SHE may have been introduced to audiences with a lead role in 2019 Bollywood film Pal Pal Dil Ke Paas, but it is the success of recently released web series The Empire that has really kickstarted the acting career of Sahher Bambba.
The hard-working actress delivered a winning performance in the epic Hotstar historical drama and won great reviews for her terrific turn. The exciting newcomer is now looking to build on that success with more high-profile projects that includes a lead role in the forthcoming series Those Pricey Thakur Girls. She is now firmly on the radar of big producers and is looking forward to more challenges.
Eastern Eye caught up with a young actress you will be hearing a lot more about to discuss the success of The Empire, the upcoming show Those Pricey Thakur Girls, and her future hopes.
What first connected you to acting?
As a child, I was always fascinated with the songs and dances in films. As I started growing up, I began to admire the performances on screen. Going to a theatre once a week was like an event. The feeling you have after watching a brilliant performance is what inspired me to become an actor. Even as a teenager, I never had a Plan B. I always knew I wanted to be an actor. I always had that faith and conviction, from God knows where, that things will work out, and I will get a debut.
What was the experience of working on The Empire like?
It was like working on a dream project because rarely do you get a chance to play such a character or be a part of such a massive project and share screen space with Shabana (Azmi) ma’am and work with Emmay Entertainment, Nikhil Advani, Monisha (Advani) ma’am, and Madhu (Bhojwani) ma’am. So, since the day I got to know about the project, I was very excited and hoped to get the part. I put in a lot of hard work because I was super kicked about it. I
just wanted to make sure that I give it my all.
India went into lockdown shortly after The Empire commenced shooting. How did you handle that?
I remember the day we started shooting, the very next day the entire nation went into lockdown. But I used my time very judiciously. I read the script more than 10 times, made notes, and did Zoom calls with my director. We cracked the character in terms of body language and her journey. I was also in constant touch with the Urdu coach, who helped us to get the pronunciation right.
You must have learned a lot?
To observe Shabana ma’am and see what she brings to the table was a great learning for me. In fact, I think both the directors – Nikhil and Mitakshara (Kumar) are geniuses. Mitakshara has an eye for the kind of details that make all the difference. She knows exactly what she wants from her actors. Similarly, Nikhil is the master of his own craft. I am grateful to have had the chance of working with such amazing people.
How much do the positive reviews for the show and your performance in it mean to you?
I think, as an actor, you thrive on love and appreciation. This project took very long because of the pandemic and lockdown. Now that it has been released, the kind of response we all are getting is insane. I’m really grateful to everyone who is watching the show and loving it. Every day I wake up to beautiful messages from people. It is a great feeling. I’m taking each day as it comes and trying to be in the moment as much as I can and be grateful for everything.
What was the biggest challenge of playing your role in The Empire?
The biggest challenge was to get certain aspects of the body language and poise of the character right. The dialogue delivery was also a challenge because it is a period drama set in a specific era. So, you want to make sure that it isn’t over the top and looks as real as possible. On top of that, the costumes and jewellery were insanely heavy. I remember my ears started bleeding the third day of the shoot because of the earrings. But once we started shooting, it took three-four days to get comfortable with our characters.
Tell us about Those Pricey Thakur Girls?
Those Pricey Thakur Girls is one of my favourite books, so I am overjoyed to play Debjani Thakur in the show. She is a fiery newsreader. Both I and my character are in love with animals. It is challenging to essay a much-loved literary character on screen because there are already a certain amount of expectations. But I am thrilled about it and hope people love my interpretation. I am glad to have had an opportunity to work with amazing directors Habib Faisal and Tarun Mansukhani. They both are uniquely different and lovely people.
Sahher Bambba as Maham in The Empire.
What is the master plan going forward?
The plan is to follow my heart and do as many amazing projects as possible. I want to be a part of projects that I believe in, which really excite me, and challenge me as an actor. I’m very hungry to perform versatile roles that challenge and hone my craft. I am already enrolling myself in several workshops, and that is the plan for the time being.
What would be your dream role?
