Life & Style

Enjoy home-made puddings at Tree of Treats in Thiruvananthapuram


Tree of Treats, a weekend home cafe located at Kowdiar, Thiruvananthapuram, comes to life at five on Friday evenings. The fairy lights wrapped around the name board, patio furniture arranged on the front porch, and wobbly puddings soaked in sauce or coated in toasted coconut welcome customers to this makeshift eatery.

The place is an extension of Treesa Joy and Arun Antony’s home. If you listen carefully, you can hear three-year-old Anthoy as he runs around the residence.

Arun and Anthoyi at Tree of Treats

Arun and Anthoyi at Tree of Treats
| Photo Credit:
SPECIAL ARRANGEMENT

The evening cafe, as Treesa describes it, began in July, four years after she started a takeaway service exclusively for puddings. “Initially, we sold puddings just on the weekends and then we hired an employee to meet the demand during weekdays,” says Treesa, who is also a full-time corporate employee.


Also read: Casamigo in Thiruvananthapuram serves a blend of international flavours in a cosy bistro setting

Her decision to prepare puddings, while staying away from the “baking trend,” has an emotional reason. “I am from Ponkunnam in Kottayam. At home, we used to serve puddings to our guests, especially caramel pudding, which my mom made often. She passed away in 2020. She was a very hospitable lady and with Tree of Treats, I feel her presence,” says Treesa, who was not particularly fond of cooking earlier.

Puddings available at Tree of Treats

Puddings available at Tree of Treats
| Photo Credit:
SPECIAL ARRANGEMENT

The Tree of Treats menu has caramel pudding, tender coconut pudding, and sticky toffee pudding. They also prepare ginger-lime concentrates and brownies, on pre-order.

The puddings are sold in two portion sizes, 100ml and 500ml, with prices starting from ₹65. The ingredients are locally sourced, and Treesa is helped by two employees. Around 20 litres of each pudding are made every day.

The tender coconut pudding, topped with bits of toasted coconut, currently sells like hot cakes. Gelatin is used as the setting agent to give slight firmness to the pudding. The jiggle of the pudding in the spoon is followed by a subtle taste of tender coconut and slight crunch from the toasted coconut crumbs. “I made the tender coconut pudding for the first time on my first wedding anniversary in June 2020,” says Treesa with a smile.

Tender coconut pudding from Tree of Treats

Tender coconut pudding from Tree of Treats
| Photo Credit:
Nainu Oommen

The sticky toffee pudding, which has sticky, date cake soaked in caramel sauce, topped with a scoop of vanilla ice cream, is also popular. The ice cream with the moist cake make for the perfect bite. “I prepare this cake, while the other desserts are made without my supervision sometimes,” says Treesa, who joins her staff in the kitchen before logging in for work and jumps back in right after duty.

Sticky toffee pudding topped with vanilla ice cream from Tree of Treats

Sticky toffee pudding topped with vanilla ice cream from Tree of Treats
| Photo Credit:
Nainu Oommen

“I don’t have a sweet tooth,” says Treesa, who uses Arun to try out her “experiments”. “He was working in Bengaluru before he moved to Thiruvananthapuram. He helps with the business side of the cafe, and his move is what allowed us to start a dine-in facility,” says Treesa.

“I want to introduce fruit salads and other fruit concentrates in our menu; we also plan to look at sugar-free dessert options moving forward,” says Treesa. She adds, “Ultimately, we aim at a small outlet of our own, where takeaway and dine-in are possible.”

Tree of Treats is open from Friday to Sunday. Time: 5pm to 10pm. Contact: 9169666866

Published – August 20, 2025 11:00 am IST



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Buy a slice of palace life at the Royal Fables pop-up in New Delhi


Royal Fables returns to New Delhi with its 15th edition, bringing with it the erstwhile grandeur of princely India reimagined for the modern world. Presented in association withSONACHAANDI by the house of Shilpi Gupta and Atul Jewellers, the one-day pop-up will showcase India’s royal heritage through crafts, cuisine, couture, and collectibles.

Among the many highlights, on display will be the Karkhana Chronicles — a campaign, featuring collaborations between royal families and artisans, that focusses on preserving India’s textile heritage by supporting artisan communities, particularly those impacted by the pandemic — and a tribute to palace ateliers still alive in forts and havelis.

You can also expect Kitchen of the Kings, an immersive trail of lost recipes from royal kitchens, andRegal Retail Therapy,a handpicked edit of luxury handcrafted goods for connoisseurs. Anshu Khanna, curator of Royal Fables, shares, “The focus is on young royals, this year. We have ten young royals participating. The platform allows them to showcase their work and is intended to keep the craft tradition alive.”

