Love Island viewers have criticised Lorenzo and Priya after their shock move in the Hideaway, with some branding them “shady”.

The pair snuck away for some private time together, where they flirted and shared a kiss.

They eventually left the Hideaway, only to be spotted by Kavan and Jasmine, with the latter visibly annoyed.

On social media, many were unimpressed.

One wrote: “Priya and Lorenzo are both shady af.”

Another said: “Lorenzo is actually finished. Jasmine is gonna COOK him.”

A third added: “Very embarrassing fumble by Priya and Lorenzo; they will be evicted from my villa.”

Some focused their attention on Jasmine and Samraj, suggesting they should pursue a romantic connection.

One person wrote: “If Priya is into Lorenzo… and Samraj and Mica have died off… that means Samraj and Jasmine are free to mingle.”

Another said: “It should have been Jasmine and Samraj in that hideaway.”

A third posted:

“So glad Jasmine is finally off Lorenzo he was never any good for her. Now she needs to see Samraj.”

The moment came shortly after new bombshells, Namibia and Victoria, entered the villa and wasted no time in making their presence felt.

Meanwhile, George spoke about his sudden exit from Love Island for the first time. He quit the villa just days after entering.

In an Instagram video, he said: “Hello, everyone. Just wanted to take a moment and come on and say a massive, massive thank you to every single person who has reached out over the past two days, wishing me their love, their support, and all their well wishes.

“It has been completely overwhelming, and I am trying to get back to every message, which is pretty, pretty much impossible.

“But thank you so much.

“And I think moments like this give you a massive kind of perspective on the bigger picture, and as fun and as great my six days in the villa were, it’s obviously important for me to be here with my family, so thank you so much.

“It’s been, as I said, completely overwhelming, and a massive thank you to all of ITV’s welfare team and the execs who have been amazing.

“Hopefully it’s not the last you see of me, and looking forward to the year ahead, and yeah, thanks again, guys.”

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Jay Sean said he hopes King Charles will “get up and dance” when he performs at the British Asian Trust Gala on June 9.

The singer will perform at the annual fundraising event celebrating the achievements and contributions of British Asians.

The appearance comes shortly after Jay became the first South Asian artist to receive a Diamond certification from the Recording Industry Association of America. The award recognises sales of more than 10 million copies of ‘Down’.

Despite performing for the King, Jay Sean said he is approaching the occasion with excitement rather than nerves.

He said: “King Charles shall be witnessing.

“I’m hoping he’s going to get up and dance a little bit.

“Obviously the Gala is a very prestigious thing that celebrates all of the sort of contribution from British Asians in this country.

“It’s nice to be recognised for those achievements and to be able to celebrate that tomorrow, I think it’s going to be lovely.”

Jay described receiving the invitation as a significant milestone in a career spanning more than two decades.

He continued: “It’s one of those things where you go, ‘well, see, mum, it wasn’t such a bad idea to quit medicine’.

“To have that sort of longevity and to be able to span over two decades, when there’s so many choice of artists that they could choose, whenever you’re chosen for something like this, it’s always a moment to remind yourself and say ‘that’s not an easy accomplishment’.

“It’s kind of like a beautiful reminder of just how you’ve spent your career and the impact that you’ve had on people.”

He said fans attending the gala can expect a set packed with some of his biggest hits, alongside music that reflects his South Asian heritage.

Jay revealed his performance will feature “bangers only” and include a track sung in both Punjabi and English.

He said: “Music has this amazing ability of being able to transport you back in time, because we all remember where we were when we first heard that song, we remember who we were dating and what we were studying and where we were, who our friend group was, what we used to do, and I think that’s the sort of magic in performing those songs.

“I love seeing the reaction of people when you could just see it brings them back to into a beautiful moment.”

Jay Sean also spoke about the role of events such as the British Asian Trust Gala in highlighting the achievements of British Asians and challenging outdated perceptions.

He added: “There are still stereotypes as to what we do, what kind of jobs we do, what kind of contribution we make to this society and quite often the arts are overlooked.

“I think that the arts is a space that we really took a long time for people to understand that ‘hey, we can be funny too, we can be comedians, we can be actors, we can do music’.

“We can do all those things, because we’re not that different.

