Latest news with #Hippocratic
Time of India
20-07-2025
- Health
- Time of India
Experts call for balanced, evidence-based approach to integrate MBBS-BAMS courses
New Delhi: Amid a fierce debate over the Centre's proposed integrated MBBS-BAMS course , experts have asserted that sharing of clinical exposure and research collaboration between the two specialisations is key to India establishing a gold standard in integrative healthcare . However, central to the discussion among medical professionals, educators, and policymakers is a key question: Can India successfully unify its ancient Ayurvedic medical wisdom with modern scientific practices? Dr Ajaya Kashyap, a senior plastic and reconstructive surgeon and Triple American Board-certified practitioner, said, "India is the birthplace of Sushruta, the father of surgery, whose surgical techniques like rhinoplasty (nose reconstruction), cataract surgery, and anorectal surgeries that are still in use today." His recently released book -- 'The Quest of Sushruta' -- explores the ancient surgeon's contributions, emphasising that India has been poised at the edge of a medical renaissance. "Sushruta was not only a historical figure but also a scientific thinker. His approach to dissection, surgical instrumentation, and anatomical observations laid the foundation for what we today call modern surgical science," Kashyap said. "If we root today's medical advancements in validated traditional wisdom, India can lead a truly transformative revolution in global healthcare. Much of the world's medical ethos, like the Hippocratic concept of 'humors', draws inspiration from Ayurveda's tri-dosha system (Vata, Pitta, Kapha)," he said. "Even the ancient Indian philosophical idea of Pramanas, a method of validating knowledge, parallels what we now call evidence-based medicine ," he added. While the term "mixopathy" has often been used, especially by allopathic practitioners, to voice concerns about the potential dilution of modern medical standards, a growing number of experts are calling for a more balanced and forward-thinking approach. Dr B B Aggarwal, chairman of Laproscopic, Laser and General Surgery at the Sir Ganga Ram Hospital and an advocate for integrative medicine, said, "This isn't about East versus West or ancient versus modern, it's about what works best for the patient." "India has the opportunity to create a gold standard in integrative healthcare, but it must be built on the pillars of scientific validation, clinical trials, and standardised care protocols," he said. "Many Ayurvedic principles, including personalisation of treatment based on individual constitution (prakriti), seasonality, and holistic lifestyle adjustments, are gaining global traction. Wellness centres across the world now borrow from these frameworks, often rebranded as 'functional medicine' or 'integrative health', ironically, with little credit to India's ancient roots. Still, challenges remain," Aggarwal said. The current practice of Ayurveda in many parts of the country often lacks robust clinical trials, measurable outcomes, and peer-reviewed research, he highlighted. Standardisation and regulation of Ayurvedic drugs, as well as structured training in modern diagnostics and emergencies, are essential if a true integration is to be realised, he emphasised. Kashyap said that before merging the MBBS and BAMS (Bachelor of Ayurvedic Medicine and Surgery) syllabi, there must be shared clinical exposure and research collaboration. "Let MBBS students understand Ayurveda scientifically, and let BAMS students be trained in diagnostics and modern emergency protocols. Integration must be evidence-led," he said "What we need is not blind merging of syllabi, but cross-disciplinary collaboration , shared clinical exposure, and a research-backed convergence. Before we talk of unified degrees, we must invest in unified knowledge. Let an MBBS student understand Ayurveda's principles scientifically. "Let a BAMS student learn anatomy and pathology in a modern lab. That's where real integration begins," Kashyap said. PTI
Japan Today
11-07-2025
- Entertainment
- Japan Today
Dark series 'The Institute' adaptation gets author Stephen King's thumbs up
This image released by MGM+ shows Joe Freeman in a scene from "The Institute." (Chris Reardon/MGM+ via AP) By MARK KENNEDY Stephen King has a rule for anyone wanting to adapt one of his books for the big or small screen. It's basically the Hippocratic oath for intellectual property — first, do no harm. 'When you deviate from the story that I wrote, you do so at your own risk,' he said in a recent interview from his home in Maine. 'I know what I'm doing and I'm not sure that screenwriters always do or that producers and directors always do.' Not everyone has listened to King, who has enjoyed hit adaptations — 'The Shawshank Redemption,' 'Stand By Me,' 'Misery,' 'It' and 'The Shining' — as well as flops — 'Salem's Lot,' 'Graveyard Shift' and 'The Lawnmower Man.' The industrious novelist has lately watched as a wave of adaptations are crafted for theaters or streaming platforms, a list that includes 'The Life of Chuck' and the upcoming 'The Long Walk,' 'The Running Man' and 'It: Welcome to Derry.' It also includes the eight-episode series 'The Institute,' which debuts on MGM+ on Sunday. It's about a secret government facility where kids with special talents — telekinesis and telepathy — are imprisoned and put to dark geopolitical uses. Their bedrooms are faithfully re-created and creepy posters — 'Your Gift Is Important' and 'I Choose to be Happy' — line the halls. Does this small-screen adaptation of his 2019 book get King's approval? 