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Actor Mehwish Hayat and Indian rapper Yo Yo Honey Singh are under scrutiny in the UK after a music video featuring children wielding imitation firearms triggered an official complaint to the British government, reported Deadline.

The video in question, for the song ‘Jatt Mehkma’, has amassed nearly 40 million views on YouTube since its release last November. While the track continues to enjoy success on YouTube, it has sparked concern among UK officials and social commentators for what critics call a “disturbing glorification of violence.”

Mehwish Hayat has denied any action against her, saying, “These claims are entirely speculative and misleading. I urge responsible media platforms to verify facts before sharing such narratives, especially when they can cause harm and perpetuate false assumptions. All such targeted misinformation is being documented.”

British MP Manuela Perteghella, who represents Stratford-upon-Avon in the West Midlands, has formally raised the issue with the UK Home Office, according to the publication. The four-minute video was reportedly filmed at Eastnor Castle in Herefordshire and in Birmingham’s city centre. It ends with four young boys joining Hayat’s character and opening fire, using replica automatic weapons and shotguns, on a group of men.

Sources told Deadline that the Home Office is considering issuing exclusion orders against both Hayat and Singh, which would effectively bar them from entering the country. Such bans are typically not made public and the individuals concerned would be notified in writing of the action. No legal proceedings have been announced so far.

“There are serious concerns about the use of imitation firearms and exposing minors to violent themes,” a source familiar with the matter said.

Hayat, who was featured in Marvel’s Ms. Marvel series and is known for hit Pakistani films like Load Wedding and Actor in Law, has not commented on the complaint. Singh, one of India’s most recognisable hip-hop stars and the subject of the Netflix documentary Yo Yo Honey Singh: Famous, has also remained silent.

The video was directed by Mihir Gulati, with production support from UK-based Blue Bling Production House. However, its founder, Vipulkumar Sharma, clarified that his team only handled logistical aspects of the shoot.

The backlash has not just come from politicians. Shaykh Paul Salahuddin Armstrong, director of the Association of British Muslims and a chaplain at the University of Birmingham, also voiced strong criticism.

“As someone who has worked with vulnerable youth for nearly two decades, I find this incident profoundly disturbing,” he told the outlet. “To see British children brandishing imitation firearms in a stylised gang scene, filmed on our soil and facilitated by UK production companies, is not only a moral failure, but potentially a legal one.

“This is not art. It is the reckless glorification of violence, dressed up as cultural entertainment,” he added.

The video’s popularity has also prompted discussions around media regulation. Armstrong called on child protection authorities to investigate, although the UK media regulator Ofcom has limited jurisdiction over online music videos.

In light of the controversy, ‘Jatt Mehkma’ is reportedly no longer being considered for future BBC Asian Network playlists. A BBC spokesperson stated that each track is evaluated based on its musical merit and relevance to the station’s audience.

The UK Home Office, West Midlands Police, and other authorities involved have declined to give a comment to Deadline.

The exhibition is bright, beautiful and melancholy: an exploration of the loss of cultural and heritage sites in the Middle East destroyed by conflict and unsympathetic development.

Standing by the Ruins, a show by the Palestinian-Saudi artist Dana Awartani includes a recreation of an ancient bathhouse floor in Gaza believed to have been destroyed in Israeli attacks.

Another highlight of the exhibition, which has opened in Bristol, is a room dominated by billowing sheets of colourful silk representing a map of the Middle East with cultural sites that have been lost pinpointed by rips in the fabric.

A third space at the Arnolfini on Bristol’s harbourside features a recreation of another floor, this one appearing to be made of the sort of tiles typically found in the old quarter of Jeddah in Saudi Arabia. Actually, it is made out of sand, a reminder of the fragility of such features as the buildings they are housed in are knocked down or modernised.

Dana Awartani has a diverse background. Her father is Palestinian while her mother is Palestinian and Syrian. Awartani was born and raised in Saudi Arabia and has Jordanian nationality.

She said the work in her exhibition, her first solo public gallery show in Europe, was inspired by the “strange dichotomy” of some countries in the Gulf booming while places such as Syria and Palestine were “obliterated”.

Awartani said: “The destruction of cultural heritage creates a sense of displacement in the local population. If you remember what happened with Notre Dame, it was devastating seeing it burned to the ground. It’s the same thing, but hundreds of Notre Dames.”

The first piece the visitor comes upon are recreations of the red, black and white floor of the Hamam al-Sammara in Gaza, one of the oldest bathhouses in the region but which is now believed to have been destroyed.

Awartani worked with a collective of adobe brickmakers – craftspeople of Syrian, Afghan and Pakistani origin – and deliberately omitted the final binding agent so the work, called Standing by the Ruins III (2025), is delicate.

