Pit Babe Season 2 Episode 6 Preview: Release Date, Time & Where To Watch
Pit Babe Season 2
Pit Babe season 2 picks up two years after Tony's death. The racers find themselves dealing with the rise of a new power. As they work on destroying the people behind the recent conspiracy, Charlie and Babe's relationship is tested.
On the other hand, Alan and Jeff also try to adjust to the new dynamics of their relationship. Based on the trailer, we are in for a wild ride that will have us questioning everything we thought we knew about our favourite racers.
If you've been following this one, you may be curious to know when the next episode will release. Well, wonder no more!
Here is everything you need to know about Pit Babe Season 2 Episode 6, including its release date, time, and where to watch it.
Where Can I Watch PitBabe?
Pit Babe Season 2 is available to stream on Channel One31 and iQIYI. It is unclear if the episodes will also be available on CHANGE256's official YouTube channel. If so, expect the episodes to be divided into four segments.
Pit Babe Episode 6 Release Date
Episode 6 of Pit Babe Season 2 will release on Friday 6th June at 9:15pm (IST) / 2:15pm (GMT). We can expect English subs from the YouTube release date and also from when it goes live on iQIYI.
Expect Episode 6 to be roughly 50 minutes long, which is consistent with the time frame for the rest of the show.
How Many Episodes Will Pit Babe Season 2 Have?
Pit Babe Season 2 will have 13-episodes, unlike season 1, similar to the last season. With that in mind, we've got 7 more episodes to go after this one, guys!
Expect the story to continue developing both central characters as the romance and drama bubbles up and unfolds.
Is There A Trailer For Pit Babe Season 2?
There is indeed! You can find a trailer for Pit Babe Season 2 below:
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Telegraph
9 hours ago
- Telegraph
Le Mans versus Grand Prix: Inside the dangerous race to make the perfect petrolhead film
In the mid-Sixties, there were two teams revving up to make the first truly authentic motorsport movie. It became, rather appropriately, a race. In pole position were Steve McQueen and director John Sturges, who planned to produce the Formula 1-set film, Day of the Champion. Behind them on the starting grid was director John Frankenheimer and actor James Garner, with their rival production, Grand Prix. For McQueen it wasn't just friendly competition, it was personal. Garner was a co-star in The Great Escape but also McQueen's neighbour, living in the apartment underneath McQueen's home. When McQueen's Day of the Champion spun out, allowing Grand Prix to overtake and pass the finish line first, McQueen would urinate onto Garner's flower boxes below. 'You p_____ on my film and now I p___ on you,' McQueen allegedly said. Making the definitive racing film was 'an obsession' for McQueen, says film producer Mario Iscovich, former assistant to McQueen. 'He always was a racer. His abilities and instincts were completely natural. He could out-drive some of the best drivers around. Steve was a seat-of-the-pants guy. He could feel every movement on the road.' That very real passion for motorsport drove McQueen to remodel Day of the Champion as Le Mans, based on the 24-hour race of the same name and eventually released in 1971. But it wasn't a case of slow and steady wins the race. Le Mans had what you might call 'engine trouble' as McQueen's obsession turned to near self-destruction. The troubled production, which ran over schedule and over budget and was hit by serious accidents, saw McQueen lose friends, creative partners, his marriage, and – eventually – control of his dream film. Crashing at the box office, Le Mans momentarily dented his star aura – what McQueen called 'the juice'. But, five decades on, Le Mans remains the purest race film ever made – almost like watching the real thing. And, alongside Grand Prix, it feels like a prototype for the Brad Pitt-starring F1, in cinemas now, putting viewers in the cockpit with innovative car-camera technology and real race footage. Le Mans has also taken on a mythical quality, with the iconic image of McQueen holding up a V-sign, and rumours of a million feet of missing racing footage – footage that was discovered under a soundstage for the 2015 documentary, Steve McQueen: The Man & Le Mans, which explores the thrust and cost of McQueen's need for speed. 'That footage gave us an insight into obsession, drive, and an absolute passion for this sport,' says the documentary's co-director John McKenna. 'He was a speed freak,' says co-director Gabriel Clarke about McQueen. 