#Indian Young Maker Stories

[dailyanarchistposts]

Kenya

On the plane to Nairobi, a grave but pleasant Makere scientist confirms what others have warned me: Nairobi is no longer a safe place in which to walk alone after dark. Ugandans are quiet people. After only four days in Kampala it was a culture shock to confront rude officials and hear fierce altercations at Nairobi airport. But the grim-visaged grubby taxi driver who beat off all competitors for the right to take me into town turned out to be a friend. He insisted on driving me to a hotel I’d heard of, in the sleazier part of the city centre. Good for him. The Oriental Palace, run by Indians, is new, clean, comfortable, and at current exchange rates (the Kenyan shilling drops daily) very cheap. Three ‘Pinkerton’ security guards patrol its entrance with truncheons to ward off the drunks, thieves and whores who prevail in this part of town. The restaurant serves good Indian food. The day ends well. Two young msunqu couples are in the bar, English but amiable. "We lost", says the lad from Southport when I cautiously ask about World Cup Rugby. Aussies beat Poms, 12-6. Kaunda, by the way, has fallen, too.

November 3: A day resting up and struggling with the phone. Not too useful here, either.

November 4: Nairobi, from my sixth-floor window, is still awash with jacaranda blossom. But new construction goes on manically. What for — huge office blocks in a country sliding into famine?

Out to Kenyatta University. The site was once a barracks from which Brits fought Mau Mau: the buildings still show that. No undergraduates here, or on any of the country’s five other campuses.. Moi had them all chased away after riots in July. Professor Nana Wilson-Tagoe, whom I’ve come to see, is a charming Ghanaian. She introduces me to a plump, fortyish, very cheerful colleague. Kenya’s leading playwright. It’s Frances Imbuga! Once my student, twenty years ago... Nana’s full of gossip, but whispers when anything political comes up, as if walls have ears. She recalls Scotland — how lovely Stirling campus is, how calm. And how much more prosperous and lively Scotland seemed on her last visit than when she first came in 1971. Even the cars seemed smarter...

The press in Kenya is amazing. I read my way through an entire issue of the Daily Nation, the most popular paper here. (It claims to reach 2.3 million in a population of 25 million.) It is oppositional, though no-way ‘left wing’ — much news and commentary, angled at businessmen, takes free-market capitalism for granted. Forbidden at the moment, though a legal technicality, to report the big news story — the months-long enquiry going on in Kisumu into the death, clearly murder, last year of Kenya’s Foreign Secretary Ouko — it retaliates by producing a scoop calculated to rattle the government, a story about vicious clashes over land between Nandi and Luo people in the west. Lesser stories inside the paper tell of shocking riots in two schools and the headmaster of a third found beaten up by the roadside. The business and finance columns speak frankly about foreign aid, now being diverted from Kenya to Uganda by donors disgusted by Moi’s habit of locking up and torturing opponents. The whole paper seems to be getting across one coded message: Kenya faces social breakdown and economic collapse and Zambian-style political change might be better for business. The Anglican Bishop of Kirinyaga gets the back page headline. ‘Emulating Kaunda, Says Gitani.’ Beneath this another Bishop, Catholic, ‘Tells Errant Leaders to Resign’ — that is, those involved in the country’s countless financial scandals.

November 5: The University of Nairobi campus is depressingly unchanged, except that it’s bereft of students and seems even dustier. Only the glossy Kenyatta Memorial Library, named after the dead tyrant, is new: impressive design, but, for literature and history at least, virtually no books bought in since the early 1970s.

Another ex-student, Henry Indangasi, is now head of the Literature Department. His gossip is shrewd, and all the more devastating in its implications because of its restraint. I learn of the sad corruption of certain men whom I taught and liked — one has four or possibly five wives and will do anything for money, another has nearly destroyed his once-brilliant prospects by blatant, punished, greedy dishonesty. My best student of poetry, Arthur Luvai, has left Nairobi — bad for me, since I can’t see him, but good for him, since he’s got a chair at the new campus, Maseno, in his home district. Indangasi reacted against the Marxism which became an orthodoxy towards the end of the Great Days here by remaining one of the academic world’s few unreconstructed Leavisites. He’s not keen on multi-party democracy either. "I am a Kenyan. But I am also a Luhya. In elections, there would be a Luhya party. I would have to support that party."

These glossy new buildings... Luvai’s anthology of recent Kenyan verse, Boundless Voices, which I read over dinner, has a good poem by him about the Safari Club monster now facing the university — skyscraping tower versus tree-scraping ‘ivory tower’ — from which a stone fell during construction straight onto the head of Stella Muka, a brilliant student actress. I suppose the new buildings mostly replace, like this one, facilities inherited from the colonialists. If they rob the centre of its mid-century sub-Raj character, one can’t really protest on aesthetic grounds. But in human terms ... kids scrabble for refuse to eat, unemployed school-leavers rob, beneath arrogant plate-glass signifying money.

The bookshops are depressing in a different way ...

Twenty years ago, in the Great Days, the Great Men, somewhat irregular university employees who were also internationally famous as the New Writers of East Africa freed by Uhuru, were denouncing cultural imperialism. The Kenyan novelist Ngugi, Okot from Uganda and Taban from Sudan, who both wrote poetry and polemics, and the exiled Malawian poet Rubadiri, found journalists, students and young writers ready to join the chorus. Amongst them, a few expatriate msungus like myself, rejoiced as ‘English Literature’ gave way in the syllabus to plain ‘Literature’, so I could and did teach Neruda and Li Po and R.K. Narayan as well as new African writing and Russian classics. (‘Great Days’ for me, indeed: intellectually, the best of my life.)

But the bookshops in Nairobi displayed upfront works by white writers, amongst them those of the settlers, Blixen and Huxley, along with glossy books about wild animals, wild birds and wild, ‘picturesque’ natives.

Twenty years later, the numerous bookshops in Nairobi display, upfront, precisely the same types of goods, except that the ‘rediscovered’ settler writer Beryl Markham and James Fox’s (excellent) White Mischief have now joined the paleface tribe. At the backs of shops, often in textbook sections, one finds much the same selection of creative writing by Africans as on my last brief visit here in 1978. Achebe and other non-Kenyan stars. Plenty of work by Ngugi, although he’s been in political exile for ten years, after nearly a year in detention without trial.

Of the few new novels by Kenyans, only one is by a writer who wasn’t well known to me in 1978. Apart from Luvai’s slim anthology, no poetry it seems, has been published in book form since 1982.

The University Book Shop and the schools-oriented Textbook Centre are like museums. Here one finds stacks of copies of titles poured forth in the Great Days by local publishing houses now extinct (many of these, it must be confessed, are worse than mediocre). In the University shop I buy several copies of Busara Volume 1 Number 1, a magazine launched in 1968, to which, along with Taban, I contributed. There are no current literary magazines at all in the Great Days there were always two or three.

