logo
How A Simple Call To Restaurant Restored Swiggy Customer's "Faith In People"

How A Simple Call To Restaurant Restored Swiggy Customer's "Faith In People"

NDTV10 hours ago

Online food delivery has become the new norm. But sometimes, the service just fails to hit the mark. The paneer tikka you ordered comes soggy, or the tandoori chicken that arrives is overly roasted. On such occasions, the customer's first thought is to seek help from customer care. However, the solutions given often leave them dissatisfied. A Delhi resident recently had a similar experience when the chicken curry he ordered from Swiggy came 'half-filled with oil'. But his story had a happy ending.
The social media user shared a long note on Reddit. He wrote, ' (The chicken curry) looked super unhealthy. I spoke to Swiggy, sent relevant photos, and they refused to help, citing that I would have to write an email to them. How is this so common now? Why is the help section called the help section, then, if they can't offer help? I thought, let's just leave it and not order from here again.'
The man's fate changed when he called the restaurant directly. 'I spoke to the manager — explained what I felt. He listened and said he'd talk to the chef. Five minutes later, I got a call from the chef himself. He genuinely apologised and admitted that something may have gone wrong. I told him I'd already eaten it—after removing as much oil as I could—because I had no choice. He understood and promised to send me a fresh dish tomorrow, on the house, and assured it would be up to the mark,' he recalled.
Also Read: Indian Mom Treats American Vlogger Like "Baby" While Serving Food, Internet Approves
On a concluding note, the Redditor revealed his biggest takeaway from the situation. He wrote, 'This reminded me that no matter how much we get into tech, with AI bots taking over help sections, it's what our grandparents taught us that still holds—be respectful, truthful, and just talk. The human touch will always have a deeper understanding of another human.'
by u/AnybodyElectronic797 in delhi
The post received a flurry of reactions.
'Do update if you get that free dish, it will restore my faith then,' commented one user.
'I ordered chaat from Swiggy (Haldirams) but was delivered momos instead. Complained to their chat, and sent pics of the invoice & dish, but they asked me to 'email' their escalation team. So, I sent an email, but, surprise, their email support said they couldn't do anything. I haven't used Swiggy since that day. They're not getting even 1 paisa of my hard-earned money,' shared another.
'I've once filed a case against Swiggy, got my refund back, plus they paid for the fees of all the documentation & lawyer,' joked a person.
'Sometimes all you need is an understanding person,' read a sweet remark.
What are your thoughts on this?

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Eva Malhotra and the irony of a woman's world unfurled on canvas
Eva Malhotra and the irony of a woman's world unfurled on canvas