'To get behind the wheel of a car and drive at death-defying speeds, you have to be getting something out of it that takes you beyond the risk. He wanted to capture that out-of-body experience – the spiritual place it takes you to.' McQueen's original idea – Day of the Champion – was inspired by The Cruel Sport, a book by photographer and writer Robert Daley, which showed the dangerous side of Grand Prix racing. Fatal crashes at the time were frighteningly commonplace. Sturges was negotiating the rights for the book and Warner Bros, bankrolling Day of the Champion, was ready to announce production. However, just one day before the announcement, Sturges found himself sat next to John Frankenheimer at a benefit function. Frankenheimer, who had directed The Manchurian Candidate (1962), casually told Sturges that he was working on a new project for MGM: a motor racing film based on The Cruel Sport. Sturges was negotiating rights with the book's editor but Frankenheimer had gone directly to the author. The very next day, Warner Bros and MGM both announced rival Formula One films. The race was on: Day of the Champion vs Grand Prix. McQueen was actually offered the lead in Frankenheimer's film but spurned the project after a disastrous meeting with producer Edward Lewis. Frankenheimer couldn't attend the meeting himself and later wrote that McQueen and Lewis 'hated each other at first sight'. Though McQueen's ex-wife, Neile Adams, wrote in her memoir that McQueen didn't much like the cut of Frankenheimer's jib either. Garner later called McQueen to break the news that he'd signed on for Grand Prix. 'There was a $20 silence there on the telephone,' Garner said. 'He didn't know what to say. Finally, he said: 'That's great, great, glad to hear it…' He didn't talk to me for about a year and a half – and we were next-door neighbours.' Neile recalled that McQueen took it like a knife in the back. 'That f____,' McQueen said as he slammed the phone down. 'You just cannot trust anybody in this business.' Both productions fought to sign up pro racers to drive camera cars and handle choreographed racing footage. As McQueen's producer Robert Relyea told biographer Marc Eliot, huge amounts of money were spent to secure drivers and stop them joining the rival film. 'Fortunes were being spent by Sturges to try to kill Frankenheimer's movie, and the same went for Frankenheimer,' wrote Eliot. McQueen and Sturges got British drivers Jackie Stewart and Jim Clark, as well as Stirling Moss as a consultant, while Frankenheimer got the first American F1 champion, Phil Hill. Both films planned to shoot racing from actual Grand Prix events, with cameras mounted on cars, interspersed with footage of actors driving for real. 'The idea was, put the audience in the car,' said Frankenheimer, whose words echoed McQueen's vision. 'We fooled around for months, experimenting with various places to put the camera and with various lenses.' Both film crews attended the 1965 Monaco Grand Prix and jostled for the best positions. Sturges's crew then got exclusive dibs on the 1965 German Grand Prix at Nürburgring but – as remembered in a Sky documentary, Steve McQueen: The Lost Movie – there were rumours that the rival crew would show up anyway. Anxious that their rushes might be stolen, they labelled some dummy film cans and filled them with sand, hoping that Frankenheimer's team might pilfer the wrong ones. Forced to make a pit stop McQueen himself went off to make acclaimed war drama The Sand Pebbles, in Taiwan. The film earned McQueen an Oscar nomination but it was a difficult production and delayed progress on Day of the Champion. Meanwhile, Frankenheimer followed the Formula One 1966 season and pulled ahead. He also befriended Carroll Shelby – the driver and car designer played by Matt Damon in Ford v Ferrari (2019) – who helped build replica cars for the production (the actors drove Formula 3 cars modified to look like Formula 1). But the rivalry still had some mileage. Moss attended the 1966 Monaco race and assessed the performance of the Grand Prix movie cars. He then reported back to the Day of the Champion car team, suggesting modifications so their cars didn't slow up in the same way as Grand Prix's. Frankenheimer scored a victory when he screened footage from Monaco for Enzo Ferrari, the Ferrari founder, who previously declined any involvement and told Frankenheimer they couldn't even use his name. But Enzo was so impressed with the footage that he offered Frankenheimer use of whatever he wanted – the Ferrari team, the factory, whatever they needed – all for free. Elsewhere, Frankenheimer became an inconvenience for Formula 1 teams. They had two hours to shoot before F1 practices began – time that real drivers wanted on the track – and got under the feet of the pit crews. Hill was one of the drivers in the Grand Prix camera car, a Le Mans-style Ford GT40 that hit speeds of 200 mph. The footage was unlike anything race fans had seen on screen – vibrant, high-speed, full-colour action, back when F1 was ordinarily broadcast in bleary black-and-white. Even with its runtime of three hours, Grand Prix is arguably an easier watch than Le Mans, with