I began to conclude that over the past decade or more, the energy which once sought expression in creative writing has gone into journalism: The Nation is splendid, The Standard also displays clever footwork against the Government. Though The Times is jointly owned by the ruling KANU party and Robert Maxwell and its editor Philip Ochieng, the most brilliant press gadfly of the Great Days, was recently sacked for getting out of step, at least, like the Standard, it prints verbatim the evidence coming out at the Ouko inquiry in Kisumu. It is plain as the snow on Mount Kenya that the minister was murdered by people very close to Moi. The doughty Scotland Yard man, Troon, who was obviously brought out to investigate the case in the hope that as an outsider he could be bamboozled into producing a whitewash, is telling the court how he saw through attempts to fool him ... He is becoming an African folk hero.

I am reminded of a conversation with the drunk and pretentious chairman of the Ugandan Writers Union, back in Kampala. He wittered about his soulful verse in the way really bad ‘poets’ do. I advised him to stick to his métier, which is journalism. A good pressman is worth fifty bad poets.

November 6: I meet Marjorie Oludhe Macgoye at the United Kenya Club, once the gracious resort of the white official class. It’s still smart, but with traffic now so plentiful in this once-quiet quarter, it’s hard for two people with low voices to talk on the terrace ...

Marjorie is the anthologist’s nightmare. Born in England, she married a Luo, took his name. Her poetry at its best is extremely impressive. Editors seize on it to represent Kenya then discover that they’ve foregrounded a msungu. Now in her early sixties, she hints in her build at double-chinned Queen Victoria. Her accent, after nearly four decades of living with Africans in Africa, is surely unique. Since she comes from Southampton, there may be a John Arlott substratum. On the surface, it’s quite unlike the way Africans speak English, yet transactions in Luo and Swahili must condition it. She lost her husband, a medical scientist, quite recently, but, much as she despises the corruption and bad manners of the Moi regime, she shows no hankering at all to get back to UK. Nor, though, does she pretend to be anything but a white former missionary.

She knew the poet Okot well, was one of the last people to see him before drink killed him a decade ago — "He rose to shake my hand —Okot, shaking the hand of a woman". Her very moving elegy for him acknowledges his male chauvinism:

So you are stilled — the long arm, sideways smile, the arch, back-handed question, the arrogant unhesitating machismo, all-embracing, the eyes in the back of your head, the story-telling...

She thinks it was a trip he had with Rubadiri, ‘lecturing’ in Nigeria, which set him on the course which killed him. (Indangasi yesterday recalled Okot’s latter days in the Nairobi Staff Club, drinking all day on tick — "This place killed him".) But Rubadiri, now washed up on yet another shore of exile in Botswana is, she insists, on the wagon. I’m glad. David, ten years older than me, one of the first Black Africans to publish poetry in English, was my fellow student at Cambridge. His charismatic call, "Come South, young man", was probably what lured me to Africa back in 1968.

Marjorie knows everyone. She used to run the best bookshop in Nairobi, and provided the city, in the late seventies, with a centre for poetry. She keeps up with what little now goes on, gives me a list of local poets (too many for me to see). It’s a sad tale: remaining copies of her own collection of poetry pulped, her brilliant protégé Khaminwa now silent, in exile, in Zimbabwe, feeble local writer’s workshops, the Writers Association bedevilled by politics and insane infighting, unable to use money gifted to it by the enlightened Swedish Development Agency so that it could start a magazine ... The newspapers still publish poems occasionally. So does New Age magazine, emanating from a Hindu organisation. She herself is the only East African poet in Adewale Maja-Pearce’s recent Heinemann Book of African Verse. Most embarrassing ...

I leave with regret — a taxi to Heinemann Kenya. Smart offices in fashionable Westlands. But its Director, Henry Chakava (double first in Literature and Philosophy, as brilliant a student as I’ve ever had), is in a strange state. He moves oddly, as if adjusting to some invisible cripplement, swaying as he walks slowly. He woke up this morning, he tells me when I enquire, with a crampy pain in his left foot ... He’s a brave man. He survived a vicious attack by robbers with pangas in 1980 and a bad patch when he kept receiving death threats: he published the oppositional novelist Ngugi.

That writer is on his mind today. He must phone Ngugi, who’s in New England (he teaches at Yale) but has just gone ex-directory. I promise to give him the last private and confidential phone number I have for Ngugi in London, his normal base in exile. That’s probably out of date, too. (Why doesn’t Ngugi come back to Kenya? Indangasi asked me. "His books are freely on sale — they’re used in schools." "Because", I replied, "I think he thinks, as I think, that there would soon be a strange and fatal car accident on the Limuru Road".

Henry’s intelligence and humour are still there, but he seems slightly dazed. No wonder. Heinemann International have their own problems. They’ve just told him that Heinemann Kenya’s finished, cut loose. He can keep the company, find a new name. Should it include ‘Kenyan’, he wonders aloud? He thinks no, he says, smiling — ‘African’. Something with ‘African’ in it. Poetry? He can’t afford to publish it. Luvai is an old friend. His anthology, alas, just isn’t selling. Schools still go for Poems from East Africa ed. Cook and Rubadiri —twenty years old, entrenched in the stock cupboards and (I suggest) the routines of lazy teachers. Chakava’s returned the latest collection from Angira, Kenya’s best-known poet, with the comment that it was too abstruse to break into the all-important schools market.

Henry finally hands me over to his young colleague Ole Sunkuli, who specialises in books for secondary schools — the crucial market for local literature, if one exists. I do a deal with this handsome, highly intelligent young man (a Maasai worlds away from the ‘picturesque’ warriors seen on every rack of postcards here). He can talk to me for his regular interview feature in the Sunday Nation if I can discuss the Sales situation with him. And I want this to be at the Norfolk Hotel.

The Norfolk (see White Mischief) is a legendary place, one of the first watering holes for settlers. From the verandah Lord Delamere shot elephants. Down the verandah steps, outraged whites once kicked the nationalist leader Mboya. Or so it is said. Anyway, the university sprang up adjacent in days when beer prices were controlled. Academics and students invaded the settler sanctum. On the terrace, Ngugi held court, Okot jested and sang. More routinely, here I’d be found just before sunset going over some new poems with a student writer or arguing with a historian colleague (for these were the days when Kenyan history was being salvaged from the contempt of white historians like Hugh Trevor Roper). Taban might be of the company or might not. If we weren’t on good terms (and largely we weren’t, though we’re now, in mellow old age, fully reconciled) he would be talking Black Power to all and sundry at another table. Philip Ochieng might be there, with the lizard-dart of his tongue, or the brilliant Angira, poet and student of commerce, impossibly honest, worried about the nation’s future. One little episode sums up the Great Days for me. Voice of Kenya broadcasting studios, were just down the road. On his way there, the then-Minister Mungai, dressed in a fashionable but informal jacket, is hailed from the Norfolk terrace. He reaches over the balustrade to shake hands warmly with Ngugi Changed times ...

