Latest news with #Vasan
India.com
4 days ago
- Automotive
- India.com
Meet Man who owns India's oldest Ferrari, gets His supercar delivered to his office in…, he is not Mukesh Ambani, Gautam Adani, Birla, his name is…
Meet Man who owns India's oldest Ferrari, gets His supercar delivered to his office in..., he is not Mukesh Ambani, Gautam Adani, Birla, his name is... New Delhi: Over the past 10–15 years, India has emerged as a hub for unicorns and prominent entrepreneurs. The luxurious lifestyles of these successful businessmen are often showcased on social media. Lately, there has been a noticeable trend of entrepreneurs purchasing exotic and high-end cars. Young entrepreneurs often gravitate towards supercars and sporty SUVs while older businessmen typically prefer luxurious and comfortable SUVs. However, in a unique instance, a video has surfaced showing an older businessman taking delivery of a brand-new Ferrari Purosangue right at his office. M. Hemanth Kumar shared the video on his Instagram page where an older businessman can be seen coming out from his office in Karnataka. The businessman in the video is Sekhar Vasan, who is the Managing Director of Sansera Engineering, an engineering-led integrated manufacturer of complex and critical precision components for the automotive and non-automotive sectors. Vasan can be seen surrounded by staff and family members. As he walks ahead, he is greeted by a staff member from the Ferrari dealership. After handing over the keys to the car, Vasan gets into the driver's seat and takes the car for a spin. In this video, we even see him drive the car on the road and then bring it back to the office. The car featured in the video is a particularly special Ferrari — it's the brand's first-ever SUV to enter production. Launched in India last year, it comes with an ex-showroom price tag of approximately ₹10.5 crore. The Ambani family was among the first to purchase it soon after its debut.
The Hindu
18-05-2025
- Politics
- The Hindu
T.N. Government should take up infrastructure works in government schools during summer holidays: G.K. Vasan
Tamil Maanila Congress (Moopanar) president G.K. Vasan on Sunday (May 18, 2025) urged the State Government to conduct a thorough inspection of Government schools across the State and ensure availability of proper infrastructure facilities, ahead of the reopening of schools in the first week of June. In a statement, Mr. Vasan said, 'Many middle-class families and economically poor sections rely on Government schools for their children's education. It is essential for the School Education Department to provide quality education to these children. As the schools are currently closed for summer holidays, the State Government officials should inspect the schools to check for the availability of infrastructure facilities. 'Officials from the School Education, Revenue and Public Works Departments should assess the structural safety of buildings. Old and dilapidated classroom structures should be demolished, and new buildings should be constructed wherever necessary. Several Government and Government-aided schools still lack basic facilities. There are neither toilet facilities nor access to purified drinking water. In some places, due to a shortage of classrooms, students are forced to sit under the shadow of trees in the playground,' Mr. Vasan contended. Further, he said to improve the quality of education and increase the pass percentage, teachers' vacancies should be filled without any delay. 'Many schools currently face a shortage of Tamil language teachers, which has led to an increased workload for other subject teachers. This situation would adversely affect both teachers and students,' he said. 'The State Government should take immediate steps to address these issues to ensure a safe and quality educational environment for all students,' he added.
The Hindu
09-05-2025
- Entertainment
- The Hindu
The fall of Gemini Studios in Chennai through the lens of writer Ashokamitran
There is nothing in Chennai to indicate the existence of Gemini Studios, a landmark, except the Anna Flyover that continues to be referred to as Gemini Flyover. The once glorious studio, its owner S.S. Vasan, the memorable films he made, the heroes and heroines, and innumerable workers of the film industry of a previous era continue to live through the evocative writings of Ashokamitran. Karaintha Nizhalkal is a novel, and My Years with Boss is an account of his experience as an employee of Gemini Studios. In a way, Karaintha Nizhalkal is a fictionalised version of My Years with Boss. The fall of men who once dominated the tinsel world and how easily the world moves forward without them is the central and poignant theme of both books. 'Vasan must have found himself dwelling more and more on the earlier times. Ah, Chandralekha! Ah, Nishan! Ah, Mangala! Dazzling women, gorgeous palaces, galloping horses, the swish of rapiers criss-crossing against a taut musical score... Vasan had made up his mind about the next film,' writes Ashokamitran about Vasan, who was addressed as Boss. The biggest flop The next film Raj Tilak had a stellar cast: Vyjayanthimala, Padmini, Gemini Ganesan, Pran, and Meenakshi. In Tamil, it was Vanjikottai Valiban. 