a more formulaic melodrama woven around the racing action. Top driver Pete Aron (Garner) causes his teammate Scott Stoddard (Brian Bedford) to crash then goes off with Stoddard's wife (Jessica Walter) while Stoddard fights through injuries to make a comeback. Meanwhile, French champion Jean-Pierre Sarti (Yves Montand) falls for a journalist (Eva Marie Saint) and contemplates life beyond racing – as long as he isn't killed first, that is. And Grand Prix certainly doesn't shy away from the perils of racing. In one scene, Aron celebrates a win with all the fanfare – flowers, adoring fans, the national anthem – while crash victims are scooped off the trackside. In reality, Garner didn't have the same need-for-speed as McQueen, but his driving was impressive nonetheless. 'l believe that if Garner had decided he was going to do this as a young man, he could have made a very good career as a race driver,' said Frankenheimer. 'He was that good.' In one scene, Garner drives with the back of his car engulfed in flames. 'That's when the insurance company cancelled my insurance,' Garner recalled. 'I drove the last month and a half without insurance.' McQueen, meanwhile, was stuck filming The Sand Pebbles and saw a newspaper picture of Garner sitting in a race car. 'Steve went wild,' said publicist Rupert Allan. 'Just nuts.' With McQueen still on The Sand Pebbles and Grand Prix speeding ahead, Warner Bros made the call to kill the engine on Day of the Champion. 'We're going to be second,' said the studio head. 'Close it down.' The Sand Pebbles and Grand Prix opened the same week in December 1966. McQueen lost out on the Academy Award for his performance, but Grand Prix picked up three statues for sound and editing. McQueen's son, Chad, made him eventually see Grand Prix. Talking to Garner again, McQueen mumbled his approval. 'Pretty good picture,' he said. Iscovich remembers that they were pals again soon after. McQueen revived Day of the Champion as Le Mans in 1969, as part of a deal with Cinema Center Films, the filmmaking arm of CBS television network. McQueen was now the world's number-one film star, following Bullit and The Thomas Crown Affair in 1968, and set up his own company, Solar Productions. According to Eliot's autobiography, Solar almost bankrupted McQueen before Le Mans even started, but he was so set on making the film that he turned down Bullit 2 – a sure-fire box office smash – and The French Connection. 'Steve wanted to capture car racing in a way he thought it wasn't captured on Grand Prix,' says Iscovich. 'He wanted it to be the ultimate car-racing film.' According to Chad, who died in 2024, McQueen wanted Le Mans to capture every aspect for absolute authenticity. 'The smells, the noise, the feeling,' he said. Iscovich remembers script meetings in Palm Springs, California, where they found more of a rhythm than an actual story. McQueen pushed for as little dialogue as possible. 'He envisioned this character as very stoic,' says Iscovich. Indeed, in the finished film there's 38 minutes of crowds, pit crews, and racing before his character, Porsche driver Michael Delaney, says a single word: 'Hello'. 'The first 40 minutes are essentially a documentary,' says Clarke. 'Cameras, sounds, the feeling of what it's like to be at a race – the festival feel. That's brilliant. It then becomes a movie and needs to have a story supplanted onto it. It's a mishmash.' Dangerously off-script McQueen prepared for Le Mans by off-road racing in Mexico and competing in the 12-hour endurance race in Sebring, Florida. It was an exercise on what biographer Eliot called 'method racing'. Driving his Porsche 908, McQueen and his partner came in second and won kudos from real race drivers. McQueen had wanted to enter Le Mans too, teaming with Jackie Stewart, but the insurance wouldn't allow it. 'It was a point of contention,' says Iscovich. 'They didn't want him to race. He wanted to do what Tom Cruise has been doing in all these films. And believe me, Steve was quite capable of doing it.' McQueen entered his Porsche into the race as a camera car, which was converted to carry three cameras. As with Grand Prix, camera rigs were built to capture never-before-experienced race footage. They were, according to McQueen, 'breaking the film barrier'. The idea, also like Grand Prix, was to shoot footage from the real Le Mans race, which would be intercut with specially shot racing footage with the actors and pro drivers, including Derek Bell and David Piper. 'These were top drawer guys,' says Gabriel Clarke. 