Every role is a dream role because I get a chance to play different characters. Maham, my character in The Empire, is something I had always wanted to do. I had always wanted to be part of a period drama and experience that era.
Can you see yourself doing projects in the west?
I’m very hungry as an actor. So, any opportunity that I get in India or outside, I would love to take it – whether it is a project in the west, a project down south or any other regional cinema, I would give it my all.
What do you enjoy watching as an audience member?
As an audience, I like to watch thrillers and rom-coms.
If you could master something new, what would it be?
I would like to master meditation and yoga. I believe, in today’s time, everyone should take care of their mental and physical health.
What inspires you?
What inspires me the most and has also inspired me to become an actor is a brilliant onscreen performance. Nothing inspires and motivates me as much as the feeling that I’m left with after watching a great film or good performance.
Why do you love being an actress?
I love being an actor because it is something I am and have always been really passionate about. It has been my childhood dream to act in front of a camera. Also, the fact that as an actor, you get to live so many characters. I think it is a very exciting job. I love every part of being an actor. Of course, there are days when it gets taxing emotionally, mentally and physically, but the high that you get after giving a good shot is something else. It is unparalleled. As I said, actors thrive on love and appreciation, and when that comes your way, it is a different feeling.
Spain leads a growing boycott movement, with Ireland, the Netherlands and Slovenia also refusing to participate if Israel competes.
The European Broadcasting Union (EBU) is in crisis talks, extending its decision deadline to December 2025.
The situation draws direct comparisons to Russia’s exclusion in 2022, creating a precedent the EBU must now navigate.
The core dilemma pits Eurovision’s non-political ideals against the stark reality of a humanitarian crisis.
The Eurovision Song Contest, that glitter-drenched annual spectacle of pop and unity, is staring into the abyss. The escalating call for a Eurovision boycott over Israel's participation, against the backdrop of the ongoing Gaza conflict, has put the organisers into their most severe political crisis yet. This isn't just about another song entry but a fundamental clash between the contest's cherished apolitical fantasy and the inescapable geopolitics of the real world, threatening to tear the competition apart from within.
Spain announces withdrawal from Eurovision over Israel participation amid growing boycott movement Instagram/eurovision
What is causing the Eurovision 2025–2026 crisis?
The main trigger is Israel’s ongoing military campaign in Gaza. Casualty figures reported by the Hamas-run Gaza Health Ministry exceed 64,000 Palestinians by September 2025, drawing international scrutiny. Several European countries argue that Israel’s presence in a major cultural event like Eurovision would appear to normalise the humanitarian crisis. On the other hand, Israel insists participation is purely cultural and unrelated to politics.
What countries are boycotting Eurovision over Israel?
So, which nations are taking this stance? The movement gained its most significant momentum with Spain's announcement. Its public broadcaster, RTVE, issued a decisive statement, confirming an overwhelming vote to withdraw. The organisation cited Israel's military actions in Gaza and stated it could not, in good conscience, "look the other way." This move is particularly consequential as Spain is one of the "Big Five" major financial contributors to the contest.
They were swiftly followed by Ireland’s RTÉ, which deemed participation "unconscionable" given the situation in Gaza. Public broadcasters in the Netherlands and Slovenia subsequently aligned with similar positions. Iceland's broadcaster has also indicated it is considering its position, formally "reserving the right" to withdraw. This is not a peripheral protest but a movement emerging from within the contest's core European membership, raising questions about which other countries may follow.
How is the EBU handling the Eurovision boycott calls?
The European Broadcasting Union faces an immense challenge. Its standard operating procedure of promoting unity through music appears insufficient for this geopolitical dilemma. The gravity of the situation can be seen in its unprecedented decision to delay the standard deadline for participation confirmations to mid-December 2025. This extension is dedicated to extensive consultation with all member unions in an effort to find a viable resolution that preserves the contest's integrity.
Concurrently, the EBU has been forced to publicly deny reports from Israeli media outlets suggesting it had advised Israel to withdraw voluntarily to avoid a "humiliating elimination," calling these claims false.
