#Delhi Duty-Free

[delhidutyfree]

If you're looking to buy makeup, then Delhi Duty-Free is the best place to find top-quality products at amazing prices. The convenience and selection of makeup products available make Delhi Duty Free an excellent choice for beauty enthusiasts looking to stock up on the latest must-have items.

Delhi Duty-Free offers a wide variety of makeup products, ranging from top-end luxury brands to budget-friendly drugstore finds. Whether you’re a beauty guru looking for high-end makeup or a beginner who is just getting into the world of makeup, there is something for everyone here. You can find products from brands like NARS, Bobbi Brown, Maybelline, L'Oreal, and more. You can also explore new products from lesser-known indie brands. The selection is truly impressive.

The prices at Delhi Duty Free are also unbeatable. You can find great deals and discounts on your favorite products. You can even find rare and limited edition products that you won't find anywhere else. Furthermore, Delhi Duty Free has regular sales and free gifts with purchases, and they often bundle products with your purchase. This helps you save even more money.

The convenience makes Delhi Duty Free an even better choice. You can enjoy shopping in the comfort of your own home, as all purchases are made online. This ensures that everything is delivered to your door safely and securely. Plus, you don’t have to worry about standing in long lines and fighting crowds. The service at Delhi Duty Free is also top-notch, and they aim to provide a quick and efficient shopping experience.

All in all, Delhi Duty Free is an excellent choice for makeup shopping. With its unbeatable selection, prices, and convenience, it's easy to see why so many people love shopping here. Whether you’re in the market for high-end makeup or budget beauty products, you’ll find what you need at Delhi Duty Free. So, if you’re looking for a hassle-free way to shop for makeup, look no further than Delhi Duty Free.

Other products offered by Delhi duty-free

Delhi Duty Free (DDF) is a major source of premium products and merchandise for travelers around India. Travelers have the advantage of special discounts, exclusive offers, and a choice of products from over 80 leading luxury and lifestyle brands. Delhi DutyFree is also the country’s leading chain of Duty Free Stores.

DDF offers a wide range of products for its customers. From premium Delhi Duty-Free liquor and wine to luxury brands in apparel, DDF has something for everyone. A shopper can purchase premium liquor and wine (International & Domestic brands), the finest tobacco products, fragrances, lifestyle items, and more. 

In addition to its convenient array of merchandise, DDF also offers travelers the convenience of ordering and collecting their shopping at the airport. To ease the hassle of airport pickups, Delhi Duty Free allows customers to pre-order their merchandise online, and collect it when they arrive at their designated airport. 

[travelling-bird]

There are so many Delhi Airport duty free shops where you can buy liquor, chocolates, etc. However, the purchase cannot exceed 50,000 INR.

[normal-thoughts-official]

On Bheem acting as a "mediator" between Ram and Seetha

[Disclaimer: this is not about shipping wars, it's just an analysis because I find the dynamic interesting. Whether you ship rambheem or ramseetha or both or neither is irrelevant for this, and beside the point.]

Click here to read this post on Ao3

It always drew my attention that most of Ram and Seetha's interactions seem to be mediated by Bheem. That is, have him as a middle man; there is the obvious part where Bheem brings Ram back to Seetha, but it's more than that. Ram also only writes to Seetha because of Bheem. When they first reunite, it is Bheem who joins their hands together. Even during Etthara Jenda, there is no moment with just Ram and Seetha; Bheem is always there. In fact, there is a brief moment with only Bheem and Seetha, but none with only Ram and Seetha. It seems that Ram and Seetha only ever meet through Bheem, as if he's the thread connecting them.

I thought that was interesting and I think I'd like to expand a bit on that. At first I thought it was just because the movie is obviously focused on Bheem and Ram and their relationship and the other characters are... Just not that explored outside of their relationship to the core characters and/or the plot. But I think there is also some symbolism there that is worth exploring.

When Ram leaves Seetha, he tells her that a part of him will always be with her. I'm working with the English translation here, because unfortunately I don't speak Telugu, but I did check the Portuguese, Spanish, and Italian translations and they all pretty much translate the same, so I'm going to assume that the translation here is accurate and communicates everything it's supposed to communicate. That means that leaving Seetha is also leaving that part of him behind. I mean, the symbolism is pretty obvious here. He takes his pendant, which was a single circle, and breaks it in two. One part he takes with him, another he leaves with her. From that moment on, Ram is incomplete.

And I think that the part that he left with her isn't just, generically speaking, half of him; I think the part that he left with her was his own humanity.

Here's why.

When Ram leaves his village, he takes two things with him: his grief and his sense of duty. That is all he has in Delhi. Well, other than his uncle, but his uncle was already in Delhi before Ram went on his mission, so I don't think he counts as something Ram "takes with him". I really doubt Ram would have asked Venkateswarulu to come if he hadn't already been in the police force before Ram was.

When we first meet Ram, the only emotion he allows himself is anger, and even then, only in private where no one can hear him. Even Venkateswarulu seems unable to really reach him. Ram is fueled exclusively by his rage, his need to do something to alleviate his grief, and his promise. He has no meaningful connections with anyone, he doesn't allow himself his feelings, and he needs to keep everything that makes him himself locked away so he doesn't blow his cover. Ram is living in nearly complete isolation and completely detached from his own feelings; he doesn't even allow himself his grief, because it would get in the way of his mission. It serves as fuel and a reminder of what he has to do, but it's not something he is actually allowing himself to feel in full.

So what is missing? He is missing his sense of community. His history, because Seetha has been a part of his life since forever, and she is also the embodiment of his connection to his village as a whole. His love and his joy, because everything that was meaningful and dear to him he left behind with her. And as time goes by... More and more, he leaves his ideals, too. By the time we meet Ram, he isn't really fueled by his need to free the land; he is fueled by his grief. When he falters, he doesn't think of the free world him and his father envisioned; he thinks of the despair he felt as he watched him die. He is doing this because he is, in a way, trying to provide meaning to his family's death, trying to save them symbolically, trying to alleviate his survivor's guilt and fulfill his promise. He gets so fixated on the weapons he forgets they're a mean and not an end. Therefore, his beliefs ended up staying with Seetha as well.