'They joined McQueen in the middle of their season and were told to act out scenes by driving at full speed. It was choreographed, which is more dangerous than instinctively racing. There was genuine danger. It's fascinating to think how far people were willing to go in pursuit of a creative vision – not for sport.' The plan was to write the script around the Le Mans race, held in June 1970, with the story taking its cues from whatever played out on the track. There were writers on hand but McQueen was never satisfied with any of the pages and wouldn't commit to a story. Sturges, who directed McQueen in The Great Escape, was particularly frustrated. He had signed up to make a narrative film, but what McQueen wanted was more of a documentary. 'I know John was frustrated because they were making it up as we went along,' says Iscovich. 'The script was in trouble before we started filming. Progress was slow. They weren't achieving their days of filming; they kept rewriting, things kept changing, Steve was being difficult.' As executive producer, McQueen was at the wheel, but the production – along with McQueen's mental state – was spinning out of control. 'He was acting kind of crazy,' says Iscovich. 'There were displays of paranoia and volatility, and stress and irritability and shortness – and being nasty.' He adds: 'Steve could be very nice, but he could be an asshole.' There were also a series of accidents. Bell crashed and suffered burns to his face. Piper crashed and had his leg amputated below the knee. McQueen himself was involved in a crash in the early hours with one of the film's actresses, Louise Edlind, beside him. Iscovich was also in the car and saw his left arm snap as the car sped off a country round and plunged into a ravine. 'It was pretty nasty,' Iscovich says of the accident. 'He lost control. There were no seatbelts, or no one wore them… he was just driving too fast.' It was a potential PR disaster – the world's top film star, a married man, in a crash with another woman. 'He was so afraid,' said Edlind in Steve McQueen: The Man & Le Mans. 'I could see how scared he was, that I would ruin him and his production.' Iscovich took the rap for the crash. Though no one told Iscovich outright that he had to take the blame, it was implied in conversations with McQueen, the publicist, and the producer. '[The publicist] said, 'You were never here, Steve,'' recalls Iscovich. 'Steve turned to me and said, 'This never happened, you got to take care of it.'' Iscovich – then just 21 – didn't mind. 'You just kind of did it. It was part of the job.' There were, says Iscovich, 'lots of ladies' around McQueen. Women were as much a passion for him as motorsport. When his wife Neile arrived in Le Mans, McQueen admitted to her that various women would be visiting him that summer. He then questioned whether she'd had an affair. Neile admitted she had, with an actor who – most galling of all – had won an Academy Award. Neile's memoir describes an appalling scene: McQueen put a gun to her head and slapped her repeatedly, interrogating her about who the actor was. Neile filed for divorce the following year. McQueen fell out with other people close to him. He fired his most trusted screenwriter, Alan Trustman, and punched Iscovich for – of all things – giving away one of McQueen's t-shirts. 'He was like a lunatic,' says Iscovich. 'He punched me and I fell over the couch. I couldn't take it any more… Steve said, 'You can't quit me! If you quit, I'll make sure you never work in this business again!'' McQueen also split from his producing partner Robert Relyea when an outburst from Relyea – shouting, 'This picture is out of f_____control!' – alerted Cinema Center Films to just how bad things were. Relyea left and they never spoke again. Losing creative control Cinema Center Films called a crisis meeting and took control of the film. McQueen had to agree to relinquish his executive producer role and give up his $1 million salary. He was ordered to decide on a script – any script, it didn't matter. The studio wanted a Steve McQueen picture to make up for the escalating costs. The film was now $1.5 million over budget and several months behind schedule. When Sturges also walked off the film, declaring, 'I'm too rich and too old for this s___. I'm going home,' Cinema Center Films replaced him with Lee Katzin. McQueen was forced to take a back seat. Even with the creative compromises forced on him, there still isn't much of a story in Le Mans beyond McQueen brooding over the track and connecting with the widow of a driver killed the year before, who questions why he feels the need to drive. Other than that, it's just racing and the circus around it. Le Mans finally arrived in cinemas in June 1971. It made around $6 million domestically from a budget reported to be somewhere between $7 and $10 million. McQueen didn't attend the premiere. But watched now, the race footage is mesmerising, drawing you in – arguably the closest any sports film comes to recreating the sport on which it is based – with an almost art-house feel to everything off the track. 'It's a different kind of film; it's very stoic,' says Iscovich, who reconnected with McQueen before his death in 1980. 'It's like a silent film in many ways.'