'I'm talking to you which is a pretty good sign,' he says, laughing. He even signed on as executive producer. 'When I write a book, it's a single-person sport and when these people do a TV show or a movie it becomes a team sport. So you expect some changes and, sometimes, man, they're really good.' 'The Institute' stars Mary-Louise Parker as a sinister scientist and Ben Barnes as a small-town cop on opposite sides as the group of children are kidnapped and exploited. The series is faithful to the book, but includes some changes, like setting it entirely in Maine and aging the hero up so as not to appear too sadistic. That hero — 14-year-old Luke Ellis, played winningly by Joe Freeman — is the latest youngster with special powers that King has manifested, a line that stretches back to the heroine of 'Carrie,' Danny Torrance in 'The Shining' and Charlie McGee in 'Firestarter.' 'I thought to myself, what would happen if a bunch of kids that had psychic powers could see enough of the future to tell when certain moments were going to come along,' he says. 'But the kids would be wrecked by this process and they would be kept in a place where they could serve the greater good. It was a moral problem that I really liked.' King has a special respect for young adults, who he says can be brave and behave nobly under pressure but who can also be mean and petty. He says he was inspired by William Golding, who wrote the iconic 'Lord of the Flies,' a dystopian novel about a group of schoolboys who while trying to survive on a remote island unlock their own barbarism. 'He was talking to his wife before he wrote the book and he said, 'What would it be like if I wrote a story about boys and the way that boys really acted?' And so I tried to write a book about kids the way that kids really act,' says King. Executive producer and co-writer Benjamin Cavell says King resists the impulse to be overly involved in the process, instead identifying people he trusts to do right by the material. 'So much of the pleasure of King's writing is the access he gives his reader to the deepest, darkest, most private thoughts and dreams and desires of his characters; the adaptor's task is to make all that external and cinematic,' says Cavell. Jack Bender has become something of a King whisperer, helping adapt both King's 'Mr. Mercedes' and 'The Outsider' to the screen. This time, he helped direct and executive produce 'The Institute.' 'I count my blessings to be in the position of someone he creatively trusts,' says Bender. 'He is a genius at tapping into the fears we all share of what's hiding under our beds. For me, both 'Mr. Mercedes' and 'The Institute' deal with those fears by focusing on the monsters inside of us human beings, not just outside in the world around us.' The first thing Bender and Cavell had to figure out was what form 'The Institute' would take — a standalone film or a series. 'In the case of 'The Institute,' which was a 576-page novel packed with rich, fascinating characters that would need time to connect and be with each other, I didn't want to shrink it into a 110 minute movie that would've become the 'X-Kids,'' says Bender. King says that while Hollywood has a seemingly insatiable appetite for his books, he hasn't gotten more cinematic as a writer — he always has been. 'I am one of the first writers that was actually influenced by television as well as movies. 'I grew up with the idea that things should be cinematic and that you should look at things in a visual way, a very sensory way.' King was also pleased that the adapters of 'The Institute' made sure not to change the name of Barnes' small-town cop, Tim. "I named him Tim because I read somewhere that no great thing was ever done by a man named Tim. And so I thought to myself, 'Yeah, well, OK, I'll call him Tim and he can do great things.'' © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
Toronto Sun
11-07-2025
- Entertainment
- Toronto Sun
Dark series 'The Institute' adaptation gets Stephen King's thumbs up