So... Community, history, love, and beliefs. Combined, I'd say that's pretty much everything that makes us human. Of course, pain is part of the human experience as well, but without those... There isn't much else left for a person.

And look, I'm not saying that Seetha makes him good or that she exists to take care of him and bring him back to himself, I want to make that clear. This isn't about anything in particular Seetha does or should do to or for him; this is about the fact that Seetha was the last good thing Ram allowed himself, and therefore his distance from her is also his distance from his own needs. The further he is from Seetha, the further he is from himself and his humanity.

I think there are at least two scenes that add credibility to that thesis: the first and most obvious one is when he is torturing Lacchu and his wristband snaps. When Ram first gets to the point of no return, when he is doing the most inhuman thing you could conceive, and he's doing it with gusto, too, because he's angry, he completely loses his connection to her. And then it immediately cuts to Seetha not only waiting for Ram, but actively asking a kid to scout and check if he is there. She is unable to find him, unable to connect again; and then it is made pretty clear that Ram has strayed too far from her. It is immediately after that moment that we learn he hasn't written to her in all these years, and one of the villagers even asks her if Ram remembers her at all. I also think it's interesting that it's the rest of the village that voices the concern for Ram and the sense of betrayal, and not Seetha; not to mention that they went to her to ask what is happening with Ram. This further cements Seetha as a representation of his connection to his own past and people: it is through her that they seek him out, and therefore, she is the link between them.

(Again, I'm not saying that she is literally the one doing the work of keeping them together; I'm saying that the movie has her, symbolically, embody the entire village. So when we are reminded of his distance from her, we are also reminded of his distance from them, and therefore, from himself)

The second scene is when he, finally, after all these years, writes to her. This is the first time in the movie where Ram actually voices his thoughts, instead of just screaming and drowning in his own memories. We know what Ram is feeling and thinking, but he never allows himself to acknowledge it. When he does, he does it through talking to Seetha; because she is the one who keeps the part of him that allows himself to feel, the part that is idealistic and that is doing this for love for the motherland rather than hatred for the British. The part that remembers what he is really fighting for.

And not only does he seek himself in Seetha, he is also only able to connect to Seetha when he stops denying himself. I actually think that's the most important part. He has spent four years isolated from her, without any sort of communication; he lost his way to her because he locked out his own humanity to be able to survive being a double agent. It is only when he unlocks it, really allows himself to feel and think and question, that he is able to find his way back to her.

And what allows him to unlock his humanity and search for her in the first place?

Bheem.

That's where his mediation comes in.

Because Bheem was the first one to crack Ram's walls at the very least since he went to Delhi, but I'd risk saying that really it's the first time since he lost his family. He kept everyone at arm's length; he threw himself into his mission as a way to avoid actually processing his grief. Of course he still had his village and Seetha, but you don't just become this repressed and guilt driven out of nowhere. Even as he's saying goodbye to Seetha and the village, Ram doesn't once smile. We see his face tight and nearly blank, the same way it was when he was first introduced, fighting that mob. There is determination, but otherwise, he is completely closed off. And he is leaving alone.

And then he meets Akhtar, and this motherfucker becomes unrecognizable.

I've joked before that he must have pulled his cheek muscles after he met Akhtar, but it is seriously a jarring difference. He spends the entire Dosti montage grinning from ear to ear, save for the "don't eat with your left hand" moment and the parts where they aren't actually together. We have never seen him give even a tight lipped smile before, and suddenly the man can't stop laughing. We have never seen him express a clear emotion, and suddenly we have him not only emoting but also showing vulnerability. Even after the montage, Ram is frequently grinning at Bheem, and he is shown with his body language relaxed when we've only really ever seen him tense. In fact, not only tense, but so tense he is frequently shaking.

It's not even just the expression of positive emotions. Meeting Akhtar also gives us our first glimpse of who Ram truly is and what he actually believes. The best example of that is the events in Naatu Naatu. For the first time ever, Ram rises up against the British. Even if it's in a small way, it's an act of open defiance that we hadn't seen before. He taunts Jake, he mocks him, he openly laughs at him (which is also curious, considering that Bheem was the one that Jake hurt; but Bheem is largely ignoring Jake, while Ram is going out of his way to antagonize him). The part of Ram that is purely rational and mission driven would have thought it better not to draw attention; so when Ram chooses to take that risk and be defiant, he is also remembering what really matters to him: protecting his people and fighting for justice. And that takes the form of protecting Bheem.

Therefore, those parts of him that had been kept away suddenly come crashing back when he meets Bheem. Bheem helps him find his way back to himself without even trying, and if he is finding the way to himself, he is finding the way to Seetha. Not to mention that it is because of the fact that he couldn't live with betraying Bheem that he wrote to Seetha in the first place. Bheem helped him find the part of him that loves and rejoices and is driven by more than just rage again. So, when he turns his back on Bheem, he is also going back to denying himself his own humanity. But he can't actually do it this time; and so, when he finds himself unable to keep repressing himelf, he writes to Seetha.

Even before that, however, Ram's connection to Seetha is only shown to the audience through Bheem, and the link between his relationship with Bheem and his relationship with Seetha is shown from the very first time we learn about her.

We are first shown the pendant during the Dosti montage. Ram was wearing it before, of course, but the movie kind of went out of its way to hide it. In his introduction, he is straight up not wearing it. The first time he is shown with it is when he is destroying that poor punching bag, and he nearly immediately wraps his hands and wrist in tape that covers it:

[ID: Screencap of Ram punching the bag, where you can see his knuckles and wrist are wrapped in tape. End ID]

Then, in the "RRR" title page, they didn't include Ram's pendant in the drawing of their hands together, even though they kept Akhtar's wristband:

[ID: Screencaps of Ram and Bheem's joined hands when they meet; you can see that Ram is wearing his wristband. Then, when it transitions into the drawing, his wristband is no longer shown, but Bheem's is. End ID]

They're not always hiding it, and you can frequently see it on Ram's wrist if you know to look, but they don't draw attention to it and actively avoid accidentally drawing attention to it.