I am touched to learn that when Taban passed through Nairobi a few months ago, he also insisted that Ole Sunkuli quiz him at the Norfolk. Maybe we’re Dostoevskian doubles, after all.

Unfortunately, beer prices are now decontrolled. The scholars and writers have gone. Msungu tourists and yuppie locals prevail.

I tell Ole Sunkuli how exciting it was, how many people were part of the Great Days, not just Ngugi, Okot, Taban and Rubadiri, how enthusiastic the students were, how promising the young poets. Now long silent. Ole Sunkuli confirms my own theory. The heroes of the Great Days, paradoxically, by their swift success, throttled future literary development. The school syllabus was Africanised. The multinationals pounced. Books were set which became entrenched in the syllabus. With that market all but closed, local publishing firms set up in hope of reaching it struggled maimed towards quick or lingering death. Now even ex-Heinemann Kenya can barely afford to publish new fiction, let alone poetry ... Longmans, their multi-national competitor, ditto.

I am glad to be remembered as mwalimu, teacher, from the Great Days. But the field I worked in was soon overcropped, yields little now. Things might be different if Okot were still alive. Ngugi’s departure for exile ten years ago clearly helped stunt local creativity. The market, anyway, doesn’t want poems.

I cross the deserted campus to the French Cultural Centre, a plush place tucked behind the plate glass skyscrapers. Imbuga’s play Aminata is to be shown in the theatre here. Waiting a long time for it to start (African time surpasses even Hebridean time in its unpredictable flexibility) I am bumped into by John Ruganda, a brilliant, frightening playwright long self-exiled from his native Uganda. I last saw him when I last saw Okot — they were drinking double gins together on the Norfolk terrace at 11 am on a Sunday morning. Ruganda’s survived though. He’s mellowed. His- face still suggests a pickled egg with a sneer, but he’s actually genial.

The play, a feminist fable, is fun, though not really suited to proscenium arch presentation. With its humorous vignettes, its blatant propagandist passages, the ceremonial dancing which concludes it, Aminata surely needs to be seen in a community hall, or even in the open. Imbuga himself is pleased with the production though. Afterwards, drinking with him and Ruganda I feel a sense of total relaxation such as only Africa has ever given me. Part of this effect tonight is certainly the fact that educated Africans retain a villager’s sense of the strangeness of modernised existence. Isn’t it odd, for instance, that the government owns everything below three feet underground, even the roots of trees? ... Ten minutes of laughter ensue from this perception and the speculations which it breeds.

November 7: Robert Maxwell is lost off his yacht. The Kenyan Times will duly provide a large and sycophantic obituary.

My lucky day. The phone works for me! I contact Angira at his office. Ringing Chakava with Ngugi’s number, I learn that Maillu’s in the office with him. I speak to Maillu.

A unique writer. In the mid-seventies he proved that there was a popular market for books in English by flooding the streets of Nairobi (literally) with cheap paperbacks of his own works, voicing ‘Common Man’ sentiments, sold from the pavements like newspapers. These were denounced as rubbish by critics and as pornography by moralists

When his publishing venture went under at the end of the decade, he turned his hand to writing for the multinationals, anything that would sell, children’s stories, thrillers, romances, a book on African polygamy which (as he puts it) ‘does well abroad’. Now he’s back into self-publishing not with a whimper but with a megabomb — Broken Drum, the longest African novel ever published at 1,100 pages, the continent’s riposte to War and Peace, covering two hundred years of Kenyan history. He is aiming at international paperback sales, like Wilbur Smith — a bushbuster. Is he shy, or just self-contained? He munches a modest hamburger while I eat steak: he clearly likes the fact that one or two foreign academics have taken a critical interest in his work, but has no literary gossip, no interest in fine writers and their ways. When we part, I am wishing him luck sincerely. While ‘serious’ writers brood and wrangle, Maillu just goes on trying to work out how to earn an adequate income as an African author. As in 1971, what Kenya needs is a broadly based local publishing industry where books like Maillu’s sell well enough to make it possible to print Angira.

Angira, true to his old form, arrives at the Oriental Palace at eight exactly, as promised. Jared, it’s been too long...

Though he’d worked for the government since he left university (he currently trains people for the Agricultural Finance Corporation) he remains fierce about corruption and abused power. This tall, distinguished-looking civil servant, now 44, retains all his student convictions about truth, justice and poetry. He suspects that Chakava turned his poems down for political reasons. I insist that’s unfair. Anyway, Angira goes on writing, what he thinks, for himself.

November 8: Back to the University. See Indangasi for lunch. Indangasi is sceptical about the Great Days. We talk about his colleague Owuor Anyumba, East Africa’s major folklorist, now, sadly, very ill in hospital. The true hero, Indangasi thinks, from the Great Days. But he has published very little. His office is full of unexploited tapes from decades of field trips. I implore Indangasi to get money from somewhere, anywhere, at once, to ensure that they’re copied. Otherwise, a careless cigarette could destroy the one-man equivalent of the School of Scottish Studies archive.

On my last evening in Kenya I have drinks and snacks with Imbuga and Ruganda, who were curious to see the Oriental Palace. They like it, reminisce about days when members of the student body boozed and whored in this area of town. I’ve bought copies of their plays. They sign them with pleasure. Perhaps this side-street hotel will replace the Norfolk as a venue for literary gossip?

Probably not. But Mwalimu is happy, if tired. Moi’s on the skids. Ngugi might risk it back soon.

[filmmakersvision]

Jawan Review

November 17, 2023

by Inakshi Chandra-Mohanty

In the 1970s, Amitabh Bachchan’s entry into Hindi cinema gave birth to the “Angry Young Man.” He was a hero, who fought against the system, who fought against injustice, and became a voice for the subdued people in society. It was one man against the world. Through the 80s, this phenomena continued, but as the new century neared, the romantic hero emerged and the action hero became an afterthought. People either no longer wished to change the system, or they no longer trusted a lone hero to do it. With the birth of a new generation, softer male leads became the norm with Shah Rukh Khan at the height of romantic stardom.

Though Hindi films let go of this concept, South Indian Cinema, continues to celebrate its heroes through films on injustice with a male lead as savior. So it is only natural that Atlee, a South Indian filmmaker, brings back to Hindi cinema the heroic mass entertainer, ironically starring the very actor who had originally taken away the limelight from the “angry young man” of the 70s and 80s. Jawan follows a man who strives for justice, who wishes to correct a system which favors those who are guilty over the many innocents, and for that, he resorts to vigilantism putting him in the crossfire of both the police and an evil arms dealer.

