Features
Diversifying the playing field with coloured asexual portrayals
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.

Features
Polarizing rhetoric greets America on its epochal anniversary
Democratic and progressive opinion in the US and the world over would likely have been further jolted by the divisive rhetoric blared forth by US President Donald Trump on no less an occasion than the 250th anniversary of the US Declaration of Independence from Britain. The world has been placed on notice that what it would be having in the main is aggravated polarization on multiple fronts during what’s left of the Trump tenure.
If the world was expecting positive moves by the Trump administration to bridge divisions, heal rifts and usher in a more harmonious international political order, this is very unlikely to be. Instead, in all probability we would be left with a far more ‘dangerous place to live in’.
Some of the more thought-provoking recent ‘takes’ from President Trump are : ‘A generation after we fought and won the cold war against the menace of communism, there is now a resurgence of the communist menace in our land, including from newcomers to our country who embrace ideas totally opposed to our way of life and our great success.’ ‘We will send them (immigrants) quickly away, and we will continue to build our country bigger and better than ever before.’ ‘We are going to give our country its identity back.’ ‘You can be loyal to Karl Marx or you can be loyal to America. You can be a communist or you can be a patriot. You cannot be both.’
Accordingly, what the world would have in increasing measure going forward are stepped-up attempts to consolidate a white supremacist administration in the US accompanied by a suppression of ethnic, religious and cultural minorities at home along with renewed attempts to spread and consolidate US hegemonism world wide.
The latter project would mainly translate into US military interventions abroad of the Venezuelan type and a persistence if not a resurgence of identity based conflicts globally. Violent reactions internationally to what are seen as attempts by the US to bring recalcitrant sections in particularly the South under white supremacist control will provide the basis for the steadfast presence and spiking of identity politics globally.
Moreover, the path has been paved for stepped-up ethnic, religious and cultural disharmony within the US. A united state is far from possible, given this backdrop. Put simply, it would be a question of steeper political polarization at home and abroad.
The persistent, widespread support for the hard line Islamic regime in Iran locally and globally should serve as an eye-opener for the political decision-makers of the US. Huge crowds at the funerals of Iran’s political leaders could very well be state-orchestrated but they are a pointer to the fact that political Islam is far from on the decline. To the extent to which this is so, the phenomenon could be a hurdle in the path of a stridently expansionist US.
Looking back, it was the consolidation of the Islamic regime in Iran in the late seventies of the last century that, besides proving a major challenge to the unfettered global power expansion of the US and its Western allies, provided the motive force as it were for the proliferation of Islam-based identity politics in particularly the South. This continues to be so.
Going forward, the US would need to figure out how best it could manage the persistent presence of Islamic fundamentalism world wide, and for that matter other forms of identity politics, without drastically losing its global power and influence.
The recent successful challenge by Iran to the US’ efforts to exercise its diktat in West Asia should prove an ‘eye-opener’. In these confrontations both sides were bloodied but Iran proved that it could successfully take on the US militarily. The inference for the US ought to be that projecting its military might in the Middle East in a no-holds-barred fashion would not prove easy.
Arising from the foregoing a foremost policy challenge for the US would be to curb Iranian military power while avoiding another major military confrontation with the Islamic state that would cost the US and the world dearly in particularly economic and material terms. The US would have no choice but to persist with the often flagging West Asian peace effort and to render it fully workable.
Ukraine presents the US with another formidable challenge. As is known, Ukraine is proving no easy ‘push-over’ for Russia, but it is badly in need of more sophisticated Western arms, particularly effective air defense systems, to fully neutralize the Russian invasion. What would the US choose to do; go to Ukraine’s assistance fully or opt not to ruffle and antagonize the Putin regime, with which it is on some cordial terms?
A negotiated solution is best in Ukraine and the Trump administration would do well not to lose sight of this ideal but Russia too should see the need for a diplomatic solution if it is to salvage itself from its military stalemate in Ukraine. The US needs to try being a peace mediator in the latter theatre but if the Russian political leadership fails to opt for peace the US would have no choice but to join the rest of NATO and Europe in continuing to arm Ukraine.
The US would need to take the latter course if the ‘world’s mightiest democracy’ is to remain committed to its founding ideals. If President Trump fails to meet this challenge he would prove that he is nothing more than an ‘empty rhetorician’.
However, it should not come as a surprise to the world if Trump chooses not to strongly back the rest of the West on Ukraine. Domestic and foreign policy are closely intertwined. Since the Trump administration is committed to building a white supremacist state at home, democratic development worldwide has been of the least importance to it.
