This article is a comparison of Mass Communication and Journalism studies between India and Australia. Based on an interview with a student from the Western Sydney University, who had visited the Times School of Media in Bennett University for a cultural and educational exchange program. The findings of this article delve into the structural and qualitative differences between the teaching methods and course structure for Mass Communication and Journalism studies in both countries.
Bennett University has launched BENNETT DIALOGUES, a fortnightly talk series conceptualized by Chancellor Vineet Jain (Times Group MD) to help students grasp global geopolitical shifts. Led by Prof. Dhiraj Singh (Head, Centre for Media & Technology), it features informal fireside chats and Q&A with experts in geopolitics, business, and media. The series aims to connect world events to everyday impacts, like how the US-Israel-Iran war affects India's petrol and LPG prices. The inaugural edition on April 21 explores "The War in West Asia," with Times Now's Zakka Jacob and Dr. Waiel Awwad (Syrian-origin expert on West Asia conflicts, based in Delhi). Prof. Singh highlights its blend of Times Group media legacy and Bennett's academic excellence, benefiting media, liberal arts, business, and law students.
On April 8, a fragile ceasefire briefly eased global tensions after 40 days of war between Israel, Iran, and allies, announced by Trump on Truth Social and confirmed by Iran and Pakistan's PM Shehbaz Sharif, who brokered it. Celebrations ensued worldwide as markets surged and oil prices fell, until Israeli jets struck Lebanon that morning, killing 357 civilians in what Beirut dubbed "Black Wednesday," while Israel excluded Lebanon from the deal. No formal agreement exists; conflicting statements emerged immediately, with Pakistan and Iran insisting it covered Lebanon, but Israel and the US rejecting that after a Trump-Netanyahu call. Lebanon, already devastated with over 2,000 deaths since March, was sidelined in a multi-front conflict involving Hezbollah, Iraqi militias, and Gulf interceptions. Post-ceasefire issues mounted: Iran kept the Strait of Hormuz choked, charging exorbitant fees and slashing traffic from 110 daily ships to four. Historic US-Iran talks in Islamabad on April 11 collapsed, prompting a US naval blockade that doubled down on the disruption, halting all oil route traffic (20% of global supply). The two-week truce window lasts until April 22 amid ongoing messages, but optimism fades after the deadliest civilian day coincided with its announcement.
This article attempts to find an answer to whether Dhurandhar a propaganda film or not? For a film so highly acclaimed and criticized, Dhurandhar has managed to become a topic of debate in almost every Indian household.
The film "The Voice of Hind Rajab", directed by Tunisian filmmaker Kaouther Ben Hania, reconstructs the tragic final moments of six-year-old Palestinian girl Hind Rajab, killed in Gaza amid the Israel-Palestine conflict. It serves as a powerful commentary on civilian suffering, war's human cost, humanitarian crises, and global indifference, transforming a personal loss into a broader critique of geopolitical silence. The documentary has sparked controversy in India, where distributor Manoj Nandwana reports an oral block by the Central Board of Film Certification (CBFC) due to fears it could strain India's strengthening ties with Israel in defence, tech, and trade. No formal written order exists, raising concerns about transparency, artistic freedom, and censorship influenced by diplomacy rather than by cinematic guidelines. Director Ben Hania voiced heartbreak on Facebook, lamenting the decision amid her lifelong love for India and Bollywood, while questioning if the "honeymoon" between the "world’s largest democracy" and the "only democracy in the Middle East" is so fragile. The case highlights broader trends of political sensitivities curbing films on contentious issues, unequal treatment of global narratives, and tensions between art, authority, and empathy in India's media landscape.
Timothée Chalamet's offhand dismissal of ballet and opera as irrelevant sparked outrage from the arts community, including the Met Opera, Royal Ballet, and stars like Misty Copeland. Yet, post-pandemic declines in audiences and funding reveal harsh truths: these forms struggle against streaming, gaming, and inaccessibility due to high costs and elitism. The piece urges evolution over defense—through bold collaborations (e.g., Lady Gaga), innovative productions like Anna Nicole, and pop culture crossovers, akin to theatre's Tarantino buzz or Chalamet's own savvy marketing. Dismissal as "uncultured" misses the point: his words are vital feedback for survival in today's attention economy.
This article looks at the impressive story of Alysia Liu, Olympic Gold Winner in the 2026 Milano Cortina Games. It examines the underlying power and courage it takes to not only leave something you love but to come back stronger than ever before,