Kunwar Yaduveer Singh Bera

Kunwar Yaduveer Singh Bera
| Photo Credit:
SPECIAL ARRANGEMENT

Kunwar Yaduveer Singh Bera is reviving Bera jackets. Each piece is handcrafted with traditional techniques, inspired by the landscapes of Jawai ( a small village located in Pali district of Rajasthan) and the legacy of Bera. The collection traces its history to the early 20th Century, when Captain Prithi Singh Bera, great-grandfather of Yaduveer Singh, designed the first quilted jackets for the royal polo fields and hunting expeditions. “They were worn by Rajput communities, royal guests visiting Jodhpur and Udaipur (and Baroda), and those connected to the royal families. These jackets were given as souvenirs or gifts representing Indian art. In Rajasthan’s cold winters, men wore them over bandgalas, and women wore them over sarees. The core purpose of the Bera jacket brand is to revive the traditional art of quilting and the creation of fulgars (jackets or coats),” says Yaduveer.

Maharani Shailja Katoch of Kangra

Maharani Shailja Katoch of Kangra
| Photo Credit:
SPECIAL ARRANGEMENT

Born and raised in Sailana, Madhya Pradesh, Maharani Shailja Katoch of Kangra inherited the love for food from her grandfather and great-grandfather, who had painstakingly collected heirloom recipes from over 500 royal Indian families. After her marriage, when she moved to Kangra, Shailja discovered the rich tradition of dham cuisine — a vegetarian feast intrinsic to the cultural fabric of the hills.

“Dham is a vegetarian cuisine cooked by Brahmins called boties in the hills of Kangra. For this event, we are showcasing classics such as ma ki dal (black lentils), palda (a curd-based curry), matra (made with kihi), sepu badi (local lentil dumplings), chuhare ka raita (date raita), meethe chawal (sweet rice), and badana (gram flour dumplings),” says Shailja.

Charu Singh

Charu Singh
| Photo Credit:
SPECIAL ARRANGEMENT

Charu Singh, co-curator of Royal Fables, shares, “The focus is on bringing in designers who emphasise Indian aesthetics, by preserving and modernising heritage, and those who are dynamic and active in the art scene.”

Mrinalini Kumari Lunavada

Mrinalini Kumari Lunavada
| Photo Credit:
SPECIAL ARRANGEMENT

Mrinalini Kumari Lunavada, who launched her home furnishing brand, Loonawara, four months ago, traces her inspiration to the 600-year-old palace in Lunavada, Gujarat, where she grew up. She says, “My family’s history goes back to the Chalukyas of Patan. The label is based on the palace that I grew up in — adorned with frescoes, wall paintings, intricately carved facades and doorways. Many of the palace’s carvings were detailed with hidden animals — birds, lions, monkeys, squirrels — that now inspire my collections.”

The collection also features wildlife paintings, many of which draw inspiration from the photography by Mrinalini and her father. At the event, Loonawara brings cushion covers with wildlife motifs, table mats bordered with mural-inspired art, lampshades, cocktail napkins, and select furniture pieces, all echoing the palace she grew up in.

The prouducts are priced ₹5000 onwards.

The 15th Edition of Royal Fables will be held in New Delhi, on August 22, at the Oval Room, Mansion, Hyatt Regency, from 11am to 8pm.

Published – August 19, 2025 04:52 pm IST



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MMA Choir presents global choral concert with Poland’s Concerto Glacencis Choir in Chennai


The MMA Choir

The MMA Choir
| Photo Credit: Special Arrangement

The Madras Musical Association (MMA) Choir is set to join voices with the renowned Concerto Glacencis Choir from Poland for An Evening of Global Music, a choral concert that promises to be both rich and diverse. The performance will bring together 80 singers from the MMA Choir and 43 visiting choristers from Poland, creating an evening of sound and spirit that celebrates harmony across cultures.

The two choirs have collaborated before, most recently in Klodzko, Poland, in 2023. This time, Chennai audiences will experience the blend of bold local voices with international finesse in a program that spans continents and traditions. Audiences can look forward to an eclectic mix — folk songs, musical hits, a Tamil composition, and familiar popular pieces — performed under the direction of Augustine Paul, Katarzyna Mąka, and guest conductors. The program promises to be vibrant and emotional, featuring traditional and contemporary works from Africa, India, Europe, the Americas, and beyond.

Concerto Glacencis Choir from Poland

Concerto Glacencis Choir from Poland
| Photo Credit:
Special Arrangement

This collaboration underscores the universal language of music, highlighting cultural exchange between Chennai’s own MMA Choir and Poland’s Concerto Glacencis Choir, known internationally for their mastery of both light world music and classical repertoire.

