Jasprit Bumrah wanted to elope with Sanjana Ganesan before marriage? India pacer's wife spills beans
Would you believe that Jasprit Bumrah once wanted to elope with Sanjana Ganesan for marriage? Four years after their marriage, Ganesan, a sports presenter by profession, has spilled the beans on a YouTube chat show hosted by former India cricketer Harbhajan Singh and his wife Geeta Basra. While the full video is yet to be released, the trailer has already set the internet ablaze with Ganesan recounting the hilarious conversation with Bumrah.
"Tum run-up per bhi nahi bhagte ho. Tum mere sath kya bhagoge?" (You don't even run during your run-up. So how will you run with me?)," told Ganesan in reponse to Bumrah's suggestion to elope with him before their marriage.
After their relationship under wraps, Bumrah and Ganesan tied the knot at a private ceremony in Goa in 2021. It was an intimate wedding with only close friends and family members in attendance. Bumrah's India teammates couldn't attend the event as they were in a bio-bubble during the then T20I series against England in Ahmedabad.
The couple also has a son named Angad, who was born in September 2023. Post their marriage, Ganesan had interviews Bumrah several times during the ICC events and bilateral series.
Meanwhile, both Bumrah and Ganesan are currently in England due to their respective works. While Bumrah is a part of the Indian team for the ongoing Test series against England, Ganesan is a part of the broadcast team in the same series.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
18 minutes ago
- Indian Express
‘Captain Harmanpreet Singh wanted me to continue but I had made up my mind': Lalit Upadhyay on retirement
Many in the Indian team, including captain Harmanpreet Singh, wanted Lalit Upadhyay to not retire from international hockey but the 32-year-old midfielder said that he had already made up his mind before making the announcement. Lalit made the announcement in an Instagram post, thus bringing the curtains down on a storied career in which he won medals at consecutive Olympics, an Asian Games gold and bronze and a Commonwealth Games silver among a host of other medals and trophies. 'I am almost 32 years old and I felt that now is the time to bid adieu,' Lalit is quoted as saying by PTI. 'I wanted to retire while being at the peak and despite the ligament injury, my fitness and form have been great.' Lalit retires with 67 goals in 183 matches for India. His decision came at the end of a horrific run for the team in the FIH Pro League in which they lost seven matches on the bounce. Lalit said that this had nothing to do with his decision. 'I have taken this decision myself. I did not want to drag myself. Many people, including (captain) Harmanpreet Singh, wanted me to keep playing but I had made up my mind,' he said. A post shared by Lalit Upadhyay (@14__lalit) // 'The team was very cooperative but the time (to retire) had come. Even before going to Europe for the Pro League, I was thinking about quitting. I will continue playing domestic hockey and leagues.' Lalit said he took up hockey to support his family as the small cloth shop was not doing well. 'My family condition was very bad when I took up hockey. My father's small cloth shop was closed and my mother had to stitch clothes. I took up the sport in search of a better future… a job. When my elder brother and I used to stay in day-boarding, we used to get Rs. 250-300 with which we bought a sewing machine for our mother,' he said. Asked about the best moment of his career, he recalls the quarterfinal against Great Britain at the Paris Olympics when India won in the shootout. He feels that despite a string of losses, India's performance in the Europe leg of the Pro League was not bad and the matches were close. 'Many new things were tried and we learnt a lot. We managed to defeat a top team like Belgium.' Lalit also expressed his desire to serve Indian hockey as a coach. 'If Hockey India wants, I am ready for it. I want to help the future generation of hockey players.' he said.