(But also, interestingly enough, it is first visible in the scene where Ram is talking to Venkateswarulu; and the scenes where it is most visible before Dosti are the ones where Ram is talking about killing governor Scott, and when he's helping Bheem save the child. I think this is a subtle way of hinting that this is who Ram truly is; even though he is pretending when he says that he's going to kill governor Scott, he is still closer to himself and his ideals than he was when he attacked that mob. And even more so when he helped Bheem do what they both are sworn to do: protect their people.)

Then, during the Dosti montage, they film it directly for the first time. We see Ram playing with it and acknowledging it, and we learn that it is significant to him. And then they won't stop filming it after that.

This isn't a coincidence; the pendant is the embodiment of his connection with Seetha, and, therefore, with his humanity, as previously stated. The fact that it is shown during Dosti, which is also when we first see Ram acting fully like himself, goes to show how much Bheem's friendship is helping bring Ram back. I mean, for starters, just sitting there fiddling with it and smiling is something I can't imagine pre-Bheem Ram doing. Nevermind the fact that he lets Bheem see it and doesn't even try to hide that moment of vulnerability from him.

After that, the pendant is used to highlight Ram's struggle with figuring out what he wants to do (which really means figuring out who he is) after he betrays Bheem. For example, when Ram grabs Bheem, we get a shot of him crying blood, and the blood falls right beside the pendant, in a shot that shows almost nothing but these two things:

[ID: A drop of blood falling on Ram's hand, right next to the pendant. You can seee only Ram's wrist and a bit of the holy thread wrapped around his palm. End ID]

(Also, this time, the illustration of their hands does include the pendant)

[ID: The illustration of Ram's hand that immediately follows the previous shot. The pendant can be seen wrapped around his wrist and over his palm. End ID]

Further cementing the idea that the wristband represents the last of his connection to his humanity is the fact that, in the flogging scene, Ram is wearing it on his left hand.

In every other scene, it is on his right hand. That seems to be something they were very careful about. But throughout the flogging you can see that it is on the left. In fact, they even open the scene with a shot of it:

[ID: Ram driving to the square. He is holding a whip in his left hand, and the bracelet can be seen on his wrist. End ID]

Throughout the scene, it is hard to see the bracelet because of the uniform's long sleeves, but there are a few shots that confirm that it's on his left wrist:

[ID: Ram with the whip on his right hand, pulling it back. His left hand is in front of his body and the bracelet is visible. End ID]

And at the end of the scene, we can see it clearly:

[ID: Ram cradling Bheem's bloody face. His left hand, on which you can see the pendant, is holding Bheem's chin. End ID]

It's too consistent to be an accident, especially considering how it never ends up misplaced in the left wrist in the other scenes. On top of that, the movie brings up the fact that the left hand is considered dirty (in the scenes where Bheem's fake mom and Ram's real mom tell their respective children not to eat with their left hand).

Disclaimer for this part: I'm neither Hindu nor Indian, so I looked up as much as I could on the right/left significance, because I believe people should make an effort to understand the implications that don't speak directly to their experiences, especially when it comes to culture and race. If anything I say is inaccurate or offensive, please let me know, and I'll edit it. If there's anything else I'm missing, feel free to add it as well. I also assume that the cultural associations with the right and left go beyond religious significance, since Akhtar's family is Muslim and not Hindu and they also enforce the "no eating with your left hand" rule. But Ram is Hindu, so I'm also using sources that talk about its significance in Hinduism. I don't mean to imply that the two are interchangeable by that.

I found many different significances associated with the right and left sides in Hinduism (right is male, left is female; right is submissive, left is contrary; right is yourself, left is your spouse), but the most important one seems to be that right is sacred and pure, and left is profane and dirty (because that one was mentioned in every paper I found, and it was usually the first to be brought up). Hence why it's important that you eat and give offerings with your right hand, and do "unhygienic" tasks with the left. This rule also applies to Islam, which explains why Akhtar's fake mother made the same comment. The fact that this aspect of the right/left duality is brought up in the text also implies that this is the most important one in this context.

So, if the left hand is dirty and profane, and the pendant is Ram's humanity, and the pendant is on Ram's left hand in this scene... I think what the movie is telling us is that in this moment, Ram is forsaking himself. He is going against everything that he truly is and believes, and his own feelings; he is even condemning himself, in a way, because this is the kind of thing that there should be no turning back from. In that moment he is the furthest he could be from everything that is holy, and good.

(Also, from a Watsonian perspective, we know that Ram has been taught that the left hand is dirty by his mom; if he chose to change the placement of the pendament in that moment, I think that speaks volumes on how he's feeling about himself. I also think it's possible that he did it because he couldn't stand to whip Bheem with the same hand that held his reminder of Seetha).

I also find the "right hand is yourself and left hand is your spouse" significance relevant here, although secondarily. I know Ram and Seetha are not married yet, so I'm not sure if Ram's left hand already "counts" as representing Seetha, but even if it doesn't, I think the fact that Ram is putting the embodiment of himself away from the hand that represents himself and on the wrist that is supposed to (at least eventually) represent Seetha goes to show that he truly left everything that matters about himself with her. His soul is no longer resting within himself because he turned his back on it. So, it is all with Seetha. If he had left half of his true self with her before, once he whips Bheem, he fully abandons himself. All that's left of the true him is in Seetha's memories.

This is, I think, further enforced by the fact that, although we get enough shots of Ram's left wrist to confirm that it's there, what the movie focuses on the most during that scene is not its presence on the left wrist, but its absence on the right one. Ram's right sleeve is always slightly pulled up in that scene, so we can see that the wristband is not there, like the movie is constantly calling to our attention that something is wrong with Ram. On the same vein, during Komaram Bheemudo, the framing very carefully hides his pendant in most shots. They go out of their way to leave it out of frame, even in the closeup shot of Ram wiping his tear (which he does with his left hand, where the wristband is at the time).

Here are some examples of both the framing and the sleeve being ridden up:

[ID: Ram picking up the spiked whip. The shot cuts right where his left wrist would begin, but shows most of his right arm. The sleeve is ridden up til nearly mid-arm, so you can clearly see that he's not wearing the wristband. End ID]

[ID: Ram first hitting Bheem with the spiked whip. His sleeve is still rolled up, and his wrist is in the foreground, without the wristband. His left hand is behind his body, out of frame. End ID]

The entire Komaram Bheemudo scene focuses on the lack of the wristband, aka the lack of Ram's own self in that moment. He is doing everything he is supposed to be fighting against, and betraying himself in the process. So the absence of him is felt even more acutely than the displacement itself.