@The Museum Theatre, Egmore, on July 22, 2025, at 7.00 pm. Tickets, priced at ₹ 500 and ₹1000, and are available at BookMyShow, PMA School of Music, Etude School of Music and Musee Musical.



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Mahindra pitches SUVs for the world, all built on one ambitious base


There’s something about seeing a concept car under the spotlights that no slide deck or PDF can ever capture. At Mahindra’s big reveal in Mumbai, the air was thick with expectation — not only because the company had promised “a new era of SUVs,” but because this was the first time we were going to see the NU_IQ platform made real.

From the rugged Vision T to the edgy Vision SXT, Mahindra’s concepts fuse classic SUV toughness with a futuristic twist.

From the rugged Vision T to the edgy Vision SXT, Mahindra’s concepts fuse classic SUV toughness with a futuristic twist.
| Photo Credit:
Special Arrangement

On paper, NU_IQ sounded ambitious: a modular base that could run petrol, diesel, hybrid or EV power, carry different body styles, and even switch between left- and right-hand drive. In person, that ambition took shape through four very different concepts, each making its case for what Mahindra’s SUV future looks like.

One Platform – 4 Distinct Machines

The NU_IQ story was told not through charts but by the sheer variety of metal on stage. What struck me most was how each concept looked nothing like the other, yet all them sat on the same skeleton. The engineers made it clear: this wasn’t just a “skateboard for EVs,” but a genuinely flexible foundation where ICE and EV versions of the same model could be built side by side.

Vision S — A more sophisticated take on the Scorpio formula — upright stance, muscular shoulders, but with international polish and a cabin ready for global rivals.

Vision S — A more sophisticated take on the Scorpio formula — upright stance, muscular shoulders, but with international polish and a cabin ready for global rivals.
| Photo Credit:
Special Arrangement

That point came hit home when they wheeled out the Vision T — unmistakably the next-generation Thar, but this time in five-door form. Taller and more planted than the current model, it felt more grown-up without losing its utilitarian charm. You could picture a rugged diesel 4×4 tackling a Himalayan pass, but Mahindra just as confidently talked about an all-electric Thar with instant torque for boulder-crawling. The idea that both versions could exist on the same line is something Indian manufacturers have not pulled off before.

Next came the Vision S, and here the message was clear: the Scorpio is evolving. The proportions were familiar — upright, muscular shoulders, that signature stance — but the detailing was more sophisticated, more international. Walking around it, you noticed cleaner surfacing and a cabin mock-up that looked leagues ahead of what we’re used to in this segment. It wasn’t hard to imagine this as Mahindra’s family SUV for Europe or Africa, still tough but with enough polish to stand against global rivals.

Vision T — The next-gen Thar grows into a five-door, tougher and more versatile than ever, with the promise of diesel grit or all-electric torque from the same line.

Vision T — The next-gen Thar grows into a five-door, tougher and more versatile than ever, with the promise of diesel grit or all-electric torque from the same line.
| Photo Credit:
Special Arrangement

If the Thar and Scorpio derivatives leaned on emotion and legacy, the Vision X aimed squarely at the future. The smallest of the four, but arguably the smartest, it looked sharp and athletic, carrying forward cues from the XUV3XO but with a more confident presence. What made it interesting was Mahindra’s hint that this architecture could stretch — today’s compact SUV, tomorrow’s XUV700 successor. In other words, Vision X isn’t just one car, but a scalable idea.

And then there was the Vision SXT. If the Vision T was the sensible, practical Thar for families, the SXT was its rowdy sibling. At first glance you recognised the shared bodywork, but the rear told a completely different story — chopped into an open back, it had the sort of lifestyle “sports-UTE” vibe that felt more California than Colaba. It’s not the kind of SUV you expect Mahindra to build for its core Indian buyer base, but as a statement of intent for markets like the U.S. or Australia, it hit the mark.

A global language

Another detail that stood out at the event was the balance of influences. Mahindra stressed that the designs were shaped both in Mumbai and at its Banbury studio in the UK. Looking at the four concepts together, that mix was obvious: bold Indian ruggedness married to international finesse.

 Vision X — Compact, sharp, and scalable — today’s urban SUV with the potential to stretch into tomorrow’s XUV700 successor.

 Vision X — Compact, sharp, and scalable — today’s urban SUV with the potential to stretch into tomorrow’s XUV700 successor.
| Photo Credit:
Special Arrangement

Beneath the styling, the engineering team emphasised the benefits of NU_IQ’s “flat-floor” approach, which not only makes packaging smarter but also points to the possibility of the world’s first flat-floor ICE SUV — a neat technical brag if it comes to production.