Published Jul 11, 2025 • Last updated 19 minutes ago • 4 minute read Joe Freeman in a scene from 'The Institute.' Photo by Chris Reardon / MGM+ Stephen King has a rule for anyone wanting to adapt one of his books for the big or small screen. It's basically the Hippocratic oath for intellectual property — first, do no harm. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account 'When you deviate from the story that I wrote, you do so at your own risk,' he says in a recent interview from his home in Maine. 'I know what I'm doing and I'm not sure that screenwriters always do or that producers and directors always do.' Not everyone has listened to King, who has enjoyed hit adaptations — 'The Shawshank Redemption,' 'Stand By Me,' 'Misery,' 'It' and 'The Shining' — as well as flops _ 'Salem's Lot,' 'Graveyard Shift' and 'The Lawnmower Man.' The industrious novelist has lately watched as a wave of adaptations are crafted for theaters or streaming platforms, a list that includes 'The Life of Chuck' and the upcoming 'The Long Walk,' 'The Running Man' and 'It: Welcome to Derry.' It also includes the eight-episode series 'The Institute,' which debuts on MGM+ on Sunday (there's no air date in Canada yet). Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. It's about a secret government facility where kids with special talents — telekinesis and telepathy — are imprisoned and put to dark geopolitical uses. Their bedrooms are faithfully re-created and creepy posters — 'Your Gift Is Important' and 'I Choose to be Happy' — line the halls. Does this small-screen adaptation of his 2019 book get King's approval? 'I'm talking to you which is a pretty good sign,' he says, laughing. He even signed on as executive producer. 'When I write a book, it's a single-person sport and when these people do a TV show or a movie it becomes a team sport. So you expect some changes and, sometimes, man, they're really good.' What's 'The Institute' about'? 'The Institute' stars Mary-Louise Parker as a sinister scientist and Ben Barnes as a small-town cop on opposite sides as the group of children are kidnapped and exploited. The series is faithful to the book, but includes some changes, like setting it entirely in Maine and aging the hero up so as not to appear too sadistic. This advertisement has not loaded yet, but your article continues below. That hero — 14-year-old Luke Ellis, played winningly by Joe Freeman — is the latest youngster with special powers that King has manifested, a line that stretches back to the heroine of 'Carrie,' Danny Torrance in 'The Shining' and Charlie McGee in 'Firestarter.' 'I thought to myself, what would happen if a bunch of kids that had psychic powers could see enough of the future to tell when certain moments were going to come along,' he says. 'But the kids would be wrecked by this process and they would be kept in a place where they could serve the greater good. It was a moral problem that I really liked.' King has a special respect for young adults, who he says can be brave and behave nobly under pressure but who can also be mean and petty. This advertisement has not loaded yet, but your article continues below. He says he was inspired by William Golding, who wrote the iconic 'Lord of the Flies,' a dystopian novel about a group of schoolboys who while trying to survive on a remote island unlock their own barbarism. 'He was talking to his wife before he wrote the book and he said, 'What would it be like if I wrote a story about boys and the way that boys really acted?' And so I tried to write a book about kids the way that kids really act,' says King. Executive producer and co-writer Benjamin Cavell says King resists the impulse to be overly involved in the process, instead identifying people he trusts to do right by the material. 'So much of the pleasure of King's writing is the access he gives his reader to the deepest, darkest, most private thoughts and dreams and desires of his characters; the adaptor's task is to make all that external and cinematic,' says Cavell. This advertisement has not loaded yet, but your article continues below. 'Monsters inside of us' Jack Bender has become something of a King whisperer, helping adapt both King's 'Mr. Mercedes' and 'The Outsider' to the screen. This time, he helped direct and executive produce 'The Institute.' 'I count my blessings to be in the position of someone he creatively trusts,' says Bender. 'He is a genius at tapping into the fears we all share of what's hiding under our beds. For me, both 'Mr. Mercedes' and 'The Institute' deal with those fears by focusing on the monsters inside of us human beings, not just outside in the world around us.' The first thing Bender and Cavell had to figure out was what form 'The Institute' would take — a standalone film or a series. 'In the case of 'The Institute,' which was a 576-page novel packed with rich, fascinating characters that would need time to connect and be with each other, I didn't want to shrink it into a 110 minute movie that would've become the 'X-Kids,'' says Bender. This advertisement has not loaded yet, but your article continues below. King says that while Hollywood has a seemingly insatiable appetite for his books, he hasn't gotten more cinematic as a writer _ he always has been. 'I am one of the first writers that was actually influenced by television as well as movies. 'I grew up with the idea that things should be cinematic and that you should look at things in a visual way, a very sensory way.' King was also pleased that the adapters of 'The Institute' made sure not to change the name of Barnes' small-town cop, Tim. 'I named him Tim because I read somewhere that no great thing was ever done by a man named Tim. And so I thought to myself, 'Yeah, well, OK, I'll call him Tim and he can do great things.''