The Hindu

timean hour ago

  • The Hindu

Eva Malhotra and the irony of a woman's world unfurled on canvas

'Women are invisible to the male gaze, except in the area of lust. All their other accomplishments, talents and capabilities go unnoticed,' says Eva Malhotra. Perhaps an unusual statement from an artist when discussing her exhibition in Bengaluru, but not as strange as her life experiences that mirror the ordeals of women the world over. The seven canvases on display in her series, Call to the Mystic, are an unusual presentation of space, time and the universe, as well as the sacred and scripts, rendered as abstracts. Executed as carved acrylic and copper foil on canvas, each of the pieces evoke a sense of mystery, wonder and curiosity. Early grounding Born to an American father and a mother who was Mexican, Eva spent the first 10 years of her life in Mexico before relocating to Los Angeles. 'We lived quite close to the border in Mexico and we'd cross into the United States to attend school everyday. But even as a child I'd see how differently I was treated in comparison to my cousins because I looked more 'American' than them,' says Eva. Growing up in a huge joint family in Mexico, Eva says her home was brimming with cousins, uncles and aunts, a few of whom were in the same age group. 'The conversations around the dining table revolved around politics and current affairs, and opened my understanding to the world outside.' 'My paternal grandfather was a commercial artist and his paints and works were always around. There was also a piano in the house so we all grew up exposed to art and music as well.' Sadly, a series of tragic events marked Eva's childhood. The death of a baby brother, the long hospitalisation of her mother and sibling, as well as the separation of her parents, not only left a deep impact, but also exposed her to the ugly realities of religious prejudice, disparity, abuse and racism. It is ironic how goddesses are revered but women are disrespected on so many levels. 'I was made aware of the discriminatory treatment that religion brings, even though Jesus Christ and his teachings are inclusive, and all these injustices developed my critical thinking skills at a young age,' she says. School in Mexico inculcated in Eva a pride in ancient Mexican culture and civilisation. 'The world only knows about the Mayans and Aztecs, but the Olmecs, Teotihuacans and Toltecs, were no less in any way. We had a formidable past that colonisers suppressed, and after settling in America, I refused to buy into their discrimination against Hispanics.' Work in progress Eva says her mother was quite keen that she got a good education, and 'always encouraged us to to become professionals' as she knew first hand how important it was. 'My mother would regularly take us to the local library and I was extremely interested in mythology and fairy tales,' she says, adding that it led to a fascination with Spanish literature which she began to study. Eva paired her social awareness and childhood experiences with classes in political science, history and economics, along with art theory, eventually becoming a lawyer. It was while she was studying at Berkeley, that she met Krish Malhotra was doing his LLM (Master of Laws), and they got married. During a visit to the Asian Art Museum in San Francisco, a piece of art by a Japanese artist on dark wood, fascinated Eva. 'It was a carving and it captivated me. I felt like the breeze flowing through the grass in that piece and it inspired me to work with wood.' 'I began collecting little items I would find in the street — nails, wires, pieces of glass or stones — and hammer them into wood to create my many-layered compositions.' A series titled Cosmos was well received and as she progressed with her art, she took to using lacquer and creating encaustic works where heat is used throughout the process, to fuse layers of different media onto the canvas. However, her innovative ideas turned out to become a creative channel of all the trauma she had undergone. 'I was working with wood carving tools, experimenting with the medium and technique, making aesthetic choices based on volume, form, line and harmony.' 'But importantly, what I found was that the movement and rhythm, were building emotional strength in me,' says the artist, adding that the act of gouging, nailing and scraping at those pieces were cathartic. 'After a while, I started adding natural dyes such as turmeric and indigo as well as oil colours into the grooves.' 'Sometimes while I would be working it would almost be like uncovering an old scar, and it would bring up painful memories.' 'I remembered the sexual abuse I had suffered as a child and the unjustified feeling of shame, responsibility, guilt and fear it had created in me. Due to the early onset of adolescence, I was preyed on by men and bullied by my peers. The humiliation and isolation found visceral expression in my work. The series was titled Vulnus, which in Latin means wound.' That was Eva's first exhibition and she was in her mid-50s at the time. Even as she found her groove, the NAFTA Treaty (1994) between the United States and Mexico came into effect and Eva says she saw how the economy birthed a floating population of working women. 'It lead to more exploitation as well as human and organ trafficking,' she says. 'It also resulted in a rise in femicides in Mexico. Over the years, I have studied femicides and discovered it happens all over the world. In Mexico, there are stabbings, whereas in the Middle East it's by pelting women. Guns are used in the United states and in India, they are burnt,' says the artist, who has lived in India too. Shape and form Not all of Eva's works are executed on canvas — some have been sculptures and art performances too, such as Requiem For a Woman, while This Silence Is Killing Me, came about when she experimented with oils on silk and the horrific memories of abuse came rushing back with the feel of that fabric. However, she says not all her art stemmed from dark incidents, 'there were moments of glee and wonder too, that found a place in my creations.' She recalls an African objet d'art which was embedded with circular mirrors. 'As I picked it up, I caught my eye in that mirror, it was one of the most electrifying experiences I had. I saw my gaze was totally different from how I see myself. It was quite impactful because we never really see ourselves as we truly are. We see ourselves as others see us.' 'The mirror mosaic singled out certain features as well as attitudes reflected in the way you hold your chin or the way you smile, with just your lips or your eyes, and much more. I thought that was an interesting discovery and it led to whole series called Through the Looking Glass.' 'It is about introspection. If we are honest with ourselves, we are constantly looking to see if our conduct is consonant with our values and how we perceive ourselves. While it can entail constant self criticism, to me, there is something almost sacred about how you see yourself, when you are truly looking inward.' World art Every series Eva has worked on has originated from the impact of happenings around her whether it was Bajo la Misma Luna (about borders created by nations or formed based on status, gender preference, religion or identity) or Murmullos inspired by Mexican writer Juan Rulfo 'whose works are like an abstract painting; you can interpret it a million different ways.' This series inspired by Juan Rulfo is currently on display in Chile along with works of art by Juan's son, Pablo Rulfo. Call to the Mystic came about in a similar fashion. 'India is a spiritual and mystical place; I could connect with it as I did with my ancestors, the original people of Mexico.' 'The Mayans were great astronomers and had much knowledge of the universe and the movement of the moon, the planets and stars. They had about 20 calendars which they would follow for training or to heal, physically, mentally and emotionally. They also had spiritual guides called the Counters of Time and one of my pieces in this series is named so as well.' Unlike other exhibitions, Call to the Mystic invites visitors to touch the works of art and revel in its texture, because 'you can never really know my work unless you see it not only with your eyes, but also your hands. When you touch it, you will verify what you are looking at and gain a deeper understanding of my work.' Two pieces from Call to the Mystic — The Counter of Time and In Illo Tempore — will be at the Bihar Museum Biennale in Patna this year from August 7, till the end of the year. Eva will be part of a seminar on issues of Empathy, Memory and Conflict Within Museums on August 8 at the same venue. Inspired by mythology and ancient texts Call to the Mystic by Mexican artist Eva Malhotra is a celebration of 75 years of diplomatic relations between Mexico and India, and was introduced in the city by HE Frederico Salas, Ambassador of Mexico to India, and Sandeep Maini, Honorary Consul of Mexico in Bengaluru. Call to the Mystic will be on display at Gallery G till July 14, 2025