I did not have great expectations from Atlee. Though his films are entertaining, they have never risen to greatness, barring Raja Rani, which is the best of his work. However, he has great mass appeal and Jawan promises the same.The plot is intricately woven with an amalgamation of elements that tackle many relevant issues in society today. From farmer suicides to hospital inadequacies, by blending real stories into a fictional universe, writer-director Atlee appeals to the struggles of the common man and attempts to raise awareness regarding the flaws in the system that governs Indian society. Alongside important themes, the film’s strength lies in its strongly choreographed action sequences with women at the forefront. Shah Rukh Khan as the man of many names is the hero, but he is surrounded by powerful women fighting for themselves and for others. It is exciting, entertaining, and visually captivating with a thoroughly ‘massy’ feel.

However, my biggest issue with Jawan is the same problem I’ve had with Atlee films in the past, particularly Mersal and Bigil. They’re all over the place. The shift between present and past, the placement of flashbacks, too many characters, too many plot points, everything is a disjointed mess. There isn’t a singular arc keeping the story moving. In an attempt to create suspense, using non-linear storytelling, the makers sacrifice emotions. We begin to connect with a character, or get interested in a certain plot point, but a sudden shift in the story, leaves us hanging. By the time it returns, our emotions no longer remain the same.

Nevertheless, it is entertaining and much credit for that goes to the performances. Every single actor in the cast does a tremendous job: the army of six girls (Lehar Khan, Sanjeeta Bhattarchaya, Priyamani, Sanya Malhotra, Girja Oak, Aaliyah Qureishi), Deepika Padukone in a cameo appearance, Seeza Saroj Mehta as the little girl Suji, Sunil Grover, Ridhi Dogra, Eijaz Khan, and even all those in small bit roles. As for the central trio, anything I say in their praise would be less. Nayanthara is enigmatic and powerful as the law-abiding officer in search of who she believes to be a problematic vigilante. I am glad her stardom is finally extending beyond the borders of the south. Though Vijay Sethupathi has already made his mark on the Hindi audience through Farzi, it is through Jawan his versatility comes forth. I have seen so many actors struggle outside their comfort language, but he doesn’t let his difficulty with Hindi get in the way of his menacing performance. And last but not the least, is the star of the show, Shah Rukh Khan. Comedy, romance, drama, action, there is no genre in which he lacks and Jawan touches upon it all. Such a strong, versatile range of emotions is displayed through one character. This film is a reminder that Shah Rukh Khan’s stardom and aura are unmatched.

Jawan is not perfect, it is not without its flaws. But its entertaining nature, the larger-than-life characters, and Shah Rukh Khan’s explosive comeback make it a worthwhile watch.

[pooma-today]

Republic Day Speech for a Nurse Educator Addressing Students

Daly Felicitus, UN Designate

Dear students, respected faculty members, and esteemed guests,A very warm good morning to all of you! Today, as we gather here to celebrate the 26th of January, our Republic Day, it fills my heart with immense pride and excitement. It is not just a date on the calendar but a day that reminds us of our identity as citizens of the largest democratic nation in the world.

Celebrating Republic Day is not just about remembering the past—it's also about understanding the values that have shaped our nation and acknowledging the collective responsibilities we carry toward its future.

Let me begin by sharing a short story that captures the spirit of this special day.Once, in a small Indian village, a young boy named Arjun dreamed of becoming a nurse. His parents, being laborers, often struggled to meet their daily needs, but they instilled in Arjun the values of selflessness and service. Arjun's father used to tell him, “The greatness of a person is not measured by how much they earn, but by how much they give back to others.” Inspired by this wisdom, Arjun worked tirelessly to pursue his education. Years later, during a flood, while others sought safety, Arjun became a beacon of hope—helping the injured, nursing the sick, and uniting the community to rebuild their lives. He said, “I serve not for recognition but because humanity is my duty.

"Arjun’s actions reflect the core values our Republic—selflessness, unity, courage, and service. Like Arjun, each one of us, particularly you as future nurses, play an indispensable role in building a nation where compassion and care triumph above all.

Let us pause for a moment and reflect on what Republic Day means. It marks the day in 1950 when the Constitution of India came into force, making us a sovereign, democratic republic. The Constitution is not just a legal document but a testament to our nation's values—justice, liberty, equality, and fraternity. It gives every individual the right to dream without discrimination and to thrive with dignity.As nursing students, you embody these ideals every day when you learn the art and science of caring for others. Nursing isn’t just a profession—it’s a commitment to uphold values that resonate deeply with Indian traditions. In Indian culture, the act of caring and nurturing has been extolled for centuries. In fact, one of our ancient Sanskrit texts says, “Seva Parmo Dharma”—service is the ultimate duty. The nursing profession is a living example of this principle, rooted in empathy and selflessness.

On this Republic Day, I urge you all to reflect on the responsibility that comes with choosing this noble field. As future nurses, you will not only heal bodies but touch lives, and perhaps heal invisible wounds—those of the spirit and soul. Let the patience and compassion you cultivate in this profession echo in all aspects of your life, uplifting not just individuals but society at large.

Today, we celebrate the dreams of the past that gave us freedom, the dreams of our Constitution-makers who committed to an ideal India, and your dreams as the young minds who will carry this nation forward. Republic Day reminds us that the Bharat we believe in—one that balances modernity with traditional values—can only thrive if each of us does our part.To conclude, I want to leave you with these words from former President Dr. A.P.J. Abdul Kalam: “Dreams transform into thoughts, and thoughts result in action.” Dream of creating a healthier, kinder, and more inclusive India.

Let Republic Day inspire you to stand for those values, not just today, but every single day.

Jai Hind!

[atplblog]

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[iisuniversity]

Best Girls College in Jaipur: Empowering Women Through Excellence

Jaipur, the Pink City of India, is known for its rich culture, history, and vibrant educational landscape. Over the years, Jaipur has become a hub for quality education, particularly for women. In this blog, we will explore what makes the best girls college in Jaipur an ideal choice for shaping young women into confident and capable individuals.

Why Choose Jaipur for Higher Education?

Jaipur is not only a city of heritage but also a growing center for education. With a serene environment and world-class infrastructure, it offers an excellent setting for students to focus on their studies. The best girls college in Jaipur ensures a perfect blend of tradition and modernity, helping students grow academically and personally.

What Makes the Best Girls College Stand Out?

1. Holistic Education

The best girls college in Jaipur provides a curriculum that balances academics, extracurricular activities, and personal development. This approach helps students gain practical knowledge alongside theoretical understanding, preparing them for real-world challenges.