The Trump administration’s strong affinities to white jingoism would increasingly compel it to opt for a policy of international isolationism. As a result Ukraine could prove unimportant for the US going forward.
Consequently, US-Western Europe friction in particular is only likely to intensify in the days ahead. Coupled with the contentious issues growing out of the persistence of identity politics, the Trump administration’s far-sightedness in managing foreign policy issues would be tested to the fullest. Whether the world would have comparative peace or continued blood-letting would depend crucially on such judiciousness.
Features
Beyond concrete: Sunela Jayewardene urges Sri Lanka to rediscover an ancient wisdom for a planet in peril
It was more than a lecture on architecture. It was a challenge to rethink civilisation itself.
Standing before a packed audience at Dilmah by Genesis in Maligawatte, internationally acclaimed environmental architect, author and conservationist Sunela Jayewardene delivered a keynote that transcended blueprints, buildings and urban planning.
Instead, she invited her listeners on an intellectual journey into Sri Lanka’s ancient past, arguing that the answers to some of the world’s gravest environmental crises may already exist within the island’s forgotten ecological wisdom.
Her address, titled “Beyond Concrete: Architecture for the Coexistence of Species,” was at once philosophical, historical and deeply practical. It questioned humanity’s obsession with dominating nature and called for a return to a design ethic rooted in respect, restraint and coexistence.
“The road is actually very simple,” Jayewardene said. “We have simply forgotten it.”
That observation became the defining thread of an afternoon that challenged conventional thinking about architecture and development.
According to Jayewardene, modern society has inherited a worldview shaped largely by colonial values that placed human needs above those of every other living organism.
“Our value system was turned on its head,” she observed. “We accepted a Western way of looking at nature without questioning it. Today we can clearly see the consequences. The world is in crisis. Species are in crisis. Our lifestyles are in crisis.”
She was careful not to romanticise the past, nor was she dismissive of modern science. Instead, she argued that Sri Lanka’s pre-colonial civilisation possessed a sophisticated environmental philosophy that modern planners and architects have largely ignored.
For Jayewardene, environmental architecture is not about fashionable sustainability slogans or cosmetic landscaping.
It begins with humility.
It begins by recognising that humans are only one species among millions sharing the same landscape.
“The built environment should not exist in opposition to nature,” she said. “It should become part of nature.”
One of the most captivating moments of her presentation came when she introduced her own research into the island’s ancient sacred geography.
Using digital mapping and satellite imagery, Jayewardene demonstrated the remarkable alignment of Sri Lanka’s four original Saman Devalayas, whose axes converge on Sri Pada, historically known as Samanthakuta.
The extraordinary precision of these alignments, she argued, raises profound questions about the scientific and surveying capabilities of ancient Sri Lankan civilisation.
“What kind of technology enabled them to achieve this?” she asked the audience.
Her purpose was not to offer speculative answers but to challenge deeply ingrained assumptions that ancient societies lacked scientific sophistication.
“We often underestimate what our ancestors knew,” she said. “Yet the evidence around us tells a very different story.”
That forgotten knowledge, she argued, extended well beyond engineering.
It shaped an entire philosophy of living with the landscape rather than imposing human will upon it.
Displaying photographs from archaeological sites including Ritigala, ancient monasteries and rock pavilions hidden within Sri Lanka’s forests, Jayewardene illustrated how builders carved steps around natural boulders, integrated structures into existing rock formations and preserved the contours of the land.
Modern construction, she suggested, would almost certainly have bulldozed those landscapes into submission.
“Our ancestors honoured the land,” she said. “They accepted the landscape instead of trying to conquer it.”
For Jayewardene, that principle remains the foundation of every project she undertakes.
She described environmental architecture as an exercise in listening rather than commanding.
Every site, she explained, possesses its own identity, ecological history and natural rhythm.
The responsibility of the architect is to understand that identity before attempting to intervene.
“The land tells you what it wants to become,” she said.
Throughout the presentation, one word repeatedly surfaced—context.
Without understanding context, she argued, architecture becomes little more than sculpture.
Good design cannot be copied indiscriminately from one country to another or even from one district to another.
Climate differs.
Rainfall differs.
Vegetation differs.
Wildlife differs.
Culture differs.
Even the stories associated with landscapes differ.
All of these, Jayewardene insisted, must shape architecture.
“When I speak about inhabitants, I don’t mean only human beings,” she explained.
“The birds, insects, reptiles, mammals, trees and every living organism already occupying that land must become part of the design equation.”
This broader understanding forms the basis of what she describes as non-human-centred design—an approach that rejects the notion that cities exist exclusively for people.
Instead, landscapes should provide refuge for biodiversity while simultaneously serving human communities.