Beyond India

What set the tone, above all, was Mahindra’s global ambition. This wasn’t framed as “our future SUVs for India,” but “our SUVs for the world.” Left-hand-drive versions were explicitly called out, production is set to begin in 2027, and there was no hesitation in mentioning Europe, the Middle East, and the Americas as targets. That’s a bold shift for a company that, until recently, was seen as largely domestic.

Walking out of the venue, the impression that lingered wasn’t just about four shiny concepts. It was about Mahindra finally building a coherent family of SUVs on one architecture, each designed to wear different personalities without compromise. The Vision T may excite loyalists, the Vision S may reassure families, the Vision X may pull in new urban buyers, and the SXT may raise eyebrows — but together, they make Mahindra’s intent impossible to miss.

Vision SXT — A Thar with a wild side — chopped into an open-bed sports-UTE that feels more California surf than Colaba street.

Vision SXT — A Thar with a wild side — chopped into an open-bed sports-UTE that feels more California surf than Colaba street.
| Photo Credit:
Special Arrangement

The stage lights will fade, the show cars will head back under wraps, but NU_IQ feels like it could be Mahindra’s passport to a bigger game. If the company can deliver these machines to market with the same presence they had in Mumbai, 2027 might just be remembered as the year Mahindra truly went global.

Motorscribes, in association with The Hindu, brings you the latest in cars and bikes. Follow them on Instagram

Published – August 19, 2025 02:47 pm IST



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Movie Review: Before the Flood by Fisher Stevens


The Garden of Earthly Delights

The Garden of Earthly Delights
| Photo Credit: Wikimedia Commons

In its just-over an hour and a half long runtime, ‘Before the Flood’ does not say much about how climate change entirely can be stopped, and perhaps, with good enough reason. Director Fisher Stevens, whose Academy-Award winning, ‘The Cove’ exposed the brutal slaughter of dolphins in Japan, teams up with Leonardo DiCaprio as they travel around the world to discover the causes and shocking effects that climate change has had across the globe. The film opens with the famous painting by Jheronimus Bosch, ‘The Garden of Earthly Delights’, a canvas that the UN Messenger of Peace remembers to be his earliest memory as a child, for it hung above him as a baby. The 15th-century Triptych is perhaps Bosch’s most ambitious work, which continues to loom over the actor’s head till date, serving as a powerful metaphor for the growing concern of climate change. Even until 2015, there were several politicians and spokespersons who denied that climate change was real, in spite of scientific proof.

DiCaprio’s journey to regions with adverse effects on the environment brings to immediate attention a primary cause that lies common everywhere: Climate change is fostered by man-made impact, but it is nature and wildlife that pay the ultimate price. Furthermore, the documentary urges us to observe what has become an alarmingly real situation, fuelled by the politics of greed. In his conversations with people in the various countries he visits, DiCaprio realises a greater truth that haunts him. He finds despair, for he slowly begins to realise the inevitability of catastrophe – a storm that was predicted to arrive centuries later is now only decades away from causing ultimate destruction.

The documentary, infusing interviews with powerful visuals, occasionally echoes the concerns of the protagonist. However, DiCaprio is most often an observer, an ant exploring the elephant’s body. The issue does not lie in one singular factor, but several factors. In Canada, acres of forest land has been cut for oil sands by large corporations, which is detrimental to the environment. Farmers lose crops due to untimely rainfall in India. In Indonesia, creation of palm oil plantations leads to loss of forest cover. There is corruption. There is pollution. There is ignorance. The protagonist slowly loses hope. To accept that the problem exists is key before even trying to solve it. In lieu of this, as the film progresses, it serves as a key call to take collective action, raising awareness to the rapidly worsening situation of the climate.

In a meeting with the Pope, DiCaprio is reminded that the Paris Climate Agreement of 2015 is just the start. Global leaders have agreed in unison the reality of the situation. It is here that his fears ever-so slowly begin to find the light of a hope, which lies in individual action that slowly will eventually turn into a group effort. Bosch’s painting echoes a multitude of meanings here. If the left wing of his painting is an ecosystem untouched before Adam and Eve, we are currently in the Central Panel. The world is riddled with chaos, sin and greed. Leonardo DiCaprio fears the advent of the third and final panel, a world struck by a flood, suffering the hellish punishments of all of humanity’s wrongdoing. However, there is time to change it, and every small step counts, for we still are, ‘Humankind Before the Flood.’