2. State-of-the-Art Infrastructure

Modern facilities like well-equipped libraries, advanced laboratories, and smart classrooms make learning effective and enjoyable. These colleges often have beautiful campuses that inspire creativity and focus.

3. Focus on Women Empowerment

Empowering women is at the heart of the best girls colleges in Jaipur. They emphasize leadership skills, decision-making abilities, and self-confidence, enabling students to excel in their chosen fields.

4. Career-Oriented Programs

The best girls college in Jaipur offers diverse courses that are aligned with current industry trends. From arts and science to commerce and management, these programs equip students with the skills needed to succeed in competitive environments.

Extra-Curricular Activities and Personality Development

A crucial aspect of the best girls college in Jaipur is its emphasis on extracurricular activities. Whether it's sports, cultural events, or student clubs, these activities help in building teamwork, creativity, and leadership skills.

Workshops, seminars, and guest lectures are regularly organized to provide students with industry insights and additional learning opportunities. These initiatives foster a well-rounded personality, ensuring students stand out in their professional and personal lives.

Safety and Security for Girls

Safety is a primary concern for parents and students alike. The best girls college in Jaipur ensures a secure environment with 24/7 surveillance, trained security staff, and strict anti-ragging policies. These measures create a comfortable and stress-free space for students to thrive.

Placement Opportunities

The best girls college in Jaipur has strong industry connections and placement cells that ensure students get ample opportunities to kickstart their careers. Collaborations with top companies and internship programs provide hands-on experience, making students job-ready.

Cultural and Traditional Values

Another unique aspect of the best girls colleges in Jaipur is their focus on cultural and traditional values. While promoting modern education, they instill respect for Indian traditions and ethics, creating individuals who are grounded yet progressive.

Alumni Success Stories

Many successful women in various fields attribute their achievements to the strong foundation laid by the best girls college in Jaipur. These inspiring stories serve as a testament to the quality of education and holistic development offered by such institutions.

A Step Towards a Bright Future

Choosing the right college is one of the most critical decisions in a student’s life. The best girls college in Jaipur not only provides quality education but also nurtures young women to become leaders, innovators, and change-makers.

By focusing on academic excellence, personal growth, and career readiness, these colleges ensure that students are prepared to face the challenges of the modern world.

Conclusion

In conclusion, the best girls college in Jaipur is more than just an educational institution; it is a platform for young women to realize their potential and achieve their dreams. With its focus on holistic education, modern infrastructure, and women empowerment, it stands as a beacon of excellence in the world of education.

For every aspiring student, choosing the best girls college in Jaipur can be the first step toward a successful and fulfilling journey. Take the leap, and let your dreams take flight!

[mrsindiaworldwideofficial]

The Power of beauty pageant: Queens who made a difference

In the realm of Indian beauty pageants, the impact of queens reaches far beyond the glitzy crowns they adorn. It's a sphere where beauty becomes a catalyst for meaningful contributions to society. This blog delves into the inspiring narratives of Indian beauty queens who, beyond the allure of titles like Haut Monde Mrs India Worldwide and other Mrs India beauty contests, have emerged as influential change-makers, leaving an indelible mark on the world. In the realm of Indian beauty pageants, the impact of queens reaches far beyond the crown they adorn, It’s a sphere where beauty becomes a catalyst for meaningful contributions to society. The blog makes an effort to delve into the  inspiring stories of Indian beauty queens who went beyond the allure of titles and have emerged as influential change- makes, leaving an indelible mark on the world Sushmita Sen: Sushmita Sen, being the first Indian woman to win the Miss Universe title in 1994, has forged a path beyond the crown. Her journey is marked by the advocacy for women’s empowerment. She believed in breaking societal norms by adopting two girls as a single mother. Sushmita becomes a perfect example of the transformative power of beauty with a purpose, using her influence to challenge conventions and uplift others.

Priyanka Chopra: At the young age of 18, she won the title of Miss World in 2000 and now is a global icon. Priyanka has come a long way. Her influence transcends the realms of beauty, acting and philanthropy. Priyanka’s journey showcases that beauty can be a powerful vehicle for positive change. Priyanka champions various social causes,  including education, health, and gender equality, highlighting the profound impact a beauty queen can have on a global scale. Manushi Chhillar: Crowned Miss World in 2017, Manushi Chhillar has leveraged the platform to address pressing issues. Her work mainly focuses on menstrual hygiene and the promotion of education through “Project Shakti” demonstrating how beauty queens can work for societal change. Manushi’s commitment to making a difference reflects the essence of beauty with a purpose. 

Aishwarya Rai Bachchan: Aishwarya Rai Bachchan, crowned Miss World in 1994, seamlessly blends beauty with philanthropy. Beyond her film career, she has become a symbol of grace and compassion. Aishwarya is an advocate of eye donation and actively engages with various charitable organizations, embodying the spirit of using beauty to create a positive social impact.

Dia Mirza: Former Miss Asia Pacific International, Dia Mirza has emerged as a leading environmental activist. Her commitment to sustainable living and wildlife conservation showcases how beauty queens can become advocates for a greener, more sustainable world. Truly Dia’s efforts highlight the potential of beauty with the purpose in addressing critical global issues In the perspective of these extraordinary Indian beauty queens, the concept of beauty extends far beyond superficial standards, it goes beyond titles. These queens have surely exemplified the transformative power of beauty when coupled with a purpose. They have beautifully harnessed their influence to bring about positive change, and challenge. These queens prove that beauty, when wielded with intention, has the power to inspire, uplift, and make a lasting difference in the world. As we celebrate these queens, we recognize that their legacies go beyond the crowns they wear—they are stories of resilience, advocacy, and the enduring power of beauty with purpose.

If you are someone who is planning to participate in a prestigious beauty pageant Haut Mode Mrs India World Wide then think, what issues would you like to address and resolve for the betterment of society? We will leave you with that thought. 

[playermagic23]

Sara Ali Khan starrer Ae Watan Mere Watan to release on March 22: Report : Bollywood News — Bollywood Hungama

According to the latest report, the makers will unveil the teaser on March 8, on the occasion of International Women’s Day.

The digital arm of Karan Johar’s Dharma Productions, Dharmatic Entertainment, is all set to kick off the cinematic year with the release of Sara Ali Khan’s Ae Watan Mere Watan . As per the latest buzz, the much-anticipated period drama is scheduled to premiere in March this year during Holi weekend.

If a report by PeepingMoon is something to go by then the Sara Ali Khan starrer will start streaming on Amazon Prime Video from March 22 onwards. For the unversed, Ae Watan Mere Watan is based on a true story. It unfolds the compelling tale of Usha Mehta, a young girl whose pivotal role in the freedom fight for Indian independence is vividly portrayed. 