“I think it’s re-educating that and looking a bit more into the arts that people can discover how much talent there really is there.”

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A horrific acid attack on Dr Mahnoor Nasir at Quetta’s Civil Hospital has sent shockwaves across Pakistan and triggered fierce reactions from celebrities.

Dr Mahnoor suffered severe burns on her face, chest, legs and other parts of her body in an attack that has left the nation furious.

Police identified the attacker as Humayun Shah, an employee at the same hospital where Dr Mahnoor had gone to work that day.

Humayun was killed in an encounter with law enforcement while attempting to flee on a bus after carrying out the premeditated attack.

Dr Mahnoor has since been transferred to a private hospital in Karachi where she is currently receiving treatment for the injuries.

Pakistan’s celebrity community has responded with an intensity that reflects just how deeply the attack has disturbed the national conscience.

Mahira Khan was among the first to speak out, writing:

“A woman went to WORK today. To SAVE LIVES. And someone threw acid on her face.

“INSIDE A HOSPITAL. This is barbaric. This is evil. I am shaking with rage. This woman deserved safety.

“It’s time for not just the women but the MEN to speak up. To be louder. To be angrier!!!”

Singer Hadiqa Kiani described the attack as heartbreaking, saying:

“For too long, our women have faced violence. This must not be treated as another tragic headline.”

Actor Mariyam Nafees recorded a video cataloguing the many forms of violence routinely inflicted on women in Pakistan.

“If she says no to a marriage proposal, we kill her. If she’s stranded in her car with her kids, we rape her.

“If she’s a girl, we kidnap her, sell her and rape her. If she gets married, for some reason or the other, we burn her or kill her.

“If she’s a doctor, we throw acid on her in broad daylight. If she was born, we throw her in a garbage bin or drown her in a drain.

“But we talk about clothes because that is the biggest issue of our society. I don’t even know what to say anymore.”

Actor Saheefa Jabbar Khattak connected the attack directly to the culture of moral policing:

“The same mindset that shames women for what they wear is part of the culture that enables violence against them.”

Actor Amna Ilyas focused on the urgent need for stricter controls over substances, saying:

“A woman should be able to go to work without fearing violence.”

Host Shaista Lodhi highlighted the deeply troubling cycle that follows such attacks:

“Another woman, incident, noise, then silence.

“Being an achiever woman in this society, you certainly need a guard.”

Actor Sana Javed said: “This is no longer just about one incident. It’s about how little has changed.”

Actor Ayesha Omar said: “It’s an attack on her freedom, her professionalism, her independence, her autonomy, her education, her mind, her soul and her spirit.

“It reminds us of how unsafe women are, not just on the streets but at their so-called safe workplaces and even inside their own homes.”

The post Pakistani Celebrities Condemn Acid Attack on Dr Mahnoor Nasir appeared first on DESIblitz.

Nora Fatehi has released her new track ‘Siir Siir’ as part of the official music project for the FIFA World Cup 2026.

The song features on the tournament’s official album, which brings together artists from diverse musical backgrounds.

‘Siir Siir’ has been created in collaboration with music producer Sanjoy and French singer Vegedream.

The release comes just days after organisers officially confirmed that Nora will perform and sing at the FIFA World Cup 2026.

The opening ceremony will be held on June 12, 2026, at BMO Field in Toronto, Canada.

Nora’s appearance marks a significant step up from her previous FIFA outing, during which she performed at a fan event during the Qatar World Cup.

Speaking about the new track, Nora made clear just how personally significant the song and this entire moment are to her personally and professionally.

She said: “This song is a very special one for me.”

Nora described the track as something she approached with deep intentionality and creative care.

She explained that ‘Siir Siir’ was imagined as a deliberate blend of different cultural influences.

It was designed to feel both global and distinctly personal at the same time.

Nora described wanting the song to reflect every dimension of who she is and where she comes from as an artist and as a person.

She spoke about drawing together her Moroccan roots, her Canadian upbringing and the profound influence that the Indian community have had on her journey.

“What makes this song even more meaningful is the strong Indian representation behind the scenes.”

“From the choreographer and dancers to the styling team, everyone played a huge role in bringing this vision to life.”

She also described the broader experience of creating a song for an event of the FIFA World Cup’s magnitude as something that still feels surreal .

