Life & Style

Khatija Nair
| Photo Credit: SPECIAL ARRANGEMENT

In 2008, 18-year-old Mumbai-based gamer Reuben Pereira made a sizeable dent in the history of esports in India by winning a silver medal at the World Cyber Games for soccer video game franchise FIFA in Germany.

Seventeen years later, in August 2025, 25-year-old Street Fighter 6 player Dharun S won the gold medal at the Chief Minister’s Trophy Games in Chennai, bringing attention to not just the future of esports, but also the momentum building up in Tamil Nadu’s gaming circles. 

An Indian boy plays an online game PUBG on his mobile phone
| Photo Credit:
AP Photo/ Mahesh Kumar A

What is striking today, Reuben says, is not just the structure but the sheer volume of players entering the arena. Where once Chennai’s competitive scene could fit inside a single gaming café, qualifiers today fill entire halls. The shift is is the result of accessible games, affordable devices, and tournaments that make competitors feel like they belong. 

“Tamil Nadu players have become serious now. People are grinding, learning matchups, and asking for sparring partners. The scene has changed. Earlier, it felt like only a handful of us cared. Now, the competition is tougher,” says Dharun, who has been playing in tournaments for the last couple of years. 

A player playing a mobile game
| Photo Credit:
Special Arrangement

The Chief Minister’s Trophy Games, organised by the Sports Development Authority of Tamil Nadu (SDAT), was Dharun’s big break. This statewide multi-sport event brings together athletes from different backgrounds. In 2025, the Trophy Games made history by officially including esports as a medal event, making Tamil Nadu the first Indian State to do so. The competition spanned six gaming titles, including Street Fighter 6, EA FC, Valorant, BGMI, Pokémon Unite, and e-Chess, with a ₹1 lakh prize for individual gold medal winners. 

Praveen Rathinam, pesident, Tamil Nadu Esports Association (TESA), says the CM’s Trophy has done something few Government-backed events manage — it signalled legitimacy. “When the State puts its weight behind an event, parents start paying attention,” he says. “We suddenly have teenagers telling their families they’re ‘training’ for something real.”

Scenes from Chief Minister’s Trophy Games in Chennai
| Photo Credit:
Special Arrangement

But legitimacy is only step one. Praveen explains that Tamil Nadu’s esports structure, though young, is finally starting to take shape, from clearer tournament standards and player verification to slowly growing community networks. The challenge, he adds, is consistency. “If we are talking medals and global rankings, then we need sustained support. More tournaments, regulated formats, and a pipeline that starts at the school level,” he says. “The talent is here; it just needs a proper ecosystem.”

For Dharun, that “ecosystem” Praveen talks about is not abstract. It began with a Discord server. “I didn’t even know Chennai had a Street Fighter server. Once I joined, everything changed. Suddenly, there were people to spar with, people sharing tech, actual competition,” he said. That virtual room became his training ground. 

The long game

This shift on the ground is something veteran gamer Reuben Pereira has been waiting nearly two decades to witness. Back in 2008, when he won silver at the World Cyber Games, esports in India was little more than a scattered network of private tournaments. “There was no structure, no system, nothing official. You just showed up wherever there was a café hosting something,” he says. Watching Tamil Nadu now formally recognise esports feels like a full-circle moment. “If something like this existed in my time, I would’ve travelled all over India for it. This is the ecosystem we dreamed of but didn’t have.”

This boom is not hype — it is talent finally getting visibility. EA FC players have gone from isolated grinders to being part of a recognisable circuit with club-backed tournaments. “When EISL came in, things shifted — formats, analysts, prize pools. It felt professional,” says Navin Haridoss, who won gold at the CM’s Trophy Games for EA FC.

Boys playing video games
| Photo Credit:
Special Arrangement

What has changed most, he points out, is confidence. “You have school kids, college kids, working guys… all playing in the same room. That never happened before.”

A decade ago, local tournaments felt casual — players arrived to hang out first and compete second. Now, he says, the room feels charged. “People come in with a plan. They’ve studied matchups, they’ve done their drills,” he says. He has watched teenagers track frame data, organise district-level scrims (practice matches), and build small coaching circles — behaviours that used to belong only to international players. The irony, he points out, is that player skill is accelerating faster than the support structures around them.

