I Am Bhojpuriya

Author: Sutun Nayak

  • Zak Fenestration India Expo 2026 in Bengaluru to Showcase Trends in Glass, Façades, and Aluminium Systems

    Zak Fenestration India Expo 2026 in Bengaluru to Showcase Trends in Glass, Façades, and Aluminium Systems

    Zak Fenestration India Expo 2026 Bengaluru to Present Practical Solutions for South India’s Building Industry

    Bengaluru (Karnataka) [India], April 16: With South India continuing to see steady growth in construction and infrastructure, Bengaluru is set to host Zak Fenestration India Expo 2026, an exclusive expo bringing the Fenestration Industry together in one of the region’s key markets. Zak Fenestration India Expo 2026 will be held from 28–30 April 2026 at the Bangalore International Exhibition Centre (BIEC), Bengaluru. The exhibition will bring together companies from the Glass, Doors, Windows, Façades, and Aluminium Extrusion under one roof. With steady growth in construction across India, there is an increasing focus on quality, performance, and sustainability in building design. The expo will showcase a range of practical solutions suited to current market needs, supporting better design, execution, and long-term performance of building envelopes.

    A Focused Industry Showcase

     The three-day event will feature 100+ exhibiting brands presenting products and solutions across uPVC and aluminium systems, façades, cladding, railings, hardware, software, machinery, and glass processing. The exhibition will also include live demonstrations, mock-ups, and product displays to help visitors understand applications in real project scenarios.

    The expo is relevant for architects, developers, fabricators, consultants, contractors, and other professionals involved in the building industry, offering an opportunity to review available solutions and connect with suppliers.

    With Bengaluru being an active market for real estate and infrastructure, the event is expected to attract visitors from across South India.

    Says Mr. Syed Zakir Ahmed, Chairman, Zak Trade Fairs & Exhibitions, “Zak has consistently brought together the Doors, Windows, Glass, Façades, and Aluminium Extrusions through its exhibitions. For the first time in Bengaluru, we are presenting a dedicated platform focused entirely on fenestration solutions, an area that plays a critical role in how buildings perform and evolve. The industry today is moving towards better materials, smarter systems, and more responsible construction practices. This exhibition is our effort to support that journey by creating a space where knowledge, products, and people come together in a meaningful way. With great pride, I invite you and your team to join us from 28–30 April 2026 at the Bangalore International Exhibition Centre (BIEC), Bengaluru, and be a part of this collective step forward for the industry.”

    Visitor registrations are now open: www.zak.sg/expo

    About Zak Exhibitions & Conferences
     Founded in 1994, Zak Exhibitions & Conferences organizes exhibitions and conferences focused on glass, façade, and fenestration segments. With over 1000 events globally, the company continues to support industry growth and knowledge exchange.

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  • GV Sanjay Reddy Breaks It Down: Where India’s Solar Targets Stand in 2026

    GV Sanjay Reddy Breaks It Down: Where India’s Solar Targets Stand in 2026

    By: GV Sanjay Reddy, Vice Chairman, GVK Power & Infrastructure Ltd

    New Delhi [India], April 15: Energy is the invisible engine behind modern life, powering everything from the hospitals that save lives to the devices that keep us connected. As global populations rise and technology becomes more integrated into our daily routines, our hunger for electricity is reaching unprecedented levels. 

    To meet this surging demand without destroying our environment, we must shift toward sustainable solutions like solar power. By capturing the sun’s inexhaustible energy, we can produce clean, reliable electricity that reduces our reliance on fossil fuels. Solar isn’t just an alternative; it is the most scalable answer to our growing energy needs, offering a way to power the future while protecting the planet.

    To understand how these shifts are shaping India’s energy demands, let’s get insights from G.V. Sanjay Reddy, Vice Chairman of the GVK conglomerate.

    India’s solar journey has evolved from an ambitious vision into a global benchmark, with the nation now ranked 3rd globally in solar power capacity as of 2025. To reach the overarching goal of 500 GW of non-fossil capacity by 2030, with solar expected to contribute 280 GW of that total, the government is executing several large-scale initiatives. 