Is this Eurovision situation similar to Russia's exclusion?
This comparison forms the crux of the debate for many. The 2022 exclusion of Russia following its invasion of Ukraine established a clear precedent; the EBU justified its decision by stating Russia's participation would "bring the competition into disrepute."
Boycott advocates now argue that the same standard must be applied consistently, questioning why Israel's actions in Gaza do not merit an identical response. The EBU will likely attempt to differentiate the cases based on nuanced legalities of membership and the operational independence of the respective national broadcasters. However, in the court of public and political opinion, the perception of a double standard is a significant threat to the EBU's credibility.
What are the arguments for and against the boycott?
Proponents of the boycott base their position on principles of human rights and conscience. They stress the extensive civilian casualty figures reported by authorities in Gaza, alongside assessments from UN agencies, to argue that Israel’s inclusion on a cultural platform constitutes a form of normalisation of the ongoing conflict.
Conversely, opponents of a boycott contend that cultural events must remain separate from political disputes. They caution that excluding a nation’s artists could veer into prejudice and stress that the Israeli broadcaster, Kan, operates with editorial independence, unlike the state-controlled media of Russia. There is no clear, unambiguous resolution that will satisfy all parties.
What happens if Israel is allowed to compete in Eurovision 2026?
Should the EBU permit Israel's participation, an immediate and consequential withdrawal of several key members is all but certain. The loss of Spain, a major funder, would represent a serious financial and credibility blow. The subsequent absence of Ireland, the Netherlands, Slovenia, and potentially others would noticeably diminish the contest's scale and diversity.
Furthermore, the event itself would likely become a focal point for large-scale protests, potentially disrupting the broadcast and overshadowing the musical competition, further alienating segments of its global audience.
What happens if Israel is excluded from Eurovision?
An exclusion would trigger a different but equally severe crisis for the EBU. It would face vehement accusations of hypocrisy and double standards, particularly from Israel and its allies. The move could prompt legal challenges and potentially lead to Israel's permanent withdrawal from the union.
It would also establish a new and far-reaching precedent for excluding countries involved in international conflicts, fundamentally transforming Eurovision from an inclusive cultural space into an institution that makes overt political judgements.
The future is decidedly uncertain. The EBU is confronted with a dilemma where any decision carries significant negative consequences. The upcoming General Assembly in December is going to be a tense and potentially historic meeting. While some have speculated about a compromise, such as Israel participating under a neutral banner, the EBU has denied pursuing this option.
The underlying truth is that Eurovision has always been intertwined with politics, from historical participation under authoritarian regimes to contemporary voting blocs. The current crisis has simply stripped away the glittering façade, forcing a direct confrontation with this reality. The contest's future will depend on navigating a path that may not exist, balancing its ideals against an increasingly polarised world.
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The discovery coincides with Bradford’s City of Culture celebrations
Research for the World Curry Festival uncovered evidence of a curry house in Bradford in 1942.
Cafe Nasim, later called The Bengal Restaurant, is thought to be the city’s first.
The discovery coincides with Bradford’s City of Culture celebrations.
Festival events will include theatre, lectures, and a street food market.
Historic discovery in Bradford’s food heritage
Bradford’s claim as the curry capital of Britain has gained new historical depth. Organisers of the World Curry Festival have uncovered evidence that the city’s first curry house opened in 1942.
Documents revealed that Cafe Nasim, later renamed The Bengal Restaurant, once stood on the site of the current Kashmir Restaurant on Morley Street. Researcher David Pendleton identified an advert for the cafe in the Yorkshire Observer dated December 1942, describing it as “Bradford’s First Indian Restaurant”.
Festival organisers confirm findings
Festival founder Zulfi Karim said the discovery ended long-standing debate over which was Bradford’s first curry house. For years, different establishments had laid claim to the title, including restaurants from the 1950s and the Sweet Centre in 1964.
“This was during the Second World War, so it’s hard to imagine what ingredients they had access to with rationing,” Mr Karim said. “Even the current owner of Kashmir Restaurant thought it only went back to the 1950s.”
