arab Emirates, is a good example of this prestige building, Sengupta says. Tourism and economic development—especially to lure a wealthy clientele—has driven most of the building boom in Dubai. But it also highlights the issues with reclaimed land. The World in Dubai, a world map–shaped artificial archipelago and one of the largest examples of luxury reclamation, covers around 50 square kilometers. But development on the islands has stalled, and there are claims it’s already washing away.

Land reclamation—dumping sand, rocks, and other materials along coastal areas and building structures like sea walls to keep it all in place—is not new. Many metropolises, like New York City in New York and Mumbai in India, are built on reclaimed land, as are large swaths of some countries, like the Netherlands. But what is striking about recent land reclamation, Sengupta says, is the pace. “Cities are growing rapidly,” he says.

Using satellite imagery to analyze the growth of 135 coastal cities with at least one million residents between 2000 and 2020, Sengupta found that 106 cities have expanded into the sea. In total, these 106 cities have added more than 2,530 square kilometers of land—an area the size of Luxembourg. Asia is leading this land grab, accounting for 98 percent of the growth.

Shanghai, China, alone has reclaimed 350 square kilometers of land, while Colombo, Sri Lanka, built 100 square kilometers in just four years. Elsewhere, cities in South Korea, United Arab Emirates, Saudi Arabia, and Singapore all added at least 30 square kilometers to their coasts over the past two decades.

But when Sengupta compared his analysis with data from the Intergovernmental Panel on Climate Change, he found that more than 70 percent of this new land will likely be underwater by 2100.

[foulenthusiastdeer]

donation money to charity in Delhi

Wheelchair of hope is available in many cities like mumbai, gujarat, delhi, bangalore, noida and mumbai The plan was launched in 2015.

The main aim of the wheelchair of hope is to make sure that the mobility of children is accessible to those who are in need of a wheelchair and they are able to walk in the same way. Many children's medical care is focused on making wheelchairs, which are not only functional, but are designed to light up children with colorful and bright colors.

The wheelchair of hope is visible on the face:

1. Affordability: Striving to produce cost-effective wheelchairs for children and families in need.

2. Design and Comfort: Hope Wheelchair aims to provide millions of children with wheelchairs that are not only functional but also comfortable and look good.

3. Global Reach: The organization is working in different cities of India like Mumbai, Gujarat, Delhi, Bangalore, Noida and most of the work is being done in cities and wheelchairs are being distributed to needy children and NGOs. NGOs are helping.

4. Community Involvement: Wheelchairs of Hope involve the community in the distribution process and volunteers to ensure that wheelchairs reach those who need them most.

5. Impact Measurement: The organization regularly evaluates the impact of its services on the lives of children, and ensures that the services provided can improve the impact of wheelchairs.

Wheelchair of hope is provided to disabled children. We believe that every child deserves the chance to participate in society without the effects of their shared characteristics.

Wheelchair of hope can be donated across cities in India. As per my knowledge the wheel of hope has not been able to operate in any city of India. Some examples in this business may include:

New Delhi

Mumbai

Bangalore

Chennai

Gujarat

Hyderabad

The information in the Yeh City reference is subject to change, so you are advised to check the Wheelchairs of Hope website or a relevant source for the latest information.

[latestsports]

Before the clash between CSK and MI, Dhoni meets with Rohit Sharma and Ishan Kishan

As only one day is left for the clash between the Mumbai Indians and Chennai Super Kings, preparations for the most eagerly anticipated match of the season are underway. The captain of CSK, MS Dhoni, took a break from training before the match to see Rohit Sharma and his team’s dugout. The 41-year-old also met with Ishan Kishan and had a brief talk with him. During the practice session, the other members of the CSK squad, including Ravindra Jadeja and Bravo, also had fun interacting with the players of MI. Read More...

[republic-world]

Aditi Rao Hydari Sports Chic Casuals At Airport As She Jets Off To Cannes

Aditi Rao Hydari will be making her appearance for the second time at Cannes. The actress was spotted at Mumbai airport on Monday. Check out the photos inside.

Aditi Rao Hydari, who will walk the Cannes red carpet this year, was spotted at Mumbai airport late night on Monday. It seems like the actress jetted off to France for Cannes 2023. For her airport look, the actress opted for a colourful top paired with black trousers. He left her tresses loose and wore a no makeup look. 

Outside the airport, Aditi happily posed for the paparazzi and interacted with them before entering the premises. This will be the Jubilee actress' second appearance at Cannes.

Aditi Rao Hydari expresses her excitement for Cannes 2023

The actress will be walking the red carpet as the spokesperson of L'Oreal Paris. She will speak on the topic of women's empowerment which aligns with the 'Walk Your Worth' theme. For her second year at Cannes, Aditi said, "I am elated to be a part of this year's Festival De Cannes as L'Oreal Paris' spokesperson. It has truly been a privilege to have been associated with a brand that has always led the path to women empowerment and has worked towards enabling women to be confident and growth-oriented in every aspect of their lives. This year's theme of 'Walk Your Worth' truly aligns with what the brand stands for, encouraging women across the globe to accept themselves and walk their worth with confidence". 

Aditi Rao Hydari's Cannes debut

The actress made her Cannes debut last year in a fuchsia and orange gown from the shelves of Mark Bumgarner paired with high heels. Sharing the pictures, she wrote, "The moment I’ve been waiting for #mylifeisamovie."

Meanwhile, on the work front, Aditi Rao Hydari was last seen in the shows Jubilee and Taj: Divided by Blood. Next, she will feature in Sanjay Leela Bhansali's Heeramandi, co-starring Manisha Koirala, Sonakshi Sinha, Sharmin Sehgal, Sanjeeda Sheikh and Richa Chadha. The web series will premiere on OTT, later this year.

For More latest entertainment news only on www.republicworld.com

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