#CelebrateingtheRainbow at the workplace – share your stories of Pride!
A dysgraphic writer who spends most of their time watching (and thinking about) Bollywood films.
Bengali women are intrinsically more 'open minded' and vocal about their needs and lives, and hence fetishised by men as more 'sexual'. STOP already!
Vikash is a man and thus, he must have all his demands met. That, after all, is an “unwritten law” that Sima aunty seems to follow.
Perhaps, as Partition inheritors, both my parents realise the importance of happy endings, which is what caused them to introduce me to YRF the moment I started breathing.
Netflix series Class based on the Spanish series Elite could have done better, with nuanced and more socially conscious handling.
Vadh, on Netflix, is an absolutely must watch if you can handle a little gore, a nuanced Bollywood movie with an unexpected twist.
Why did the makers waste an entire episode on Ratna Pathak Shah and Anupam Kher when their characters weren’t even important in the series? Was it to simply increase the screen timing of the popular actors?
Gender and sexuality are not rigid boxes inside which we sit, or use to make judgements about other people. Here are 7 timely reminders before this year ends.
Taare Zameen Par was a heartwarming film with a young protagonist with dyslexia. Possibly the first time Indians saw a mainstream depiction of it.
Tripti Dimri had completely won everyone over with her performance in Bulbbul. so there is a great deal riding on her new Netflix film Qala.
Monica, O My Darling - go watch! A chaotic yet entertaining world full of characters whose motives remain unknown to the viewers till the very end.
There's no movie quite like the 2007 film Om Shanti Om - it has everything that is needed in a masala Bollywood potboiler; a nostalgic ode to Bollywood.
In a world where every perfect love story is heterosexual and every ideal protagonist is straight and cis, Namrata constantly feels as if she is a side character in her own story.
The makers of Four More Shots Please! need to understand that giving women the personality traits of the worst kind of men that are capable of existing in our society isn't feminism!
If we go on to analyse the characters of Tanya and Shanaya together in the last few scenes of the film, something that becomes clear is that Shanaya’s identity remains linked to the men in her life while Tanya’s doesn’t.
Bollywood (and the Indian society, at large) needs to understand that women's sexuality is real, and lesbians don’t just hold hands and hug each other. They have sex too.
Award winning writer Juhi Chaturvedi (Piku) and Director Tanuja Chandra (Qarib Qarib Singlle) manage to mess up web series Hush Hush. What happened?!
It's unbelievable that in our society today, a man can openly talk about being violent to an ex-partner, but a woman is trolled for speaking of domestic or sexual abuse.
It is safe to assume that Neelam Kothari took her role in Hum Saath Saath Hain (1999) very seriously, because she is a stereotypical pativrata nari whose entire life revolves around her husband.
“Courage comes at a price,” for the officers, especially women, who go against the orders of their seniors, even as they are doing the 'right thing'.
Shows like Indian Matchmaking only further the argument that women must adhere to social norms without being allowed to follow their hearts.
Did the creators of Masaba Masaba just wake up one morning, go to the sets and decide to create something absolutely random without putting any thought into it?
Honestly, I made the mistake of judging a book by its cover by considering Janhvi Kapoor to be a stereotypical star, but she's worked hard on this one!
Are all websites showing Ranveer's nudes assuming that everyone is interested in seeing people naked, or is there no other piece of news more important than a man’s sweaty biceps?
The message the filmmakers tried to convey wasn’t about "women not deserving to live after facing sexual violence" which is problematic in itself, but instead about women not deserving to live at all after losing their husbands.
Indian content creators, especially cis het men, need to understand that it isn't enough to give a mere disclaimer saying "it's for entertainment" when this transphobic content reaches so many millions.
We need more fictional characters like Bhumika, the protagonist of SHE, who doesn’t need men to rescue her from her misfortunes.
Alia Bhatt is pregnant and happy about it - it's not our job to accuse her of 'trapping' her partner into marriage or shaming her for the timing of it.
Bhool Bhulaiyaa 2 might have had a box office collection of 260 crores INR and entertained Indian audiences, but it's full of problematic stereotypes.
With Samrat Prithiviraj, Bollywood continues to 'remind' women that they're nothing without men, that they have no right to make choices of their own.
Whether it is in stand-up comedy or in Bollywood, female comedians in India find that they don't receive fair treatment.
Even though the most common symptom of premenstrual dysphoric disorder includes extreme mood swings, there is a lot more to it than that.
While 57 year old Khan, being a man, enjoys the luxury of "ageing gracefully", 41 year old Mona Singh must give in to our societal norms where older women are considered to be easily disposable.
Bollywood still considers women to be nothing but metrosexual-men-chasers who can only dress up and dance with machismos when they take a break from fighting comical villains.
When will the world realise that something they’re casually making fun of is someone else’s reality, and it's not Ok to do so?
Men around us say these things everyday, and get away with it. Most say it with actual intention to abuse and harass. That's just deliberately toxic behaviour.
Whether it is raising one’s voice against injustice or starting therapy, nothing can be achieved if we allow the world to impact our decisions.
Such songs by men usually glorify toxic masculinity and are all about disregarding women's consent and agency, and Badshah is one of those - time to call out such songs.
It seemed as if the writers of The Fame Game deliberately condemned and punished protagonist Anamika just because she wanted to act in her self-interest
“I don’t know why you have to get so angry about the smallest of things,” he says. “Oh, so I am the one who’s wrong now?” I ask.
In the video, it becomes clear that Gangubai pushes Afshan away multiple times, with the intensity of her push increasing each time. However, he takes her seriously only when she aggressively slaps him.
Why does the man always get to cherrypick the women in his life, why do the female characters have to compete with one another for a man’s attention, and why is the Indian audience supposed to forgive a condescending male hero?
She was seeking validation from men for the 'perfect' feminine appearance... until she realized that pandering to the male gaze was eclipsing her own identity.
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