Nora Fatehi called it “a full-circle moment where different cultures, sounds and people come together.”

She added that she hoped the project would help take “the amazing sounds of the East to the world.”

Alongside her, the Canadian ceremony will feature Alanis Morissette, Alessia Cara, Elyanna, Jessie Reyez, Michael Bublé, Sanjoy, Vegedream and William Prince.

The USA ceremony line-up is equally star-studded and includes globally recognised names such as Katy Perry, Future, Anitta, Lisa, Rema and Tyla.

Listen to the Track:

[This post contains video, click to play]

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Anil Kapoor is set to make his return to the small screen as the host of Star Plus’ upcoming Indian adaptation of the globally successful The 1% Club.

The show is produced by Endemol Shine India and is expected to be one of the broadcaster’s biggest and most anticipated reality launches in recent years.

Sources close to the production have revealed that Kapoor is currently shooting for the first promotional campaign, which will be unveiled soon.

The decision to cast him as host came after the team explored multiple options before settling on someone who could deliver both credibility and entertainment.

“The team wanted a host who could bring both class and mass appeal to the format.

“Since The 1% Club is a quiz-based game show that also requires a fun and engaging personality, they explored multiple options before deciding on Anil Kapoor.”

Kapoor is no stranger to the demands and dynamics of hosting high-profile reality formats on Indian television.

He previously hosted Bigg Boss OTT 3, demonstrating his comfort with the pace and unpredictability that live reality television demands from its frontman.

He has also fronted the Indian adaptation of the globally acclaimed thriller series 24 on television.

His return to hosting duties on a major channel like Star Plus is a significant and widely welcomed development for fans.

An official announcement regarding the show is expected to be made in the coming weeks once the promotional campaign is ready for public release.

For viewers unfamiliar with the format, The 1% Club is quite different from conventional and knowledge-based quiz shows that typically dominate Indian television.

The show does not test contestants on current affairs, history, general knowledge or academic expertise in any traditional sense.

It challenges participants with questions rooted in logic, observation, common sense and problem-solving abilities.

This unique and refreshing premise is precisely what has made the format such a remarkable and sustained international success.

Viewers are also able to play along from home regardless of their educational background, making it one of the most genuinely inclusive formats.

The 1% Club first launched in the United Kingdom in 2022 and almost immediately became one of the country’s biggest and most talked-about entertainment successes.

Its appeal proved so strong and so consistent that the format was swiftly picked up and adapted across a growing number of international markets.

Countries including Australia, France, Germany, Spain, Israel, the Netherlands, Mexico, Greece, Hungary, Ukraine, Turkey and the United States have all produced their own versions.

Earlier this year, BBC Studios confirmed that the format had expanded to fifteen territories worldwide.

This made it one of the fastest-growing unscripted formats in the global television industry.

India’s adaptation arrives at a particularly competitive moment for reality television, with broadcasters consistently looking for formats that can cut through a saturated market.

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Bhasker Patel steps into a story that carries real historical weight in Camdenwalla, a new production that revisits a defining but often overlooked moment in London’s recent past.

Running at Camden People’s Theatre from June 17 to July 4, the play is staged in a venue where the real events unfolded, adding an unusual layer of authenticity.

Set over a single night in 1994, it follows a volunteer network responding to racist violence across North London, where fear, urgency and collective responsibility collide.

Patel plays Muhammad, a first-generation Bangladeshi volunteer who spends a single night inside the Camden Monitoring Project responding to racist violence and supporting his community.

Written and directed by Jonny Khan, Camdenwalla captures both the urgency of the moment and the quiet resilience of those who stepped forward when formal systems fell short.

It also carries the weight of memory, bringing forward stories shaped by both trauma and resilience.

In an interview with DESIblitz, Bhasker Patel reflects on the significance of bringing Muhammad’s story to the stage and the history Camdenwalla represents.

Unearthing Forgotten Histories

Bhasker Patel was drawn to Camdenwalla because of its focus on stories that have long remained unspoken.

The production revisits a part of London’s past shaped by fear, resilience and community response, set against the backdrop of racist violence in the 1990s.

For Patel, the appeal lay in the play’s wider intent to surface experiences that have often been ignored or sidelined in public memory.

