Entertainment

The world of sports in the 21st century has changed drastically. Sports events are no longer solely focused on athletic ability and competition; they have become entertainment spectacles. From great musical acts to well recognized mascots, fan engagement zones, and everything in between, the world of sports has found a home in the world of entertainment. Certainly, the rise of entertainment has a basis in globalization and commercialization, but the confluence is based much more broadly - competition is just one of many things spectators now expect, as entertainment and engagement become reference points for audience expectations that reflect shifts in technology, media consumption, and culture.

There is a long-term trend of sports and entertainment merging into single, multifaceted events for the benefit of not only die-hard fans but also families, influencers, sponsors, and ultimately, a global audience.

Traditionally, sports have been a straightforward demonstration of skill, stamina, and strategy. But, in this age of digital distraction and entertainment consumption, the paradigm of the modern sports event and the vision of global reach are shifting. This article is accelerated by music, mascots, and ever-growing features that enhance the fan experience.

The Transformation of Sports Spectatorship

Remember the time when attending a sporting event just meant going to watch the match and then walking home? Today, sports spectatorship—from social viewing to live events (i.e. fan-events)—is focused on public engagement, spectacle, and immersion.  "Sportainment," or the intersection of sport and entertainment, is reflective of the cultural capital being demanded by sport and social spectators that is entering the market as a result of the growing demand for deeper levels of engagement and social experiences that also have meaning as personally worthwhile experiences. Together with the emergence of culture within sports beyond the competition, the spectacle, celebration, festival, and fairground experiences are commonplace in spectator experiences.

To be clear, this has started to happen in all aspects of and in form across sport; from cricket, football, and rugby to basketball, league championships, and festivals like the Olympics. Of course, organizations, franchise teams, and sponsors are investing into experience that extend beyond the match or game. This includes a slate of pre- event concerts, half-time shows, digital activations, themed after events or parties, and much more. it is clear that the winner and loser of the event matters less than how entertaining the entire event experience was!

The Emergence of Sports Entertainment Culture

The idea of “sports as entertainment” is not new. Ancient Roman gladiatorial battles were not only battles but performances and spectacles as well. However, it encompasses an expansive version of this idea—particularly as global sporting events continue to face competition from other entertainment formats like OTT, Socio, Gaming and Technology. 

Continuing to be relevant, sports leagues and franchises are mixing entertainment and culture with a good bit of technology. Not only will they provide a game but a multi-hour experience to include the fans and keep the audience engaged from the moment they arrive to the end of the game.

Music as a Key Element

Music is a very important component of the ambiance around sports. The thumping entrance theme, happy goal music, or even live music enhances the emotions to which fans connect with the sporting products.

Live Acts and Half-Time Concerts 

Super Bowl, FIFA World Cup, IPL (Indian Premier League), and NBA All-Star Weekend are examples of larger events that feature world -famous acts as the experience of the event with well-known musicians will be more attractive. The Super Bowl halftime show is now a global entertainment gross and often attracts more people to value the half-time concert than the actual game. For example, Beyoncés, Shakira, and Rihanna have performed at the Super Bowl in a manner in which the performances are now part of general pop culture history.

Closing and opening ceremonies for leagues such as the IPL (Indian Premier League ) feature musical acts, and make the event a major attraction for sports and entertainment fans. The musical acts improve the place's atmosphere, can improve sales, engage sponsors and broadcasters, and attract a broader audience of sport fans than regularly would attend sport events.

DJ Culture and In-Stadium Playlists

To be sure, less high profile games also use carefully curated in-stadium music to help take control of the mood and energy. DJs are booked to interact with crowds through remixes, chants, or local anthems. Clubs and franchises now take time to consider their walk-out songs, theme music, and chants, and how it perpetuates their identity and, even further, allows them to connect with their fans more deeply.

The Emergence of Mascots in Branding

Mascots have moved from being costumed characters to branding tools and engagement specialists. Today, mascots aren’t just providing entertainment for kids, but also serve as creators of content, about being influential on social media, and ambassadors for fans.

Mascots as a Tool for Engagement

Fans love mascots like Benny the Bull of the NBA, Gritty of the NHL, and La’eeb of FIFA for their humour, theatrics, and relatability. They dance, walk through the crowd, and join silly social media challenges, all of which tend to get picked up and go viral. For a sports team, this kind of distraction is critical in maintaining relevance, especially during an off-season.