A visitor plays the “Street Fighter 6” video game developed and published by Capcom during the Paris Games Week fair in Paris, on October 23, 2024.
| Photo Credit:
Photo by Dimitar DILKOFF / AFP

“The grind is there,” says Navin. “The hunger is there. What’s missing is a calendar that keeps them battle-ready all year, not just for one Government event.”

Mind the gap

Across Street Fighter, EA FC, Valorant and BGMI, women players remain a tiny minority. “I walk in expecting to be the only woman in he room, and most of the time, I’m right,” says Phebe, a 25-year-old casual gamer from Chennai. She does not enter tournaments anymore, but she has watched enough streams and local events to recognise the pattern: women are not absent, they are edged out by the atmosphere. “It’s not the games, it’s the space around them,” she says. What she wants is simple — organisers who enforce behaviour, communities that do not tolerate casual misogyny, and a scene where women do not need a separate qualifier to feel welcome.

Published – November 26, 2025 04:43 pm IST

Few nameplates in India command the kind of nostalgic admiration the Tata Sierra enjoys. When it arrived in 1991, it did not merely expand Tata’s lineup—it became a cultural marker. Its distinctive silhouette and unconventional design made it an object of aspiration at a time when the Indian automotive market was still finding its footing. Now, more than three decades later and after a 23-year hiatus, the Sierra returns in a completely reimagined avatar. Launched in Mumbai, the all-new Sierra stands as Tata Motors’ boldest attempt yet to elevate the mid-size SUV segment and challenge the status quo.

From thievery first glance, it is evident that Tata is not aiming to blend in The new Sierra is positioned as a statement—an SUV created to stand out, push boundaries and offer buyers a richer, more expressive experience than the safe, predictable options that have long dominated the segment.

Legacy re-imagined

The modern Sierra retains the soul of the original while reinventing itself for a new generation. Where the first model was celebrated for its distinctive stance and individuality, the new Sierra builds on those traits with a contemporary, award-winning design that has already garnered global recognition. Upright posture, squared-off geometry, and sculpted surfaces give it a powerful visual signature, blending nostalgia with a premium, forward-looking aesthetic.

Equipped with Level 2+ ADAS and proven crashworthiness, the Sierra prioritises occupant protection without compromise
| Photo Credit:
Special Arrangement

What truly defines this new avatar, however, is the intent behind it. Tata Motors has shaped the Sierra for an increasingly discerning Indian buyer—one who values identity and emotional connection just as much as practicality. The new Sierra is not designed merely to bring a legacy nameplate back to market; it is meant to evolve what the Sierra once symbolised and reinterpret it for modern aspirations.

Design reinvented

Tata’s designers were tasked with the delicate balance of honouring the Sierra’s legacy without being stylistically bound by it. The outcome is a sophisticated, modern interpretation that respects the lineage but embraces contemporary sensibilities. The signature wraparound glass effect remains, now executed through cleaner surfaces, a sleeker B-pillar treatment and a more aerodynamic silhouette. Strong shoulders, a stately stance and bold proportions give the Sierra instant presence on the road.

Lighting plays a central role in the SUV’s identity. Seamless Light Saber LED DRLs span the width of the vehicle, mirrored at the rear with a connected tail-lamp arrangement that features animated welcome and exit sequences. Adaptive Bi-LED booster headlamps extend their throw at higher speeds, enhancing safety and visibility. Completing the SUV’s commanding aesthetic are massive R19 alloy wheels—the largest in the segment—lending it a planted, confident stance.

The Sierra’s redesigned exterior (new look) feels rich and expressive, firmly placing the SUV confidently in the premium space. It has matured, much like the buyers who once admired the original and now seek something equally distinctive.