He explains: “These stories are rarely told and are often brushed under the carpet out of embarrassment, so that immediately stood out to me.

“What makes the play powerful is that it shines a light on a hidden part of London’s history that many people still don’t know about today.”

That sense of rediscovery runs through the production, which situates its narrative inside the Camden Monitoring Project in 1994.

The confined, single-night setting heightens the urgency of events, with Patel noting how rehearsal work gradually shaped his understanding of the role.

The intensity of that timeframe reflects the pressure faced by those involved in community protection efforts, where decisions and reactions had to happen quickly and often under strain.

He says: “After one week of R&D (research and development), you begin to understand the character and his journey towards helping to set up the monitoring project.

“The pressure of everything happening over one night also creates a real sense of urgency throughout the play.”

Responsibility shaped by Fear and Community Duty

Muhammad is placed inside a volunteer network responding to racist violence and threats. It is a responsibility that carries emotional and psychological weight.

Patel’s approach to this aspect of the character was rooted in the writing itself, allowing the lived realities depicted on stage to guide his performance rather than imposing external interpretation.

He says: “It’s the journey within the writing that leads you to respond emotionally to the events, threats and incidents that took place, and to understand the significance of them.

“What’s striking is that these were ordinary people carrying huge responsibility within their community.”

That sense of ordinary individuals taking on extraordinary responsibility is central to the play’s exploration of grassroots activism.

The Camden Monitoring Project was born out of necessity, with communities stepping in where institutions were perceived to have failed.

Patel describes this as a form of collective protection, driven by both survival and solidarity:

“It’s a labour of love – protecting both yourself and your community from dangers when they have been failed by the establishment, which neither protected them nor believed their plight.

“The play really highlights the strength and resilience of communities coming together.”

This framing situates Muhammad as part of a wider network shaped by shared urgency and collective responsibility. The emotional weight of that environment is inseparable from the historical context that informs the play.

Violence, Memory and Lived History

Camdenwalla is rooted in real events, including the murders of Altab Ali, Richard Everitt and Stephen Lawrence, which continue to shape conversations around race and safety in London.

For Bhasker Patel, this historical backdrop reframes the story’s stakes.

He details: “These murders brought people’s attention to the horrors of losing lives and made you realise that it could happen to anyone who is in the wrong place at the wrong time.

“It reminds you how much fear communities were living with during that period.”

That sense of unpredictability and vulnerability informs how Muhammad navigates his responsibilities within the monitoring project.

Rehearsals also brought into focus the significance of smaller, often overlooked moments of threat and support within communities.

Patel reflects on how discussions during the development process highlighted the importance of recognising every incident:

“During the R&D week, a lot of discussions took place that made us realise every small event mattered.

“Any threat to someone’s life is important and should never be ignored. Hearing how people supported one another during those times really stayed with me.”

Generational Distance

Within Camdenwalla, Muhammad’s interactions with Alima (Nusrath Tapadar), a British-Bangladeshi teenager, introduce a generational tension that reflects differing relationships to history and activism.

Patel’s reading of this dynamic centres on the silence that often surrounded earlier experiences of racism, and the impact that silence had on younger generations.

He elaborates: “Young people often have no idea about the threats and racism their community suffered because those horrors were rarely spoken about, out of fear of creating tension.

“Many people felt it was better to let sleeping dogs lie in order to create harmony and allow younger generations to assimilate.

“That generational gap creates some really interesting conversations within the play.”

This contrast between lived memory and inherited understanding becomes a key driver of dialogue within the production.

It reflects broader questions around how communities preserve history, and what is lost when difficult experiences are left unspoken in the pursuit of social harmony.

The play also raises wider questions about identity, belonging and solidarity in Britain today, particularly in relation to how communities respond to shared challenges.

Patel adds: “It always helps to shine a spotlight on historical events in order to educate people.

“Theatre is such a powerful way of bringing these forgotten histories to life for new audiences.”

As Camdenwalla runs at Camden People’s Theatre from June 17 to July 4, the production’s setting becomes inseparable from the story it tells, anchoring fiction within a space shaped by real community action.

The venue’s connection to the former Camden Monitoring Project deepens the sense of immediacy, turning performance into a form of historical echo.