In India, mascots such as Moochu Singh of the IPL Rajasthan Royals, or Sheru from the 2010 Commonwealth Games, do the same things. There is a linking of the mascot to local culture but more importantly, there is a link in the process of developing a brand of the team.

Merchandising and Brand Loyalty

Mascots are a major driver of merchandising. Fans eagerly purchase plush toys, apparel, mugs and themed, branded fan gear that goes along with the team mascot. When fans are able to keep items that have a tie to the team mascot, it helps to drive team revenue and provide fans with tangible items to show their loyalty. Additionally, the emotional attachment fans form with mascots helps shape the long-term branding of the sport or franchise.

The Match-Day Experience: Spectating vs. Participating

More and more sports stadiums/beaches are being designed to look and feel more like entertainment complexes with fan zones, virtual reality experiences, live gaming zones and gourmet food courts. The idea is to transition fans from being passive spectators to active participants.

Fan Zones and Interactive Spaces

Fan zones can be set up outside or inside stadiums. These areas often offer mini-games, player/celebrity meet-and-greets, selfie stations/take-your-own-photo stations, or even VR simulators. At football world cups or Formula 1 races, fan parks can gain as much notoriety as the actual game or event is the amount of community build-up and activation that occurs prior to game time or check-in.

The sports business landscape has changed with the addition of music, mascots, and larger match-day experiences to create a wholly entertaining experience.  This transformation reflects changes in audience expectations, and the impact of media and technology as the lines between sport, art, culture, and commerce continue to blur. In a growing environment of the new normal, we can expect the future of sport to be more entertaining, inclusive, and experiential.

What began as an intention to entertain fans, has exploded into what is now a cultural phenomenon all over the globe. Regardless if you are a die-hard supporter, a casual viewer or someone who is enticed by the music and festivities, the national/international event that is now a sporting event provides experience and opportunity for all. In this new era of sport, matches no longer have to just be won on the field, they are remembered in the beats of drums, the dance of mascots, and the cheers of engaged and entertained fans.

The Future of Spectator Sports

Today's sporting event is not just a game anymore: rather, it is a complete experience; a gathering; a media event; and a business. The blend of music, mascots, and entertainment brings more than just a match to those attending. In rebranding themselves as experience makers to engage their fans, the sports industry is creating new levels of engagement to fans; higher levels of viewing and attendance, greater levels of engagement in conversation, and changing the potential to make those relationships deeper and more meaningful.

As technology improves and audiences change, the merging of sport and entertainment will become even more connected. The stadiums of the future will look like a concert hall, a digital form of entertainment, a global community, and the backdrop to the age-old sport of competition. When the transformation of experience and entertainment is fully realized, the beautiful game—the beautiful sport—will become more beautiful.

BY ANANYA AWASTHI

Singer-actor Diljit Dosanjh is now going to hold a space course work curriculum at Toronto Metropolitan University (TMU) in Canada. The new course, taught by the Creative School at TMU, will delve into the "cultural, musical and diasporic importance" of Dosanjh's career, Billboard Canada reported.

Described as "first of its kind," the course will trace the life of the Punjabi artist and his increasing relevance and impact globally. The announcement was made during the Billboard Summit at NXNE in Toronto. The course will be introduced at some point later this year, 2026.

"Toronto Metropolitan University is proud to be at the leading edge with a course on Diljit Dosanjh, whose career is the convergence of culture, identity and global music entrepreneurship," says Dr. Charlie Wall-Andrews, Assistant Professor, The Creative School, Toronto Metropolitan University. "His success is indicative of the cultural importance and economic sustainability of Punjabi music globally.". His culture will likely dictate the way global pop culture is made by culture of place by his culture, engage with diasporic audiences, and assist in building sustainable creative economies that are real", Wall-Andrews adds, Billboard reports.

Sonali Singh, CEO of Ripple Effects and business manager for Diljit Dosanjh, had previously stated, "His path is greater than commercial achievement. It's cultural pride, artistic autonomy, and international acknowledgement for Punjabi and South Asian people. To see his legacy officially acknowledged in an academic environment is not only personal; it's long overdue."

The development comes amidst a furore over Dosanjh's new film "Sardaar Ji 3" with Pakistani actress Hania Aamir. Dosanjh and his team have been trolled by the All Indian Cine Workers Association for hiring the Pakistani actress, but PTI reports.

"This step at a time when the entire nation—140 crore Indians, the government, opposition, and people of every class—are united against Pakistan and in favor of the martyrs' family," the organization stated in a message.

