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Diversifying the playing field with coloured asexual portrayals

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The Billionaire actor-producer Gehan Cooray on

By Tharishi Hewavithanagamage

Los Angeles-based Sri Lankan-American independent filmmaker and classical singer Gehan Cooray, recently unveiled his debut feature length film ‘The Billionaire.’ The film is a contemporary, gender-swapped adaptation of George Bernard Shaw’s 1930s play ‘The Millionairess,’ set in the modern day context of gay marriage and asexuality, but pays homage to the style of Classical Hollywood films. The film has been submitted to the Academy of Motion Picture Arts and Sciences and to the Hollywood Foreign Press Association in late 2020, after becoming eligible for both Oscar and Golden Globe awards nominations. Previously the film was awarded the Best Comedy Feature Award at the Burbank International Film Festival. The film has received favorable reviews from select critics in the industry.

The film was directed by Michael Philip, but it was Gehan Cooray who wrote the screenplay and had final creative control. ‘The Billionaire’ was shot on location in Ontario, Canada and the cast includes the seven-time Emmy Award winning actress Heather Tom (from ‘The Bold and the Beautiful’), Jordan Belfi from the hit TV series ‘Entourage’, Davi Santos known for his work in the ‘Power Rangers’ TV franchise, and Randy Wayne from ‘The Dukes of Hazzard’ and numerous Hallmark channel films.

The story follows Victor Ognisanti di Parerga, an exceedingly prudish young gay billionaire of Sri Lankan descent. He seems to be the ultimate narcissist too, but is in fact quite the old-fashioned romantic at heart. His late, beloved father had set daunting conditions for any man who wished to marry Victor, the suitor must turn $10,000 into $3 million in 6 months. Victor subsequently meets a handsome and almost ascetically religious French American doctor who strikes him as spouse material for being very pure and chaste, and indeed the attraction is mutual. Surprisingly, Victor also finds out that the would-be suitor’s deceased religious mother has set her own daunting conditions for any man who wished to marry her son! As things get complicated Victor and the doctor try to find out if they really are soul mates despite the striking incompatibilities between the two personalities.

Born and raised in Sri Lanka, Gehan Cooray is a past pupil of St. Joseph’s College, Colombo and a graduate of the University of Southern California (USC). He is a multitalented and multifaceted artist who made his Carnegie Hall debut in 2019 with a solo concert in New York, with the Chef de Cabinet to the United Nations Secretary General looking on as Chief Guest. Gehan’s love for the cinema began when he was introduced to Classical Hollywood films like ‘My Fair Lady,’ ‘The Sound of Music’ and ‘Mary Poppins’ at a very young age. Gehan has produced and acted in short films that have been praised at many film festivals and ‘The Island’ was fortunate enough to speak to the talented actor-producer.

 

Q. How did you get involved in the world of cinema?

A: I grew up performing on the stage, but I didn’t consider becoming a filmmaker until I attended the University of Southern California (USC) in Los Angeles, which has the best cinematic arts school in the world and has produced Hollywood greats such as George Lucas.

I took as many film classes as possible and built an excellent foundation on cinema. Years later, a chance meeting with the famous director Jon Favreau got me into this field. Seeing my USC sweatshirt, he asked me if I’m a filmmaker, and at the time I was only an actor, I hadn’t produced or written a script. I made a few short films, which got into some famous film festivals and with the level of recognition I had received for my work, it was my mother who suggested I take the plunge and make a feature film. Making a feature film is an entirely different experience from making short films, and I believe that making feature films is what takes you to the next level as a filmmaker and an actor. I believe that filmmaking in this day and age, can help leave your mark. Immortalizing a performance on screen can benefit future generations.