Indian Express
23 minutes ago
- Indian Express
Louis Vuitton's runway has found India — it must now lead the show
Pharrell Williams's Louis Vuitton menswear spectacle in Paris on June 25 may be remembered less for its celebrities than for its compass. The collection — titled 'Paris to India' — scattered cricket stripes across silk suits, dangled elephant-trunk bags from models' hands and sent them striding over a snakes-and-ladders set conceived by architect Bijoy Jain. A Punjabi soundtrack co-produced by A R Rahman pulsed through the Louvre courtyard. In 30 brisk minutes, a French mega-brand declared that the world's most sumptuous fashion conversation now needs India in every sentence. For decades, India has been the textile world's quiet workroom: An exporter of labour, motifs and moral mystique, rarely an equal partner. The Louis Vuitton show signals something subtler than simple 'inspiration'. Jain's name sat proudly beside Williams's on the show notes; Rahman's beats shared billing with hip-hop icons. A similar dignity surfaced last year when Dior embroidered its pre-fall collection with the Chanakya School of Craft in Mumbai, crediting 300 artisans by name. In both cases, Indian creativity occupied the marquee, not the margins. That shift is the real headline. Why now? The luxury industry is scrambling for authenticity in a climate-anxious, post-pandemic marketplace. Carbon budgets, digital passports, circular business models and Gen Z's sceptical gaze are pushing brands to swap generic glamour for grounded storytelling. India offers a reservoir of stories written in plant dyes, zero-waste weaves and 4,000-year-old techniques that emit less carbon than the average polyester tracksuit. As the world's most diverse living craft laboratory — housing 11 million artisans across 3,000 clusters — India can supply both narrative depth and sustainability data. In short, global fashion's search for purpose runs straight through Kutch, Varanasi and the looms of Assam. The timing is auspicious at home too. The government's Rs 13,000-crore PM Vishwakarma scheme is rebuilding the artisan economy with credit, tools and market linkages; the Ministry of Textiles is fast-tracking Geographical Indication tags that protect regional identities; and the foreign office increasingly treats handloom gifts as soft-power artefacts. Louis Vuitton's Paris shout-out merely amplifies that trajectory. Yet, opportunity and outcome are not synonymous. Most Indian craftworkers still earn less than three pounds a day. More than half remain outside formal supply chains, which means no pensions, no insurance, no intellectual-property protection. If the global luxury pivot stops at aesthetic applause, the wealth gap widens; but if it matures into equitable contracting, credit sharing and co-branding, both sides profit. Dior's Chanakya partnership paid fair wages and logged 35,000 artisan hours; the house later released a documentary naming every embroiderer. That template — transparency plus traceability — shows how homage can become joint ownership. Louis Vuitton, which already embraces digital product passports for leather goods, could extend the system to heritage textiles, listing cluster names, wage rates and environmental savings. Customers would pay a premium for that honesty; artisans would secure predictable orders and global visibility. Indian designers and institutions must be ready to negotiate from strength. Design schools need incubation labs where students prototype with master karigars, proving that craft can be both couture and climate solution. State tourism boards could host 'Made With India' residencies, inviting foreign labels to spend a season in Kanchipuram or Bhuj, working shoulder-to-shoulder with local cooperatives. The private sector can sweeten the deal: Impact investors are already funding start-ups that marry blockchain provenance with natural-dye supply chains, rewarding clusters that meet biodiversity goals. A new lexicon is required as well. For years, culture writers spoke of 'inspiration' and 'appropriation'— binary terms that trap debates in outrage. The more useful phrase today is 'co-creation.' It presumes dialogue, contracts, revenue share and continuous credit. Co-creation resists both tokenism and hollow celebration. When a luxury house commissions a Banarasi brocade lining and prints the weaver's QR-coded signature inside the jacket, the customer's admiration translates into artisan equity. That is collaboration at the speed of modern commerce. Williams's show may not have reached that destination yet, but its direction is unmistakable. The fact that a monogram giant felt the need to celebrate Indian culture on global livestreams, accurately crediting Indian creative elites, marks the moment India's soft-power curve bent upward. The next bend — aligning that spotlight with the millions who keep the looms humming — is within reach if brands, policymakers and educators act in concert. India's craft legacy has always been ready for its close-up; technology, policy and consumer mood have finally switched on the klieg lights. The runway has found India. It is time for India — loom by loom, dye vat by dye vat — to lead the runway. The writer is assistant professor of design, IILM, Gurgaon
The Hindu
25 minutes ago
- The Hindu
Why has JSK – Janaki Vs State of Kerala not been issued censor certificate, HC asks censor board
Stating that films bearing similar names had been released earlier, the Kerala High Court asked the Central Board of Film Certification (CBFC) why censor certificate has not been issued for the Malayalam feature film JSK – Janaki vs State of Kerala. The producer firm of the film that stars, among others, Union Minister of State Suresh Gopi had approached the High Court, citing delay on the part of the CBFC in issuing the certificate. The CBFC's counsel informed the court that its objection was to the name of the film's central character, Janaki, which is another name for the Hindu goddess Sita. Also, explicit language was used while referring to women. Certificate for teaser Wondering why the name of the character – a commonly used name — has to be changed, the court observed that many Indian films having names of gods, goddesses and religious figures in the title had been granted censor certificates in the past. There were movies like Sita aur Gita. No one had any complaints then. The film's producer firm said that the CBFC had issued a censor certificate for the same film's teaser trailer. The revising committee of the CBFC had on Thursday asked the makers of the film to change the title of the film as well as the name of the protagonist. It had been reported that the Thiruvananthapuram regional office of the CBFC had cleared the censoring of the film on June 18 with a U/A certificate. However, when the regional office forwarded the same to the CBFC headquarters in Mumbai, the officials there demanded a change in the title as well as the name of the titular character of Janaki. It was also conveyed to the makers through unofficial channels that the victim of a sexual assault cannot be named after a goddess. The revising committee met after the makers of the film approached the Kerala High Court, alleging delay.