Hania Aamir's inclusion in the film has witnessed the film being requested to boycott.

Dosanjh is presently touring with his "Dil-Luminati" tour and performing in France, the UK, Germany, Ireland, and the Netherlands later this year.

Sitare zameen par( released in 20th June 2025)

Film review by Aditi Sawarkar

Profile:

Language: Hindi,Tamil& Telegu 

By Aamir Khan Productions

Genre: Drama, Social Awareness|,  Children

Theme: Inclusion, Learning Disabilities, Empathy 

Directed by R.S.Prassana

Music by Shankar-Ehsaan-Loy

Sequel of ‘Tare zameen par ’(2007)

Remake of 'campeones' (2018).

Which was directed by Javier Fesser

Worldwide box office collection by Day 5:

 Sitaare Zameen Par has earned ₹75.15 crore in India and ₹26 crore overseas, taking the total worldwide collection to approximately ₹101.15 crore.

Critics rating:3.5/5

IMDb rating:7.3/10

Brief synopsis

Aamir Khan stars as a coach named Gulshan Arora who’s reckless actions land him in a court, Instead of jail time, he’s handed community service and lands at a special needs school, tasked with coaching a basketball team made up of kids with intellectual disabilities. What starts as a punishment quickly becomes something else entirely. Je later realises that the children he came to "fix" are the ones teaching him. As he bonds with students who think and learn differently, he discovers the power of empathy, patience, and unfiltered joy. A heartwarming tale of inclusion and change. The film touches on themes of empathy, inclusion, and unlearning bias.

Review

Aamir Khan brings his usual charm and polish, though he plays it a bit safe. Genelia Deshmukh, as his wife, has a gentle screen presence but isn’t given much to do. The emotional heft of the film belongs to the kids, it’s the children who are the real stars. The team is made up of ten young actors, many of whom are neurodiverse themselves. Each character feels distinct , from the shy one who struggles to trust, to the confident prankster who lights up every room, to the determined player who won’t give up no matter how many times they fall.

The team has done their absolute best while portraying certain disabilities, helping people educate about them without it seeming like an attempt to seek sympathy or pity,Bantu (Vedant Sharma), for instance, often scratches his ear while concentrating which is a form of stimming that’s subtly shown, Guddu (Gopikrishnan K Verma) has a visible fear of water, or aquaphobia, but his panic never becomes his personality instead, it becomes a moment of  vulnerability. Sharmaji (Rishi Shahani), with his speech impairment, communicates in broken words and long pauses, yet speaks volumes with his expressions. Then there’s Hargovind (Naman Misra), whose high-functioning autism is never named, but visible

 They aren’t written as caricatures or objects of pity they’re loud, flawed, lovable kids who steal every scene with their honesty and energy.

Supporting characters like Gulshan’s mother Preeto(Dolly Ahluwalia), andTheir butler Daulatji  (Bijendra Kala) add moments of humour and friction, helping push the narrative forward without stealing focus from the central bond between coach and team.

A huge round of applause is reserved for the film’s heart , the incredible ensemble of young actors who play the basketball team. Vedant Sharma, Gopikrishnan K Verma, Rishi Shahani, Naman Misra, Ashish Pendse, Aroush Datta, Aayush Bhansali, Rishabh Jain, Simran Mangeshkar, and Samvit Desai bring boundless energy, warmth, and authenticity to their roles.

That said, the film isn’t without flaws. A few scenes drag on longer than they need to, and the final emotional high point teeters on melodrama. Some plot elements, like the team conveniently managing travel logistics for a big tournament, feel a bit too easy. But these are small trade-offs in a film that’s clearly driven by good intentions and big heart.

 While the narrative feels familiar at times, echoing Aamir Khan's own Taare Zameen Par, Sitare Zameen Par is a sweet reminder that sometimes, the ones who seem different are actually the ones who make the biggest difference.

Takeaway/Message

Sitare Zameen Par gently reminds us that inclusion isn't charity - it's a necessity. The film encourages us to look beyond labels and recognise the strengths, humour, and spirit in children who are often misunderstood or left behind. It challenges viewers to rethink what it means to be "normal," and highlights the value of patience, empathy, and human connection. It's not about changing the kids - it's about changing the way we see them.

Sitare Zameen Par is winning hearts across the country, with audiences calling it “a learning for all” and “perception-changing.” Social media is full of praise. Comments like “this film stays with you” and “an emotional journey we all needed”, Watching the 10 new actors along with #AamirKhan is soul touching! ”are all over Instagram.