 

Q. Why did you make The Billionaire?

A: To start off I’m a big fan of Bernard Shaw and his works, and one reason I began work on adapting the play is because I was drawn to the type of rich English language that Shaw used in his work. If you compare modern scripts, they tend to be very conversational, informal and sometimes profane, which is why I wanted to work on this particular project. In addition to the language aspect, I wanted my adaptation to relate to the modern era. I switched the genders around and renamed it ‘The Billionaire’ and while Shaw’s play had very sexual characters, here I bring in the theme of asexuality. In the film, I portray the role of the billionaire and chose the role because normally, when people hear the term, they immediately picture a white, heterosexual man, be it Donald Trump, Elon Musk or Bill Gates.

I wanted to step away from the norm and present a brown gentleman, who is also asexual. I’ve also addressed the stereotypical view where people assume that the rich and wealthy engage in promiscuous acts, by offering audiences a title character who is very pure and chaste. I wanted to present a complex character, who is pure and virtuous on the one hand, but is haughty and conceited on the other. Being an operatic singer, I incorporated singing into the film. For me, when singing opera, the emotions are grand, epic and larger than life and in the film the singing is a transcendent experience. One could even say that the singing is even better than sex.

 

Q. What is the significance of the theme of asexuality?

A: As someone who identifies as asexual even in real life, I’ve never seen a single movie or TV show in America or around the world that focuses on asexual characters. I wanted to champion that in my own art. I think that a small percentage of the population identifies as asexual but some aren’t even given the opportunity to discover that about themselves. Many are lead to believe that sex is the norm. Even in my own life I’ve received questions like ‘Oh Gehan, how are you going to find someone who doesn’t want to have sex?’ and my answer is that, if two people can connect emotionally, psychologically and romantically, sex doesn’t have to be the defining characteristic of a relationship or marriage. Today almost everyone is aware about heterosexuality and homosexuality, but asexual individuals have been left in the dark and, going forward I’d like to portray more asexual characters and provide role models for asexual individuals in society. I hope that people in the industry see colored people differently and engage in making the playing field more diverse.

 

Q. What challenges did you face?

A: Perhaps the first challenge was finding a good director who could bring my vision to life. My acting coach suggested I take on the role of director initially, but my mother actually pointed out that since this was my first time working on a feature length film while playing a lead role, it would be best that I find a good director. Eventually I found Michael who had his own production company in Canada, so we were able to shoot on location in Canada and gather a cast and crew as well. Michael was willing to give me a lot of freedom and control in the way I portrayed my character, and he allowed me to rehearse with the other actors on my own. His view was that since I wrote the script and since I knew the characters well, I could guide the other actors in their respective roles in order to bring my vision to life. Everything worked out beautifully as he directed everyone on set and gave me suggestions that made a significant difference.

Another challenge for me was getting to know the cast and crew, because this was my first time working with them. I had to discuss technical details, like how to ‘light’ a brown skin person in contrast to a white skin person. It was also challenging to explain my vision for the characters to some of the actors who took on the respective roles. As we worked our way through shooting, we came to really respect and admire each other more. Overcoming whatever challenges were thrown our way, the cast and crew really came together to create this masterpiece.

The real nightmare was post-production. The footage was held up in Canada for a long time and it took a while to get it down. I wasn’t happy with the post-production so I had to take it to Warner Bros. Studios and get it re-done. I felt like I would never reach the finish line but through perseverance and believing that the end product was going to be something of substance and quality, we made it. Winning the Best Comedy Feature Award at the Burbank International Film Festival, validated all our hard work and effort that went into creating this film.

 

Q. When will the film be released?

A: The film is yet to have its theatrical release. Ceylon Theatres reached out and is interested in distributing the film in Colombo and other areas as well, hopefully by the end of February or early March. While I was studying at USC, in one of my very first introductory cinema classes, we were told that movies were meant to be seen on the big screen, so I really didn’t want to take the Netflix route with this film. Big screens have a certain grandeur and it allows audiences to truly appreciate a good work of art. I’m old-fashioned that way but I’m happy with streaming on Netflix, after the theatrical run. I hope that audiences in Sri Lanka and in Los-Angeles will be able to see the movie on the big screen sometime soon. In Los Angeles, the Laemmle Theatres have chosen to release the film on its virtual platform, seeing as the cinema halls are still closed.