The living space

Step inside, and the Sierra continues to push boundaries. Dominating the cabin is the Horizon View triple-screen setup—an expansive digital interface that merges the driver display, primary infotainment screen, and a dedicated 12-inch passenger screen into a cohesive, immersive layout. Paired with a 12-speaker JBL Black audio system and the integrated SonicShaft soundbar, the cabin transforms into a cinematic space. With built-in OTT apps, gaming functionality, and Tata’s Arcade Suite offering more than 30 digital experiences, the Sierra becomes more than a means of transportation—it becomes a rolling entertainment lounge.

The Horizon View triple-screen setup, JBL Black audio system, and Tata Arcade Suite turn the cabin into a rolling entertainment lounge
| Photo Credit:
Special Arrangement

Material quality takes a clear step up. Soft-touch, natural-toned surfaces, floating console elements, and a layered design approach give the cabin a premium, handcrafted feel. Personalisation features such as MeSpace—allowing individual profiles for climate control and seat memory—and extendable thigh support further enhance comfort.

Where the Sierra truly sets itself apart is in interior space. Its long 2730 mm wheelbase delivers best-in-segment couple distance, excellent shoulder room in both rows, and the widest second-row gangway in the class. The 622-litre boot makes it one of the most capable mid-size SUVs for families and long road trips. The PanoraMax sunroof, the largest in the segment, accentuates the openness and floods the cabin with natural light.

Performance powertrains

The Sierra’s powertrain options are designed to suit a wide range of buyers. The lineup starts with the 1.5-litre Revotron naturally aspirated petrol engine, designed for smooth city performance and everyday practicality. For those who want more muscle, Tata offers the new 1.5-litre Hyperion Turbo GDi engine—an advanced direct-injection unit producing 160 PS and 255 Nm of torque. Its strong mid-range performance promises confident highway cruising and responsive overtakes without sacrificing drivability.

The diesel option comes in the form of the 1.5-litre Kryojet C-Rail turbo-diesel, producing 118 PS and a healthy 280 Nm in its automatic variant. This engine is positioned as the strongest torquing diesel in the segment, making it well-suited for long-distance highway users and those who prefer a relaxed yet effortless driving character.

All three engines are underpinned by Tata’s new A.R.G.O.S platform—engineered for multi-energy compatibility, dynamic rigidity and even AWD readiness. With multiple drive and terrain modes, the Sierra expands its adaptability, making it more versatile than many of its mid-size competitors.

Safety for real-world India

Safety has always been a Tata stronghold, and the Sierra advances that reputation significantly. The SUV is equipped with Level 2+ ADAS technology, offering 22 advanced assistance features that include autonomous emergency braking, adaptive cruise functionality, lane-keeping aids, blind-spot alerts, and more, placing it among the most advanced in its segment.

With a 2730 mm wheelbase, PanoraMax sunroof, and thoughtfully crafted interiors, the Sierra redefines comfort for families.
| Photo Credit:
Special Arrangement

The real highlight, however, is Tata’s decision to demonstrate the Sierra’s crashworthiness through a high-intensity, real-world head-on collision test. At 50 km/h with a 50% offset—conditions more severe than typical NCAP tests—the Sierra maintained its cabin integrity, protected all occupants including child passengers in CRS seats, and ensured full post-crash access through automatic door unlocking and unobstructed extrication. The SUVs structural rigidity and precisely tuned restraint systems underscore Tata’s commitment to not just meeting safety norms, but exceeding them under real Indian driving conditions.

The Hyundai Creta factor

For nearly a decade, the Hyundai Creta has held an unchallenged position as India’s leading mid-size SUV, ith each new competitor seemingly reinforcing its dominance. The arrival of the Sierra, however, feels different. This is not simply another new entrant trying to grab a share of the market—it is a product crafted to disrupt the established order.

The Sierra’s design makes an immediate statement: bold, distinctive, and far more characterful than the Creta’s cautious styling language. Where the Creta relies on brand confidence and long-established reliability, the Sierra leans heavily into emotional pull—nostalgia, identity, and the pride of owning a nameplate with real heritage.

Then there is the spacious cabin and Tata’s reputation for space optimisation, which already gives the Sierra an edge for families seeking comfort beyond the rear seat. Match that with modern powertrain, refined transmission options, and a suite of convenience features expected in this segment, and Tata has crafted a product that aligns almost perfectly with the expectations of today’s Indian buyers.