The lead role is essayed by Sara Ali Khan, marking her debut in the biographical genre. Directed by Kannan Iyer from the script penned by Darab Farooqui, the film features a stellar cast including Sparsh Srivastava, Anand Tiwari, Benedict Garrett, Alexx O’Nell, and Abhay Verma.

The report also stated that the makers have strategically chosen International Women’s Day, March 8, to unveil the much-anticipated trailer. 

Having said that, it is worth mentioning here that Ae Watan Mere Watan is the first of five projects slated for release by Dharmatic Entertainment in 2024. Alongside the biographical drama, the studio has an impressive lineup including three new web series and the third season of the popular Netflix show, Fabulous Lives of Bollywood Wives.

However, the official announcement of the same is yet to be made. 

[voyageinfinity]

Scavenger Hunt

What would Romeo do without Juliet? Wage war and shed blood like other Montagues or would he have fallen for someone else?

If it weren't for Ceaser`s sealed Parchment, a fake Testamony - Tis his Will, would Antony had any chance to convince the Commoners against the Councilmen and Brutus?

Or is it sad to state that there are no written records of the teachings of Socrates while his thoughts transcended down through Plato or Aristotle?

Did Thomas Edison steal ideas from Tesla? Or was it always about the PRESTIGE to find their rivalry "amusing" over" War of the Currents"?

The concept of Subsidiary Alliance, an idea that revolutionized the British consolidation over the Indian Subcontinent, was put forth by Lord Dupleix of France. Will Robert Clive be termed a scavenger for "introducing" it into the British Administration?

Was it really appropriate for the Humans of Bombay to lodge a legal battle against the People of India, while both were "inspired" equally by Humans of New York?

It's interesting to note that how story-telling has helped Romeo shape his fate, acted as King maker in case of Mark Antony, depicted the sorrowful yet righteous nature of wisdom transmission through Socrates and motivated Tesla, Clive or Humans of Bombay.

Young generations thrive and perpetuate on things and ideas built by their predecessors. Despite this, the very notion of scavenging, plagiarism, and passing down-the-line ideas perplexes me when it comes to storytelling—whether in fiction, non-fiction, philosophy, or concept creation.

We as cognitive beings have a plethora of biases and perceptual errors, yet we tend to see things through the tinted glass of black and white. There should remain ambiguity and subjectivity on the above themes. But sooner or later you need to choose, perhaps, between the lesser evil.

Till that time, hope you have a fruitful scavenger hunt over the themes or pop-culture references within the post, if any. 🙃

[cathygeha]

REVIEW

Blind Dog Canyon by Brett Cogburn

A Widowmaker Jones Western #5

I don’t usually come into a series on book five and did not see in the book description that this was not a standalone story but part of a series. That said, I had no trouble following the story. I am curious about what Newt did in the previous books and when he met Mr. Smith but otherwise was fully invested in the story and how it would turn out.

What I liked: * Newt: survivor, pugilist in the past, has his own set of ethics, good friend, generous, cares for the weak, does what is required, a survivor, scarred, steady, an interesting man

* Mr. Smith: Mohave Indian, travels with Newt, has seen the world, educated, wears a suit, tattooed, wise, older, multilingual, quiet, believes in clan and family

* Zuri: young, daughter of shepherd killed early in the book, survives the wilderness and evil men and bitter cold, goes on a quest at the end of the book, curious about how her life will unfold

* Rufus: Happy Jack’s rescue dog, old, has cataracts, might be deaf, really wondered if he made it through the winter

* The plot, pacing, setting, and writing

* That I was invested in the characters and hoped the ones I cared about would make it to the end alive

* That the bad guys were exposed and that most were handily dealt with

* Thinking about good vs evil and the shades of gray in between – men are men and not always easy to classify as one or the other

What I didn’t like: * Who and what I was meant not to like

* Thinking about how difficult life must have been in the time period of this story and how much effort must have been needed to survive

Did I enjoy this book? Yes

Would I read more by this author? Yes

Thank you to NetGalley and Kensington-Pinnacle for the ARC – This is my honest review.

5 Stars

BLURB

Two-time Spur Award winner Brett Cogburn revives the true grit and glory of the Old West with a hero as glorious as the author’s real-life ancestor Rooster Cogburn — master gunman Newt “Widowmaker” Jones. But when the Widowmaker agrees to guard a mountain of silver against an outlaw out for revenge and a cold-blooded hired gun, has he signed his own death warrant? They call him “The Cutter”… Famous for his fancy bowler hat, striped shirts, and double-holstered revolvers, Kirby Cutter is no ordinary gun-for-hire. He’s a cold-blooded professional. The best of the best—and the deadliest of the deadly. Which is why one of the nation’s biggest silver companies hired him. His latest job: To locate a silver claim in the Colorado mountains—and eliminate the competition. His biggest obstacle: The silver is guarded by Newt “The Widowmaker” Jones, a legend in his own right. But Cutter has a wild card up his fancy striped sleeve. His hatchet man is the outlaw Johnny Dial, who’s itching to slaughter Jones for killing his brother. It’s not the only showdown Widowmaker Jones has to deal with. A crazed grizzly is prowling the area, too—and it’s developed a taste for human flesh… One way or another, someone is going to meet their maker. But it sure as hell won’t be the Widowmaker…

[makers-muse]

Igniting Brilliance: Innovative STEM Projects by Indian Students

India has always been a hub for innovation and technology. From ancient achievements in mathematics to cutting-edge advancements in science, Indian students continue to impress the world with their inventive STEM projects. Let’s take a look with Makers’ Muse at some exceptional innovations that have been carried out by young minds across the country.

Destoner For Rice

Destoner For Rice: Students observed mothers picking stones while cleaning rice, a time-consuming activity. The team created a ‘destone’ prototype that extracts the stones from the rice after conducting user and background research. A vibrating sieve that separates stones from grains is driven by batteries.

Low-Cost Prosthetic Limbs: A team of students from IIT Madras has created affordable and customizable prosthetic limbs using 3D printing technology. Their project has the potential to change the lives of many amputees by providing them with high-quality prosthetics at a fraction of the cost of traditional alternatives.

Solar-Powered Water Purifier: A group of Chennai students created a solar-powered water filter. Their technology efficiently cleanses contaminated water using solar energy, giving clean drinking water to remote and neglected places.

E-Waste Recycling Robot: India’s increasing electronic consumption generates a substantial amount of e-waste. A group of Mumbai students developed an e-waste recycling robot that disassembles and sorts electronic components for recycling, thereby decreasing pollution and supporting Sustainable practices.

Renewable Energy from Food Waste: Some School students in Kerala created a biogas plant that transforms food waste into renewable energy. This eco-friendly solution not only eliminates waste but also generates clean energy for their school, highlighting India’s potential for sustainable practices.

