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Khamma Ghani to Vanakkam: A Journey of Public Health & Rajasthan Byways

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  In January 2026, I packed my bags and moved to the rugged, beautiful landscapes of Rajasthan. I had accepted a contract job as a Research Lead with the Centre for Healthcare at IIM Udaipur—a brief but intense window to apply operations management to public health systems, specifically working with Ayushman Arogya Mandirs in regions like Salumbar. Now, as June draws to a close and I prepare to move back home to Chennai, I am looking back at a whirlwind half-year that was equal parts professional milestone and spectacular cultural immersion. The Twin Landscapes: Research and the Field My days were anchored in the intellectual ecosystem of IIMU, collaborating with colleagues to streamline healthcare delivery. But the true heartbeat of the project was out in the field. Spending time in and around Salumbar —conducting hands-on operational training with local healthcare staff—grounded all our theoretical models in the raw, inspiring reality of rural Rajasthan. But when the weekend cam...
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When I Wore The Future to Work On trust, transparency, and what happens when AI walks into a room before you do.

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I did everything right. I disclosed it to the admin. I didn't hide the device. I wore my AI smart glasses openly, in plain sight, the way you'd carry a laptop or a phone — as a tool, not a secret. And yet, the room changed. The administration was wary. Colleagues I'd spoken with naturally for months began to recalibrate how they looked at me — or more precisely, at the small camera sitting where my eyes were. A subtle but unmistakable shift. Not hostility. Something closer to a question mark hanging in the air between us. "Disclosure isn't the same as trust. It just starts the conversation. The asymmetry of the lens There's something particular about a wearable camera versus a phone camera. A phone, held up, announces itself. It is a deliberate, interruptive act — everyone knows a photo is being taken. Smart glasses are different. They sit in the ambient background of interaction, and that is precisely what makes them socially complicated, even when the wearer ...
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The Journey to "Good Enough" Data: Lessons from Arjuna for Field Reporting

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When preparing a public health report, especially one detailing a supply chain or community crisis, the pressure to "validate" every single finding can be overwhelming. One might ask: Do I need a second source for this? Should I back this qualitative observation with a quantitative survey backed up by evidence? To answer whether validation is always necessary, we can look at one of the greatest texts on crisis management, data synthesis, and action: the Bhagavad Gita , where Lord Krishna guides Arjuna on the battlefield of Kurukshetra. 1. The Crisis of Ambiguity (The "Data Dump") At the start of the Gita, Arjuna is paralyzed by a massive influx of "data." He looks at the battlefield, observes his family on the opposing side, and is overwhelmed by emotion, conflicting duties, and fear. In report writing, this mimics Analysis Paralysis . When a crisis hits (like a sudden break in a medicine supply chain), you are flooded with conflicting observations: raw nu...
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The Soil, The Shadow, and The Legacy: A Tribute to Bharathiraja (1941–2026)

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  Today, the silence in the Tamil film industry is as profound as the "village fragrance" he once brought to the screen. Bharathiraja, our Iyakkunar Imayam , has left us, but the world he built—raw, honest, and unflinchingly human—remains etched in our collective consciousness. The Architect of Rural Realism Bharathiraja broke the chains of the studio. He took the camera out into the open, capturing the mann vasanai (the scent of the earth) and making the village not just a backdrop, but a character in itself. He was never afraid to venture into the "shadows" of society. In Mudhal Mariyadhai , he explored the complex, unspoken yearning between a married village head and a woman, treating a taboo subject with immense dignity and poetic grace. In Vedham Pudidhu , he held a mirror to the suffocating hierarchies of caste, letting a young boy’s questions dismantle centuries of prejudice. And in Sigappu Rojakkal , he did the unthinkable for the time: he entered the f...
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The Masterstroke of the "Last Bite": Can an Ad Restore the Legend of Vinod Kambli?

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                             In the fast-paced world of Indian advertising, where brands usually chase the "star of the hour," Dinshaw’s has done something remarkably counter-intuitive. Their latest campaign features a man whose feet once danced down the track to decimate Shane Warne, but who now walks with the assistance of a stick. The ad featuring Vinod Kambli has sparked more than just a surge in ice cream sales; it has ignited a conversation about what it means to "restore" a legend. 1. Beyond the Boundary: A Different Kind of "Style" For the youngsters of today, "style" is often measured in strike rates and Instagram followers. But the Dinshaw’s ad offers a masterclass in a different kind of stroke play—the style of resilience . By placing Kambli back at Shivaji Park, the campaign reminds the next generation that "stylish cricket" wasn't just about the backlift or the follow-through; it was about the flam...
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Beyond the Deadlock: A Human-Centric Design for India’s Future Parliament.

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                                        This past Friday, the Lok Sabha felt less like a house of consensus and more like a house of mirrors. As the Constitution (131st Amendment) Bill fell short of the required majority, the headlines focused on the math: 298 "Ayes" versus 230 "Noes." But behind those numbers are millions of Indian women still waiting at the doorstep of power, and millions of citizens in the South and Northeast worried that their voices might be diluted in a new electoral map. As someone who spends my days researching,  I see this not as a political failure, but as a "design flaw." We are trying to fit a 21st-century dream of equality into a mid-20th-century legislative cage. 1. The Fear of the "Zero-Sum" Game At the heart of the current row is a very human fear: If I give you a seat, do I lose mine? This is the "Seat Anxiety" that haunts our MPs. We need to...
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From Kovai '85 to Udaipur '26. Some movies aren't just films; they are time machines. Happy Tamil New Year

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Tamil New Year has always been more than just a date on a calendar for me; it’s a sensory experience. Usually, it’s the smell of Manga Pachadi , the sound of new clothes rustling, and the roar of a theater crowd. But this year, Puthandu feels a little different. Currently, I find myself in Udaipur . It is a city of stunning palaces and serene lakes, but it is also a place where the latest Tamil blockbusters don’t often grace the silver screens. Yet, distance has a funny way of making you lean harder into your roots. Today, I decided to bypass the modern releases and travel back exactly 41 years . I hit play on Kaakki Sattai , released on Tamil New Year, April 11, 1985. As Kamal Haasan appeared on my screen, I wasn't just a researcher in Rajasthan anymore; I was a young boy again, sitting in a packed theater in Kovai (Coimbatore) . I could almost hear the echoes of the whistles and the legendary Sathyaraj's   "Thagadu Thagadu" dialogue bouncing off those old cinema wa...
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