    The PM Surya Ghar: MuftBijliYojana, launched in early 2024, aims to solarise 10 million households, providing up to 300 units of free electricity monthly; by December 2025, over 2.3 million households had already adopted rooftop solar under this scheme. 

    Simultaneously, the PM-KUSUM scheme empowers farmers to become “energy producers” by installing solar pumps and small grid-connected plants on barren land, with over 2 million agricultural pumps solarised as of early 2026. 

    GV Sanjay Reddy believes, “Farmers have always been the backbone of our nation, tilling the earth to feed our people; today, they are becoming the heartbeat of our energy future. By transforming from traditional consumers into ‘Urjadatas’ (energy producers), our farmers are now harvesting the sun to power our progress.”

    “This shift does more than just provide clean electricity, it guarantees energy security for the rural landscape, turns barren land into a source of steady income, and ensures that the hands that feed us are the same hands that power a sustainable, self-reliant India,” he adds.

    On a larger scale, India demonstrates utility-scale dominance by hosting massive clusters like the Bhadla Solar Park in Rajasthan, with 55 sanctioned solar parks totaling nearly 40 GW at various implementation stages across 13 states. 

    Supporting this is a push for manufacturing self-reliance through the Production Linked Incentive (PLI) scheme, which saw solar module capacity skyrocket from 2.3 GW in 2014 to roughly 144 GW per annum by 2025. 

    Looking ahead, India is already setting its sights on a long-term goal of 1,800 GW of non-fossil capacity by 2047, while currently focusing on the 2030 target. 

    Despite this momentum, challenges remain in grid integration and storage, leading to a strategic pivot toward Battery Energy Storage Systems (BESS) and Green Hydrogen to ensure a stable, 24/7 clean energy supply as the nation marches toward its ultimate Net Zero goal by 2070.

    GV Sanjay Reddy says, “While the path to a clean energy future is steep and filled with the challenges of modernizing our grids and storing the sun’s power, we are undeniably moving in the right direction. Every solar panel installed and every household energized is a testament to our collective resolve.”

    These hurdles are not roadblocks, but rather the stepping stones of innovation that are refining India’s journey. With unwavering momentum and a clear vision, yesterday’s ambitions can turn into today’s reality, proving that an India powered by the sun is not just a dream, but an inevitable and brilliant horizon.

    Disclaimer: Views expressed above are the author’s own and do not reflect the publication’s views.

  • Shyam Group Highlights Shyam Serene: Prime Investment Gateway to Dholera SIR

    Shyam Group Highlights Shyam Serene: Prime Investment Gateway to Dholera SIR

    Ahmedabad (Gujarat) [India], April 16: In the heart of Dholera Special Investment Region (SIR), India’s flagship smart city along the Delhi-Mumbai Industrial Corridor (DMIC), Shyam Serene emerges as a premier residential plotting project by Shyam Group. Strategically positioned near the upcoming Dholera International Airport, the Ahmedabad-Dholera Expressway, and the ancient port of Lothal, this development offers plots ranging from 100 to 570 sq. yards with clear titles and NOCs, ensuring hassle-free ownership.

    Remarkably, Shyam Group also holds the distinction of developing Dholera’s first commercial complex with RERA approval, setting a new benchmark for organized business spaces in the region. This milestone further cements the Group’s leadership in shaping Dholera’s urban landscape.

    Dholera SIR, conceptualized by Prime Minister Narendra Modi, boasts world-class infrastructure including a 6-lane expressway, advanced Sewage Treatment Plant, 24×7 power from Tata and Torrent substations, and Asia’s largest solar park. By 2026, key milestones like Tata Semiconductor Plant, ReNew Power projects, and high-speed rail links are accelerating industrial growth, drawing global investors via MoUs and driving property appreciation. The area’s activation zones feature wide roads, utility corridors, ICT backbone, and green amenities, positioning it as a manufacturing and logistics hub with exceptional ROI potential.

    Shyam Serene enhances livability with gated layouts, jogging tracks, children’s play areas, senior citizen parks, gazebos, and gardens, all in a seismically safe zone. Located in proximity to government offices, metro rail, and trade centers, it caters to forward-thinking investors eyeing sustainable urban growth.