Photo by Tyler Casey on Unsplash

These projects demonstrate that education is more than just textbooks and tests, but also a dynamic, hands-on experience that can affect genuine change in society. These students are not just the future of India; they are the driving force behind a brighter, more innovative world. Their stories inspire us all to dream big and work tirelessly to turn those dreams into reality, no matter our age or background. The next groundbreaking STEM project could be just around the corner, waiting for the right minds to discover it.

[viewmypoint]

The Best Indian NGOs For Education And Their Impactful Campaigns

Introduction

India, with its vast and diverse population, faces a myriad of social and educational challenges. To address these issues and uplift communities, several non-governmental organizations (NGOs) have emerged as beacons of hope. In this blog, we’ll delve into the realm of philanthropy and explore the best Indian NGOs for donation, with a particular focus on their remarkable campaigns for education and the inspiring stories of education sponsors in India.

Teach For India

Campaign: Teach For India Fellowship

Teach For India is on a mission to bridge the educational gap by recruiting and training young professionals and graduates to serve as full-time teachers in under-resourced schools. Through their Teach For India Fellowship, they aim to transform the lives of ngo for education students while empowering a new generation of educators.

The Impact: Teach For India has placed fellows in classrooms, impacting over 42,000 students and mobilizing a network of change-makers committed to educational equity.

Read More: The Best Indian NGOs For Education And Their Impactful Campaigns

[starfriday]

Abhishek Mishra CEO of Dadasaheb Phalke International Film Festival invited by the President of India at Rashtrapati Bhavan

New Delhi [India], August 2: Abhishek Mishra, CEO of Dadasaheb Phalke International Film Festival (DPIFF) as young & budding entrepreneur was invited over high tea at the highest constitutional office. President Murmu ensured her blessings and best wishes for DPIFF 2024.

Highlighting the recognition enjoyed by Indian cinema abroad, the President said that it has been a great medium for spreading India's soft-power globally. Adding further, she said that to make a more effective use of this soft-power, we must enhance the quality of our movies. President Murmu further added that as the nation celebrates G20, feature and non-feature films across the globe should continue to be acknowledged by the festival as the same will be welcomed by Indian audience. The audience desires production of films which bolster unity in the society, accelerate the pace of development of the nation and strengthen the efforts of environmental protection.

President Murmu emphasised, "As a vehicle of creative expression and means of entertainment, cinema has been immensely popular among people. Its powerful influence and emotional appeal transcend geographical and linguistic boundaries. This Festival has grown over the years and has received engaging responses from film connoisseurs and enthusiasts from all over the world. DPIFF has developed into one of the most significant and remarkable film festivals from Asia and is an annual celebration for film fraternity as well as cinema enthusiasts. I am sure that the Dadasaheb Phalke International Film Festival Awards 2024 will inspire film-makers and various stakeholders to take art of communication and entertainment through cinema to higher levels of excellence.”

Dadasaheb Phalke International Film Festival’s endeavour to honour Indian film industry, Indian television industry and international film fraternity together is praiseworthy. Such an integration of various segments towards the shared goal of celebrating the diversity of art, culture and creativity will bring the valued stakeholders closer for common good. The platform is notable in the world of cinema for carrying on the legacy of Shri Dadasaheb Phalke Ji, whose filmmaking was rooted in the traditions of unity, family, and harmony. In the same way, Dadasaheb Phalke International Film Festival Awards also strives to unite the populace by promoting Indian culture on a global platform, bringing the international community together in appreciation of roots that are well-grounded in the glorious ancient past.

Abhishek Mishra who eagerly interacted with the President, expressed, "Films and society are mirror images of each other. Cinema showcases human emotions and expressions in an artistic manner, binding the world together with a common strand of entertainment. India is the largest film producing country in the world. With films in many languages from different regions, the multifariousness of our film sector is remarkable. Rich heritage and cultural diversity are India's strengths. We have a lot of stories to be explored. India truly possesses immense potential to become the content hub of the world. Cutting across linguistic barriers, films as a popular and vibrant medium not only entertain, but also possess the ability to act as an agent of change. The Indian cinema today has evolved into an effective medium for expressing the spirit of positivity, confidence, and potential of today's youth. Therefore, the theme for 2024 ceremony is Evolution of Cinema.”

Abhishek Mishra is a Millennial Mind, Youth Icon, Youngest Indian Entrepreneur and CEO of Dadasaheb Phalke International Film Festival. He has been acknowledged by The Prime Minister of India for his contribution to Promote Indian Cinema & Tourism Globally and for Conducting various CSR Activities to empower Go Green Initiative in India. Abhishek has also presided as the Advisory Panel Member of Central Board of Film Certification, Ministry of Information and Broadcasting, Government of India. Currently he is serving as the Member of Consultative Committee in FCI, Ministry of Consumer Affairs, Food & PD, Government of India.

Over the years, DPIFF has evolved into the country's most prestigious award ceremony. In a monumental celebration of talent, the 2024 gala event will felicitate the artists of the film fraternity who have put in their hard work and dedication to excel in the year 2023. DPIFF will be honouring all three prodigious segments - the Indian Film Industry, Indian Television Industry & International Film Fraternity - under the same roof.

The ceremony aims to felicitate those artists of the film fraternity who have put in their hard work and have shown true promise, along with the dedication to excel. The mission, as always, is to cultivate and promote the art and science of film through education and cross-cultural awareness. The team believes that the medium of cinema as well as TV series are artforms that hold the power to bridge cultures and illuminate the universality of the human experience.

Dadasaheb Phalke International Film Festival Awards 2023 celebrated the grandeur of cinema with resounding success on the 20th of February 2023. The ceremony felicitated the best creative minds in the Film and Television industry, paying homage to the craft of filmmaking pioneered in India by Dadasaheb Phalke. The grand gala was full of memorable moments and was attended by luminaries like Alia Bhatt, Rekha, Hariharan, Varun Dhawan, Vidya Balan, Udit Narayan, Rishab Shetty, Sachet Parampara, Neeti Mohan, R. Balki and many others. It was the glorious culmination of creative endeavours with Cinematic Tourism as the theme. With musical performances by Mohit Chauhan and Harmony of the Pines, the evening celebrated the grand history and legacy of entertainment in India. The occasion was commemorated with the support of Powered By Partner’s Mastercard and Joy E-Bike, Co-Powered By Nutrilite by Amway, Simpl, TTK Prestige, Metro Shoes and Diageo India. The affiliated States for the celebration were Madhya Pradesh Tourism, Uttar Pradesh Tourism, Punjab Tourism, Chhattisgarh Tourism and Himachal Tourism.