Edinburgh Live
10 hours ago
- Edinburgh Live
Geri Halliwell says 'never again' after tense grilling on BBC Breakfast
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Geri Halliwell has said 'never again' after she found herself in an uncomfortable situation on BBC Breakfast. Following the particularly awkward 2023 interview with hosts Naga Munchetty and Charlie Stayt, the BBC apologised to the Spice Girl. After the segment, Geri expressed that she would never want to appear on the show again., reports The Express. This has come to light amid allegations of bullying surrounding BBC Breakfast. This includes complaints against host Naga Munchetty, who according to MailOnline was reprimanded by executives. In a piece by showbiz editor Katie Hind, it was suggested that Naga, who is 50, is being unfairly made a "scapegoat" by Richard Frediani, the editor of Breakfast since 2019. Frediani is currently the subject of an internal investigation, which has prompted several staff members, including show host Charlie, to share their experiences. However, it would be interesting to know Geri's thoughts after she appeared on the programme to promote her latest novel. Naga probed Geri on whether she had "researched" her interviewers before agreeing to chat. Sign up for Edinburgh Live newsletters for more headlines straight to your inbox During the awkward discussion, Naga said: "You've come in, making sure you've done your research on us as well, haven't you?" Charlie then jumped in and said: "Also, you point your finger quite a lot, to be honest." Shocked, she replied: "Is that rude?! I'm so sorry, Charlie." Naga then bluntly said: 'Do you not like being interviewed?' Breakfast insiders reportedly shared that Naga got the heat for that interaction, even though Charlie was just as involved in the interview. Frediani is now on extended leave after years of complaints against him, at least one of which was upheld, although many have been dismissed. Those who know him say that he's "desperate to return to his job" and will be hoping his colleagues back him under questioning. Join Edinburgh Live's Whatsapp Community here and get the latest news sent straight to your messages. Frediani's behaviour has long attracted negative attention, with complaints about his managerial style dating back to April 2020, just months after he started working at the Corporation. In that short period since his arrival, a series of complaints had already been made about an 'intimidating and bullying' culture on Breakfast, which led to long-term members of staff leaving their jobs. One employee, who wished to remain anonymous, told me shared that the "whole atmosphere had become poisonous" and like a "boys club". When reached out to BBC for comment, they responded: 'While we do not comment on individual cases, we take all complaints about conduct at work extremely seriously and will not tolerate behaviour that is not in line with our values. "We have robust processes in place and would encourage any staff with concerns to raise them directly with us so they can be addressed.'
BBC News
10 hours ago
- BBC News
India's cooling summer dish that costs less than a dollar
For centuries, the people of Odisha have turned to pakhala – a fermented rice dish – to beat the heat. Now it's gaining global attention. It was a scorching hot day in Bhubaneswar, the capital of Odisha in eastern India. As the temperature soared, my university friends and I rushed to the cafeteria for the meal we looked forward to most in summer: a bowl of pakhala (water rice). Light and tangy, the dish gave us immediate relief from the oppressive heat. Two decades later, as I sit in my apartment in the dry heat of Riyadh, it remains my go-to comfort food in summer, especially after a long day in the sun. Pakhala is Odisha's unique summertime ritual. Also known as "poor man's gruel", the simple dish is made from leftover cooked rice soaked in water and fermented overnight in an earthen pot. It is usually mixed with yoghurt, tempered with mustard seeds, dried red chillies and curry leaves and served with a variety of sides such as mashed potatoes, sautéed green leafy vegetables and fried fish. Odias (people of Odisha) have consumed pakhala since ancient times since it's affordable and easy to prepare, yet nutritionally rich. "The earliest documented use of pakhala dates back to the 12th Century, when the dish was offered to Lord Jagannath (a Hindu deity worshipped in Odisha) at the Jagannath Temple in Puri," says Ritu Pattanaik, food historian and the author of the cookbook 259 Inherited Recipes of Odisha. "Even today, pakhala is one of the best foods to have when temperatures rise." Odisha has always been an agrarian society, and rice is a staple. "In the olden days, it was typical for women in the house to add water to leftover rice from lunch. There was no refrigerator at the time, so this prevented the rice from spoiling. In the morning, men ate this fermented rice and water before heading out to work in the fields. Pakhala gave them energy and helped them beat the afternoon heat." Central to pakhala's benefits is the slightly sour, probiotic-rich fermented water known as torani, which hydrates and protects the body against heat stroke. Once water and rice