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Calorie, a year-long exhibit at the Science Gallery Bengaluru, questions our relationship with food


Long Hanging Fruits, an installation by Indonesian artist Elia Nurvista  about the palm oil industry

Long Hanging Fruits, an installation by Indonesian artist Elia Nurvista about the palm oil industry
| Photo Credit: Special arrangement

In the 1820s, French scientist Nicolas Clément introduced the term calorie. In the two centuries since, human beings’ and society’s relationship with food has changed drastically. Today the study of food is a complex subject that comprises not only nutrition and agriculture, but also has geopolitics, technology, climate change, caste and gender under its umbrella.

Science Gallery Bengaluru unveils a year-long exhibition titled Calorie, that uses the lens of art to engage and reflect on these subjects. Who grows your food? Who gets to eat it? What does it do to your body? And, how much waste does it create? All these dialogues and more are being discussed by this exhibition, that is supported by the Gates Foundation, British Council and MacDermid Alpha Electronics Solutions.

“We have a strong cultural relationship to food, and food is also an object of scientific research,” says Dr. Jahnavi Phalkey, the founding director of the Science Gallery Bengaluru. “Discussions about food have gained more currency in every domain of our life nowadays. Topics such as the science behind cooking, nutrition, Indian diet fads, and so on. As an informed citizen, whom do I take seriously?” The exhibition is an invitation to look beyond what is on our plate and to interrogate the systems, values, and choices that feed us.

Stuff Change, a multisensory inflatable installation about stomachs by 
Denisa Pubalova and Lea Luka Sikau

Stuff Change, a multisensory inflatable installation about stomachs by
Denisa Pubalova and Lea Luka Sikau
| Photo Credit:
Special arrangement

Some highlights from the exhibition

Spread across two floors of the gallery, Calorie sees works by both international and Indian artists. Parag Kashinath Tandel’s sensory installation, Food as an Archaeological Site: How to cook Bombay Duck looks at the fish, and the Koli fishing community of Mumbai, its migration patterns and pollution. The Bombay duck or Bombil fish holds relevance to the region’s history. The artist uses materials like fishing gear, silicon rubber and dental plaster to create the work.

Rajyashri Goody’s Don’t Lick It All Up looks at the relationship between food and caste. Using ceramics the artist recreates food, such as rice, meat and even earth as food , that is scavenged or begged for. It is accompanied by Omprakash Valmiki’s book Joothan, and recipes extracted from Dalit memoirs.

Food as an Archaeological site: How to cook Bombay Duck, by Parag Kashinath Tandel 

Food as an Archaeological site: How to cook Bombay Duck, by Parag Kashinath Tandel 
| Photo Credit:
Special arrangement

Orijit Sen’s Mapping Mapusa Market, is an interactive installation about Goa’s historic Mapusa Market. The Goa-based artist showcases the vibrant market through the mixed media work. Visitors can pick up questions and puzzles, the answers to which are in the installation. The Museum of Edible Earth is a project by artist titled Masharu. It looks at the communities around the globe who eat clay or soil. The exhibit has bottles of various clay varieties that people eat. In Ragi.net artist Surekha explores how Bengaluru’s ragi-growing land has now been converted to a tech capital. She takes discarded keyboards and installs ragi plants in them.

Dr. Kiran Mazumdar-Shaw, who is a board member of the gallery says, “Calorie urges us to rethink how we use resources, grow crops, and adapt to climate change. Like our past work on carbon, it’s a space for young minds and experts to question, experiment, and shape ideas that can influence policy. With the upcoming food lab, we aim to spark curiosity, inspire innovation, and drive a healthier, more sustainable future.”

In the coming year, Calorie will also see food festivals, films screenings, workshops and lectures.

The Calorie exhibition will run from August 2025 to July 2026. Entry free, Wednesday to Sunday, 10 AM to 6 PM. At Bellary Road, Ganganagar. For more details, visit bengaluru.sciencegallery.com



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World Photography Day: Hyderabad exhibition to spotlight works of 44 photographers


Vedika Bonakurthy photographs the Potharajus during Bonalu in Hyderabad

Vedika Bonakurthy photographs the Potharajus during Bonalu in Hyderabad
| Photo Credit: Special Arrangement

Each year during the Bonalu festivities that coincide with the monsoon in Hyderabad, an ordinary man transforms into Potharaju, a folk deity and soothsayer, his face painted in vivid strokes of turmeric and vermillion. Vedika Bonakurthy’s photograph captures these Potharajus in the moments before the Bonalu procession, documenting their act of becoming. Titled ‘Body Before The Spirit’, the image distills the essence of local culture.