The Sierra’s greatest advantage, however, may lie beyond the spec sheet. While Hyundai has built the Creta on rational appeal—features, efficiency, wide dealership reach—the Sierra connects on a more emotional level. For many buyers, especially those who grew up seeing the original Sierra as a status symbol, the new version awakens something deeper. It does not just offer value—it offers identity.

Is it too early to call the Creta dethroned? Absolutely. The Creta has not survived this long by accident. But for the first time in years, the Sierra has a challenger that does not just match its numbers—it strikes at its narrative.

A new chapter begins

The return of Sierra marks a pivotal moment for Tata Motors. It reflects the brand’s growing confidence, its design maturity, and its readiness to lead rather than follow. More importantly, it mirrors the evolution of the Indian buyer—someone who now seeks individuality, substance, and emotional satisfaction from their vehicle, not just functionality.

The all-new Sierra is far more than a product revival. It is a reminder that cars can stir nostalgia while delivering modernity; that legacy can be honoured without being trapped by it; and that a beloved nameplate can evolve into something even more desirable.

The price begins at ₹11.49 lakh, placing the Sierra directly against the mid-size SUV kingpin. How the battle unfolds will be fascinating to watch—but one thing is certain: the segment has officially been shaken.

Prices start at ₹11.49 lakh

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I am 74 now, and I say the number quietly, letting it rest in my mouth like a stone softened by years of water. Seventy-four. There was a time when I imagined age would arrive like a clearing, a soft field, a place of rest. Instead it has come like a long corridor lined with doors, some open, many closed, a few still trembling on their hinges.

When I was young, I believed in rooms: summit rooms, negotiation rooms, rooms where the future was discussed in careful, calculated tones. We thought we were shaping history. Perhaps we were only borrowing it for an hour. I have since learned that history is not a table at which we sit. It is a tide that moves around us, regardless of our gestures.

I have sat across men who spoke of war as if it were weather. Predictable. Inevitable. A low-pressure system moving in. I have watched, from behind glass too thick to open, the slow collapse of promises. There are days when it feels as though I have escorted more silences than solutions. And yet, I am still here, still listening.

What astonishes me is not the noise of the world. That has always existed. What astonishes me is how easily we forget the art of hearing. Diplomacy was never about eloquence. It was about breath, the pause before the sentence, the space between injury and response. We called it restraint. We should have called it wisdom.

And then there was music. Never as ornament, never as decoration, but as refuge. Music was the language I trusted when words began to rot. A symphony orchestra, to me, has never been a luxury of civilisation. It has been its last defence. The violins leaning into uncertainty. The oboe holding a thin, trembling line of truth. The timpani speaking only when it absolutely must. Each musician alone is vulnerable. Together they become architecture.

I think often of Beethoven now. A man sealed into silence by his own body, and yet he wrote joy. Not as denial, but as defiance. When he allowed the human voice to break into the symphony, he was not decorating sound. He was confessing it. We suffer. We endure. We belong. And that dangerous line still unsettles the world: Alle Menschen werden Brüder. All men become brothers. Not a suggestion, but a demand.

I think, too, of Gandhi, especially in quieter hours. He understood counterpoint before I ever knew the word. Strength that did not shout. Power that did not wound. Silence that was not weakness. They called him frail. They were frightened by him.

The South Asian Symphony Orchestra at a previous recital in Chennai.
| Photo Credit:
VELANKANNI RAJ

The young are angry now. They have every right to be. The world they have inherited is cracked in places that cannot be easily repaired. Sometimes they look at people like me as if we have failed them. On some nights, I agree.

But there are still small acts of resistance left to us. Musicians from lands that do not speak to each other in daylight sit side by side. They tune. They carry each other through difficult passages. There are no flags. No speeches. Just breath. That may be the most honest diplomacy that still survives.

I have no illusions. I know treaties can break. I know institutions decay. I know words lose their shine. But music still knows how to build a world inside silence.

I move more slowly now. I sleep more lightly. I forget names. I remember feelings. And I know this much with certainty: civilisations do not die from noise. They die when they stop listening.