San Francisco Chronicle
10-07-2025
- Entertainment
- San Francisco Chronicle
Dark series 'The Institute' adaptation gets author Stephen King's thumbs up
NEW YORK (AP) — Stephen King has a rule for anyone wanting to adapt one of his books for the big or small screen. It's basically the Hippocratic oath for intellectual property — first, do no harm. 'When you deviate from the story that I wrote, you do so at your own risk,' he says in a recent interview from his home in Maine. 'I know what I'm doing and I'm not sure that screenwriters always do or that producers and directors always do.' Not everyone has listened to King, who has enjoyed hit adaptations — 'The Shawshank Redemption,' 'Stand By Me,' 'Misery,' 'It' and 'The Shining' — as well as flops — 'Salem's Lot,' 'Graveyard Shift' and 'The Lawnmower Man.' The industrious novelist has lately watched as a wave of adaptations are crafted for theaters or streaming platforms, a list that includes 'The Life of Chuck' and the upcoming 'The Long Walk,' 'The Running Man' and 'It: Welcome to Derry.' It also includes the eight-episode series 'The Institute,' which debuts on MGM+ on Sunday. It's about a secret government facility where kids with special talents — telekinesis and telepathy — are imprisoned and put to dark geopolitical uses. Their bedrooms are faithfully re-created and creepy posters — 'Your Gift Is Important' and 'I Choose to be Happy' — line the halls. Does this small-screen adaptation of his 2019 book get King's approval? 'I'm talking to you which is a pretty good sign,' he says, laughing. He even signed on as executive producer. 'When I write a book, it's a single-person sport and when these people do a TV show or a movie it becomes a team sport. So you expect some changes and, sometimes, man, they're really good.' What's 'The Institute' about'? 'The Institute' stars Mary-Louise Parker as a sinister scientist and Ben Barnes as a small-town cop on opposite sides as the group of children are kidnapped and exploited. The series is faithful to the book, but includes some changes, like setting it entirely in Maine and aging the hero up so as not to appear too sadistic. That hero — 14-year-old Luke Ellis, played winningly by Joe Freeman — is the latest youngster with special powers that King has manifested, a line that stretches back to the heroine of 'Carrie,' Danny Torrance in 'The Shining' and Charlie McGee in 'Firestarter.' 'I thought to myself, what would happen if a bunch of kids that had psychic powers could see enough of the future to tell when certain moments were going to come along,' he says. 'But the kids would be wrecked by this process and they would be kept in a place where they could serve the greater good. It was a moral problem that I really liked.' King has a special respect for young adults, who he says can be brave and behave nobly under pressure but who can also be mean and petty. He says he was inspired by William Golding, who wrote the iconic 'Lord of the Flies,' a dystopian novel about a group of schoolboys who while trying to survive on a remote island unlock their own barbarism. 'He was talking to his wife before he wrote the book and he said, 'What would it be like if I wrote a story about boys and the way that boys really acted?' And so I tried to write a book about kids the way that kids really act,' says King. Executive producer and co-writer Benjamin Cavell says King resists the impulse to be overly involved in the process, instead identifying people he trusts to do right by the material. 'So much of the pleasure of King's writing is the access he gives his reader to the deepest, darkest, most private thoughts and dreams and desires of his characters; the adaptor's task is to make all that external and cinematic,' says Cavell. 'Monsters inside of us' Jack Bender has become something of a King whisperer, helping adapt both King's 'Mr. Mercedes' and 'The Outsider' to the screen. This time, he helped direct and executive produce 'The Institute.' 'I count my blessings to be in the position of someone he creatively trusts,' says Bender. 'He is a genius at tapping into the fears we all share of what's hiding under our beds. For me, both 'Mr. Mercedes' and 'The Institute' deal with those fears by focusing on the monsters inside of us human beings, not just outside in the world around us.' The first thing Bender and Cavell had to figure out was what form 'The Institute' would take — a standalone film or a series. 'In the case of 'The Institute,' which was a 576-page novel packed with rich, fascinating characters that would need time to connect and be with each other, I didn't want to shrink it into a 110 minute movie that would've become the 'X-Kids,'' says Bender. King says that while Hollywood has a seemingly insatiable appetite for his books, he hasn't gotten more cinematic as a writer — he always has been. 'I am one of the first writers that was actually influenced by television as well as movies. 'I grew up with the idea that things should be cinematic and that you should look at things in a visual way, a very sensory way.' "I named him Tim because I read somewhere that no great thing was ever done by a man named Tim. And so I thought to myself, 'Yeah, well, OK, I'll call him Tim and he can do great things.''