Then, when Ram decides that he is going to save Bheem, the opposite happens: they go out of their way to keep the wristband within the frame. Even when Ram first shows up in that scene, it is framed in such a way that the part of him closest to the viewer is his right wrist.

[ID: Ram walking into the scene where Bheem was flogged. It is shot from under him and to his right, so his right wrist is the thing closest to the camera. You can see the wristband on it. End ID]

Even when he is being filmed from the left, the wristband is still visible:

[ID: Ram being filmed from the left side as he talks to his uncle. He is shown from a 3/4 position, so we can see the wristband on his right wrist even as it is turned away from the camera. End ID]

And even when there are other objects obstructing part of him, the framing is such that you can always see it:

[ID: Ram looking at the blood on his hand. He is shown from within a circle of barbed wire. There is an X right beside him, but it is still framed in such a way that Ram's pendant is visible as he raises his hand to look at it. End ID]

In fact, during that scene, we get a closeup of the pendant for the first time since Ram betrayed Bheem:

[ID: Ram touching the ground, which is wet with Bheem's blood. The pendant, back on his right hand, is visible on his wrist, resting over his palm. End ID]

And the trend continues: you don't see his wristband at any point while he is talking to Governor Scott, but you do see it many times when he is rigging the weapons to save Bheem (complete with several closeups, but they are very quick). Very interestingly, when he puts Malli in the car and drives towards the hanging point, the framing is such that you can see the wristband, but only partially. Ram is being careful, but still giving himself away; he is too kind to Malli, he is too tense as he's driving, he's showing too much of himself. He's still trying to hide it, but it's enough for Scott to see.

[ID: Ram putting his hand on Malli's shoulder comfortingly as he puts her on the car. The shot is framed so that the seat covers half of the wristband, but the other half is visible. End ID]

Then Ram tries to enact his plan to free Bheem, and again the pendant is not only in frame, but also always turned towards the camera even when it means being in different positions in relation to Ram's hand:

[ID: Ram when he's impaled on the tree. He throws his right hand up, and the framing ends right where his wrist does so we can see the bracelet. It is turned towards his inner arm. In the second image, he has fallen to the ground. Again, the pendant is on frame, with the pendant turned towards his outer arm and falling over his hand. End ID]

And listen, I know that I sound insane, but this is consistent. Obviously Rajamouli didn't frame every single shot with the wristband in mind, but there is a very clear pattern where the wristband is invisible when Ram is pretending to be a British officer, and visible when he's not. That's not even only after Bheem is whipped; in retrospect, they were also doing that in the first few scenes. Ram was not wearing the wristband when he was fighting that mob; he was when he was punching the punching bag, but it was hidden. Then it was shown when he was with his uncle, and even more when he was talking about killing governor Scott. When he was lying to Lacchu, it didn't appear much. Then it made a comeback when he helped Bheem save the child, and then in the Dosti montage we had a lot of attention drawn to it (not only in the obvious moment where he talks about the pendant, but also in others; for example, in the shot where they are talking and laughing, Ram's pendant is visible, despite the fact that he has his hand in his pocket).

[ID: Ram and Bheem walking side by side. They are both laughing, and Ram is looking slightly down. His hands are in his pockets, but the wristband is still fully visible. End ID]

So, I think the framing matters here. If the flogging scene was drawing attention to the absence of the pendant on Ram's right wrist, these other shots are drawing attention to its presence. The more of the real Ram we see, the more of the pendant we see, again directly making the link that the wristband = Ram's humanity and true self.

Interestingly enough, it is only after he has officially saved Bheem that we get a clear closeup meant to show only the pendant again:

[ID: Ram lying on the grass after saving Bheem. He is out of focus, and his hand is extended towards the viewer. The pendant is falling over his palm, plainly visible and in focus. End ID]

If denying Bheem was denying his humanity, saving Bheem was saving it; it is back into focus, plainly visible and no longer locked away. I also find it interesting that this is when we finally get the flashback of when he gave the pendant to Seetha in the first place. At this point there's been 2h15m worth of movie and despite the fact that the pendant is very clearly referenced several times, we only get to see that moment right then. I think this implies that this is the moment when he finally connects with the part of him that's missing; it also drives extra attention to the relationship between saving Bheem and recovering that part of himself.

Not only that, but this is the first time we get a flashback that shows Ram driven by purpose, and not grief.

Ram has several flashbacks throughout the movie, but they are always of his father's death. His grief is the only thing pushing him forward. It is his grief that leads to him betraying Bheem (and I find it interesting that the pendant is also not visible in that scene, despite the fact that we get closeups of Ram's bloody right hand. I had kind of been assuming that they would show the pendant then, since it seemed to be connected to his purpose, but they don't. Now, I think that's exactly the point. The pendant is Ram's purpose, and he doesn't really have it in sight right then. He remembers the pain and the blood; he doesn't remember the ideals and hope that he had when he chose that path. He doesn't remember that this is about freedom, he only remembers that this is about a promise). It is his grief that he is thinking of when he's practicing shooting; whenever we see Ram's past, it is always focused on that one day.

The scene where he gives the pendant to Seetha is the first time we see a flashback with adult Ram. And in it we get to see Ram being tender (although he's still very serious); we get to see him talking about courage; we hear the "Vande Mataram" chant, a scream of love for the motherland rather than trauma and resentment; we get to see Ram being larger than life, motivated, focused. I mean, hell, Seetha puts a tilaka on his forehead. That is supposed to help one's focus, health, and mental stability, yes; but it's also related to the search for self awareness. Ram leaves with Seetha his humanity, and Seetha says goodbye by trying to connect Ram deeper with himself. Obviously, that doesn't last. But once again, the link that his connection with Seetha and the pendant = his connection to himself is strengthened.