 

Q. What projects are in the pipeline? Will we see you as a director in the future?

A: With ‘The Billionaire’ reaching new heights, it brings in good exposure. I’ve managed to get in touch with a few big names in the industry. They are aware that a ‘Gehan Cooray’ exists, but getting an Oscar nomination will surely pave the way to working alongside veterans in the industry. I’m very happy about being given the opportunity to submit the film to the Academy of Motion Picture Arts and Sciences and to the Hollywood Foreign Press Association. It’s a great honour.

On a more independent level, I’m looking to work on a project that could be shot in Sri Lanka and engage our young and aspiring filmmakers, actors and cinematographers as well. I’m envisioning a project that will feature a big Hollywood actor or actress, but will promote our country at the same time. We have so many talented people in Sri Lanka, and while I’m in the country I hope to have some acting workshops for local groups of actors. I’d like to unearth some of our hidden talents and show our potential to the world, and bring in more Sri Lankans to the Hollywood film making industry. In addition, I have also recorded my first album, which will be released in 2021, which I cannot wait to share with everyone.

Directing is an art form in and of itself and going forward I do have certain story ideas where I might not take up the role of an actor. I wouldn’t necessarily direct on my own, in the coming years, but I might take on the role of co-director. Maybe when I’m in my 40s I’ll take up the role of a director and aspire to be like Jon Favreau.

The Oscars is around the corner and it’s certainly a nail-biting wait for Gehan and the cast and crew who worked on ‘The Billionaire.’ We will be seeing more of Gehan and his talent in the days and years to come as he plans his future projects with the hopes of creating a special place for Sri Lankans and for more representation for asexual individuals in Hollywood.



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Putting people back into ‘development’ – a challenge for South

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In need of swift empowerment; working people of Sri Lanka.

Should Sri Lanka consider an 18th IMF programme? Some academicians exploring Sri Lanka’s development prospects in depth are raising this issue. It is yet to emerge as a hot topic among policy and decision-making circles in this country but common sense would sooner rather than later dictate that it be taken up for discussion by the wider public and a decision arrived at.

The issue of an 18th IMF programme was raised with some urgency locally by none other than Dr. Ganeshan Wignaraja,Visiting Senior Fellow, ODI Global London, one of whose presentations, made at the Regional Centre for Strategic Studies (RCSS), Colombo, was highlighted in this column last week, May 7th. An IMF programme is far from the ideal way out for a bankrupt country such as Sri Lanka but a policy of economic pragmatism would indicate that there is no other way out for Sri Lanka. Such a programme is the proverbial ‘Bird in the hand’ for Sri Lanka and it may be compelled to avail of it to get itself out of the morass of economic failures it is bogged down in currently.

While local economic growth possibilities are far from encouraging at present, such prospects globally are far from bright as well. Some of the more thought-provoking data in the latter regard were disclosed by Dr. Wignaraja. For example, ‘The IMF’s April 2026 World Economic Outlook projects global growth slowing to 3.1 percent in 2026; with downside risks dominating: prolonged conflict, geopolitical fragmentation, renewed trade tensions, bearing down hardest on emergent and developing economies.’

However, as is known, an ‘IMF bailout’ is fraught with huge risks for the people of a developing country. ‘The Silver Bullet’ brings hardships for the people usually and they would be required by their governments to increasingly ‘tighten their belts’ and brace for perhaps indefinite material hardships and discontent. For Sri Lanka, the cost of living is unsettlingly high and 20 percent of the population is languishing below the poverty line of $ 3.65 per day.