This photograph, along with several others, forms part of an exhibition curated to mark World Photography Day. Opening on August 19 at the State Art Gallery in Madhapur, the show features landscapes, architecture, street photography, and portraits by Hyderabad-based photographers. It is organised by the Hyderabad Centre for Photography in association with the Telangana Government, Telangana Tourism, the State Gallery of Art, and the Indian Photo Festival.

Sudhakarsingh Bondili’s photograph Shades of Bagan

Sudhakarsingh Bondili’s photograph Shades of Bagan
| Photo Credit:
Special Arrangement

“We did not want to be bound by a theme. The criteria was strong images that reflect the cultural landscape,” says Aquin Mathews, director of the Indian Photo Festival. From more than 500 submissions, 44 photographs from Hyderabad and Telangana were chosen.

The selection ranges from portraits to architectural landmarks that act as cultural markers. While the photographers hail from Hyderabad and Telangana, their lenses often wander farther afield, bringing in visual narratives from their travels.

Deepika Daparthy’s image of the Qutb Shahi Tombs, Hyderabad

Deepika Daparthy’s image of the Qutb Shahi Tombs, Hyderabad
| Photo Credit:
Special Arrangement

Among the highlights is ‘Echoes of the Past’ by Deepika Daparthi, a black-and-white image of the Qutb Shahi tombs framed by lush greenery, with domes and arches that speak to the monument’s historic grandeur. Ramdalai Tilak contributes an aerial shot of young wrestlers training at an akhada in Kolhapur, a nod to the region’s thriving kusti tradition. Ravi Kumar Saxena’s work turns to the Rann of Kutch, where a trader in handmade garments stands out against the stark white sands. Meanwhile, Sudhakarsingh Bondili’s ‘Shades of Bagan’ captures the rustic charm of Myanmar’s villages set against the backdrop of ancient UNESCO-recognised temples.

The exhibition runs from August 19 to 26 at the State Gallery of Art, Madhapur. Entry is free.



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Cubbon park is central to Bengaluru’s existence


Vinay Parameshwarappa has always thought of Cubbon Park as a special place, “one of the last few green spaces where you can leisurely walk, without worrying that someone will run you over,” says the founder of Gully Tours, an experiential tour company. Not surprisingly, Cubbon Park was at the heart of Colonial Crawl, among the first walks that his company curated in the city. “The colonial story is such an important one in the evolution of Bengaluru, and Cubbon Park was the link between the Bengaluru Pete and its Cantonment area,” he says. “We had wanted to explore this neighbourhood.”

According to Vinay, this “lovely” walk through Cubbon Park was extremely popular, drawing students, families, long-time Bengaluru residents, migrants, as well as visitors to the city; in short, anyone who was “curious as well as conscious” about Bengaluru. “It was something people looked forward to.”

The reason Vinay talks about the walk in the past tense is that the Horticulture Department of Karnataka has recently halted private walking tours. He and several others hope that this is a temporary measure and that the issue will soon be resolved. “We are currently in conversation with the department, which is trying to talk to different players and come up with a policy,” he says. “I’m sure something positive will soon come out.”

 Cubbon Park in Bengaluru on a Sunday morning

Cubbon Park in Bengaluru on a Sunday morning
| Photo Credit:
SUDHAKARA JAIN

Another person, who runs heritage walks in Bengaluru in several locations, including, until recently, Cubbon Park, too, hopes that private heritage walks will be allowed again soon in the park. “It is accessible, it is beautiful, and it is a public space that should be enjoyed in multiple ways,” says this person, who prefers not to be named. In his opinion, there should not be restrictions on educational or cultural activities in a public space. “We just walk through the park, without occupying much space,” he says. “I feel heritage walks should just be allowed to be.”

This development is the latest in a series of new rules that frequent visitors to the park are upset about. According to many of them, Cubbon Park’s location, safety, proximity to public transport facilities and overall atmosphere make it an ideal public place for people to convene. And placing too many restrictions often impedes individual freedoms, they suggest.

Many of the activities under fire at Cubbon Park seem to be targeting younger people

Many of the activities under fire at Cubbon Park seem to be targeting younger people
| Photo Credit:
Special Arrangement

One of them is Preksha Sharma, the co-founder of the Cubbon Book Club (CBC), who chose the park as a venue when the book club was started in May 2022. “I think the park is very central to the existence of Bengaluru,” she says, comparing it to other iconic urban attractions like Central Park in New York and Marine Drive in Mumbai. “It is a huge part of what the city is, not only for locals but even for people who have moved or visit here.”

In the recent past, however, rules around Cubbon Park — a regular haunt of walkers, sketchers, birdwatchers, yoga enthusiasts, badminton and frisbee players and readers — appear to be tightening, as various media reports indicate.