And so, reliving that memory means finding that connection to himself again. It means finding his drive, his courage, his motive. It seems that, finally, Ram has remembered himself. And he achieved it through his love for Bheem, who, just like Seetha, now embodies his ability to connect to others, fight for what's right, and be himself.

I believe that this is also why, after that scene, the pendant stops being a wristband and becomes a necklace.

[ID: Ram in prison, groaning and throwing his head back. Due to the movement, you can see the pendant is now on a necklace. End ID]

A wristband is easier to see; it is something that you can always bring back to your line of sight. Wearing the pendant on a wristband, Ram is keeping it as a reminder; he is trying to make sure he doesn't forget who he is and what he's fighting for. We even see it serve that exact purpose during the torture scene with Lacchu. But a necklace doesn't need to be seen. Putting the pendant on a necklace means keeping it closer to his heart. At this point, Ram has internalized the pendant, and doesn't need to look at it to remember who he is; it's already a part of him. Because once he remembered who and what he's fighting for, and found again his humanity and drive, he didn't need it as a reminder anymore.

It's also worth noting that Seetha wears her own pendant as a necklace as well; when Ram puts it on the same place, it implies that their connection is stronger. As if they are no longer displaced and there is no longer the chasm between the Ram Seetha remembers and the Ram Ram sees.

Additionally, the pendant was originally a necklace before Ram broke it and gave it to Seetha:

[ID: Ram talking to Seetha before he leaves the village. He is wearing the pendant, which at this point is a full circle, as a necklace. End ID]

Then, immediately after he tears it, it becomes a wristband:

[ID: Ram spreading his arms as he gets on the boat that will leave his village. This is after he has broken the pendant, and he is no longer wearing it as a necklace; instead, we can see that he is wearing a wristband. End ID]

So, it being a necklace again also implies that he is going back to his roots, reconnecting to who he was and what he wanted when he first went on this mission.

Which is why it's extremely interesting that Bheem is the one to give Ram back the other half of the pendant. You'd expect it to be Seetha when they are reunited, but instead, Bheem takes it to him before he brings Ram back to Seetha. Which in turn reminds me of what he tells Seetha before going to rescue Ram:

"I will bring you back your Ram even if I have to lay down my life."

Again, I am going with the English translation, and I don't know what they say in the original, but I did once again check the Netflix translation and the translations in other languages that I speak/understand and they all kept the "your", except for Italian, so I am going to assume that this translation is accurate and close to the original Telugu.

This wording striked me as odd when I first watched, because why is Bheem emphasizing that Ram is Seetha's in that moment? Obviously they are engaged, so, you know, makes sense, but why is he emphasizing it? Rewatching it now, I think I get what he means: it's not just that he will bring back Ram; it's that he will bring back the Ram that Seetha knows. The real Ram. It's not enough to bring back Alluri Sitarama Raju; he is telling her that he will bring her the Ram she knows and loves, the one who's a rebel and who's whole. Which is why it makes sense that he takes Seetha's half of the pendant with him.

That is another part that first striked me as odd, because it seemed to directly contradict another thing he told her:

"Seetha shouldn't go looking for Ram. Ram should come to wherever Seetha is."

So why bring the pendant with him before reuniting Seetha and Ram? If this was simply about bringing Seetha and Ram back together, it would make no sense for Bheem to do this. Which is why I think that it's more than that; when he brings Ram back the pendant, when he puts the two halves back together with his own hands, he is making Ram whole again. Not just because he is saving him from death, but also because he is offering Ram his forgiveness and friendship again; and Ram needed that in order to move on from what he did, and find the person that he tried to bury and nearly forgot about these last 4 years.

In other words, the union of the two parts of the pendant is less about reuniting Ram and Seetha as people, and more about reuniting Ram with what Seetha represents; which, in turn, allows him to come back to Seetha as the Ram that she knew and missed.

(Of course, Ram will never go back to being exactly the same, and the pendant will always have the marks of the break; but it's rebuilding itself, and that's what matters)

And that is a natural conclusion to their relationship, because Bheem had been helping Ram find himself since the moment they met, as shown in the Dosti montage and the jarring differences between how Ram was and acted away from Bheem versus near Bheem. Not to mention Naatu Naatu, the first and only moment where Ram didn't just stand by and watch as his people were done injustice before he decided to save Bheem. The Ram that Seetha knew would never have come back to her if Bheem hadn't been there to help him find his humanity again. Which is why Bheem is the one to put the pendant together, and also why he is the one to put Ram's hand in Seetha's when they reunite; because without Bheem, Ram wouldn't have found his way back to her, because he wouldn't have found himself again.

I also think this is one of the reasons Bheem also puts a tilaka on Ram's forehead; of course, there is the fact that he is giving Ram the getup that he is known for, but remembering how Seetha had once put a tilaka on Ram's forehead, I think the fact that Bheem does it the second time also reinforces the connection between his relationship with Bheem and his relationship with Seetha, as well as the idea that he is reconnecting Ram with himself, just like Seetha tried to do when they were first parted.

Bringing Ram and Seetha together meant reconnecting Ram with his true self, and because Bheem was the one who reminded him who he was and what he was fighting for, he needed to be the one to do it.

[scbhagat]

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[talesofthetigerrr]

#TigeRRR2023 Prompt List

Dear RRR fandom, dear Bheem fans,

We hereby present you the entire list of prompts that were submitted by you in the past week (at the end of this post). We’re so excited about all these inspiring prompts! You can use them to inspire yourself to start creating, but also feel free to make Bheem-centric works that are not based on these prompts.

Feel free to start sharing your work right away and we’ll reblog them to this Tumblr-page (don’t forget to add the #TigeRRR2023 tag so we can find it!). If we accidently miss your work because of the algoritm, feel free to send us a message with a link to your post so we can reblog it afterall.

Please publish your works before May 10!

From May 10 to May 19, for those interested, we’ll discuss and review the works from a literary and artistic point of view. On May 20 (NTR garu's birthday) we will tally the total number of works created. And to celebrate the total amount of works submitted, we will create a special celebratory fic (read more here). Read all details and planning of the event here.

Some basic rules for publishing your works:

Please tag your works on Tumblr with #TigeRRR2023.