have undergone fermentation, torani becomes a rich source of lactic acid bacteria, which protect the stomach and intestines from infection and aid digestion. "However, the benefits of torani don't end there," adds Dr Balamurugan Ramadass, professor at the All India Institute of Medical Sciences in Bhubaneswar. "In addition to probiotics, torani is a rich source of short-chain fatty acids (SCFA) with antiviral and anti-inflammatory properties. It also contains vitamin K, which [helps] heals wounds faster." He notes that torani delivers instant energy to an exhausted body, "which is why farmers consume one to two litres of it before going to work every day. An average person with a desk job can have two to three cups of torani daily and still benefit from this healing beverage." So trusted are torani's health benefits that India's National Disaster Management Authority advises people to drink it during heatwaves. In a country where extended summer heatwaves are becoming the norm, drinks like torani are increasingly seen as functional superfoods that both cool and nourish the body. "One of the simplest ways to increase your torani intake is to consume pakhala instead of plain rice or bread for lunch," says chef Abinas Nayak, winner of MasterChef India Season 6. He notes that pakhala is straightforward to prepare. "Take leftover cooked rice, pour water over it and leave it in an earthen pot to ferment overnight. Pakhala will be ready in the morning." Because of the humble ingredients and simple cooking method, a bowl of pakhala costs less than a dollar to buy – and significantly less to prepare at home. "In some ways, pakhala is the great equaliser in our society. It's accessible to and loved by everyone, regardless of class, income or background," says Nayak. Pakhala is deeply ingrained in Odisha's sociocultural fabric. It is common to eat a bowl before each new beginning, be it a new job, house or relationship. "At the end of every Odia wedding, the bride's mother feeds pakhala to her newlywed daughter and son-in-law to ensure that the marriage runs smoothly," says Pattanaik. Flask back to 2009 and my own wedding rituals: the fact that I had two pakhala kansas (bronze bowls) in my bridal trousseau suddenly makes sense. "Yes, your mother put those bowls to make sure your relationship with your husband was cool like pakhala," Pattanaik adds with a smile. For many Odias, pakhala is a nostalgic trip back to childhood. "In summertime, my mother would always have a bowl of pakhala and some mashed potatoes waiting for me when I got home from school," Nayak reminisces. "That was the meal I always cherished and still do now. It is the taste of home and comfort for me." Though once considered too basic or old-fashioned to feature on modern menus, pakhala is enjoying a revival. With the mercury rising year after year and Indians becoming more receptive to native foods, pakhala is becoming increasingly popular, especially during the hot spells of April and May. Every year, the pakhala craze begins in early March peaks on Pakhala Dibasa (Pakhala Day) on 20 March and continues until the last monsoon arrives in mid-June. This is when restaurants across Odisha begin serving elaborate pakhala platters with a variety of sides. The trend is spreading across India and the world, with home cooks and food bloggers regularly sharing pakhala images and videos on social media, and cooking contests featuring inventive twists on the dish. Pakhala gatherings have become commonplace across the globe, including the US, UK and the Middle East, where Odias like me congregate to savour this nostalgic meal that's inextricably linked to our identity. Nayak has helped popularise the dish on social media and by preparing sumptuous pakhala platters at national events. "By promoting Indigenous foods like pakhala, we are not only tapping into our rich culinary history but also rediscovering lost superfoods," he says. "People are now seeing value in how our forefathers ate and that makes me happy." Restaurants are capitalising on this growing trend by offering elaborate pakhala platters with side dishes such as alu bharta (spiced mashed potatoes), baigana bharta (mashed aubergine), tomato poda (smoked tomato), sukhua (dried salted fish), saga bhaja (sauteed greens) and badi chura (crushed sundried lentil dumplings served with a dash of mustard oil and garlic). More like this:• A local chef's favourite street food picks in Kolkata• Thunder tea rice: The 2,000-year-old healthy grain bowl• Everyday Healing Broth: A restorative soup made for cold season "These sides, however, are more than just add-ons; they are carefully selected for nutritional balance and texture. That's what makes them special," explains chef Alka Jena, who chronicles the history and recipes of Odia dishes on her food blog Culinary Xpress. "The fish provides protein, saga bhaja adds fibre and badi chura adds crunch and umami." "On a scorching hot day, there's nothing quite like relishing a bowl of pakhala with a variety of sides and washing it down with some sour torani," Jena adds. "It not only cools your tummy but also provides a glimpse into Odisha's rich culture and heritage." -- For more Travel stories from the BBC, follow us on Facebook, X and Instagram.
