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NDTV
an hour ago
- NDTV
Hey Bollywood, What Is It With The 'Bong Babe' Fetish?
In the new Netflix film, Aap Jaisa Koi, love is a lesson. Shrirenu Tripathi (R. Madhavan), a middle-aged professor in Jamshedpur, is arranged to be married to Madhu Bose (Fatima Sana Shaikh), a French tutor in Kolkata. The attraction is immediate. Shrirenu, the 42-year-old virgin, had abandoned the idea of being with anyone, let alone someone like the radiant Madhu; he is naturally thrown off when she likes him back. Everything goes well till a roadblock surfaces. The man turns out to be conservative and the woman is not pleased. In Hindi cinema, difference has been the cornerstone of love. Contrast - behavioural (introvert-extrovert) and social (class and caste) - attracts. It brings people together and emboldens them to fight against others. Love is the bridge where they meet, and the journey to be together supplies the story. The higher the stakes, the greater the love story. The Veers And Salims Of Bollywood Classic love stories share similar friction, if not the arc. They also have something else in common: men, mostly, did the heavy lifting. If in Mughal-e-Azam (1960), Salim mobilised an army to protect Anarkali, the woman he loved, then in the post-liberalised India of Dilwale Dulhania Le Jayenge (1995), Raj crossed oceans to woo the unrelenting parents of Simran, the woman he loved. Prem in Maine Pyar Kiya (1989) surrendered a life of plenty to prove his love for Suman, and in Veer-Zaara (2004), a cross-border love story stacked against impossible odds, Veer, an Air Force officer from India, arrived in Pakistan to meet Zara. Salim and Anarkali in Mughal-E-Azam (1960) With time, female passivity changed faces without much change in fate. Audacious women were written, but the pluck felt superficial. Geet in Jab We Met (2007) ran away from home, but she still needed Aditya to bring her back; a decade later, Bitti Mishra in Bareilly Ki Barfi smoked with her father, and yet, her fate swung between two men. These are sweeping instances, punctuated, yes, by a few exceptions, but the reading holds water. The Bengali Woman As An Antithesis In comparison, someone like Madhu is portrayed as an antithesis. Her autonomy feels as attentive as complete. She has a well-defined job, her family rallies around her, she is vocal about her sexual needs and, more crucially, none of this changes when she falls in love. She takes efforts to meet Shrirenu as much as he does - a detail that speaks volumes about the shared duties they assume. Later, when he shames her, she calls him out. Rani Chatterjee in Rocky Aur Rani Kii Prem Kahaani (2023) had the same attributes. She fell in love with Rocky, an indulgent man-child in Delhi with a closed world-view. Passion ran high, yet she refused to budge to tradition. In both cases, modernity is not a personality trait but a subtext of their persona. More similarities follow: they pair chiffon saris with sleeveless blouses. Madhu reads Sartre, and, if probed, Rani's favourite author might well be Simone de Beauvoir. Both are culturally inclined and philosophically profound. In private, they possibly worship Tagore and wept the day the Left government lost power in West Bengal. And, in case you did not notice, they are Bengali. The 'Prototype' The 'strong-willed Bengali woman' prototype has existed in Hindi films. Madhu and Rani stand on the shoulders of other self-reliant women like Piku (Shoojit Sircar's 2015 Piku) and Vidya Basu (Sujoy Ghosh's 2012 Kahaani). Sure, there are the many renditions of the uncompromising Parvati from Devdas, and Vikramaditya Motwane reimagined O. Henry's The Last Leaf as Lootera (2013) with an unyielding Bengali woman at the centre. But even other films have used this prototype. In Vijay Lalwani's Karthik Calling Karthik (2010), a twisted thriller on an introvert, the free-spirited female character is a Bengali;. Aziz Mirza's Phir Bhi Dil Hai Hindustani (2000) features a ruthless journalist who, of course, is also a Bengali. Rani's stereotypical Bengali family in Rocky Aur Rani Kii Prem Kahaani (2023) As real women started staking more claims in public spaces, women in love stories awaited a facelift. Naturally, it made sense for makers (Karan Johar and co) to harness this trope for a wider appeal, to reinvent the Hindi film heroine in romantic films as a Bengali woman in love. Culture comes with the territory, and so does defiance. But Rani and Madhu's representation has been a misrepresentation. If they are to be believed, then a Bengali woman reads Tagore for breakfast, recites Sukumar Ray