If you publish your fanfic(s) on Ao3, you can add them to the collection 'Tales Of The TigeRRR'. If you want to, you can also put a snippet on Tumblr with a link to your story on Ao3 so we can reblog it here (don’t forget to add tags/ratings!). Please use the Tumblr-tag when posting a snippet here so we can find it.

Tag your Mature/NSFW works appropriately because there are minors in this fandom too.

Add any trigger warnings if needed, we want this event to be enjoyable for everyone.

Happy creating!!

__________________________________________________________

READ THE FULL PROMPT LIST BELOW

PROMPT LIST

1. More of a question - what is Bheem's role in the politics of the workings of the Gond tribe? We know he is the protector, but does he have more of a role than that? Does he have any sway in the goings-on of his community? If so, how much? Does he settle disputes? How does he decide morally, who's in the wrong? How does this affect his interpersonal relationships with his tribe?

2. Eyes, Heart, Warmth, Strength, Love.

3. Bheem and reflecting on being the gond protector. Either before or after he accepts the mantle. An introspection into what that role encompasses.

4. Bheem + medical abilities?

5. Bheem + food? (Cooking/sharing/enjoying)

6. Bheem writing poems to ram 💗

7. Bheem and his brothers spent six months searching for Malli before zeroing in on Scott's palace as the location where she was likely to be. What was their journey like from the relative safety of their forest to the bustling city of Delhi. What all dangers did they have to contend with. And what were their experiences before they reached Delhi.

8. Bheem and Ram recreate Naatu Naatu for the benefit of their respective communities at a common celebration. While their first dance at the Gymkhana club had been one of joyful abandon and pure friendship, how have they changed when they dance together again. They are still friends and they still care deeply about each other. But they have also suffered, which has changed them in fundamental ways, both physically and emotionally. What does it mean to dance together as changed people?

9. Unlike his usual dutifulness, Bheem feels like spending a day doing absolutely nothing— especially now that they are back from Delhi with Malli safe and Ram back in Vizagapatnam. What does Bheem do on his day off?

10. Akhtar meets an astrologer who foretells his future. But the blind seer talks in riddles and metaphors. However, does Akhtar know what is coming his way. What does he make of it?

11. Bheem's wedding gift for Lacchu on his big day.

12. What was it like for Bheem growing up? What was he like as a child? And how did he become the chosen Gond Protector?

13. Something with Bheem and water.

14. After everything that has happened, Bheem is plagued by nightmares about it all. Who will be there to protect the protector and ease his mind?

15. Bheem deserves all the good things. Please, let there also be wholesome fic or art in which he gets all the good things he deserves (platonic please).

16. Five times Bheem comforted someone else and one time he himself was comforted.

17. How did Bheem react when he found out Malli was abducted?

18. Love, fluff, cuddling, danger, adventure, animal transformation, cuteness, Bheem and Malli, betrayal, hurt/comfort, nsfw sub/dominant, home sickness, food.

19. Ram cooks for Bheem.

20. A poem either about Bheem or written by Bheem.

21. Who protects the Protector? Bheem gets in trouble or gets hurt or sick, and someone comes to save him/take care of him.

22. Bheem travels to see the sea for the first time in his life. What does he think?

23. In this universe Bheem grows old and looks back on his life, the struggles he survived, the friends he made along the way, the love he found and the freedom that his people now enjoy. In this universe everything turned out alright in the end. Bonus if he meets any of his old friends.

24. Bheem confesses his love to someone in the most tender, heartwarming, wholesome way.

25. Bheem meeting any of Ram Charan's other characters from other movies and teaching them a wise life lesson.

26. Art prompt: Bheem getting all the hugs and cheek kisses from all our fav characters from RRR.

27. Art prompt: Bheem and a tiger, or Bheem and his element water.

28. Art or fic prompt: Bheem reflecting on the scars given to him by Ram (please tag accordingly / add trigger warnings if needed). Big bonus if you add someone to comfort/support him.

29. Bheem teaching Malli how to plant a tree and the importance of nature.

30. AU with Bheem as a farmer who befriends a tiger.

31. Bheem finds a wounded animal (your choice) and decides to nurse it back to health.

32. What was Bheem doing/feeling/thinking the moment malli was taken or the moment the British first found the Gonds.

33. Bheem is learning a bit of english to communicate with Jenny and he tries to read Ram's diary when he comes to his house to find him sleeping on his desk.

34. Bheem shows ram the animals he has been hiding / Ram somehow finds them.

35. How Bheem found his adoptive muslim family and how they accepted or offered to hide him and the boys.

36. Bheem is deaf/blind.

37. Bheem's thought process and feelings right after Malli was taken.

38. Bheem finds an injured toger cub while on a hunt and nurses the cub back to health. Mali or Ram could help him with the cub. Bheem has to release the cub back into the wild when she/he is healthy again. But the cub grows up and remembers Bheem and his kindness. Possibly the grown cub comes to Bheem's aid in some way?

39. Soft as silk but strong as steel.

40. Bheem is cared for by Ram in prison after the whipping, emphasis on Bheem's perspective--his confusion, hurt, anger and love.

41. The scene where Bheem goes to Jenny for blueprints and how it pans out.

42. Father Bheem taking care of his baby while jenny is away for the day. (Can replaced Jenny with Ram depending on writer's preferences)

43. This is an au (how Akhtar and Ram meet) Akhtar's bedroom shares a thin wall with the adjacent house where Ram's bedroom is and one night he hears Ram crying more than ever and talks to him through the wall.

[tonybina-india-2020]

Still Day 2

We flew through Security quite quickly, although the requirements weren’t at all consistent.

Tony had to show his boarding card and have his middle right finger scanned, I had to show a copy of my visa and have my thumb scanned and my photo taken, Dave had to have his right thumb scanned and Rita didn’t have to do anything at all.  Regardless, we got through Customs quite quickly and waltzed through the duty free section to be met by a representative of our travel company holding up a large sign with our names on it.

He showed us where to exchange our cash from sterling into rupees and then led us to our transport for the next two weeks.

Our first impressions were not good, this guy whose name was Brinder opened up the back of the Tempo Traveller and it was an utter mess, he forced our luggage in and then motioned to us to climb in.