These statistics should help put the spotlight on the people of a country, who are theoretically the subjects and beneficiaries of development, and one of the main reasons, in so far as democracies are concerned, for the existence of governments. Placing people at the centre of the development process is urgently needed in the global South and shifting the focus to other considerations would be tantamount to governments dabbling in misplaced priorities.

Technocrats are needed for the propelling of economic growth but a Southern country’s main approach to development cannot be entirely technocratic in nature. The well being of the people and how it is affected by such growth strategies need to be prime focuses in discussions on development. Accordingly, discourses on how poverty alleviation could be facilitated need urgent initiation and perpetuation. There is no getting away from people’s empowerment.

In the South over the decades, the above themes have been, more or less, allowed to lapse in discussions on development. With economic liberalization and ‘market economics’ being allowed to eclipse development, correctly understood, people’s well being could be said to have been downplayed by Southern governments.

The development issues of Southern publics could be also said to have been compounded over the years as a result of the hemisphere lacking a single and effective ‘voice’ that could consistently and forcefully take up its questions with the global powers and institutions that matter. That is, the South lacks an all-embracing, umbrella organization that could bring together and muster the collective will of the South and work towards the realization of its best interests.

This columnist has time and again brought up the need for concerned Southern sections to explore the potential within the now virtually moribund Non-Aligned Movement to reactivate itself and fill the above lacuna in the South’s organizational and mobilization capability. In its heyday NAM not only possessed this institutional capability but had ample ‘voice power’ in the form of its founding fathers, with Jawaharlal Nehru of India, for example, proving a power to reckon with in this regard. The lack of such leaders at present needs to be factored in as well as accounting for the South’s lack of power and presence in the deliberative forums of the world that have a bearing on the hemisphere’s well being.

The Executive Director of the RCSS, Ambassador (Retd) Ravinatha Aryasinha, articulated some interesting thoughts on the above and related questions at a forum a couple of months back. Speaking at the launching of the book authored by Prof. Gamini Keerewella titled, ‘Reimagining International Relations from a Global South Perspective’, at the Bandaranaike Centre for International Studies, Colombo, Amb. Aryasinha said, among other things: ‘Historically, there is a precedent that has been realized by the Non-Aligned group of countries – unfortunately, rather than being reformed and modified at the end of the Cold War, it has been tossed away.’

The inability of the nominally existent NAM to come out of its state of veritable paralysis and voice and act in the name of the South in the current international crises lends credence to the view that the organization has allowed itself to be ‘tossed away.’ The challenge before NAM is to prove that it is by no means a spent force.

As indicted, NAM needs vibrant voices that could advocate value-based advancement for the global South. Moral principles need to triumph over Realpolitik. Such transformative changes could come to pass if there is a fresh meeting of enlightened minds within the South. Pakistan by offering to mediate in the ongoing conflict between the US and Iran, for instance, proved that there are still states within the South that could look beyond narrow self-interest and work towards some collective goals. Hopefully, Pakistan’s example will be emulated.

Along with Pakistan some Gulf states have shown willingness to work towards a de-escalation of the present hostilities in West Asia. This could be a beginning for the undertaking of more ambitious, collective projects by the South that have as their goals political solutions to current international crises. These developments prove that the South is not bereft of visionary thinking that could lay the basis for a measure of world peace. That is, there are grounds to be hopeful.

NAM needs to see it as its responsibility to make good use of these hopeful signs to bring the South together once again and work towards the realization of its founding principles, such as initiating value-based international politics and laying the basis for the collective economic betterment of Southern people.

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Artificial Intelligence in Academia: Menace or Tool?

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(The author is on X as @sasmester)

I have often been told by university colleagues how soulless and dangerous ‘artificial intelligence’ (AI) is to academia and humanity. They lament that students no longer read anything as they can now get various AI programmes to summarise what is recommended which is mostly in the English language to Sinhala or Tamil or get easier versions in English itself. They get their assignments and even dissertations fully or partially written by AI. And I am led to believe that universities do not have reliable detection software to assess plagiarism and academic fraud that have been committed using AI beyond the software freely available on the internet with their own limitations. This is due to financial restrictions in these institutions. Even these common malpractices have been done mostly with the aid of free AI programmes which are readily available, which means cheating in this sense is free and mostly safe. For teachers, this is a ‘menace’ in the same way ‘copying’ once was. But its implications are far worse.