Preksha, who is not a fan of the “unnecessary policing” that seems to recur in Cubbon Park, feels that many of the restrictions are more likely to affect younger people. “Many of the activities permitted, like blood donation drives and walking are more friendly and favourable to the people who make the rules,” she says, pointing out that it is not only the commercial activities that have been banned, but also book clubs and other gatherings, which involve more than 20 people now require permission.

 Yoga enthusiasts take part in a group yoga session

Yoga enthusiasts take part in a group yoga session
| Photo Credit:
BHAGYA PRAKASH

Another frequent visitor to Cubbon Park, who prefers not to be named, feels that having so many rules in the park is “bizarre” because “the whole point of having a park like Cubbon in the city is that it is for the public.” According to her, while there is a need to enforce rules around things that are a nuisance, such as littering or walking with an unleashed dog, the list of don’ts in the park appears to be never-ending. “There are so few common spaces left and the more rules and regulations you put in, the more opaque it becomes.”

Kusuma G, Deputy Director of the State Horticulture Department, on the other hand, defends the restrictions that have been imposed, pointing out that since Cubbon Park, like Lal Bagh, comes under the Karnataka Government Parks (Preservation) Act, 1975, specific rules need to be followed, including the one stating that no commercial activities are allowed in the park. While the Horticulture Department has recently launched a guided walking tour in Cubbon Park, priced at ₹200, discussions are still ongoing regarding private players, who have been conducting walks here for a while. “We are currently preparing some guidelines, which will be helpful for everyone,” she says. “It is in the process, but it will take some time.”

 A security guard on patrol at Cubbon Park cautions people to keep the park clean, not to go into the bush due to the snakes and to maintain distance while sitting around the trees or on the benches

A security guard on patrol at Cubbon Park cautions people to keep the park clean, not to go into the bush due to the snakes and to maintain distance while sitting around the trees or on the benches
| Photo Credit:
MURALI KUMAR K

Priya Chetty-Rajagopal, founder of the citizen-led initiative Heritage Beku, which has been at the forefront of Cubbon Park’s preservation and has been regularly organising many free public events in the park, too, feels that the Horticulture Department’s stand has some merit. “As a public commons, Cubbon Park is a powerful magnet, but it’s also a magnet for free showcasing of commercial events, which can be tough,” she says. In a city of close to 1.4 crore people, this often leads to the park getting “very, very stressed,” she says. “You should come in on Monday and see the trash.”

Priya, who is all for having heritage walks in Cubbon Park since “it is a very important way of deepening your relationship with a space,” intends to ensure that there is an ongoing discussion of this issue. “But give the Cubbon Park authorities some breathing time.”

Published – August 19, 2025 10:43 am IST



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Movie Review | The Death of a Soul: Sardar Udham by Shoojit Sircar


What happens when you allow one of the country’s best directors to finally make what has been a dream project? You get a visual portrait so riddled with intricacy and intimacy that you can, from the very first look, tell that the artist’s passion for their art was at its creative peak. Such is the story with Sardar Udham, a film that is Sircar at his best. Unforgettable are those thirty harrowing minutes, which unfold like a haunting nightmare you cannot get up from but have to endure. Perhaps because this nightmare was very much real for so many people. A shock that sent tremors down the angered veins of every Indian in 1919. The aftermath of the massacre left an impact so deep in the memory of Sardar Udham Singh that he vowed to take down the man behind the Jallianwala Bagh Massacre, Michael O’Dwyer.

Every frame is melancholic in this blue galore of a visual masterpiece, where the frames by Avik Mukhopadhyay are as telling to the narrative as Shantanu Moitra’s music serves to be. The film’s themes manage to serve relevance even in the current political climate, and that is what makes any great film stand the test of time. The non-linear form of storytelling by Sircar is a bolstering choice that elevates this film. The structure takes you across various years and never yields to confusion but rather allows for the exploration of a man’s journey behind why he remains an immortal figure in the fight for India’s freedom.

“Tell people I was a revolutionary,” he says. And when he says it, you feel the hair on your body standing up. The impact that Vicky Kaushal has in the titular role in this film is nothing short of the true embodiment and determination towards serving a character. He is Udham Singh, and every movement tells that. One thing you may notice while watching this film is the authenticity to everything. It truly feels like the epic that Sircar dreamt for the film to be in all of its rights and is a reminder of the journey that makes you a revolutionary. The typewriters click-clack as the telegrams send across messages, and amidst the many aliases, we see the travels of Udham Singh over the years. Unbearable is the pain of every loss that you experience, and even in his final act of killing, there is such emotional depth towards the feeling of it all. Sircar never mish-mashes the dramatism that you find in several films that are based on the lives of freedom fighters, which makes the notion of Patriotism an overtly expressive act. Rather, he allows for the painful need for the love of one’s nation to seep in through the mist of horror. A horror we witness towards the end, and are not allowed to take our eyes off of.