Once we were settled in, Brinder backed out of the car park and into the Delhi traffic. At first all seemed ok and I settled back into the seat to enjoy the ride.

What a ride it was, this vehicle was a real bone shaker, unable to climb uphill without gathering enough momentum first. It shuddered and jerked its way towards our hotel, spewing out all manner of fumes into the atmosphere. At points Brinder couldn’t even get the bus over 35 mph.

Within moments I knew that this Tempo had to go back to the Tempo graveyard where it came from but for the moment we had no choice but to tolerate the journey.

On arrive at The Claridges we were booked into our rooms and Tony shot off a text message to the Tour Company and I followed it up with an email.

I have to give Bespoke India Holidays their due, they sorted the problem almost immediately and another Tempo,  complete with a new driver was dispatched to the Hotel within a few hours.

In fact Mukesh,  the guy who was charged with sorting it all out, insisted we all got onto the  bus and have a drive around the roundabout.  After all that  excitement we decided to have our first meal in India at a restaurant called Seville, a tapas bar serving a fusion of Indian and Spanish food.

The night was warm, a band played softly in the background and the food was exceptional.

The Claridges isn’t a patch on The Maidens ( our usual hotel ) but it’s started to grow on me a bit, the only way I can describe it is this:

“ Faded glamour from the British Raj, that’s well past its sell by date, it’s shabby in parts and beautiful in others” and unlike the The Maidens, it doesn’t rise like a Phoenix from the ashes of the Delhi dust, but more like a big white mausoleum that has seen better days and mired in the Delhi dust. 

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[dustedmagazine]

Alexander Von Schlippenbach — Globe Unity (Corbett Vs. Dempsey)

The Globe Unity Orchestra notched more than a few accolades. It was the first European free jazz big band, and in retrospect, the first improv supergroup. During a history that spanned over 20 years of fairly steady work and a more recent pattern of convening every ten years, it has carried a standard for concerted international effort to improve the world through the transmission of sonic energy. They didn’t call it Globe Unity for nothing; its ranks were a model of multi-national cooperation, and it traveled far from its birthplace in Germany, thrilling and outraging audiences in locales as distant as Chicago and New Delhi.

Composer, pianist and lead Alexander von Shlippenbach didn’t necessarily have all of that in mind when he put the first GUO together. He didn’t even call it that; “Globe Unity” was just the name of the first piece it played. In the mid-1960s, he was part of a circle of musicians who had already been contributing for some time to the loosening and intensifying of jazz’s strictures in Europe. But he was not one who chose to forsake all he had learned in the process. Born in 1938, his post-war education included tutelage in classical composition, as well as a personal affinity for modern jazz. The two side-long pieces on this LP represented attempts to incorporate the sounds of free music into extent jazz and classical orchestral forms. 

When this music was first performed at the 1966 Berlin Jazz Festival, Schlippenbach combined the top German free jazz combos — the Gunter Hampel Quartet, Manfred Schoof Quintet, and Peter Brötzmann Trio. The next month, he recorded “Globe Unity” and “Sun” in Cologne. The personnel list is a heavy who’s who, and some folks might zero in on the names of the two drummers, Jaki (then spelled Jackie) Liebezeit and Mani Neumeier. In times to come, each would shape the rhythmic content of freak-forward German rock music, in Can and Guru Guru respectively. But that’s not what they played here. In concert with Schlippenbach, who played tubular bells, gongs, and both the interior and keys of his piano, and vibraphonist Karl Berger, they provided a multi-hued manifestation of otherness and density. The two bassists added as much seething presence as pulse. Sometimes dramatic, other times exotic (which was not viewed then with the skepticism that it sometimes is now), and only very occasionally swinging, the rhythm section transcended its duties within the big band idiom to contribute immensely to the music’s orchestral qualities. 

The horns, however, are what made this music massive. You don’t need the back cover action shot of players in the studio, confronted by overflowing music stands, to know that their united projection was charted out. The time when the orchestra would take on instant composition at an ensemble-wide scale was still a ways off. But by incorporating the broader tonal and timbral resources of the contemporary avant-garde into organized blocks of sound, they achieved a complex and looming sound which was matched at the time only by Sun Ra’s Arkestra. When individual voices cut through, either as breakaway soloists or connecting joints in the multi-segmented compositions, they functioned both as foci for the energy and agents of structural cohesion. 56 years on, it’s still thrilling. 

Globe Unity has gone in and out of the print since its first release by SABA in 1967, and this its return to the physical realm is welcome. This edition, licensed by the historically astute Corbett Vs. Dempsey imprint, is confined to limited CD and LP editions that recreate the original LP’s gatefold sleeve. It’s gorgeous, but one has to point out that anyone who is likely to buy a CD is also unlikely to be able to read Schlippenbach’s much-reduced liner notes unless they supplement their normal corrective eyewear with a magnifying glass. Old eyes would benefit from either a fold-out insert or an online resource. But music like this is for hearing more than reading, and this reissue sounds gloriously present and alive.

Bill Meyer

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[sarthaks24]

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Introduction

When it comes to purchasing MS Flange Table E, Udhhyog stands out as the leading supplier in Delhi offering high-quality products at the lowest price. Whether you're an MSME or a large corporation, we make sure you get durable and reliable flanges for your industrial needs. Our easy online process ensures that you can buy MS Flange Table E quickly and conveniently with fast delivery across India.

Key Features of MS Flange Table E from Udhhyog

1. Made with High-Quality Mild Steel Our MS Flange Table E is made from premium mild steel, ensuring long-lasting performance and resistance to corrosion. This makes them suitable for heavy-duty applications where strength and reliability are essential.

2. Available in Various Sizes and Specifications With Udhhyog, you can choose from a wide range of MS Flange Table E options. We offer customization in terms of thickness, size, and flange quality to meet specific project requirements.

3. Durability and Strength Designed to withstand high pressure and extreme conditions, MS Flange Table E is perfect for a variety of industrial uses, including piping systems in industries such as chemical, oil and gas, construction, and water treatment.

4. Competitive Pricing for MSMEs As a supplier dedicated to MSMEs, we ensure that our MS Flange Table E is priced at the lowest price, offering unbeatable value for your money without compromising on quality.