    Hardik Shah, Director, Shyam Group-Dholera SIR, said, “Shyam Serene is more than plots—it’s a stake in Dholera’s booming ecosystem. With infrastructure accelerating and majors like Tata and Adani investing, our affordable, amenity-rich project guarantees strong returns and quality living in India’s smartest city. And with our RERA-approved commercial complex—the first of its kind in Dholera—we offer unmatched opportunities for both residential and commercial growth.”

    Since 2013, Shyam Group has developed over 12.33 lakh sq. ft. in Dholera, committed to transparency and timely delivery. Ideal for NRI and domestic investors, Shyam Serene promises exponential value amid Dholera’s 2026 transformation.

    About Shyam Group: Shyam Group was established with a vision to develop affordable residential plots and housing schemes in Ahmedabad and Gujarat. In a short span of just 3 years, our group has developed 12.33 Lacs Sq. Ft of land at Dholera SIR and having 11.00 Lacs Sq. FT under development. The group plans to deliver 15 Lacs Sq. Ft of developed land by the year 2030. Presently, Shyam Group is developing 3 residential plotted development projects at Dholera SIR under the company Shyam Infrazone Private Limited and Dream Buildcon. The projects are located at the strategic locations at Dholera SIR, which is going to be the 1st planned smart city of India. The projects are named Dholera Global City and Smart City.
     
     Visit: http://www.shyamgroups.co.in
     Email: infoshyamgroups.co.in

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  • Akash Sharma, AVP – Digital Monetisation at Zee Media Corporation, Steps Down to Join Admerly as Chief Strategy Officer

    Akash Sharma, AVP – Digital Monetisation at Zee Media Corporation, Steps Down to Join Admerly as Chief Strategy Officer

    New Delhi [India], April 16: Admerly, a publisher monetisation platform within the BE Group ecosystem, today announced that Akash Sharma has joined the company as Chief Strategy Officer (CSO), stepping down from his role as Assistant Vice President – Digital Monetisation at Zee Media Corporation, one of India’s largest media conglomerates.

    This marks a significant transition in his career, from leading digital monetisation at scale at Zee Media to shaping the strategic vision of a platform built to serve publishers across India’s rapidly evolving digital advertising landscape.

    In his new role at Admerly, Sharma will be responsible for defining the company’s GTM strategy, deepening relationships with enterprise publishers, and shaping the product roadmap to address the evolving demands of the publisher ecosystem. His mandate includes expanding Admerly’s position as a trusted monetisation partner, one that delivers measurable revenue outcomes while preserving the integrity of the viewer experience.

    Sharma brings over a decade of publisher-side experience to the role, having built deep expertise across programmatic strategy, direct advertiser partnerships, yield management, and revenue operations. At Admerly, his background as a practitioner, someone who has lived the pressures and trade-offs publishers face daily, is seen as a key asset

    “After more than a decade on the publisher side, building revenue engines, managing demand partnerships, and learning what it takes to monetise content at scale, I made a deliberate choice to move to a platform that I believe is solving the right problem in the right way. The best monetisation strategies are the ones that work for the viewer, not just the balance sheet. At Admerly, that principle isn’t a secondary consideration; it’s the foundation of how the product is built. I’m excited to bring a practitioner’s perspective to this side of the table and help publishers build sustainable, viewer-first revenue strategies.” – Akash Sharma, Chief Strategy Officer, Admerly

    Adding to his appointment,Arun Raghav,  Founder & Business Head at BEdigitech, said, “When we set out to build Admerly, we wanted to create something that publishers could genuinely trust. Not just another vendor, but a real partner that understands their world from the inside. Akash has lived that world. He’s built revenue systems, managed complex demand relationships and made the tough calls that come with monetising content at scale. Having that perspective in our leadership team changes how we build, how we sell and how we show up for our customers. We couldn’t be more excited to have him lead strategy for what comes next.”.

