RISHI SUNAK is now so famous as the first Indian occupant of 10, Downing Street, that when people refer to “Rishi”, it is automatically assumed that people are referring to the former prime minister.
But now, there is a new Rishi in town – and he has smashed the glass ceiling in just as spectacular a manner.
Actor Rishi Nair has been cast as the first Indian vicar, Alphy Kottaram, in the quintessentially English village of Grantchester in the Cambridgeshire countryside. Instead of a bike, he roars in at the wheel of a bright red Triumph Herald. And he likes hopping into bed with pretty women undergraduates.
The ITV drama, Grantchester, set in the 1950s, has been going since 2014 and has millions of fans all over the world. After a couple of Anglican English vicars – Sidney Chambers played by James Norton and William Davenport portrayed by Tom Brittney – Nair took over the role in the third episode of the ninth series. A 10th series is currently being filmed.
It is traditional for Cambridge undergraduates to punt to Grantchester for breakfast the morning after a May Ball. The novelist Lord Jeffrey Archer and his wife Dame Mary Archer bought the Old Vicarage, a 17th century property in the village associated with the poet Rupert Brooke, in 1979. He is the one who wrote the poem with the famous lines, “Stands the Church clock at ten to three?/ And is there honey still for tea?”
The Archers were the victims of a reallife crime last month when burglars broke into their garden at night while they were asleep and stole four precious bronze sculptures, worth tens of thousands of pounds. Archer does not think this crime will be solved.
The enduring appeal of the TV drama is that the basic plot does not change very much. There is a murder which the local copper in charge, Detective Inspector Geordie Keating (played by Robson Green), struggles to solve without the help of the vicar. Where he has a distinct advantage over the policeman is that people tend to confide in the man of god.
Alphy’s introduction to the village does not go smoothly. All conversation ceases and there is silence when he walks into the pub. In fact, when he walks into the vicarage, he is suspected of being a burglar. Keating rushes in to try and make an arrest and is thumped on the nose by a startled Alphy.
Green takes up the story: “In the first scene I had with Rishi, he punched me in the face. Geordie turns up to investigate an intruder in the vicarage and so his first impression of Alphy is he’s got a very good right hook. And then his second thought is, ‘Christ on a bike, you’ve stirred up a hornet’s nest by planting yourself in the middle of this quintessentially English village’ because he’s a ‘swarthy gentleman,’ as one of the characters says. Can you imagine?
“But because Geordie has become quite enlightened, he quickly warms to Alphy. He hears Alphy’s opinion of the police and Alphy gets Geordie’s steer on his opinion of god and they get past that.
“Then Geordie recognises that inquisitive outlook Alphy has on life, especially for crime, and they become solid friends. Very quickly they end up needing each other, and we get on with the cases.”
Nair with Tom Brittney and Robson Green in a poster for the show
As an executive producer, Green was “very involved” in picking Nair for the role.
The 34yearold actor, who was born in Ealing in west London, portrayed lawyer Sami Maalik for four years in the Channel 4 soap Hollyoaks.
Green remembers Nair’s audition for Grantchester: “We knew it was going to be Rishi as soon as he walked in. The chemistry was there immediately. It’s a completely different new and wonderful energy with Rishi, and that’s the most delightful thing. He just fitted into the Grantchester family perfectly and he cares so much about the job.”
Green also talked of the drama’s appeal: “Rishi and I went to a press launch of Grantchester in Las Vegas last summer and were expecting about 100 people tops, but about 2,000 super fans turned up. It was like being at a Taylor Swift concert. They went bonkers.
“It really reinforced the love and joy and happiness I have for this show, because it just transcends so many barriers and has so many universal themes. And the fact that it’s loved around the world and in Las Vegas fills my heart with joy.”
Like Sunak, Nair has been brought up in a Hindu family.
He talked about the racism in 1950s England: “It was really important for me that we portrayed that storyline – of Alphy clearly looking very different to the other two vicars. Grantchester is still very white today, so you can imagine that back in the 1960s, it would not have been smooth sailing for him there. There’s a scene where he walks into the pub and everyone turns and looks at him, and that’s what would have happened.
“But I didn’t want his colour to become the overriding theme of the season. It’s great for the audience to see Alphy tackle racism headon – it’s something he’s experienced his whole life and he’s gone to Grantchester to try to change people’s minds. He loves that challenge of, ‘Don’t judge me by the way I look. Judge me by my actions.’”
Nair did a fair bit of research before the audition: “I went to different Church of England churches in London and in Liverpool, where I live, and sat at the back and watched the vicars do their sermons to get some inspiration. It was really interesting – some vicars are quite performative; some are quite conversational. And to spend time in those stunning churches was so nice.
“And then to tap into the early 1960s, I listened to music from that era on Spotify to get in that mindset. I really liked Dusty Springfield and I listened to lot of Elvis and Etta James. I found myself really falling in love with 1960s soul music. It’s become a really big part of my music library now.”
On his first day on set, he felt “like the new kid at school, especially since I didn’t join until episode three. When I first saw the vicarage set, I felt like I had been transported back in time.”
Nair described what he has in common with the character of Alphy: “I’m not as religious as Alphy, but what I have in common with him are his principles and morals that he takes from his religion.
“And Alphy is described as really having a problem with people exploiting their power over others. I’ve always been a bit like that as well. Away from religion, Alphy is massively into sport, which I also love, so that was easy to relate to.”
Alphy, added Nair, is “a glass halffull kind of guy, happygolucky, very positive, a bit suave. He wants to help people, but there is also this stern side to him that [Grantchester screenwriter] Daisy [Coulam] describes beautifully as ‘an iron fist in a velvet glove’. If he sees something he doesn’t agree with morally, he will always stand up to it. He can’t let it pass. There’s a lot there to play with.
“Alphy is happy being single and he’s not looking for anyone… he meets women and has fun with them and doesn’t take anything too seriously.”
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.
For more details and booking, visit
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.