If I have any work left, it is not to persuade, not to perform, not to impress. It is simply to keep a small space open, however fragile, where another voice may enter without fear. Where harmony is not an accident, but a choice.

That is the last diplomacy I believe in. And perhaps, in the end, that is enough.

The writer is a former Indian Foreign Secretary and the founder of the South Asian Symphony Foundation (SASF). She is based out of Bengaluru

Published – November 26, 2025 11:50 am IST

“The exhibition is a retelling of where I have been and what I have been through and who I have been with.” That is how Gireesh Gopinathan frames his solo photo exhibition, Panoramas But Not Quite, which begins on November 28 at College of Fine Arts Thiruvananthapuram.

This veteran photojournalist from Thiruvananthapuram is a trained painter, a photographer and a documentarian — three roles that he tapped into at the start of this project.

The showcase is a collection of extended compositions, including diptych (with two panels) and triptych (with three panels) montages captured over the past three decades, which shaped Gireesh’s identity as a storyteller and documentarian.

Today’s Headlines by Gireesh Gopinathan
| Photo Credit:
Gireesh Gopinathan

Each installation brings together a series of photographs, capturing the same subjects from varied perspectives. The images seamlessly blend with one another, creating the illusion that the pictures were taken at the same instance. Gireesh shot the photographs across India and Sri Lanka during his days as a photojournalist.

“We spend hours waiting at different spots during our assignment. And often, we are unable to bring together all elements surrounding a subject into a single, wide-angled frame — therefore, losing the subject’s essence. As a solution, you shoot more, from different angles, and when we stitch these images together, it gains a new meaning,” says Gireesh, who thought of the exhibition in 2010, compiling images for the project since.

The show features 40 works captured on film and digital media. The photographic installations are inspired by the techniques of the American visual media artist, Man Ray.

“Two of the first works in the collection, Puffs & Politics and Still, Edge of Fear, were taken in 2005. It is set in Cuddalore and Nagapattinam in Tamil Nadu respectively, after the 2004 Tsunami, which wreaked havoc on the state’s coastal line,” says Gireesh.

Puffs & Politics by Gireesh Gopinathan
| Photo Credit:
Gireesh Gopinathan

The photographer says this medium enabled him to approach his regular assignments differently. “Instead of limiting myself to just the aesthetics of the photos, I searched for a reason to tell that story. Whilst the artist in me was keen about how the lights, colours, shadows and subjects worked, the documentarian in me was determined to stay true to the reality of events without controlling the settings too much.”

Gireesh places a special emphasis on the mundane through his works, aiming to achieve a sense of universality — be it the pictures set in the infuriating Bengaluru traffic or the multiple panels portraying children jumping into an overflowing Narmada river in the hopes of finding coins from the riverbed. “I am not talking about places, I am talking about life,” he says.

Pilgrim and heritage travel in Madhya Pradesh by Gireesh Gopinathan
| Photo Credit:
Gireesh Gopinathan

The show also displays photographs from Thiruvananthapuram where Gireesh spent his student life. Another installation displays a poignant sequence showing migrant labourers returning to their villages from Delhi during the pandemic.

“I began processing the images in 2019 and organised an online show in 2020 with 20 works, which was well-received globally. That was when I realised the potential of this photo series. In 2023, I began working on releasing the Panoramas But Not Quite photomontage book, which was launched by the Kerala Governor Rajendra Arlekar before the exhibition.”

Bygone Days by Gireesh Gopinathan
| Photo Credit:
Gireesh Gopinathan

“The biggest challenge was identifying images which had the potential to be conjoint in this manner. Initially, people couldn’t understand my idea. Only when they see the product are they convinced about what I have tried to convey with my work.”

About the future of this project, the photographer says, “These works are about observing, constantly searching for something fresh from the same subjects, whether they can say something new. With time, I hope to explore something with a singular subject across locations.”

Panoramas But Not Quite will be on at College of Fine Arts, Thiruvananthapuram from November 28 to December 5.

Published – November 26, 2025 11:30 am IST

At Motoverse 2025
| Photo Credit: ASHIKTHOMAS

Rapper Killa K
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