    About Admerly

    Admerly is a publisher monetisation platform within the BE Group ecosystem, focused on building revenue solutions that align commercial performance with viewer experience. The platform works with publishers across web, mobile and CTV environments to deliver sustainable, viewer-first monetisation strategies. Admerly’s approach is rooted in the belief that when the ad experience works for the person watching, the commercial outcomes follow higher engagement, stronger retention and better revenue for publishers and advertisers alike.

    Media Contact

    For press inquiries, please contact:

    Sonal Bhardwaj, Market Analyst, BE Group 

    sonal@ctvscale.com / pr@admerly.com

    +91 8306801510

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  • Dhurandhar Franchise Crosses Rs. 3,000 Crore, Becomes India’s Highest-Grossing Film Series

    Dhurandhar Franchise Crosses Rs. 3,000 Crore, Becomes India’s Highest-Grossing Film Series

    Mumbai (Maharashtra) [India], April 15: Usually, box office records in Indian cinema fall in slow motion. One film edges past another, the numbers shuffle, and that’s that. But what’s happened these last 26 days? That broke the script completely. No gentle climb, no steady rise—just a sudden leap that left everyone else behind.

    With Dhurandhar 2: The Revenge, Aditya Dhar didn’t just roll out another sequel. He built something much bigger—a franchise that shattered the old limits. You don’t see numbers like this: the Dhurandhar series blasted past ₹3,000 crore worldwide. No Indian franchise had ever done that.

    Look at what it left in the dust. S. S. Rajamouli’s Baahubali series topped out at ₹2,438 crore. Allu Arjun’s Pushpa films scored ₹2,092 crore. These weren’t just popular—they set the standard. But now? They got overtaken.

    The stats say it all. The first Dhurandhar pulled in ₹1,307.35 crore. The sequel already crossed ₹1,712 crore, bringing the total to ₹3,019.35 crore. That’s not just momentum; that’s straight-up acceleration.

    And the real gamble? Time.

    A movie that runs for 3 hours and 55 minutes is asking a lot. People barely want to give two hours these days, what with fast cuts, short attention spans, and phones always buzzing. A 235-minute film should feel like a risk.

    But it worked.

    Audiences didn’t back away—they leaned in. The movie takes its time, lets scenes breathe, and somehow that extra length turns into a feature, not a bug.

    The story picks up where the 2025 film left off. Jaskirat Singh Rangi—Hamza Ali Manzari—played by Ranveer Singh, is undercover again, operating across borders. His performance stands out not because he’s flashy, but because the pressure shows. He doesn’t try to be the hero every second. You see the weight on him.

    When Dhurandhar 2 released on March 19, 2026, it went head-to-head with Ustaad Bhagat Singh starring Pawan Kalyan. Normally, that sort of clash splits ticket sales, but not this time. Both films did fine, but Dhurandhar 2 just sprinted off on its own track.

    And the cast? They absolutely held it together.

    For a film this long, you need people with presence. Sanjay Dutt and Arjun Rampal give off this steady menace without saying much. R. Madhavan is precise, razor-sharp. Sara Arjun and Rakesh Bedi bring in the quiet, everyday moments, making sure the film never gets lost inside its own scale.

    The real surprise: the money didn’t come from China or the Gulf, which is where Indian blockbusters usually break through. This time, it was India itself and the Western diaspora doing the heavy lifting. That shift changes things—it points to a new center of gravity for Indian films.

    For years, Indian filmmakers treated sequels like afterthoughts. You slapped on a familiar name but told a totally new story. The link was mostly marketing, not continuity.

    Dhurandhar flipped the script. It planned for the long haul, building continuity across films and rewarding audiences for sticking with it. Trade trackers like Sacnilk are paying attention for a reason: ₹3,000 crore isn’t just a statistic. It means Indian movies can pull off big, multi-part sagas the way Hollywood franchises do.

    The box office numbers hammer that home. In just 26 days, Dhurandhar 2 pulled in ₹1,311.68 crore gross in India, netting ₹1,095.67 crore. These aren’t just blockbusters—they’re cultural events.

    Aditya Dhar did more than just release a massive film. He reset the bar for what a “big film” even means. Stretch one story across two huge chapters, give people room to immerse themselves, and keep them coming back. That approach isn’t common for Indian cinema on this scale.