But given the global investments made over AI, it cannot be wished away despite the enormous negative impact its use has on the environment, particularly due to its massive demand for energy. So, AI is with us to stay, and it has a considerable role to play in human civilisation even though like most innovations and inventions, this too carries its own burden of negativity. In this context, instead of demonising AI and lamenting its replacement of human agency and ingenuity, one needs to think seriously about how to deal with and engage with it reflectively and pragmatically as there is much it can offer if people are intelligent enough to make rational and sensible choices.

When I am making these observations, I am restricting myself to a handful of practices involving only writing both in university-based examination processes and in the fields of creative writing.

My initial introduction to AI was through the Research Methods class I used to teach in New Delhi. In 2022, this class was supposed to go to Dharmshala in Uttar Pradesh for fieldwork training, and we needed to write a funding proposal quickly. One of the students in the class, already familiar with ChatGPT introduced by OpenAI as a free programme in 2022, did the proposal with its help before the two-hour class was over. I edited it soon after and sent it off to the university administration for funding which we received. That stint of field work was completed in five days and was the most detailed work undertaken as a training programme up to that time in the university which had considerable output ranging from a documentary film to a detailed ethnography based on the findings.

While the technical details, the format of the proposal and its basic writing were done by AI due to the time constraints the class faced, its fine-tuning was done by me and a few students. AI could not then and even now cannot undertake that level of specificity without close human intervention. But the film, the ethnography and the actual process of research had nothing to do with AI. It was the result of human labour, thinking, planning and at times creativity and ingenuity. This was an early example of how AI could coexist in an academic environment if its technical usefulness was clearly understood and potential for excesses was also understood. But this was a time, easily accessible AI was just emerging, and we did not know much about it. But I was fortunate enough to have intelligent students in my class who gave me a crash course into this kind of AI use, which I followed up with my own reading and experimentation later on. As a result, I am keener now to see how it can be used for the betterment of academic practice rather than taking an uncritically demonising position, which I know will not lead anywhere.

But how is this possible? The lamentations of my colleagues about the abuse of AI in academic practice is not unfounded. It is a serious threat that remains mostly unaddressed not only in our country but almost everywhere else in the world too. This is mostly because the advancements of AI even in day-to-day free usage have far exceeded any thoughts for actionable codes of ethics to ensure its practice is sensible and ethical. At the same time, I cannot see why a student should not use AI to correct his spelling and grammar in assignments. I also cannot see why a student cannot seek AI’s help to secure research material from secondary sources available online which I have been doing for years. For instance, the originals of specific books and rare manuscripts might not be available in any repositories in our part of the world. In such situations, what AI might find us is all we have access to in a world where we are restricted in our mobility due to semi-racist visa regimes of failed empires and former superpowers as well as our own lack of ability to travel due to our own unenviable economic conditions. But unfortunately, the materials we need are often only available in research centers and libraries in those nations.

Similarly, when it comes to academic prose, it makes no sense now to take years to translate works from multiple languages to Sinhala and Tamil. This has always been a time-consuming, cumbersome and expensive process. Non-availability of Sinhala and English translations of core originals in languages such as English, French, German and so on has been a long-term problem for our country. But this can now be done well – at least from English to our languages – quite quickly and with a very low margin for error by using specific AI programmes which are meant to do precisely this. What this means is a quick expansion of knowledge in local languages which would have ordinarily taken years to achieve or might not have been possible at all. But still, this needs significant human intervention and time towards perfection. However, I do not think AI-based translations work as well for fiction and poetry or creative works more generally. But the ability for AI to emulate nuance and feeling in language is fast emerging. These are two clear examples of improving technical abilities in research and writing in which AI can be of help.