The second large-scale piece, Come, Let Me Heal Your Wounds. Let Me Mend Your Broken Bones (2024), was created for the Venice Biennale last year. Sheets of handmade Indian silk are dyed with medicinal herbs and spices and represent maps of countries in the Middle East.

Awartani tore spots on the “maps” that matched sites where archaeological or cultural sites have been damaged. She then darned them. “It’s a cathartic, meditative experience where you’re mending something.” Sadly, since Venice, she has had to expand the work to take in new sites that have been wrecked.

It took two technicians six days to set up the third large piece at the Arnolfini. The work is called I Went Away and Forgot You. A While Ago I Remembered. I Remembered I’d Forgotten You. I Was Dreaming (2017) and is the recreation of a Jeddah floor made out of sand.

Asked how it felt to see the works displayed in Bristol, Awartani said: “It’s really touching and moving for me to have that space to talk about it, you know, a safe space to be able to talk about what’s happening.

“I live in New York, which is a very different landscape politically, especially now. There’s mass censorship happening, cancellations of artists. I don’t feel that in the UK so far. It’s important to talk about these things.”

The exhibition runs until 28 September 2025. For details https://arnolfini.org.uk/

If you’re a fan of the Fast and Furious franchise – and you’re only human, so of course you are – then you’ll know that Fast X ended on one of the most operatically daft cliffhangers of all time. In short, Ludacris and Tyrese Gibson are apparently dead, having been shot out of the sky by a double agent. Vin Diesel seems certain to die, having ended the film at the bottom of a dam that Jason Momoa just exploded. And Gal Gadot is back. And the Rock is back.

All these threads need to be resolved urgently. And yet, Fast X was a box-office disappointment. The fourth most expensive film ever made, Fast X was the fifth highest-grossing film of 2023 and still managed to lose $20m. And suddenly the prospects of a sequel looked dimmer and dimmer. Or at least they did, until Vin Diesel stumbled across a foolproof plan to revive the franchise forever: human resurrection.

This weekend, Diesel appeared at FuelFest, a car enthusiast event in California. During his speech, Diesel gave an insight into how Fast and Furious 11 could make people excited about the series again. “The studio said to me, ‘Vin, can we please have the finale of Fast and Furious [in] April 2027?’ I said, ‘Under three conditions.’ First is to bring the franchise back to LA! The second thing was to return to the car culture, to the street racing! The third thing was reuniting Dom and Brian O’Conner.”

Now, within the context of Fast X, none of these things make sense. You cannot make a film where Rome gets nuked and Spain is devastated by a 30bn-gallon dam collapse, and then pretend like none of it happened so you can make a scaled-back little car-racing film in LA. Unless Fast 11 starts with Dominic Toretto waking up in a cold sweat and growling “Woah, I thought I was involved in one of the most egregiously ugly CGI blowouts in all of movie history, but it was just a crazy dream!” then the series cannot simply reset itself like this.

More worrying, though, is the promise to reunite Toretto and Brian O’Conner. This is for the simple reason that O’Conner was played by Paul Walker, and Paul Walker died 12 years ago. Needless to say, that didn’t stop them before. When Walker died, he was in the middle of making Furious 7, and production brought in his brothers to act as body doubles before VFX house Weta grafted a digital copy of Walker’s face on top of it. The results were actually fairly convincing, but this is arguably because the job was easier. The bulk of Walker’s performance had already been committed to tape, so they could carefully weave in additional shots without drawing too much attention.

But bringing the character back for an entirely new performance is something else entirely. They would have to create a digital Walker from scratch, and then convincingly voice him. You don’t need to be told that it’s tough to do it well. The Star Wars series has tried it repeatedly, with everyone from Peter Cushing to Carrie Fisher, and there is always something creepily plastic about the execution. Not even turning Harold Ramis into a ghost for Ghostbusters: Afterlife could mask how off-putting he looked. And the orgy of digitally created multiverse cameos that ended The Flash was the ugliest thing to be put on screen since, well, Vin Diesel drove down the side of a dam.

Surely the Fast and Furious franchise doesn’t need to debase itself by taking a beloved co-star and yanking him around like a puppet. You have to imagine that Diesel’s intention is to cut back on the full-tilt bombast and return to something with real emotional depth, but in reality that means he’ll have to spend a lot of his time emoting at a tennis ball, which doesn’t exactly scream nuance.

Plus, as much as I hate to say it, people don’t go and see Fast and Furious films for emotional complexity. They go because they want to see stuff smash into other stuff, ideally when some of it is on fire. If Fast 11 wants to pay tribute to Walker, then doing it in the credits might be the best way to go. After all, it’s hard to pay tribute to a colleague when there’s an exploding dam to outrun.