    Now, the definition of a blockbuster is something else entirely. The ceiling just got raised.

    For everyone who made it through all 235 minutes, the film wasn’t about record-breaking. It felt patient, grounded. Like something important setting roots. The weight of what you’d just watched—well, that only hits you later.

    PNN Entertainment

  • Sleep Optimization Trends: How People Are Fixing Their Sleep Cycles

    Sleep Optimization Trends: How People Are Fixing Their Sleep Cycles

    The Routine Your Body Has Been Waiting For

    New Delhi [India], April 15: Sleep optimization isn’t a trend.
    It’s what happens after people realize something broke.

    No one chased sleep for fun. They lost it first.

    Too many screens. Work bleeding into midnight. Notifications that never end. The body tried to keep up. For a while, it did. Then it didn’t.

    That’s when the shift began. Not toward “better sleep.” Toward repair.

    What Sleep Optimization Actually Means

    It’s not about adding hours.
    It’s about restoring order.

    Same time. Same rhythm. Same signals.

    The body doesn’t resist sleep. It resists chaos.

    Most people don’t have insomnia.
    They have inconsistency dressed up as a lifestyle.

    Why Sleep Cycles Are Breaking in 2026

    Nothing dramatic. Just accumulation.

    Disruption What It Does
    Late-night screens Delays melatonin release
    Irregular work hours Breaks internal clock
    Stress and overthinking Blocks deep sleep
    Social media loops Keeps brain alert
    Poor light exposure Confuses day and night

    Individually, manageable.
    Stacked together, enough to derail the system.

    How People Are Fixing Their Sleep Schedule

    No hacks. No magic. Just repetition.

    Fixed Timing

    Same sleep time. Same wake time. Every day.

    Not flexible. Not negotiable.

    The body stops guessing. Starts following.

    Light Discipline

    Morning light in. Night light out.

    Sunlight early. Screens dimmed late.

    No extremes. Just control.

    Digital Cut-Off

    A rule that’s sticking:

    No screens 60–90 minutes before bed.

    Not because screens are evil.
    Because the brain doesn’t know how to slow down with them.

    Environment Reset

    Cool room. Dark space. Quiet edges.

    Nothing fancy. Just predictable.

    When the setting stops changing, the body stops resisting.

    Stimulant Control

    Caffeine has a timeline now.

    Cut off by late afternoon. No spillover into night.

    People are finally connecting the dots—
    you don’t sabotage sleep all day and expect recovery at night.

    The Tools People Are Using

    Technology created the noise. Now it’s being used to measure it.

    Sleep tracking apps.
    Smartwatches.
    White noise machines.
    Blue light filters.

    None of them fix sleep.

    They expose patterns.
    And once patterns are visible, behavior starts shifting.

    What Actually Works

    No surprises here.

    Action Impact
    Consistent timing High
    Morning sunlight High
    Reduced screens at night Medium–High
    Better sleep environment Medium
    Supplements Situational

    There’s a pattern inside the pattern:

    Behavior beats shortcuts.

    The Real Shift

    Sleep optimization isn’t about doing more.

    It’s subtraction.

    Less light at night.
    Less stimulation.
    Less randomness.

    The body already knows the process.

    What it needs is stability.
    A routine it can trust without hesitation.

    And once it gets that—
    sleep doesn’t need to be chased.

    It returns.

    PNN Lifestyle

  • Ramayana: Can Nitesh Tiwari Make Myth Feel Real Again

    Ramayana: Can Nitesh Tiwari Make Myth Feel Real Again

    Mumbai (Maharashtra) [India], April 15: The problem with making the Ramayana in 2026 is not scale. India knows scale. Bigger sets. Bigger stars. Bigger claims.

    The problem is trust.

    After Adipurush, the audience is no longer impressed by numbers alone. People have seen what happens when mythology is treated like a visual-effects experiment. The reaction was not just disappointment. It was irritation. The feeling that something familiar had been turned into something synthetic.

    That is the shadow hanging over Nitesh Tiwari’s Ramayana.