It is an idea that resonates strongly at a time when rapid urbanisation continues to erode habitats across Sri Lanka.
Jayewardene also challenged prevailing attitudes towards development itself.
Too often, she argued, “development” has become synonymous with replacing natural systems by concrete infrastructure.
She questioned whether flattening hillsides, redirecting streams and clearing vegetation can genuinely be described as progress.
In her view, genuine development should first ask what ecological value already exists before deciding what should be built.
One of the simplest yet most profound examples she offered concerned water.
“I always say it is acceptable to interrupt water,” she remarked. “But never disrupt it.”
That distinction reflects an ecological understanding often absent from conventional engineering.
Natural drainage systems, she warned, perform countless functions that remain invisible until they are damaged.
Floods, soil erosion, biodiversity decline and even changes in local climate frequently follow.
“We disrupt far more than water,” she said. “We disrupt entire ecological relationships.”
Equally significant was her distinction between degraded brownfield sites and relatively untouched greenfield landscapes.
Brownfield sites require ecological restoration, rehabilitation and renewal.
Greenfield sites demand restraint.
Minimal intervention, she argued, is often the highest form of environmental design.
The keynote found an appropriate setting within Dilmah Conservation’s own efforts to restore degraded urban landscapes.
Earlier in the programme, Rishan Sampath of Dilmah Conservation outlined the organisation’s transformation of an abandoned industrial property in Moratuwa into a flourishing urban forest containing over 300 tree species and more than 1,000 individual plants.
Scientific studies conducted within the restored forest have already demonstrated improvements in air quality compared with adjoining urban roads, providing measurable evidence that biodiversity restoration can improve city life.
For Jayewardene, such initiatives represent far more than beautification projects.
They demonstrate that ecological restoration can become a guiding philosophy for future urban planning.
Her address ultimately became a call to rethink humanity’s place within nature.
Architecture, she argued, should no longer celebrate domination over landscapes.
It should celebrate coexistence.
Every building should strengthen biodiversity.
Every development should restore ecological balance.
Every designer should ask not merely how a project serves people, but how it serves life itself.
As the audience left the hall, they carried with them more than architectural ideas.
They carried a challenge
To question inherited assumptions.
To rediscover indigenous ecological wisdom.
And to recognise that Sri Lanka’s greatest contribution to global sustainability may not lie in importing new environmental models, but in rediscovering the timeless principles embedded within its own civilisation.
For Sunela Jayewardene, the future will not be secured by building more impressive skylines.
It will be secured when humanity learns once again to build gently, intelligently and respectfully—allowing architecture to become not an act of conquest, but an expression of coexistence.
By Ifham Nizam
Features
Colombia’s “back-to-back queen”
Beyond modelling, Colombia’s Katherine Castaño, who captured the crown at the Top Model of the World 2026, in Egypt, is also a TV host, entrepreneur and social media influencer.
She’s based in Miami, Florida right now — a hub for fashion and influencer work — a city she calls home base, while representing Colombia on the world stage.
Her Miami base gives her access to fashion, entertainment, and business networks, while her title keeps Colombia front and centre in the global modelling conversation.
Off the runway, she says she enjoys singing, playing the piano, and tennis.
Katherine didn’t make the trip to Egypt as a newcomer. She’s built a strong international portfolio before winning the crown.
In fact, her résumé reads like a fashion passport: Colombia Moda, New York Fashion Week, Miami Swim Week, Miami Fashion Week, Nicaragua Diseña, IXEL Moda, and Mercedes-Benz San José.
On June 8, 2026, Katherine Castaño was crowned by outgoing winner Natalia Garizabal Vera, also of Colombia. That gave Colombia a historic back-to-back victory — the first time any country has done it in the competition’s history, and Colombia’s 4th win overall.
As Top Model of the World 2026, Katherine’s reign is centred on elevating her profile as a model, influencer, and entrepreneur.

She’s built a personal brand around beauty, ambition, style, and professionalism, with strong reach across fashion, social media, and business.
As titleholder, she’s now the face of the pageant’s international fashion platform, representing Colombia globally, while based out of Miami.
Ahead of the competition she was clear about the stakes: “This is bigger than me. This is for my country. This is for the story I’m here to write… And I’m not going quietly… we’re going for that back to back.”
As the reigning titleholder, Katherine Castaño’s role extends far beyond the sash. She’s using the platform to grow her brand as a model, influencer, and entrepreneur rooted in “beauty, ambition, style, and professionalism”.
She will also be doing runway shows, photoshoots, brand appearances, and fashion events.
Sri Lanka’s representative at this pageant was NetalieWithanage.
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