What people have to say about this movie:

Sohum Shah (Actor/Filmmaker):

“A reminder that stories with heart do matter.”

He praised Aamir Khan for choosing meaningful storytelling over just star power  

 Sudha Murty (Philanthropist & Author):

 “Many people don’t understand… this film is an eye‑opener.”

Murty emphasized its thoughtful portrayal and urged everyone to watch it  

The Times of India:  “Aamir Khan’s film wins hearts with strong word‑of‑mouth… being described as ‘a learning for all.’”  

Darsheel Safary (star named as Eshan in the film ‘Taare Zameen Par’):  “My heart feels fuller, softer and happier.”  

TOI Entertainment Desk:  “Aamir Khan receives standing ovation at Sitare Zameen Par special screening… audience hailed film as ‘perception‑changing.’”

Sitare Zameen Par doesn’t try too hard to move you , it simply tells the truth. And in doing so, it reminds us that sometimes, the brightest stars are the ones we almost forget to look at.

Entertainment journalism has long been boxed into a single image- gossip columns, red carpet photos, paparazzi drama. It’s the kind of news that shows up on your feed when a celebrity changes their hairstyle, breaks up, or posts something cryptic. But that’s only one layer—often the noisiest, of a much more layered story.

The entertainment industry is massive. It’s chaotic, creative, political, and a lot more. And when journalism limits itself to celebrity relationships or social media controversies, it misses everything happening underneath. The real stories, the ones that shape how we see fame, art, culture, and ourselves, get pushed aside in favour of headlines that trend for 24 hours and are forgotten the next day.

There’s value in knowing what actors are working on or how they feel about a role, how the role’s affected them, all of that for sure. But there’s also value in knowing who’s writing the scripts, who’s building the sets, who takes care of the costumes, what it's like to work 16-hour days on a production and still not get credit. Entertainment journalism has room for that.

Moreover it has the potential to talk about things that matter beyond a specific film,series or show:

 How are streaming platforms changing the kind of stories we see?

Why is representation on screen not just about creating buzz, but something that impacts real people?

“What happens when industries glorify talent but ignore mental health?

These are not side topics. They’re the core of understanding how entertainment shapes and reflects society.

A clear example is how entertainment journalism contributed during the #MeToo movement in Bollywood. It wasn’t gossip pieces but detailed, respectful reporting that gave survivors space to speak, and forced the industry and the audience  to listen.

The fact remains that the audience is interested. More than ever, people want to know what’s happening behind the scenes. They want nuance. They want honesty. Maybe not in every article, and not every day. But there’s space for both the glamorous and the grounded. One doesn’t have to cancel the other out.

Journalism, at its best, tells the truth in ways that connect. In entertainment, that means moving past noise and limelight and chasing meaning. Not every story needs to be profound, but it should be more than just recycled PR. When journalists pay attention to the parts of the industry that aren’t built for virality, something better comes out of it, context, clarity, and maybe even change.

Gossip fades. Good stories don’t. And the entertainment world has plenty of good ones,if we’re willing to look.

By Aditi Sawarkar

Historically, Indian women on screen oscillated between the idealized goddess and the sacrificial homemaker. The Indian entertainment sector, however, has glimpsed a radical transformation with women transforming from being screen players to being forced to be reckoned with off-camera. From the iconic heroines of the 1940s to today's entrepreneurs who are rewriting content narratives, is a story of a broader societal shift towards gender equality and empowerment. 

Female headed films, empowered stories, and social advocacy mark progress.At the very same time as we observe this incredible growth in the creative industries, it is becoming more and more clear that there are significant disparities in the most critical creative positions. This fact can be explained by the persistent existence of gender differences and institutional prejudices that still exist in our society. Obviously, we still have a very long way to go. What is actually needed at this point is not only continuous and continuous campaigning but also the implementation of targeted programs explicitly aimed at leadership.

The specific challenges in the framework of the theater, campaign for equal remuneration for all, provide harassment-free working conditions, as well as strong support for women-led projects. By doing so, we will eventually ensure that we construct an industry that is actually representative of the rich diversity of society.

 The Golden Era:Trailblazing Women on Screen

The foundation of women's involvement in Indian cinema was laid by visionaries who dared to challenge societal norms:

• Fatma Begum: Recognized as India's first female director, she established Fatma Films in 1926 and directed Bulbul-e-Paristan, introducing early special effects to Indian cinema.
  