'It was the last time Vasan yielded to his obsession to make a second Chandralekha. Of course, he couldn't, for everyone now knows that Raj Tilak was the biggest flop Gemini ever made. The cycle had indeed come to an end,' he writes. Gemini Studios, which once produced blockbusters like Chandralekha and Avvaiyar, faded into oblivion. Vasan being Vasan, who was also the owner of Ananda Vikatan, managed to keep up appearance. Ashokamitran wrote the novel after he quit Gemini Studios, and it is haunting. In the novel, film producer Reddiyar was also losing his standing in the film world. Changing times, however, proved cruel to people like Nataraja Iyer, a character in Karaintha Nizhalkal. Iyer, the production manager of Reddiyar, who knows the film world like the back of his hand, ends up begging at the Saidapet bus stand. Ashokamitran would have fashioned the character of Iyer and others after real-life figures from Gemini Studios. Sampath, a character in the novel, recounts a heart-wrenching account: 'I am not able to face him. He is suffering. Both his legs are swollen. Not able to go to hospital. He said he did not have money for vehicle. I felt like crying. What is cinema? It is car and food. So long as films are made, even an ordinary worker will not eat food which is less than ₹5 or ₹10. Two cars will go to Sowcarpet, eight kilometres away, to buy beedis which cost just 10 paisa.' Both books offer insights into the dynamics of film-making while remaining windows to the Tamil film world. Ashokamitran makes a particularly sharp observation about Parasakthi. 'There was a great deal of contemporaneity in it; almost every line had an allusion to the political and social scene in Tamil Nadu. The makers of a film like Parasakthi represented a real threat to the supremacy of Gemini Studios,' he writes, hinting at Vasan's failure to adapt himself to the changing cinematic trends and contemporary and socially relevant subjects. The film had a far-reaching impact not only on Tamil film world but also on Tamil Nadu's political landscape. Serialised in a magazine Ashokamitran's prowess as an ace-storyteller is evident throughout the novel, which was first serialised in 1967 in Deepam, a literary magazine launched by Na. Parthasarathy. The film world he had written about and the characters he had populated in the novel belong to a period when modernity had not fully made its presence felt in Tamil film-making. The essence of the novel, however, remains contemporary even after more than half-a-century. Film producers, directors, actors, extras, music directors, outdoor unit organisers, and scores of faceless workers who contribute to the making of a film today bear resemblance to the characters of the novel. One scene stands out. Going through difficult times, Reddiyar visits the house of heroine Jayachandrika, who fails to turn up after committing herself to his film. After hurling abuses at her, he shifts his tone. 'Don't take these words to heart. I can say one more thing. I have known your mother for 30 years since she came from Vaitheeswarankoil. Maybe, I am your father. Who knows?' says Reddiyar. The words, like a slap in the face, also capture the darker side of the film world and the countless stories about the survival of women in the industry.
The Hindu
08-05-2025
- Entertainment
- The Hindu
The fall of a great studio through the lens of writer Ashokamitran
There is nothing in Chennai to indicate the existence of Gemini Studios, a landmark, except the Anna Flyover that continues to be referred to as Gemini Flyover. The once glorious studio, its owner S.S. Vasan, the memorable films he made, the heroes and heroines, and innumerable workers of the film industry of a previous era continue to live through the evocative writings of Ashokamitran. Karaintha Nizhalkal is a novel, and My Years with Boss is an account of his experience as an employee of Gemini Studios. In a way, Karaintha Nizhalkal is a fictionalised version of My Years with Boss. The fall of men who once dominated the tinsel world and how easily the world moves forward without them is the central and poignant theme of both books. 'Vasan must have found himself dwelling more and more on the earlier times. Ah, Chandralekha! Ah, Nishan! Ah, Mangala! Dazzling women, gorgeous palaces, galloping horses, the swish of rapiers criss-crossing against a taut musical score... Vasan had made up his mind about the next film,' writes Ashokamitran about Vasan, who was addressed as Boss. The biggest flop The next film Raj Tilak had a stellar cast: Vyjayanthimala, Padmini, Gemini Ganesan, Pran, and Meenakshi. In Tamil, it was Vanjikottai Valiban. 'It was the last time Vasan yielded to his obsession to make a second Chandralekha. Of course, he couldn't, for everyone now knows that Raj Tilak was the biggest flop Gemini ever made. The cycle had indeed come to an end,' he writes. Gemini Studios, which once produced blockbusters like Chandralekha and Avvaiyar, faded into oblivion. Vasan being Vasan, who was also the owner of Ananda Vikatan, managed to keep up appearance. Ashokamitran wrote the novel after he quit Gemini Studios, and it is haunting. In the novel, film producer Reddiyar was also losing his standing in the film world. Changing times, however, proved cruel to people like Nataraja Iyer, a character in Karaintha Nizhalkal. Iyer, the production manager of Reddiyar, who knows the film world like the back of his hand, ends up begging at the Saidapet bus stand. Ashokamitran would have fashioned the character of Iyer and others after real-life figures from Gemini Studios. Sampath, a character in the novel, recounts a heart-wrenching account: 'I am not able to face him. He is suffering. Both his legs are swollen. Not able to go to hospital. He said he did not have money for vehicle. I felt like crying. What is cinema? It is car and food. So long as films are made, even an ordinary worker will not eat food which is less than ₹5 or ₹10. Two cars will go to Sowcarpet, eight kilometres away, to buy beedis which cost just 10 paisa.' Both books offer insights into the dynamics of film-making while remaining windows to the Tamil film world. Ashokamitran makes a particularly sharp observation about Parasakthi. 