Why Choose Udhhyog for MS Flange Table E?

1. Trusted by Customers Nationwide With years of experience in supplying industrial flanges, Udhhyog is a trusted name in the industry. Our commitment to providing the highest-quality products and services makes us a preferred choice for customers across India.

2. Fast and Reliable Delivery Our efficient logistics team ensures that your MS Flange Table E is delivered to your location on time, whether you're in Delhi or any other part of India. We pride ourselves on offering quick turnaround times and dependable service.

3. Online Ordering Made Easy At Udhhyog, we’ve made it simple for you to order MS Flange Table E online. Browse our website, select the flange that suits your needs, and proceed to a secure and easy checkout. Enjoy a seamless shopping experience with just a few clicks.

4. Excellent Customer Service We prioritize customer satisfaction, and our team is available to assist you with any questions or concerns regarding MS Flange Table E. Our goal is to make your buying experience smooth and hassle-free.

Applications of MS Flange Table E

1. Industrial Piping Systems MS Flange Table E is primarily used for creating leak-proof connections in industrial piping systems. Its strength and durability make it an essential part of a variety of operations, from water treatment plants to oil refineries.

2. Oil and Gas Industry In industries like oil and gas, MS Flange Table E is used to create secure, reliable connections between pipes that operate under high pressure. This is especially important for the safety and efficiency of the operations.

3. Construction and HVAC Systems For construction projects, especially HVAC systems, MS Flange Table E offers robust connections that withstand the rigors of high-demand applications. It is also commonly used in plumbing and ventilation systems.

How to Order MS Flange Table E from Udhhyog

Step 1: Browse the MS Flange Page Visit Udhhyog’s MS Flange page to explore the complete range of flanges, including MS Flange Table E. Our detailed product listings will help you choose the right size, thickness, and flange quality.

Step 2: Select the Flange Once you’ve found the MS Flange Table E that matches your specifications, you can customize the order to fit your needs.

Step 3: Complete Your Purchase Proceed to checkout, where you’ll find secure payment options and quick order processing.

Step 4: Fast Delivery Across India Once your order is confirmed, we ensure fast and reliable delivery of MS Flange Table E to your location across India.

Advantages of Choosing Udhhyog for Your Flange Needs

1. Reliable Supply of Quality Products At Udhhyog, we provide only high-quality MS Flange Table E that meets industry standards. Our products are designed to ensure durability and performance in demanding industrial applications.

2. Affordable Prices for MSMEs We understand the unique needs of MSMEs, which is why we offer the lowest price for MS Flange Table E, helping your business reduce costs while maintaining high operational standards.

3. Commitment to Customer Satisfaction With Udhhyog, you can rest assured that your purchase is backed by excellent customer service. Our team is always ready to provide assistance and guidance to make your purchase as easy as possible.

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MS Flange Table D: Reliable Supplier in India | Udhhyog

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Introduction: Understanding MS Flange Table D

When it comes to pipe fittings and flanges, the MS Flange Table D is a staple in many industrial applications. Its strength, durability, and adaptability make it a preferred choice for various industries. At Udhhyog, we provide top-quality MS Flange Table D at the lowest price in Delhi and across India. Whether you are a small business or a large industrial operation, we ensure that our products meet your needs for reliability and performance.

For more details, visit our MS Flange page.

Why Udhhyog is Your Trusted MS Flange Table D Supplier

Competitive Pricing: At Udhhyog, we are committed to offering the best price for MS Flange Table D without compromising on quality. Our pricing structure is tailored to fit the budget of every business, large or small.

High-Quality Materials: We use mild steel that is sourced from trusted suppliers, ensuring that every MS Flange Table D meets industry standards for durability and corrosion resistance.

Custom Sizes and Specifications: Whether you need a standard or customized flange, we provide a wide range of sizes, thicknesses, and finishes to suit your specific requirements.

Timely Delivery: We understand the urgency of your industrial projects, which is why we prioritize fast delivery across India.

Check our product page for more information on MS Flange Table D.

Applications of MS Flange Table D

MS Flange Table D is used in various industries due to its strength and reliability. Here are some of its main applications:

Oil and Gas Industry: To connect pipelines carrying oil and natural gas under high pressure.

Water Treatment Plants: Used to join water pipes in filtration systems.

Chemical Processing Plants: Essential for creating secure connections in chemical pipelines to prevent leaks and contamination.

Power Generation: In thermal and nuclear plants for connecting water and steam pipes.

For detailed specifications and to buy MS Flange Table D, visit our MS Flange Table D page.

Why Choose MS Flange Table D for Your Projects?

Leak-Free Connections: The design of the MS Flange Table D ensures secure and leak-free pipe connections, crucial for maintaining the integrity of your industrial systems.

Affordable yet Durable: While being cost-effective, the MS Flange Table D is built to withstand high pressures, ensuring longevity and performance even in harsh environments.

Versatile Use: Whether in heavy-duty industrial systems or more moderate applications, the MS Flange Table D provides the flexibility needed to serve various purposes.

For the best prices, check out our MS Flange Table D product page.

How to Order MS Flange Table D from Udhhyog?

Ordering MS Flange Table D from Udhhyog is quick and simple. Here's how you can do it:

Visit the Product Page: Go to our MS Flange Table D page to see the complete details.

Select the Right Specifications: Choose the right size, thickness, and finish options based on your project requirements.

Place Your Order: Proceed to our secure checkout system for easy order placement.

Enjoy Fast Delivery: We ensure prompt and safe delivery of your flanges across Delhi, India, and beyond.

For more details, visit our MS Flange collection.

Udhhyog: The Leading MS Flange Supplier in India

At Udhhyog, we pride ourselves on being one of the most reliable and trusted suppliers of MS Flange Table D in Delhi and across India. With our commitment to quality, competitive pricing, and timely delivery, we strive to meet the needs of all businesses, from MSMEs to large-scale industries.

Check out our MS Flange page for more information on our full range of products.

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Throwback to a remarkable campaign for Delhi Duty Free crafted by Mash Advertising.#Percept #Mash #PerceptFabAt40 #PowerOfPercept