Love in the time of war
Love in the time of war

New Indian Express

time6 hours ago

  • New Indian Express

Love in the time of war

We live in perilous times. The world is seeing wars and war-like situations all over the world for the first time since the end of World War II. We, in India, had our challenging times a few weeks ago, and conflicts are happening in literally every continent with major flashpoints and a whole lot of other fires that are not really getting global attention because of their more limited impact. But the fact remains that we may be the closest to a global crisis than we have ever been, in close to a century. Whether one is an Iranian in love with an Israeli, an Indian with a Pakistani, Chinese with a Taiwanese, or a Rwandan with a Congolese, when things get to a head, our different loyalties get called into question. Love is supposed to be a healing factor, it is supposed to help us connect to our humanity beyond our differences. In times of peace, we even celebrate such love across borders and even encourage it, but when conflicts erupt, these are the very relationships that get called into question. When loyalties clash and the larger world outside demands allegiance to specific identities, the intangible bond of love can feel very fragile. The pressure to choose sides, to abandon the person who represents the 'other', becomes immense.

Beyond the skylines
Beyond the skylines

Deccan Herald

time9 hours ago

  • Deccan Herald

Beyond the skylines

Some places stay with us not because they are extraordinary, but because we have passed them a hundred times—a statue we noticed from a bus window, a name on a plaque that meant nothing until it suddenly did. Our cities are full of such quiet ecology is more than trees, parks, and lakes. Cities are living organisms — they breathe through people, move through infrastructure, and remember through stone. Statues, war memorials, and other commemorative structures may appear inert, but they form part of a city's sensory and symbolic landscape. They mark the rhythms of everyday life and carry the weight of historical memory. As cities grow and shift, these objects do not merely stand still — they speak, they fade, they often think of ecology in terms of natural systems: green cover, biodiversity, and water bodies. But built forms—especially commemorative ones—are just as much part of our urban commons. These are shared, negotiated, and lived-in spaces that shape how we inhabit the city — and how the city, in turn, inhabits is this more evident than in Northeast India, where cities like Kohima, Imphal, and Guwahati place war memorials at the heart of their civic and tourist landscapes. These spaces honour soldiers of World War II, but they also serve as spaces for reflection, storytelling, and intergenerational memory. Nearby monoliths — raised to commemorate victories, festivals, or mythical events — similarly stand as archives in stone. These are not just historical installations; they are textured, symbolic elements of urban contrast, commemorative structures in many Indian metros fade into the background. We may pass them without a second glance. Delhi's Teen Murti, for example, was a fixture on my childhood commute. Only later did I learn that it memorialises three Indian cavalry regiments from World War Bengaluru, my home city, there is a small but significant war memorial tucked away at the junction of Brigade and Residency Roads. It is the city's oldest, commemorating the Madras Pioneers, a regiment famously mentioned in the Sherlock Holmes series as the 'Bangalore Pioneers'. I once pointed it out to a friend, who was surprised that she had never noticed it. Just a short walk away stands a more ironic figure — the statue of Queen Victoria overlooking the Kasturba Road junction. Erected with contributions from the residents of the Bangalore Cantonment and the Maharaja of Mysore, it depicts the queen in ceremonial robes of the Order of the Garter. Legend has it that during a court ball, the Countess of Salisbury's garter slipped, prompting the king to retrieve it and declare, 'Shame on him who thinks ill of it'. That phrase became the motto of the order. In a twist of history, this statue, adorned in the robes of a chivalric legend, stood as a quiet bystander to the feminist protests of the 1970s. Not too long ago, the Mahatma Gandhi statue on MG Road was a regular rallying point for civic gatherings. .These monuments are not passive. They structure movement, host emotion, and shape memory. They are landmarks, but also civic companions. However, as cities expand and priorities shift, these spaces are often re-layered, sometimes deliberately, often carelessly. In the churn of urban development, they risk being edited out of the South End Circle, once the city's southern boundary, now part of Bengaluru's urban sprawl. Growing up in the 1990s, I often crossed it on my way to visit my grandparents. What always caught my eye was a bust, with 'Tee Nam Shri Circle' written on an old plaque. Curious, I asked my father, who told me that he was a great Kannada writer. Years later, a new music teacher at school turned out to be Tee Nam Shri's granddaughter. I felt a quiet thrill — the statue that I had passed by for years now felt real, and a connection was over time, the space around the bust changed. A massive billboard went up, its pillar blocking the bust. Later, a lion sculpture was added, crowding the circle further. The bust became harder to see, increasingly obscured by commercial clutter and new commemorations. Even after moving away from the city, every visit home included a glance to check — is it still there? It was. Still is. But more hidden than ever. I recently read more about Tee Nam Shri. He was the one who suggested the term 'Rashtrapati' as the vernacular equivalent of 'president'. What began as a passing childhood curiosity led to a deeper understanding of how everyday urban structures shape our memory and sense of and memorials are not just leftovers of history. They are part of our cities' social ecology. They root us across time and generations. To preserve these spaces is not just to conserve the past but to make room for reflection in the present. As cities transform, these quiet sites deserve renewed attention. To remember a city is to remember more than its skylines. It is to remember the quiet markers, the names nearly erased, the busts hidden behind billboards. To remember is to belong..(The writer is a faculty at Azim Premji University, Bengaluru)

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store