Bangladeshi roots of curry in Britain
Mr Karim highlighted the role of Bangladeshi immigrants in establishing Britain’s curry houses, noting that many early arrivals to the UK were former Navy workers. “That’s 80 years plus now since we’ve had a curry house in Bradford and that’s a huge story,” he added.
World Curry Festival 2025
The festival, first launched in Leeds in 2008, is being held in Bradford this year as part of the City of Culture 2025 celebrations. Running from 15–29 September, it will feature a mix of food, culture and performance.
Highlights include:
Theatre of Curry: A staged reading of Balti Kings (1999) by Sudha Bhuchar and Shaheen Khan, with curry served during the interval.
Supper club experiences.
Talks by Dr Amir Khan on nutrition and preserving authentic recipes.
Preserving the future of curry
Mr Karim stressed the importance of supporting the industry, which faces challenges due to a shortage of new talent.
“We need to keep it local, keep it authentic, and encourage people to enjoy it but also learn to cook at home,” he said.
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Princess Karam of Kapurthala, photographed by Cecil Beaton in 1935
A FAMOUS photograph taken by Cecil Beaton of an Indian princess features in an exhibition of his work, Fashionable World, at the National Portrait Gallery.
Beaten made his name by taking pictures of the English upper classes and also Hollywood stars, but some of his most striking – and evocative – images are of Indian royalty.
One taken in 1935 was of Sita Devi, Princess Karmajit of Kapurthala, who was also known as Princess Karam and eulogised as “the Pearl of India”.
She was the muse of several photographers, including Beaton, and considered “one of the most beautiful women in the world”. Born into the Hindu Rajput royal family of Kashipur in 1915, she embarked on a remarkable journey at the age of 13 when she married Prince Karamjit Singh, the younger son of Maharajah Jagatjit Singh I of Kapurthala in Punjab. She died in 2002.
According to one report, “her frequent visits to Paris saw her rubbing shoulders with the crème de la crème of European society, enchanting the Parisian elite with her exquisite blend of traditional Indian elegance and European haute couture. Her sartorial choices were a seamless fusion of her royal Indian heritage and the avant-garde fashion of Paris, making her a muse for esteemed designers like Mainbocher and Madame Grès. She effortlessly carried saris with the same grace as she did the luxurious gowns and fur coats designed by these fashion legends, often accessorised with jewels from Cartier and Boucheron.
“At the age of 19, Vogue hailed her as a ‘secular goddess’, a title that reflected her transcendent appeal and impeccable fashion sense. Her influence extended beyond borders, captivating the imagination of the Italian designer Elsa Schiaparelli, who was so inspired by the princess’s saris that she dedicated her 1935 collection to them. This collection was a homage to the traditional Indian garment, reimagined through the lens of European haute couture. Schiaparelli’s designs captured the fluidity and grace of the sari, while infusing it with the avantgarde spirit of the time, thus bridging two distinct cultural aesthetics. The princess’s impact on the fashion world was profound, as she brought the elegance of Indian attire to the forefront of the Parisian fashion scene, influencing styles and trends across continents.”
Gayatri Devi, Maharani of Jaipur at Rambagh Palace
Fashionable World will be the first exhibition to exclusively explore Beaton’s pioneering contributions to fashion photography. “From Hollywood stars and titans of art, to high society and royalty, the exhibition will feature portraits of some of the twentieth century’s most iconic figures, including Marilyn Monroe, Audrey Hepburn, Elizabeth Taylor and Marlon Brando; Queen Elizabeth II and Princess Margaret; as well as Lucian Freud, Francis Bacon and Salvador Dalí,” the NPG has announced.
The exhibition is curated by photographic historian and contributing editor to Vogue, Robin Muir.
In 2020, he curated another Beaton exhibition, Bright Young Things, at the NPG but this had to be closed because of the pandemic. That, too, had a photograph of Princess Karamjit.