Through Bhasker Patel’s portrayal of Muhammad, the play explores the emotional and practical demands placed on volunteers responding to racist violence in 1990s North London.

It also reflects on how those experiences shaped generational understanding, particularly where silence and survival often defined how history was passed on.

By returning these stories to the very place where they unfolded, Camdenwalla transforms Camden People’s Theatre into both stage and memory, grounding the production in the lived reality it seeks to honour.

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A TikTok video revealed a behind-the-scenes look at the logistics of transforming London’s iconic Natural History Museum into the venue for a lavish Indian wedding.

In the video, wedding planner Louise Perry revealed how her team had just 90 minutes to completely transform the museum after it closed to visitors.

She explained the scale of the challenge, saying: “In an hour and a half, all the guests out, the visitors and they’re literally gonna build from scratch.”

The video showed preparations taking place beneath the museum’s famous blue whale skeleton, where the evening reception was due to be held.

Perry outlined the running order for the event, explaining that the couple would cut their cake before speeches and dancing began.

“So they’ll come in from each side, they’ll cut the cake, then they’ll come down and he will do his speech and he’ll do it from the stage.

“And there are three speeches from his sister. And then she will introduce the family dance. And then we go into the dance.”

The planner also detailed the reception layout, which included a large bar, Indian food stations and a mixture of seating options for guests.

She said: “Got a huge rectangle bar going underneath the whale bone.

“And these are obviously the food stations.

“And we’ll have some dining tables at the back here and we’ve got sofas and poser tables and seats and all sorts.”

Throughout the video, there were several interactions between Perry, suppliers and members of the wedding party as final preparations were completed.

Speaking to the bride, Perry said: “Oh, look at you. Fabulous.”

The bride replied: “I’m an Indian bride.”

Perry responded:

“You are an Indian bride.”

As entertainment plans were discussed, the wedding planner emphasised that maintaining the atmosphere was the priority.

@louiseperryweddings Turning the Natural History Museum into a wedding venue in 90 minutes. @Rebecca Carpenter @amy@LPW #weddingtiktok ##weddingplannerlife #weddingtiktokvideo #weddingplanningtips #weddingplanner ? original sound – Louise Perry Weddings

Later in the video, Perry praised part of the venue setup, saying: “That is fabulous. Yeah, I love it. But it’s absolutely perfect.”

The planner also revealed that members of her team would be wearing traditional attire during the celebrations.

She said: “The whole. The team. Yeah, the team have all got traditional dress on tonight in different colours.”

The clip concluded with staff taking their positions as guests prepared to enter for the evening festivities, offering viewers a rare glimpse into the planning and coordination required to stage a large-scale Indian wedding inside one of London’s most recognisable venues.

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An Indian man was shot dead in Philadelphia while delivering pizza in an alleged trap.

Local authorities said the order was placed to a house that was supposed to be vacant, while the victim’s family claimed he was lured into a trap.

Anshul Kuncha, originally from Telangana, moved to the United States in 2022 after getting an employment opportunity.

According to his family, he worked at a multinational corporation, but also worked as a pizza delivery driver on weekends to earn extra money.

His sister Tanvi said: “He worked during the weekends delivering pizza to earn some extra cash. He did not even want to go to the US. He went only due to the family’s expectations.”

Investigators found the pizza order had been placed to a vacant housing unit in the early hours of June 5.

Philadelphia Housing Authority cameras showed Kuncha walking with the delivery order, while being followed by two people wearing dark clothing and backpacks.

Tanvi said: “As per US media reports, at least two persons wearing masks and backpacks ambushed him. One person shot him several times in the head.

“It was a setup as he was lured to a deserted and abandoned area to deliver the pizza.

“It was a fake order, and he walked into their trap. They did not rob him, but just shot him in the head and left him on the street to die. We do not know of any reason or what they gained by killing him.”

She also said Anshul had previously been a victim of theft in the US, during which he lost his gold chain, phone and wallet.

The incident took place shortly after 12:30 am. A passerby alerted police, who found him dead at the scene.

Family members described him as a “loving and joyful” person.

The family has appealed to the Indian consulate to help repatriate his body to India as soon as possible.

Tanvi added: “Our only request is that his body be brought back to India as early as possible.”