  
• Devika Rani: Dubbed the 'First Lady of Indian Cinema', she co-founded Bombay Talkies in 1934 and was instrumental in shaping early Hindi cinema.
  
  
• Dasari Kotiratnam: As the first female producer in Telugu cinema, she produced Sati Anasuya in 1935, marking a significant milestone in regional cinema.

Even though these actresses played powerful roles, their actual impact was limited to what happened in front of the camera. Regardless, their performances defied expectations and thus set the stage for those to come. 

• During the productive years of Indian cinema from 1940 to 1960, there were remarkable female stars such as Nargis, Meena kumari and Madhubala. They infuse vividness into the characters which otherwise would be restricted by mundane conventions. 
• Nargis: starred as the rural mother who wrestles with social injustice in Mother India (1957), a film that achieved international renown and was nominated for an Oscar. 
• Madhubala: Celebrated for her beauty and talent, she delivered iconic performances in films like Mughal-e-Azam (1960), leaving an indelible mark on Indian cinema.
• Meena Kumari: Known as the 'Tragedy Queen', her nuanced portrayals in films like Sahib Bibi Aur Ghulam (1962) showcased the depth of female characters.
• Actively concentrating on patriarchy during the parallel cinema phase in the 70s and 80s broadened female roles with Shabana Azmi, Samita Patil, and Rekha embodying multifaceted social issues. 
• In the 1990s, national icons included Kajol , Madhuri Dixit , and Sridevi .

The New Millennium: Women as Storytellers

The 2000s marked a crucial turn in the narrative.The entertainment industry began to recognize the commercial and critical value of stories told by and about women . 

• Zoya Akhtar , one of the influential voices in contemporary cinema , directed ‘Zindagi Na Milegi Dobara’ and ‘Gully Boy’, both box office hits .
• Gauri Shinde’s  ‘English Vinglish’ was a breakthrough , telling the story of a homemaker who discovers self worth through learning English.
• Meghna Gulzar gave audiences impactful films like ‘ Raazi’ and ‘ Chhapaak’, which addressed the patriotism and acid attack survivors . 

These women did not merely direct films- they produced, wrote and shaped narratives that resonated with both male and female audiences .

The Rise of Women Producers

Making films is not just about financing but also about selecting story telling, putting together creative teams and managing all aspects of implementation. 

• Ekta Kapoor: is TV royalty who indeed revolutionized the face of soap operas with her trend-setting shows like 'Kyunki Saas Bhi Kabhi Bahu Thi' and 'Kahani Ghar Ghar Ki'. Her creative imprint did not end there; it went a long, long way into the fields of films and web series also, thanks to her successful production house, Balaji Telefilms, and its web portal, ALT Balaji.
• Guneet Monga :Founder of Sikhya Entertainment, she has championed independent cinema with films like The Lunchbox, Masaan.An Oscar-winning producer for The Elephant Whisperers, she launched Women in Film India to champion gender equity in cinema. 
• Kiran Rao: Her directorial venture, Laapataa Ladies, received international acclaim, showcasing her prowess in storytelling.

In recent times, actresses have transitioned into production roles, bringing fresh perspectives and championing diverse stories.

• Anushka Sharma:through her production house Clean Slate Filmz, has been at the forefront of the work of developing and supporting a slate of unconventional films, such as NH 10, Pari, and Bulbul. These particular projects have been ones that have been firmly focused on women's stories and tried to explore genre-bending stories, all in a bid to support and advance the world of varied storytelling within the space of film.
• Priyanka Chopra Jonas: Through Purple Pebble Pictures, she has produced regional films like Ventilator, which won multiple National Awards.
• Alia Bhatt: Established Eternal Sunshine Productions, producing Darlings, a dark comedy addressing domestic abuse.
• Kriti Sanon: Ventured into production with Blue Butterfly Films, with her debut project Do Patti co-starring Kajol.

The rise of OTT platforms such as Netflix, Amazon Prime Video and Disney +Hotstar has democratized content creation. Shows such as Delhi Crime (starring ,Shefali Shah) and Four More Shots Please!(written by Rangita Pritish Nandy) features urban, imperfect, strong women. Directors like Alankrita Srivastava (Lipstick under my Burkha) and Reema Kagti (Made in Heaven) are utilizing streaming platforms to drive narratives that mainstream film studios are afraid to attempt.