for lunch, and finishes her day with a Satyajit Ray film. She lives in a giant house, her liberal outlook is without a blindspot, and even though she might have toured across the globe, College Street is her favourite street. The Allure Of The 'Bhodromahila' Granted that accusing Hindi filmmakers of exaggeration is akin to complaining about the monsoon in Mumbai. Some things go hand in hand. But the depictions have prompted a wider discourse, because by reiterating a certain kind, propped up by specific caste and class, these films seem to dictate that only the affluent, outspoken, plucky and Liberal Bengali woman (the Bhodromohila to the Bhadralok) is deserving of love. Or, that her story is worth telling. A couple of days back, an account on Instagram thoughtfully questioned the stereotype and asked: "Is every modern Bengali woman really a Rani Chatterjee or a Madhu Bose?" The answer, of course, is no. View this post on Instagram A post shared by Basundhara (@gangsofcinepur) But here's the thing: even a forthcoming Rani Chatterjee or a radical Madhu Bose, in the off chance that they exist, were not born as one. Unlike what might be suggested, liberalism is not stuffed in our potatoes, nor is it a virus Bengali women are born with (in a bizarre segue in Aap Jaisa Koi, a hitherto timid woman starts calling out patriarchy after falling in love with a Bengali man, like she has been "infected"). Even the most rebellious of Bengali women have had to earn their rebellion; even the most well-turned-out, sari-clad Bengali woman has had to fight for her sleeveless blouses. One is not born but becomes Rani Chatterjee or Madhu Bose. Still Raising Boys In a country like India, where women shrinking themselves to make space for others is the default, such characters are far-fetched on some days and aspirational on others. Perhaps that is the allure. Cinema, after all, is a site of wish fulfilment. But it is also the medium of representation, a space to see and be seen. By assuming that Bengali households are untouched by patriarchy - a belief that collapses when one considers the mounting cases of rape and abuse in West Bengal in this year alone - these films undercut and erase the struggle of Bengali women who stand up for themselves despite, and not because of, their surname. By not showcasing the labour built into it, they squander the chance of celebrating feminism. One can argue that such portrayals, however excessive, are designed to subvert the androcentric gaze of love. But women are somehow still getting shortchanged. If, in the past, they were offered ornamental parts in romantic films, then now, they are burdened with the task of teaching men. If, earlier, they waited for grown-up men to show up, then now, they are tasked with rehabilitating boys. Love is no longer the bridge where two people meet but an ideological minefield where one community is pitted against the other. And somehow, despite the cultural agency of female characters, the one gaining from it is - still - not them. (Ishita Sengupta is an independent film critic and culture writer from India. Her writing is informed by gender and pop culture and has appeared in The Indian Express, Hyperallergic, New Lines Magazine, etc.) Disclaimer: These are the personal opinions of the author
Time of India
an hour ago
- Time of India
Working more for less: France's austerity push sparks outrage
(Representational Image: iStock) For decades, France has stood as Europe's most defiant advocate for work-life balance. It enshrined the 35-hour workweek, guaranteed extensive paid holidays, and made the 'right to disconnect' a legal entitlement. In the French imagination, leisure isn't a luxury—it's a birthright. But now, that ethos is under siege. Facing mounting fiscal pressure, the French government is floating a proposal that has struck a raw nerve: eliminate two public holidays in May to make up for budget deficits. The message, though couched in economic necessity, is crystal clear—work more, earn the same, expect less. And in a country where workers have historically fought to protect their time, that message is proving deeply unpopular. The proposal: Two holidays down, €4.2 billion up The suggestion came not from the Élysée Palace but from Prime Minister François Bayrou, who proposed scrapping the two May holidays as part of a broader austerity push to reduce public spending. By eliminating these holidays, France would potentially recoup €4.2 billion—a mere fraction of the €20 billion in targeted savings outlined by President Emmanuel Macron's administration. But for French workers, this is more than arithmetic. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas For Sale in Dubai Might Surprise You Villas in Dubai | Search Ads Get Info Undo It's symbolic. The plan disrupts a longstanding cultural contract between labor and the state, one built not solely on productivity, but dignity and time. Cultural whiplash: A nation known for saying 'Non' From the outside, France may seem economically indulgent. With 25 statutory vacation days, multiple public holidays, and strict labor protections, its labor model prioritizes balance over burnout. But the French defense of downtime is deeply rooted. It's tied to historical movements, social values, and a rejection of the Anglo-American hustle culture. When Nicolas Sarkozy once said 'Work more to earn more,' it was met with resistance. Bayrou's implied version—'Work more, earn the same'—is being greeted with outright hostility. French unions have already raised red flags, framing the proposal as a 'stealth attack' on workers' rights. In the backdrop is a restive population still recovering from last year's pension reform protests. The economics: Is more work the real solution? Economists are divided. On paper, cutting holidays could improve gross output. But critics say this amounts to squeezing the same workforce harder without structural gains. France's true economic challenges lie elsewhere—low employment among older adults, high youth unemployment, and underutilization of immigrant labor. A recent report suggests that simply closing these employment gaps could add nearly 10% to France's GDP. In that light, clawing back holidays appears more like a political gesture than a sustainable fix. Public sentiment: Austerity fatigue is setting in Among everyday workers, frustration is mounting. Many see this not as reform, but erosion. The anger reflects a deeper issue, economic recovery is being pursued through worker concessions, rather than inclusive growth. Ready to navigate global policies? Secure your overseas future. Get expert guidance now!
Time of India
2 hours ago
- Time of India
'It's a lot of weird s**t going on': Kai Cenat breaks silence on growing controversy with xQc
Image via: Getty Images The rivalry among two of Twitch's most prominent streamers, Kai Cenat and "xQc", just entered the boiling over phase. During a recent live stream, Kai Cenat addressed his xQc beef for the first time, and since the incident, the pair have been wanting to take each other on, and fans across the streaming scene are watching his and Cenat's every word. Kai Finally Speaks: 'I Don't F**k With Somebody' In his July 17 livestream, Kai Cenat deviated from the standard shit talking to address speculations regarding his friendships with other streamers, specifically Adin Ross. His demeanor shifted when xQc's name was mentioned. 'I don't even want to mention that n**'s name because y'all guys know the lore behind that. But, n**a, I don't fk with somebody, I'll tell y'all n**s. Like, I don't fk with that n*a. I would tell y'all! It's a lot of weird s*t going on, mud! You feel me?" While cryptic, his remarks validated what a lot of fans had been theorizing for months that the two creators have no love for one another. xQc Responds: "He wants to Make Everything I Say a Big Deal" xQc didn't hesitate to reply. While viewing Kai's stream live, the French-Canadian content creator replied live and responded to Cenat's remarks during his own stream later that day. "He wants to make everything I say a big deal" xQc said, brushing off the suggestion that he had any ill will. 'We're not even in the same room anymore.' It's a quote that exposes a larger trend: while both still dominate Twitch viewership and headlines, their content styles and social circles have drifted ever further apart, physically and figuratively. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas For Sale in Dubai Might Surprise You Dubai villas | search ads Get Deals Undo How It Started This conflict isn't precisely recent. The seeds were planted months ago when xQc charged some members of Kai's AMP group of botting viewers, a grave accusation in the streaming community. Admirers started seeing subtle friction between the two from that point on. The tension reignited recently when xQc took a jab at Cenat for allegedly snubbing Adin Ross, another divisive streamer. The comment appeared cursory to some, it was sufficient to provoke Kai. What Comes Next? With both streamers now publicly and negatively talking about each other. As some fans are rooting for a public resolution or even a collab to finish this, others are still enjoying their banter. Catch Rani Rampal's inspiring story on Game On, Episode 4. Watch Here!