A statement posted on the X account of the Consulate General of India in New York said:

“We are deeply saddened by the untimely demise of Mr Anshul Kuncha, an Indian national in Philadelphia, PA.

“Our thoughts and heartfelt condolences to his family during this difficult time. The Consulate is in touch with Anshul’s family and is extending all possible assistance.”

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The murder of 18-year-old Henry Nowak has reignited debate over knife laws and kirpans in Britain, with questions being raised about religious exemptions and whether current rules go far enough to protect the public.

Henry was stabbed to death in Southampton by Vickrum Digwa, who told the court he was carrying a kirpan for religious reasons.

Digwa was wearing a small kirpan under his clothing but he was also carrying a much larger knife, which was used in the attack.

The case has sparked widespread discussion and has left Henry’s family demanding change, while politicians and community leaders try to balance public safety with religious freedoms.

As Digwa was convicted at Southampton Crown Court, Henry’s father Mark Nowak said outside court:

“People should not be able to walk openly through the streets of Britain carrying a 21cm blade.”

Since then, pressure has grown on the government to look again at how knife laws are applied in practice.

What began as a local tragedy has now become part of a national conversation about knife crime, policing and the limits of the law.

What the Law Says

In the UK, it is illegal to carry most knives in public without a valid reason. Anyone caught doing so can face up to four years in prison, an unlimited fine, or both.

But there are exceptions. The law allows knives to be carried for work, as part of national dress, or for religious reasons under Section 139 of the Criminal Justice Act 1988.

The Offensive Weapons Act 2019 further protects the right of Sikhs to possess and supply kirpans – a ceremonial sword or dagger that is one of religion’s five articles of faith.

During sentencing, Judge William Mousley explained how these rules apply in practice. He said someone carrying a blade of up to nine inches for religious reasons would not normally be prosecuted under current exemptions.

The blade Digwa used to kill Henry measured eight inches, and was therefore within that limit.

The judge was equally clear, however, that the privilege of carrying such a weapon “brings with it huge responsibility”, and that a kirpan should only ever be used offensively as a last resort, such as in an act of legal self-defence.

Digwa was carrying the small kirpan under his clothing and the larger dagger in a sheath around his neck.

There were reports that Digwa used a kirpan to stab Henry, however, the Sikh Federation (UK) said that was not the case.

Calls for Change

Henry’s father Mark Nowak has called for urgent reform and stronger action on knife crime.

He said he wants his son’s death to lead to change, adding:

“That is why we are calling on the government to treat knife crime as the national emergency that it is.

“We need real solutions. We need investment in prevention. We need stronger action on the sale, the ownership and carrying of all knives.”

He also said “common sense” should be applied to existing laws, arguing that people should not be allowed to carry blades of that size in public.

Hampshire and Isle of Wight Police and Crime Commissioner Donna Jones has backed calls for a review of knife laws.

She said: “If that knife was not legal on the 3rd of December 2025, I am certain that Henry Nowak would still be alive today.”

However, she stressed that any review should not affect religious practice:

“It is possible to carry a small kirpan dagger around the neck without infringing on someone’s right as a member of the Sikh community.”

What the Sikh Community has Said

Southampton Test MP Satvir Kaur said the case should not be used to generalise about Sikh beliefs.

She said: “It is absolutely right that a single person’s evil act is not representative of an entire community.”

She has called for proper scrutiny of the case but stopped short of supporting a full overhaul of the law, instead focusing on ensuring the investigation is thorough and transparent.

Writing in The Telegraph, Labour MP Tan Dhesi said the case should not result in a kirpan ban and added:

“We cannot allow the Kirpan to be misrepresented in this way, and we must continue to uphold the right for Sikhs to practise their faith freely in an open, inclusive and fair society.”

The wider Sikh community has strongly condemned the killing and any attempt to use it to demonise the faith.

The judge noted in his sentencing remarks that Digwa was a member of the Nihang, a Sikh order with a tradition of carrying a second, visible blade, though he was clear it was not a strict requirement, noting that neither Digwa’s brother nor father were carrying one when they arrived at the scene.

The Sikh Federation (UK) said the weapon used was not a kirpan.

The Sikh Press Association said work is already under way to remind Sikhs in the UK about guidance on kirpan use and responsibility.

