Early facts at a glance
| Field | Detail |
|---|---|
| Full name | Kai David Singh Stenson |
| Date of birth | 19 May 2009 (birth publicly announced 27 May 2009) |
| Parents | Parminder Nagra (mother), James Stenson (father) |
| Parental status | Parents married January 2009; separation and divorce proceedings reported in 2012–2013 |
| Place of birth | Not publicly reported |
| Public profile | Private individual; no documented public career, finances, or verified social-media presence under this exact name as of available public reporting |
| Notable public mentions | Birth announcement and family items in 2009; later media coverage centers on family members (particularly mother) |
| Maternal grandparents | Nashuter Nagra, Sukha Nagra |
A quiet beginning, plainly reported
Kai David Singh Stenson entered the public record in May 2009 through a standard birth announcement. The name — three parts that balance Anglo and South Asian elements — signaled family lineage and cultural threads woven together. The announcement date, 27 May 2009, followed the reported birth date of 19 May 2009; those two numbers bookend the earliest public references to Kai. Beyond that opening note in the press, Kai’s life has remained, by public account, intentionally private.
The facts that are available are concise: a full name, an exact birth date, two parents whose lives have been more heavily photographed and written about, and the outline of a family timeline that includes marriage early in 2009 and later separation. Those are the coordinates any public profile can reliably use. Everything else falls into the category of absence — no professional biographies, no public CV, no verified public-facing social-media accounts clearly belonging to him.
Family portrait: names, dates, roles
Parminder Nagra — mother (public figure)
Born into acting and later established in film and television, Kai’s mother is a name familiar to international audiences. Her career includes breakthrough and long-running roles across film and television. In the public narrative she has been the more visible figure: award recognitions, screen credits, and public appearances have kept her in the media eye through the years following Kai’s birth. Her marriage to the child’s father in January 2009 sets the immediate family context for Kai’s arrival later that spring.
James Stenson — father (professionally a photographer)
Identified in contemporary press as a photographer and as Parminder Nagra’s husband at the time of Kai’s birth, James Stenson appears in public reporting primarily in relation to family events. The couple’s later separation and reported divorce proceedings in the early 2010s form part of the public timeline that surrounds the child — adult affairs that, while they touch the family, do not transform Kai into a public subject in his own right.
Maternal grandparents
Nashuter and Sukha Nagra are listed in maternal family biographies. Their names appear in public biographical material about Parminder Nagra, providing a generational link and a reminder of family origins. Beyond names and lineage, the grandparents’ lives remain principally private in public records.
A timeline in dates and numbers
| Date | Event |
|---|---|
| 17 January 2009 | Reported marriage of parents (context for family timeline) |
| 19 May 2009 | Birth date reported for Kai David Singh Stenson |
| 27 May 2009 | Birth announcement published in press outlets |
| 2012–2013 | Public reporting of parents’ separation and divorce proceedings |
Numbers are sparse but precise here: the single birth date and the clustered family dates are the scaffolding of any public narrative about Kai. Where some public biographies explode into lists of credits, earnings, and public appearances, Kai’s public record is a single, quiet skeleton: birth, family, privacy.
Public presence — what is absent can be telling
The absence of information becomes its own kind of statement. Across mainstream outlets and entertainment coverage, references to Kai stop at that initial birth announcement and occasionally reappear only as part of parent-focused pieces. There are no verified professional profiles, no public portfolios, and no news stories focused on Kai’s own achievements — not unusual for someone who was a child at the time of first mention and who has otherwise lived outside the glare.
Attempts to attribute social-media accounts or public identities to the name yield common-name noise: different people with similar names appear in various online places, but none match the clear, attributable linkage that would take a private child and turn them into a public persona. In short, public reporting treats Kai as a family member of public figures, not as a public figure himself.
What public records respectfully do not include
There are purposeful and ethical gaps in what has been reported. Schools, residential addresses, personal contact details, and other intimate data about a child are not part of reputable public coverage and were not sought or reported. Financial details specific to the child are not public; any financial matters in the public press relate to adult legal proceedings or to the business affairs of his parents rather than to Kai personally.
The family in cultural context
A name can act like a small map. “Kai” is short and modern; “David” is widely familiar across cultures; “Singh” signals a South Asian heritage marker; “Stenson” aligns with the father’s surname. The name reads like a bridge, a stitched seam between different cultural fabrics. It tells a story of blended identities without expanding into biography — an emblem more than an encyclopedia entry.
Public interest has naturally centered on the parents: an actress with a recognizable body of work, and a photographer whose life intersected with entertainment circles. Their professional arcs — a film and television career for the mother, and a creative practice for the father — have furnished the media with material. Kai’s name appears as a point on those maps. He is there, but not a landscape unto himself.
Media footprints and video presence
Media content that tangentially involves Kai is overwhelmingly focused on his parents. Interviews, video features, and coverage that feature his mother provide context for the family; they do not profile Kai. Where videos exist — interviews, honorary-degree ceremonies, and career retrospectives centered on the mother — the child’s name is rarely more than a biographical detail in a broader conversation.
A portrait sketched in restraint
The public portrait of Kai David Singh Stenson is built of a few precise brushstrokes: a full name, a birth date, parentage, and a family timeline that includes marriage and later divorce. Around those few marks there is deliberate negative space. That absence is not accidental; it reads as chosen, whether by family preference, by the child’s age, or by the norms that protect private lives from public consumption.
The story, as public records allow, is brief and factual. It is a small chapter in a larger family narrative — a quiet hinge between the public careers of adults and the private unfolding of a child’s life.