The caption to her photograph then read: “A fixture on the social scene in the pre-war years, the Princess was in demand, frequently for jewellery stories, not least because her husband commissioned extravagant pieces from Cartier and Van Cleef and Arpels. Cecil photographed her in diamond bracelet by Cartier, emblazoned with an emerald, which he recalled, was ‘the size of a small fruit’. The princess’s credentials as a style leader were cemented when (Italian fashion designer) Elsa Schiaparelli based a collection on her colourful saris.”
She also merited a whole page in the 2020 catalogue which explained: “Beaton had been transfixed by one Indian in particular, the beautiful Sita Devi, Princess Karam of Kapurthala.
“Her mondaine chic inspired Ira Gershwin’s lyrics to Maharanee(A Night at the Races in Paris), a number from the Broadway revue, The Ziegfield Follies of 1936.”
The lyrics went: Even if you were just half as sweet, /It would still be like heaven to meet/Such a gay Maharanee/Paris is at your feet!
Fashionable World, which will open next month, will display around 250 items, including photographs, letters, sketches and costumes.
Muir commented: “Cecil Beaton needs little introduction as a photographer, fashion illustrator, triple Oscar-winning costume designer, social caricaturist, elegant writer of essays and occasionally waspish diaries, stylist, decorator, dandy and party goer. Beaton’s impact spans the worlds of fashion, photography and design. Unquestionably one of the leading visionary forces of the British twentieth century, he also made a lasting contribution to the artistic lives of New York, Paris and Hollywood.”
Victoria Siddall, director of the NPG, pointed out: “The National Portrait Gallery has a long and distinguished history with Cecil Beaton. His work was the subject of the NPG’s first dedicated photography exhibition in 1968, made in collaboration with Beaton himself, as well as being the first solo survey accorded any living photographer in any national museum in Britain. We are honoured to be working with Vogue’s Robin Muir, whose exhaustive research, vision and flair will guide us through Beaton’s innovative and storied influences on the fashion world.”
Actress Elizabeth Taylor, 1955
The exhibition catalogue will explain why “Cecil Beaton (1904–1980) was an extraordinary force in the 20th century British and American creative scenes. Renowned as a fashion illustrator, Oscarwinning costume designer, social caricaturist, essayist, and decorated writer, Beaton’s impact spans the worlds of fashion, photography, and design.”
The NPG added, “Known as ‘The King of Vogue’, he elevated fashion and portrait photography into an art form. His eradefining photographs captured beauty, glamour, and star power in the interwar and early post-war eras.
“Through several interwoven themes, the world of Cecil Beaton will be examined in detail. The exhibition will follow Beaton’s career from its inception, as a child of the Edwardian era experimenting with his first camera on his earliest subjects, his two sisters and mother (c. 1910), his years of invention and creativity as a student at Cambridge University, to his first images of the high society patrons who put him on the map. Including Stephen Tennant and the Sitwell siblings.
“The exhibition will journey through the London of the 1920s and 1930s, the era of the Bright Young Things and Beaton’s first commissions for his greatest patron, Vogue, to his travels to New York and Paris in the Jazz Age. Drawn to its glamour and star wattage, Beaton photographed the legends of Hollywood in its Golden Age. Cecil Beaton’s first royal photographs appeared in the late 1930s. As the Second World War loomed, he defined the notion of the monarchy for a modern age. Appointed an official war photographer by the Ministry of Information, his wartime service took him around the globe.
Beaton at the opening of his painting exhibition in London, 1966
“The war’s end ushered in a new era of elegance and Beaton captured the high fashion brilliance of the 1950s in vivid, glorious colour. The exhibition will end with what many consider his greatest triumph and by which he is likely best known: the costumes and sets for the musical My Fair Lady, on stage and later on screen.
“Almost entirely self-taught, Beaton established a singular photographic style; a marriage of Edwardian stage portraiture, emerging European surrealism and the modernist approach of the great American photographers of the era, all filtered through a determinedly English sensibility.”
In India he also photographed Gayatri Devi, the Maharani of Jaipur; the Maharani of Pratapgarh, Chimnabai II; and Maharani Kusum Kunwarba of Chhota Udepur in Gujarat.