You see, Sardar Udham is not just a patriotic film that celebrates the life of a freedom fighter but rather, a challenge that Sircar invites. It is the journey of a man whose soul died along with thousands of helpless people, a man whose contribution to our history remains forgotten in the history books at school. It took him twenty-one years to seek the man who took it all away, and it was only seven years after this that India saw freedom. Sircar’s film asks you to witness a journey, as Sardar Udham tries to understand himself the desires of his inner freedom. He makes you ask yourself, if Udham Singh could wait for twenty-one years before using the bullet on Lieutenant Governor O’Dwyer, you can definitely wait for the hundred and sixty-two minutes of the film’s runtime to remember the legacy of a man who will forever be remembered as a revolutionary.



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Yezdi Roadster 350 Alpha2: Specs, price and features explained


The Yezdi name is synonymous with India’s motorcycling heritage , but its recent comeback has been met with mixed results. While the revival stirred nostalgia, the brand has struggled to make the kind of impact its legacy deserved. With the launch of the 2025 Roadster, however, Yezdi is signalling its intent to shift gears and reassert itself in a highly competitive segment dominated by established names.

The 350 Alpha2 engine delivers a smooth, punchy ride for city streets and highways alike

The 350 Alpha2 engine delivers a smooth, punchy ride for city streets and highways alike
| Photo Credit:
Special Arrangement

The new Roadster builds on the brand’s heritage while clearly appealing to modern sensibilities. Its design retains the classic Yezdi cues, including the sculpted fuel tank, chopped rear fender, and signature twin-barrel exhaust note. Wider rear tyres and bold details, such as the Faravahar insignia, add contemporary flair while grounding the motorcycle in its roots.

What sets the Roadster apart is its extensive customisation. Riders can choose from six factory kits and over 20 accessories, enabling more than 50 possible combinations. The modular seating system, a first in the segment, lets owners to swap between a bobber-inspired solo seat and a dual-seat touring setup with ease. Options for handlebars, visors, and crash guards further broaden its adaptability.

At its core lies the all-new 350 Alpha2 liquid-cooled engine, producing 29 PS and 30 Nm of torque. The inclusion of a six-speed gearbox, along with an assist and slipper clutch, reflects Yezdi’s attempt to raise the bar in this category. A 12.5-litre fuel tank promises a practical touring range of over 350 km, while forward-set footpegs and a 795 mm seat height balance comfort with accessibility.

Six factory kits and 20+ accessories let riders create over 50 unique combinations

Six factory kits and 20+ accessories let riders create over 50 unique combinations
| Photo Credit:
Special Arrangement

When it comes to ride and handling, the Roadster impresses with Continental-sourced dual-channel ABS, 320 mm front and 240 mm rear disc brakes, and a suspension setup tuned for stability as well as comfort. This combination should give the Roadster the confidence to hold its own against rivals that have long defined the segment.

Equally important is the ownership package. The Roadster is backed by the Jawa Yezdi BSA Ownership Assurance Programme, which provides a standard four-year/50,000 km warranty, roadside assistance, and extended coverage options. With more than 300 service touchpoints across India, Yezdi is investing in support infrastructure to build trust among customers.

The mid-capacity motorcycle market is undeniably competitive, with strong contenders already enjoying loyal followings. Yet, with its updated engine, modular design, and aggressive pricing, the new Roadster represents Yezdi’s most compelling offering yet. If it can translate heritage into consistent reliability and wider appeal, it may well find its footing in this space.

Chopped rear fender and wide tyre give the Roadster a bold, distinctive stance

Chopped rear fender and wide tyre give the Roadster a bold, distinctive stance
| Photo Credit:
Special Arrangement

The 2025 Yezdi Roadster is available in two variants. The standard version offers Sharkskin Blue (₹2,09,969), Smoke Grey (₹2,12,969), Bloodrush Maroon (₹2,16,969), and Savage Green (₹2,21,969). The premium Shadow Black variant, priced at ₹2,25,969, features matte finishes, blacked-out elements, and multifunctional blinkers. For a 350cc motorcycle with this level of equipment and customisation, the Roadster enters the market at a price point that is difficult to ignore.

Motorscribes, in association with The Hindu, brings you the latest in cars and bikes. Follow them on Instagram

Published – August 19, 2025 07:38 am IST



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