    The teaser arrived on Hanuman Jayanti. The timing was deliberate. So was the message. This is not being presented as another film. It is being presented as an event.

    With a reported budget close to ₹4,000 crore, Ramayana is already being described as the most expensive Indian film project ever attempted. But that number is not the real story. The real story is whether Indian cinema can finally create a mythological world that feels lived-in rather than digitally assembled.

    The first glimpse gave a partial answer.

    Ranbir Kapoor as Rama looked quieter than expected. Not dramatic. Not overtly heroic. There was restraint in the face, which helped. The role needs stillness more than performance, and for a moment, it worked.

    Then the teaser widened.

    Ayodhya appeared. Forests appeared. Large digital landscapes unfolded across the screen.

    And immediately, the same old concern returned.

    Everything looked expensive. Not everything looked real.

    The lighting was polished. The frames were clean. Too clean. Some of the forests looked less like forests and more like a game environment waiting for a character to walk through it. The architecture had scale, but not weight. Even online, the language people used was telling: “too smooth,” “too artificial,” “AI-like.”

    The criticism is not that the film uses technology. Every large film does. The criticism is that the technology is visible.

    The best visual effects disappear into the story. You stop noticing them. Here, people noticed them first.

    That matters because the Ramayana does not survive on spectacle alone. It survives on emotional memory. Everyone already has their own version of these places in their head. Ayodhya is not just a city. Lanka is not just a kingdom. They are inherited images. The audience is not coming to discover them. The audience is coming to see whether the film understands them.

    To be fair, the team behind this film is probably the strongest any Indian production has assembled.

    The project is backed by Prime Focus Studios, DNEG, and Monster Mind Creations. DNEG is not an ordinary VFX studio. This is the company behind Dune, the film that made deserts feel spiritual and silence feel enormous.

    That is why expectations are so high. Not because people doubt the budget. Because people know the talent is there.

    The music pairing says the same thing. Hans Zimmer and A. R. Rahman working together sounds almost unreal on paper. One brings scale. The other brings feeling. If the film has a chance of finding emotional rhythm, it is probably here.

    The casting also feels more considered than flashy.

    Sai Pallavi as Sita makes immediate sense because she brings something rare to the screen: calm without distance. Yash as Ravana is the opposite choice—larger, louder, more physically commanding. That contrast could work.

    Then there is Arun Govil playing Dasharatha.

    That is the one decision that feels quietly brilliant.

    For one generation, Arun Govil was Rama. Not an actor playing Rama. Rama. Seeing him now as Dasharatha creates a strange emotional bridge between the television version people grew up with and the new version trying to replace it. The film does not say this directly, but the casting does.

    Still, none of this solves the central question.

    Can this film make myth feel human again?

    That is where Nitesh Tiwari becomes important. He is not known for visual excess. He is known for emotional control. Dangal worked because the characters felt ordinary before they became extraordinary. Chhichhore worked because it understood memory, regret and friendship without forcing them.

    Ramayana needs that same instinct.

    Because this story does not need to be modernized. It does not need to be louder or darker or more “global.” It only needs to feel true.

    That is harder than it sounds.

    The makers want this to be India’s answer to Dune or The Lord of the Rings. The ambition is understandable. But those films worked because the world came second. The emotion came first.

    You believed in Arrakis because you believed in Paul. You believed in Middle-earth because you believed in Frodo.

    The same rule applies here.

    If people believe in Rama and Sita, the cities will follow.

    If they do not, no amount of VFX will save it.

    The first part releases during Diwali 2026. Until then, the conversation will continue. Every teaser will be examined. Every frame will be discussed. The internet has become less patient, but also more precise. People know exactly what they do not want.

    They do not want another mythology that looks like software.

    They want one that feels like memory.