Photographing Indian royals helped Beaton obscure his own middle-class origins, which greatly embarrassed the photographer. In 1923, he admitted: “I don’t want people to know me as I really am, but as I am trying and pretending to be.”
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Through abstract forms, bold colour, and layered compositions
Fragments of Belonging is Nitin Ganatra’s first solo exhibition
Opens Saturday, September 27, at London Art Exchange in Soho Square
Show explores themes of memory, displacement, identity, and reinvention
Runs from 3:30 PM to 9:00 PM, doors open at 3:15 PM
From screen to canvas
Actor Nitin Ganatra, known for his roles in EastEnders, Bride & Prejudice, and Charlie and the Chocolate Factory, is embarking on a new artistic chapter with his debut solo exhibition.
Titled Fragments of Belonging, the show marks his transition from performance to painting, presenting a deeply personal series of works at the London Art Exchange in Soho Square on September 27.
Exploring memory and identity
Through abstract forms, bold colour, and layered compositions, Ganatra’s paintings reflect themes of memory, displacement, and cultural inheritance. The exhibition has been described as a “visual diary,” with each piece representing fragments of lived experience shaped by migration and reinvention.
What visitors can expect
The exhibition will showcase original paintings alongside Ganatra’s personal reflections on identity and belonging. The London Art Exchange promises an intimate setting in the heart of Soho, where visitors can engage with the artist’s work and connect with fellow creatives, collectors, and fans.
The event runs from 3:30 PM to 9:00 PM on September 27, and is open to all ages.
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£1 tickets available for families receiving Universal Credit
The Peter Rabbit™ Adventure runs at Hampton Court Palace from 25 July to 7 September 2025
Trail includes interactive games, riddles and character encounters across the gardens
Children can meet a larger-than-life Peter Rabbit in the Kitchen Garden
Special themed menu items available at the Tiltyard Café
£1 tickets available for families receiving Universal Credit and other benefits
Peter Rabbit comes to life at Hampton Court
This summer, families visiting Hampton Court Palace can step into the world of Beatrix Potter as The Peter Rabbit™ Adventure takes over the palace gardens from 25 July to 7 September 2025.
Explore the Kitchen Garden, Tiltyard and WildernessHRP
The family trail, officially licensed by Penguin Ventures on behalf of Frederick Warne & Co., combines the palace’s historic gardens with the much-loved tales of Beatrix Potter. Visitors will encounter interactive activities, puzzles and games while exploring the Kitchen Garden, Tiltyard and Wilderness.
Interactive activities and wildlife learning
Along the trail, children can try Mrs Tiggy-winkle’s washing equipment to make music, search for Peter Rabbit under wheelbarrows, or test their hopping skills alongside Beatrix Potter’s characters.
The experience also highlights Potter’s role as a committed environmentalist. Young visitors are encouraged to look for real wildlife such as hedgehogs, squirrels and toads while learning about habitats and conservation in the palace grounds.
Children can meet a larger-than-life Peter Rabbit HRP
Meet Peter Rabbit and enjoy themed treats
Peter Rabbit himself will make appearances in the Kitchen Garden at set times each day, where families can take photos among the seasonal produce. Fresh fruit and vegetables grown in the gardens will feature in special Peter Rabbit™ menu items at the Tiltyard Café.
After completing the trail, children can also explore the Magic Garden playground or visit Henry VIII’s Kitchens inside the palace, where live cookery demonstrations take place each weekend.
Tickets and access
The Peter Rabbit™ Adventure is included in general admission:
Off-peak (weekdays and bank holidays): Adults £27.20, Children (5–15) £13.60, Concessions £21.80
Peak (weekends and events): Adults £30.00, Children £15.00, Concessions £24.00
HRP Members go free
Families in receipt of Universal Credit and other means-tested benefits can access £1 tickets throughout the summer (advance booking required).
Membership offers unlimited visits to Hampton Court Palace and other Historic Royal Palaces sites, including seasonal events such as the Hampton Court Palace Food Festival and Henry VIII’s Joust.