Winnipeg Free Press
10-07-2025
- Entertainment
- Winnipeg Free Press
Dark series ‘The Institute' adaptation gets author Stephen King's thumbs up
NEW YORK (AP) — Stephen King has a rule for anyone wanting to adapt one of his books for the big or small screen. It's basically the Hippocratic oath for intellectual property — first, do no harm. 'When you deviate from the story that I wrote, you do so at your own risk,' he says in a recent interview from his home in Maine. 'I know what I'm doing and I'm not sure that screenwriters always do or that producers and directors always do.' Not everyone has listened to King, who has enjoyed hit adaptations — 'The Shawshank Redemption,' 'Stand By Me,' 'Misery,' 'It' and 'The Shining' — as well as flops — 'Salem's Lot,' 'Graveyard Shift' and 'The Lawnmower Man.' The industrious novelist has lately watched as a wave of adaptations are crafted for theaters or streaming platforms, a list that includes 'The Life of Chuck' and the upcoming 'The Long Walk,' 'The Running Man' and 'It: Welcome to Derry.' It also includes the eight-episode series 'The Institute,' which debuts on MGM+ on Sunday. It's about a secret government facility where kids with special talents — telekinesis and telepathy — are imprisoned and put to dark geopolitical uses. Their bedrooms are faithfully re-created and creepy posters — 'Your Gift Is Important' and 'I Choose to be Happy' — line the halls. Does this small-screen adaptation of his 2019 book get King's approval? 'I'm talking to you which is a pretty good sign,' he says, laughing. He even signed on as executive producer. 'When I write a book, it's a single-person sport and when these people do a TV show or a movie it becomes a team sport. So you expect some changes and, sometimes, man, they're really good.' What's 'The Institute' about'? 'The Institute' stars Mary-Louise Parker as a sinister scientist and Ben Barnes as a small-town cop on opposite sides as the group of children are kidnapped and exploited. The series is faithful to the book, but includes some changes, like setting it entirely in Maine and aging the hero up so as not to appear too sadistic. That hero — 14-year-old Luke Ellis, played winningly by Joe Freeman — is the latest youngster with special powers that King has manifested, a line that stretches back to the heroine of 'Carrie,' Danny Torrance in 'The Shining' and Charlie McGee in 'Firestarter.' 'I thought to myself, what would happen if a bunch of kids that had psychic powers could see enough of the future to tell when certain moments were going to come along,' he says. 'But the kids would be wrecked by this process and they would be kept in a place where they could serve the greater good. It was a moral problem that I really liked.' King has a special respect for young adults, who he says can be brave and behave nobly under pressure but who can also be mean and petty. He says he was inspired by William Golding, who wrote the iconic 'Lord of the Flies,' a dystopian novel about a group of schoolboys who while trying to survive on a remote island unlock their own barbarism. 'He was talking to his wife before he wrote the book and he said, 'What would it be like if I wrote a story about boys and the way that boys really acted?' And so I tried to write a book about kids the way that kids really act,' says King. Executive producer and co-writer Benjamin Cavell says King resists the impulse to be overly involved in the process, instead identifying people he trusts to do right by the material. 'So much of the pleasure of King's writing is the access he gives his reader to the deepest, darkest, most private thoughts and dreams and desires of his characters; the adaptor's task is to make all that external and cinematic,' says Cavell. 'Monsters inside of us' Jack Bender has become something of a King whisperer, helping adapt both King's 'Mr. Mercedes' and 'The Outsider' to the screen. This time, he helped direct and executive produce 'The Institute.' 'I count my blessings to be in the position of someone he creatively trusts,' says Bender. 'He is a genius at tapping into the fears we all share of what's hiding under our beds. For me, both 'Mr. Mercedes' and 'The Institute' deal with those fears by focusing on the monsters inside of us human beings, not just outside in the world around us.' The first thing Bender and Cavell had to figure out was what form 'The Institute' would take — a standalone film or a series. Currently on hiatus A review of funny, uplifting news in Winnipeg and around the globe. 'In the case of 'The Institute,' which was a 576-page novel packed with rich, fascinating characters that would need time to connect and be with each other, I didn't want to shrink it into a 110 minute movie that would've become the 'X-Kids,'' says Bender. King says that while Hollywood has a seemingly insatiable appetite for his books, he hasn't gotten more cinematic as a writer — he always has been. 'I am one of the first writers that was actually influenced by television as well as movies. 'I grew up with the idea that things should be cinematic and that you should look at things in a visual way, a very sensory way.' King was also pleased that the adapters of 'The Institute' made sure not to change the name of Barnes' small-town cop, Tim. 'I named him Tim because I read somewhere that no great thing was ever done by a man named Tim. And so I thought to myself, 'Yeah, well, OK, I'll call him Tim and he can do great things.''