'There was a great deal of contemporaneity in it; almost every line had an allusion to the political and social scene in Tamil Nadu. The makers of a film like Parasakthi represented a real threat to the supremacy of Gemini Studios,' he writes, hinting at Vasan's failure to adapt himself to the changing cinematic trends and contemporary and socially relevant subjects. The film had a far-reaching impact not only on Tamil film world but also on Tamil Nadu's political landscape. Serialised in a magazine Ashokamitran's prowess as an ace-storyteller is evident throughout the novel, which was first serialised in 1967 in Deepam, a literary magazine launched by Na. Parthasarathy. The film world he had written about and the characters he had populated in the novel belong to a period when modernity had not fully made its presence felt in Tamil film-making. The essence of the novel, however, remains contemporary even after more than half-a-century. Film producers, directors, actors, extras, music directors, outdoor unit organisers, and scores of faceless workers who contribute to the making of a film today bear resemblance to the characters of the novel. One scene stands out. Going through difficult times, Reddiyar visits the house of heroine Jayachandrika, who fails to turn up after committing herself to his film. After hurling abuses at her, he shifts his tone. 'Don't take these words to heart. I can say one more thing. I have known your mother for 30 years since she came from Vaitheeswarankoil. Maybe, I am your father. Who knows?' says Reddiyar. The words, like a slap in the face, also capture the darker side of the film world and the countless stories about the survival of women in the industry.
The Star
02-05-2025
- The Star
AI companions present risks for young users, US watchdog warns
While some specific cases 'show promise', AI companions are not safe for kids, a leading US tech watchdog concluded. — Pixabay NEW YORK: AI companions powered by generative artificial intelligence present real risks and should be banned for minors, a leading US tech watchdog said in a study published April 30. The explosion in generative AI since the advent of ChatGPT has seen several startups launch apps focused on exchange and contact, sometimes described as virtual friends or therapists that communicate according to one's tastes and needs. The watchdog, Common Sense, tested several of these platforms, namely Nomi, Character AI, and Replika, to assess their responses. While some specific cases "show promise", they are not safe for kids, concluded the organisation, which makes recommendations on children's use of technological content and products. The study was carried out in collaboration with mental health experts from Stanford University. For Common Sense, AI companions are "designed to create emotional attachment and dependency, which is particularly concerning for developing adolescent brains". According to the association, tests conducted show that these next-generation chatbots offer "harmful responses, including sexual misconduct, stereotypes, and dangerous 'advice'." "Companies can build better" when it comes to the design of AI companions, said Nina Vasan, head of the Stanford Brainstorm lab, which works on the links between mental health and technology. "Until there are stronger safeguards, kids should not be using them," Vasan said. In one example cited by the study, a companion on the Character AI platform advises the user to kill someone, while another user in search of strong emotions was suggested to take a speedball, a mixture of cocaine and heroin. In some cases, "when a user showed signs of serious mental illness and suggested a dangerous action, the AI did not intervene, and encouraged the dangerous behavior even more," Vasan told reporters. In October, a mother sued Character AI, accusing one of its companions of contributing to the suicide of her 14-year-old son by failing to clearly dissuade him from committing the act. In December, Character AI announced a series of measures, including the deployment of a dedicated companion for teenagers. Robbie Torney, in charge of AI at Common Sense, said the organisation had carried out tests after these protections were put in place and found them to be "cursory". However, he pointed out that some of the existing generative AI models contained mental disorder detection tools and did not allow the chatbot to let a conversation drift to the point of producing potentially dangerous content. Common Sense made a distinction between the companions tested in the study and the more generalist chatbots such as ChatGPT or Google's Gemini, which do not attempt to offer an equivalent range of interactions. – AFP