    PNN Entertainment

  • Sambhrant City & Citykart Presents Miss Universe Bihar 2026 and Miss Teen Bihar 2026 Grand Finale, Co-powered by Animo Pet Care

    Sambhrant City & Citykart Presents Miss Universe Bihar 2026 and Miss Teen Bihar 2026 Grand Finale, Co-powered by Animo Pet Care

    Patna (Bihar) [India], April 15: The grand finale of Miss Universe Bihar 2026 and Miss Teen Bihar 2026 was successfully organised at the prestigious NIFT Patna, bringing together elegance, talent, and empowerment on a single stage. The event was presented by Sambhrant City and Citykart, whose continued support underscores their commitment to youth empowerment and aspirational platforms, and was co-powered by Animo Pet Care, adding strength to the event’s execution and outreach.

    The pageant witnessed an overwhelming response, with hundreds of aspirants from across Bihar participating in the auditions. After a rigorous multi-stage selection process, only the top 30 finalists in the Miss Universe Bihar (18+ category) and 11 finalists in the Miss Teen Bihar (13–19 category) advanced to the grand finale. Recognized as one of Bihar’s leading pageantry platforms, the initiative continues to empower young women by providing them with opportunities to grow, lead, and represent the state on national and international stages.

    Carrying forward the legacy of the globally renowned Miss Universe platform—which has produced iconic winners such as Sushmita Sen (1994) and Lara Dutta (2000)—the evening reflected a blend of confidence, purpose, and modern ambition. Contestants competed across multiple rounds, including cocktail wear, evening gown, and a final question-answer segment, showcasing not just beauty but also intelligence and individuality.

    The grand finale was evaluated by an eminent jury panel comprising Ms. Manika Vishwakarma (Miss Universe India 2025), Mr. Nikhil Anand (National Director, Miss Universe India), Mrs. Nitu Kumari (State Director, Miss Universe Bihar), Mr. Nishant Anand (Director of Glamanand), Mr. Amjad Khan (Director of Franchise Operations, Miss Universe India), Mr. Vishal Soni (Founder of Sambhrant City), Ms. Hiya (Actor and Model), Dr. Shambhavi Jha (Miss Universe Bihar 2025) & Ms. Sejal Gupta (Miss Teen International India 2023) The event was hosted by Trishna Ray, the first Indian to win Miss Teen Universe 2024, who brought energy and elegance to the evening.

    The event experience was further enhanced with the support of key partners, including The Bliss as the jewellery partner and Makers as the furniture partner, contributing to the visual and aesthetic appeal of the showcase. The prestigious venue partner NIFT Patna, along with academic collaborators Loyola High School and Krishna Niketan, played an integral role in supporting the event’s execution and outreach.

    Participants were felicitated with framed certificates, acknowledging their dedication and journey throughout the competition. The crowning moment of the evening was led by Dr. Shambhavi Jha, who crowned the winners in a celebratory ceremony.

    Rupali Bhushan was crowned Miss Universe Bihar 2026, while Preeti Rai earned the title of Miss Teen Bihar 2026, marking the beginning of their journey toward larger national platforms.

    Backed by strong title sponsors like Sambhrant City, a brand redefining modern urban living in Bihar, and Citykart, one of India’s fastest-growing value fashion retail chains empowering aspirational consumers, along with co-powered partner Animo Pet Care, the platform continues to grow as a significant force in Bihar’s fashion and pageantry landscape.

    The evening concluded on a high note, celebrating beauty with purpose, confidence, and ambition, while reinforcing the importance of platforms that nurture future leaders and role models.

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  • Hafele Islene – Aluminium Profiles for Modular Island Systems Built to Complement Modern Kitchen Spaces

    Hafele Islene – Aluminium Profiles for Modular Island Systems Built to Complement Modern Kitchen Spaces

    Hafele Islene Modular Island System

    New Delhi [India], April 15: Hafele strengthens its modular kitchen portfolio with Hafele Islene – Aluminium Profiles for Modular Island Systems, designed to enhance both the visual appeal and structural strength of modern kitchen islands. As kitchen islands continue to play a central role in contemporary homes, solutions that combine elegant design with dependable performance have become essential for creating seamless and long-lasting interiors.