The Attorney General’s Office is reviewing whether Digwa’s sentence should be referred to the Court of Appeal under the unduly lenient sentence scheme.

The Independent Office for Police Conduct is also investigating the police response at the scene, including concerns raised about how Henry was treated as he lay dying.

Henry’s father has said he will continue pushing for change.

He said: “We want to use Henry’s heartbreaking story to make change for the better.

“No other family should experience the heartbreak and horror of losing a child to knife crime.”

For now, the case continues to sit at the centre of a wider debate about knife laws, religious exemptions and how to keep streets safe without undermining long-standing protections.

The post Henry Nowak Murder reignites Kirpan and Knife Law Debate appeared first on DESIblitz.

The Premier League hosted its latest Emerging Talents Festival, giving hundreds of young players from diverse backgrounds the opportunity to showcase their ability in front of club staff from across English football.

Held at Loughborough University, the event forms part of the player pathway pillar within the Premier League’s No Room For Racism Action Plan.

The long-term initiative aims to address the under-representation of British South Asians in professional football.

The festival helps professional clubs strengthen links with local communities through Academy-style tournaments led by professional coaches.

It primarily engages South Asian children and provides a platform for grassroots players to be identified by clubs.

More than 3,300 players and around 900 coaches have taken part since the programme began. This year’s event brought together 28 clubs from the Premier League through to League Two.

Among those attending were some of Britain’s leading South Asian footballers, including Peterborough United players Brandon Khela and Kira Rai, alongside Wrexham AFC forward Mariam Mahmood and aspiring Leicester City Academy defender Reiss Khela.

They follow previous South Asian role models, including Mal Benning and Anwar Uddin, who have supported the initiative.

Khela said: “[It’s important] these kids get the opportunity.

“They’re still young and they’ve got so much growth and development, but to get them out there is the big thing for me.

“Show them this is the top level and anything’s possible. It’s about reinforcing that statement and giving these lads the opportunity.”

The festival has now been running for six years. After launching in 2021 with only two teams, it has expanded significantly and now attracts clubs from across the professional game.

This year’s event followed a series of regional qualifiers, with grassroots Under-8 teams representing their local professional clubs. More than one in 10 participants were invited to development centres following last year’s programme.

Mahmood believes initiatives such as the Emerging Talent Festival can help tackle the drop-off in South Asian representation as players move through football’s pathway.

Having started playing football to spend time with her brother and cousins, Mahmood became the first Pakistan international to win the Adran Premier when Wrexham secured the title last season.

She said: “When you look at a lot of grassroots teams, there are a lot of South Asians. But as you come up the pyramid, there’s less.

“The question is: why? These events help to scout the players and find hidden talents. Here, there are people watching and it’s good exposure for these kids to hopefully bridge the gap.”

The Premier League has also invested in increasing diversity within the women’s game. It currently funds 70 FA Girls’ Emerging Talent Centres, which are designed to broaden access to the women’s and girls’ talent pathway.

Since funding began three years ago, representation among players from ethnically under-represented groups has increased by 87%.

Rai said: “I’ve gone into schools to do talks and the shock on their faces at me [as a South Asian footballer]. I want to normalise it and not be the first brown girl they’ve seen play football.

“Just because they’re South Asian, just because they’re brown, it can be the norm for them. It’s so important they have role models so they can see it as a viable path for them.

“As good as [Emerging Talent Festivals] are right now, and they’re doing their job right now, the end goal is for these not to exist.”

“We want to see representation across the game as a whole – men’s and women’s. We want a game that represents our society in England.”

Khela drew on his own experiences in professional football when speaking to the youngsters:

“I’m nowhere near making it fully but I’ve achieved my dream of signing that first professional contract and now I’ve got aspirations of getting to the top level.

“Chase your dream, believe in yourself.

“The big thing is the criticism and the noise – it’s hard to block it out but you need to focus on your goal.”

Mahmood echoed that advice and encouraged young players to see themselves as future trailblazers:

“I didn’t have any South Asian role models growing up so I didn’t see it as a career path. It wasn’t common… you think: ‘Is this possible?’

“If I spoke to my younger self, I’d say: ‘Keep pushing, keep pushing. If there’s not one there yet, be the first’.”

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