But looking for sources of information with help the help of AI or using it as a tool to undertake essential translations from one language to another is quite different from simply using it without ascertaining the accuracy of collected information, getting AI to do all your work without any reflection or without any hard work at all, including engaging AI to do the final product in a writing assignment — be that a term paper or a work of fiction. If one proceeds in this direction, as many unfortunately do nowadays, then, our ability to think and be creative as a species will become diminished over time and our sense of humanity itself will take a toll. This is what my colleagues worry about when they say AI is making younger generations soulless.

It is here that ethical practices on how to use AI responsibly without compromising our sense of humanity must play a central role. But these ethical practices must be formally written and taught, followed by viable programmes for detection and publication if unethical practices are followed. This needs to be the case particularly in teaching institutions as well as the broader domain of creative writing. After all, what is the fun in reading a novel or a collection of poetry written by AI?

It is time people began to think about what AI can do in their own fields without falling prey to its power and their own laziness. This brings to my mind Geoffrey Hinton’s words: “There is no chance of stopping AI’s development. But we need to ensure alignment; to ensure it is beneficial to us …” Similarly, as Yann LeCun observed, “AI is not just about replicating human intelligence; it’s about creating intelligent systems that can surpass human limitations.” In this sense, it is up to us to find our edge in creativity and common sense to find the most sensible way forward in using AI.

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Engelbert’s 90th birthday bash

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The legendary Engelbert Humperdinck, who is known for his hit songs such as ‘A Man Without Love’, ‘Release Me’, ‘Spanish Eyes’, ‘The Last Waltz’, ‘Am I That Easy To Forget’, ‘Ten Guitars’ and ‘I Can’t Stop Loving You’, turned 90 on 02 May, 2026, and there were some lovely Hollywood-related celebrations.

Before his birthday, Engelbert’s new single ‘I’ve Got You’ was released – on 23 April – and Engelbert had this to say: “‘I’ve Got You’ is especially close to my heart. It speaks to love, loyalty, and the quiet strength we find in one another”.

The main birthday event was held at The Starlight Cabaret, in Los Angeles, California, and Sri Lankan Raju Rasiah, now based in the States, and his wife Renuka, who are personal friends of Engelbert, were invited to participate in the celebrations, along with Ingrid Melicon – also a Sri Lankan, now domiciled in America.

The invitation said “An evening of music, memories and celebration. Let’s make it a night to remember!” And it certainly turned out to be a night never ever to be forgotten!

Invitees experienced a “magical entrance” with Engelbert’s name lighting up the screen and showing him performing his hit songs.

The invitees were also presented with a unique gift – a necklace with Engelbert’s face, engraved with the words “Remember, I Love You.”

Engelbert’s son, Bradley Dorsey, sang a tribute song ‘Only You’ for his dad, while Eddy Fisher’s daughters, Tricia and Joely, also got on stage to entertaining the distinguish gathering.

Engelbert didn’t perform but got on stage for the cutting of the birthday cake.

There was also a video compilation of birthday wishes from fellow celebrities, and the lineup included Gloria Gaynor, Micky Dolenz, Wayne Newton, Pat Boone, Lulu, Judy Collins, Deana Martin, Angélica María, Rupert Everett, Matt Goss, and more.

Birthday boy Engelbert Humperdinck

At 90, Engelbert is still performing. He’s on THE CELEBRATION TOUR for his 90th year, with over 50 international dates in 2026, including Australia, Germany, the US, and Canada. He’ll be at Massey Hall in, Toronto, on 06 October, 2026. He said: “The stage is my home… Canada has always been a highlight”.

He performed 60+ concerts, worldwide, in 2025, and says karaoke keeps his songs fresh: “Most of my songs are on karaoke because people love to sing them”.

 

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