
Modi talks to Group Captain Shukla, says this mission is first step towards India's own space station
Prime Minister Narendra Modi had a conversation with astronaut
Group Captain Shubhanshu Shukla
, who is at the International Space Station, on Saturday in which the two discussed the experiments the latter is conducting during his stay and how it will benefit the country in sectors like agriculture and health. Modi emphasized that this is 'the first chapter' in the march towards the
Gaganyaan mission
and establishment of India's own space station in the near future.
In an interaction that lasted 18 minutes, Shukla shared his experiences and challenges during his space journey. With the Indian flag as the background, India's second man in space said he is conducting seven unique experiments designed by Indian scientists, including stem cell research.
Shukla's message to India's youth was to 'never stop trying and never give up'. Success, he said, will come sooner or later. 'Sky is never the limit. Not for me, not for you and not for the country,' he added.
Prime Minister Modi said he sees Shukla's flight as a part of the goals of launching Gaganyaan, establishing India's own space station and landing an Indian on the moon. He emphasized that Shukla's experiences will help in this endeavour.
Shukla assured the PM that he is absorbing all knowledge 'like a sponge' and his learnings will help in India's future missions.
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The prime minister said this mission will give impetus to India's
Viksit Bharat program
. 'India is going to open the doors to future space missions of the world. Now India will not just fly missions but prepare the stage for other space flights,' Modi said.
Shukla said from space, earth is visible as one without any national boundaries and one gets the feeling of oneness with all its inhabitants. Expressing his gratitude towards 140 Crore Indians for their wishes, he said India appears grander in 3-D from space.
Prime Minister Modi gave his good wishes to the astronaut and asked about his well-being.
'You are farthest from your motherland but let me assure you that you are close to the heart of all Indians… Though at present just the two of us are talking to each other, the feelings of 140 Crore Indians are with us. The enthusiasm and excitement of all Indians is a part of this,' Modi said.
Shukla maintained that while growing up he had never imagined he would become an astronaut one day and the way India is marching ahead today makes this possible.
He shared that he witnesses 16 sunrises and sunsets every day and the space station is moving at a speed of 28,000 kilometres per hour.
Shukla said he has shared with fellow astronauts the gajar and moong halwa he is carrying with him. He wanted them to know about India's rich culinary heritage, he added.

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Time of India
an hour ago
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Shatrughan Sinha , then one of cinema's busiest stars, saw his films banned for the cardinal sin of supporting Jayaprakash Narayan. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Unwelcoming Countries in the World, Ranked BigGlobalTravel Undo Gulzar's 'Aandhi', merely suspected of drawing inspiration from Indira Gandhi's life, while most argued it'd taken a few chapters from the life of Tarkeshwari Sinha, was banned for the duration of the Emergency, releasing only after the Janata victory restored a semblance of democratic normalcy. 'Maha Chor' starring Rajesh Khanna casually inserted a 'Vote for Congress' graffiti into a musical sequence. Most telling was the fate of Amrit Nahata's 'Kissa Kursi Ka', a political satire that dared to mock the Emergency's absurdities. All prints of the film were destroyed allegedly by Sanjay Gandhi at a factory in Gurgaon. This was not subtext—it was brazen collusion between art and authority. 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Some filmmakers attempted to address the Emergency but it was often through the refuge of allegory—Hrishikesh Mukherjee's 'Kotwal Saab' and 'Khubsoorat' chose not to cast a direct look; the latter managed to justify the Emergency as a necessary evil. Mukherjee's 'Naram Garam' gave Hindi cinema's smartest comment on the era in the form of a nervous joke — Om Prakash, told to hurry because of some emergency, haplessly comments, 'Phir se?' While not Hindi cinema, Satyajit Ray's 'Hirak Rajar Deshe' and Jabbar Patel's 'Jait Re Jait', used the same route. Parallel cinema, too, largely skirted the challenge and despite their social conscience, filmmakers preferred the microcosm to the macro. Over the years, some films such as 'Ghashiram Kotwal' based on a Vijay Tendulkar play and directed by K. Hariharan, Mani Kaul, Kamal Swaroop, Saeed Mirza were cited as a film about the Emergency. However, it was written in 1972 as a response to the rise of a local political party in Maharashtra. There are structural reasons for this reticence. Hindi cinema has always struggled with ambiguity, preferring neat endings where heroes redeem all. The Emergency, by contrast, offered no catharsis—only a nation capitulating to authoritarianism without resistance. The definitive Emergency film still eludes the screen even as we enter the fiftieth year of the Emergency. The exceptions remain sparse: Sudhir Mishra's 'Hazaaron Khwaishein Aisi' would not arrive until 2005, nearly three decades later. Even then, it couched its indictment within the personal journeys of three idealistic young people, careful not to indict the broader complicity of society. Even today the few who try to confront the past are harassed —Madhur Bhandarkar's 'Indu Sarkar' provoked shrill attacks and legal threats simply for attempting a fictionalised retelling. The Emergency may have ended in 1977, but its most lasting victory was psychological: the creation of a cultural establishment that polices itself more effectively than any censor ever could. Perhaps it was simpler to pretend nothing happened. After all, if cinema cannot process a trauma, maybe the nation never really did. (Chintamani is a film historian and author)