    A key highlight of the Hafele Islene system is its enhanced aesthetics, achieved through premium black finish profiles that complement a wide range of surface materials, including stone, glass, and wood. This refined finish allows the system to blend effortlessly with premium interiors while creating a visually striking island structure. The clean profile design supports clutter-free layouts and aligns perfectly with minimalist and modern kitchen styles, ensuring that the island becomes a focal point that enhances the overall look and feel of the space.

    Alongside its visual appeal, Hafele Islene offers a robust solution built for long-term durability. Manufactured using high-quality aluminium, the profiles are engineered to withstand everyday usage and support heavy countertops with ease. This strong structural capability ensures reliability over time while maintaining stability across various configurations. By combining sophisticated aesthetics with dependable strength, Hafele Islene delivers a balanced solution that meets the evolving needs of modern kitchen environments.

    Established as a wholly owned subsidiary of Hafele Global Network, Hafele India has been operating in India since 2003. An authority in the field of architectural hardware, furniture, and kitchen fittings and accessories, the company also has a strong presence in synergized product categories like Home Appliances, Interior and Furniture Lighting, Sanitary Solutions, and Surfaces, positioning itself as a complete solution provider for interior solutions in India and South Asia. Hafele India has a strong nationwide presence through its offices and design showrooms spread across the country. The showrooms function as a one-stop shop for all home interior and improvement needs – from providing in-depth technical advice to kitchen and wardrobe designing services through a team of experts.

    Log onto https://www.hafeleindia.com/en/info/service/contact-us/410/ to find the nearest Hafele showroom or design Centre.

    If you object to the content of this press release, please notify us at pr.error.rectification@gmail.com. We will respond and rectify the situation within 24 hours.

  • The Devil Wears Prada 2: Why Miranda Priestly Feels Different Now

    The Devil Wears Prada 2: Why Miranda Priestly Feels Different Now

    The sequel looks right—but something feels different

    New York (United States), April 14: You know that rare feeling when a movie just sits with you for years—sometimes not because of the story, but because of that one person on screen? For me, that’s always been Miranda Priestly.

    The first time I watched The Devil Wears Prada, I remember thinking, how can someone be this intimidating without ever raising her voice? No yelling, no theatrics—just a quietly controlled tone, a pause, and suddenly everyone’s on edge. That’s all, Meryl Streep. She took Miranda and made her believable—almost too believable—so real she got under your skin.

    So now, hearing about a sequel stirs something in a lot of people. There’s excitement, sure, but also a weird edge to it this time.

    Let’s talk about why.

    When the buzz started around The Devil Wears Prada 2, everyone jumped on the hype train. Then there was that Dolce & Gabbana show—Meryl Streep and Stanley Tucci, back in those roles like they’d never left. For a split second, it was magic again.

    Then they posed with Anna Wintour.

    Something about that moment just made things different. For years, people always whispered that Miranda was really Anna Wintour. Nobody ever said it out loud, but the secret made the character sharper, almost dangerous.

    Now, suddenly, there’s no distance. They’re right there together, all smiles, and honestly, it felt like watching a magician pull back the curtain. You lose a little mystique. Not a bad thing, exactly—but not the same, either.

    The original movie worked because Miranda never tried to be friendly; she never asked you to like her. She didn’t care at all. If you wanted to survive, that was on you. Somehow, that felt more honest.

    Now, with talk of the sequel, everything seems… safer. There are warm interviews, a nostalgia glow, the sense that everyone wants the film to be embraced. The old movie didn’t care about that. It felt kind of ruthless, in a way—even about the fashion world it showed. Back then, it felt like the filmmakers were a step outside looking in, ready to poke fun. This time, the industry’s not just in on the joke; it wants a front row seat. Top designers, big labels, everyone lining up to be featured.

    I get it. It’s a huge spotlight. But when everyone’s welcome, who’s left to stir things up? To be a little unsettling, the way Miranda used to be?

    That smoothness, the polish—it makes me wonder if some of the grit is gone. The stuff that stung. The things people still remember.

    I’m not saying the sequel can’t be just as good. I hope it surprises everyone.

    But I want that same feeling: when Miranda enters, and the whole room stops. That tension. The need to pull yourself together. If we lose that, even a bit, the world just doesn’t feel the same.

    PNN Lifestyle