Regional Cinema :New Approach

While Bollywood often garners the spotlight , regional industries - Malayalam , Marathi ,Tamil & Bengali cinema have also nurtured remarkable female talent .Manju Warrier in Malayalam cinema and Sai Pallavi in Tamil - Telugu films have taken up strong , content - rich roles , moving away from traditional romantic leads. Directors like Sudha Kongara and Nandita Das have broken barriers both regionally and internationally. Moreover, regional industries tend to be more experimental, often allowing female directors and writers to tackle sensitive issues with nuance and realism.

The Future towards a comprehensive cinema

The future of Indian cinema seems to be more inclusive not just in terms of gender, but also caste and regional identity. Policies ensuring equal opportunities for women, along with thoughtful mentors, content policies, and equality measures provide hope for a balanced competitive environment. Numerous institutions as well as organized and unorganized film festivals are keenly trying to bring into the spotlight women filmmakers and technicians. 

Collectives in independent cinema and funding initiatives ensure that marginalized voices are given space and opportunity. The broad-based involvement of women at all levels of production is literally transforming the entertainment industry in India – culturally and structurally like never before. Their insights feminism has from time immemorial marked a great stride towards creation empowering content which shows deep inclusivity instead of imagination instead systematically chronicling societal narratives available in India.

 Indian Women Paved Their Way

From a periphery of pretty faces to the main players behind the scenes, women in Indian media have gone the distance. Though there is still a way to go, what we’ve seen is tremendous growth. As our society grows so does its entertainment which must include women in all parts as characters in the story as well as those telling the story. That shift from lead to behind the scenes is more than a mark in the movie history; it is a cultural shift in the making.

From initially being presented as mere decorative and ornamental characters on the screen to emerging as influential producers and excellent storytellers, women in the Indian entertainment sector have come a long way in an awe-inspiring journey. Although lots of challenges continue to be present and in effect, the progress that has been achieved is certainly significant and remarkable. No longer do women sit around waiting for opportunities or a place at the table—they are taking matters into their own hands and constructing their own tables, producing their own studios, and scripting their own stories in the industry.

All in all,with Indian society expanding and changing, it is incumbent upon the entertainment industry to do the same. The stories that engage and represent the aspirations and imaginations of a billion people must be inclusive in their scope, so that the voices and eyes of its women get heard. 

By Ananya Awasthi

School Education Department withdrew the order of Coimbatore Chief Educational Officer (CEO) for compulsory retirement of an art teacher in Government Higher Secondary School, Alandurai, on the outskirts of the city.

SA Rajkumar, the school art teacher who uncovered the sexual harassment of a female student at the same school, was suspended by CEO R Balamurali in 2023 on charges of neglect of duty. Subsequently, the CEO ordered his compulsory retirement in 2024.

On the appeal of Rajkumar of the CEO's compulsory retirement to the Joint Director (JD) Personnel of the School Education Department, the latter, in an order dated June 6, 2025, said the CEO, against whom charges had been made by the petitioner, had worked as the inquiry officer for Rajkumar.

The forced retirement of the art teacher issued by the CEO is deemed an inappropriate act on his basis of inquiry report. The forced retirement of the art teacher has been withdrawn, but his suspension will remain, the JD's letter mentioned.

The CEO has been instructed to appoint a new inquiry officer to probe the accusations against the art teacher. In 2023, sources say, a girl student from the school informed the art teacher that she was sexually harassed by a Physical Education (PE) teacher.

Even after the student had lodged a written complaint against the PE teacher to the headmistress, nothing was done. The headmistress and other teachers supposedly covered up the complaint in an attempt to defend the PE teacher. Upon revelation of this, the police arrested the PE teacher in December 2023. The art teacher was suspended later in the same month, citing that his actions were greatly affecting the integrity of the institution.

Additionally, the current CEO did nothing against the headmistress and teachers. Then, the art teacher complaintantly went to the district collector and Superintendent of Police (Rural) Coimbatore District office on many occasions, making demands for legal proceedings against them on the grounds of attempting to conceal the student's complaint. He booked the CEO on charges of not initiating departmental action against them.

At the same time, the police filed a Pocso case against six teachers, including headmistress, for concealing the complaint of the student last year. Subsequently, the headmistress was suspended, and five teachers were transferred to another school. In the meantime, on the basis of complaint, CEO awarded compulsory retirement to the art teacher on the charge of giving an interview to the media, and distributing petitions on grievances day by bunking classes, sources said.