The grand celebration of Dadasaheb Phalke International Film Festival (DPIFF) 2024 will take place with great pomp and splendour on the 20th of February, 2024 at Taj Lands End in Mumbai. Persons of significance such as celebrities, media personnel, ministers and stalwarts of the industry will be in attendance. The theme for DPIFF 2024 is Cinematic Evolution and the tagline is: Cinema has no boundary; it is a ribbon of dream.

For more information, visit: https://www.instagram.com/abhialmish or https://www.instagram.com/dpiff_official

[sharvinmanagement]

Niraj Chauhan: The Good decision Maker

Niraj Chauhan is a name that is quickly becoming synonymous with the Indian film industry. He has managed to make a name for himself in a short span of time, but the journey hasn't been an easy one. What makes his story stand out is that he comes from a medical background, and his decision to pursue acting was not an easy one. However, with the support of his parents, he made the difficult choice and decided to follow his dreams.Niraj Chauhan was born and raised in a family of doctors. His father and mother are both renowned doctors in the field of medicine. Naturally,

his parents expected him to follow in their footsteps and pursue a career in medicine. Niraj was a bright student, and he had always excelled in his studies. He was on the path to becoming a doctor, just like his parents.But things took a turn when Niraj realized that his passion lay elsewhere. He had always been interested in the performing arts, and he was an avid theater-goer. His love for acting started at a very young age, and he had taken part in school plays and skits. As he grew older, he started exploring other avenues of the performing arts, like singing and playing instruments like the piano and guitar.Niraj's love for acting and the performing arts continued to grow, but he was hesitant to tell his parents. He knew that his decision to pursue acting would not be well received. It was a tough choice to make, but he eventually mustered up the courage to tell his parents about his plans.At first, his parents were apprehensive about his decision. They were worried that he was throwing away a promising career in medicine for something as uncertain as acting. But Niraj was determined, and he managed to convince his parents that this was the path he wanted to take.The road ahead was not easy for Niraj. He had to make a lot of sacrifices and work hard to prove himself. He had to manage his finances and make sure he had enough to sustain himself while pursuing acting. He also had to manage his contacts and make sure he was networking with the right people.But despite the challenges, Niraj persevered. He worked tirelessly to hone his craft and improve his skills. He started attending acting workshops and auditions, and his hard work paid off. He soon landed his first role in a theater production and received critical acclaim for his performance.From there, Niraj's career only continued to grow. He landed roles in TV shows and movies, and his performances were highly praised by both critics and audiences. His talent and dedication to his craft were evident in every role he played, and he quickly became a rising star in the industry.Looking back, Niraj is grateful for the support he received from his parents. He knows that it wasn't an easy decision for them, but their unwavering support made all the difference. He also knows that his journey is far from over, and he has a lot more to accomplish in the industry.Niraj Chauhan's story is one of perseverance and determination. He took a risk by pursuing his passion for acting, and it paid off. His story is a reminder that with hard work and dedication, anything is possible.

[thekatebridgerton]

Have you ever thought about a Kanthony (and others) re-incarnation au. I'm thinking a Housefull 4 style bridgerton fic starring Kanthony, Benophie and maybe Polin. Housefull 4 is a bollywood comedy gold. Surprisingly it's without any angst that u expect of reincarnation tropes. But maybe we can have some angst if someone decides to make a fic out of it 🤞. Anyway if someone does decide to make one I will recommend watching the movie first or look at the plot on wiki for the main gist of the story. U know I got this idea because of the spider scene (equivalent to the bee sting according to me) in the movie so like we can have Kanthony as Madhu n Bala (eldests), Benophie as Meena n Dharmputra, n Polin as Mala n Bangdu.

Thank you for listening to my mumbling 😊.

i've said it before and I'll say it again: people in Tumblr have good taste. So guys, if you haven't seen Housefull 4. Go watch it, it's an awesome movie and it deserves a shoutout. And the funny thing is that I did see the movie a long time ago. But I thought that it would be a great twist if the girls were the ones having the big problem making the guys remember their past lives. So anon, I know this take on the movie isn't what you asked for but bear with me.

So in 1813 you have Queen Violet ever despairing on marrying off her three rakish sons. And then there's Kate, Sophie and Penelope. Who for one reason or another love these three idiots. first there is Kate, Minor indian royalty, princess Kate was vanished from her father's court because of a tiny disobedience (staging a coup to put Edwina on the throne is not a tiny disobedience Kathani Sharma) so she is kind of scheming to marry Anthony and become the future Queen. So she can return home with something to show for it.

Anthony's second brother, Benedict, is desperately inlove with his sister's ladies maid/bodyguard, Sophie. Who has saved his life more times than he can count. And finally, Colin, ever the young prankster. Is inlove with the court lead gossip maker. Miss Penelope aka notorious scandal mongrel Lady Whistledown.

Kate and Anthony fell inlove, and together they also worked very hard to unite Benedict and Sophie against those who opposed their class difference, and defended Colin and Penelope's choice to be together despite Lady Whistledown's reputation. BUT on the day the three of them were going to get married. Someone bombed the cathedral. And the three couples died.

Back in the present Kate Sharma is a down on her luck photographer working too many jobs who accidentally gets in trouble with the Indian Mob and has to pay back a sum that seems astronomical, or work for the mob for life. Well, never let it be said that Kate doesn't know how to scheme her way into the lives of the rich and famous. Her boss Lady Danbury sets her and her two best friends up with the sons of a super rich business' woman, who need convenient wives that don't mess on their style ( in exchange for a few favors after the girls are officially Bridgertons. ) Penelope and Sophie have agreed to help Kate pay back the money to the mob and well, at least the guys are handsome.

Everything is going swimmingly, the three couples are getting along well, at least until Kate visits the Bridgerton family cemetery with her new fiancée and starts getting flashbacks of her past life...

Here's the thing... In this life, she is sort of going to marry the wrong brother!! oh no, Kate needs to help her friends remember their past lives too. She doesn't want to get married to Colin, or let Sophie marry Anthony, also she's pretty sure that if Penelope knew she's getting hitched to the same Benedict who was head over heels for Sophie in their past life, she would die of embarrassment.

Now all Kate has to do is help her friends and their husbands remember their past life. Reconnect with her husband who doesn't know she's his wife because he thinks she's the gold digger who is putting the moves on Colin. Somehow figure out why they all reincarnated AND find out who bombed the cathedral in 1813.

Easy peasy right?

[williamests]

Hi Rain!!

Share your thoughts about "class". Please. I have watched it and totally fell in love with faruqdhruv!! The chemistry was insane man! I didn't expect this!! They gave me feels!! After watching a lot of bl shows all over the world, my country giving a couple with pure chemistry, I'm bit giddy..oofff. they deserve a fandom for sure and i'm in it. I liked veersaba's chemistry as well. Actors were so good.Overall I enjoyed watching the show. Now I want season 2..

i haven't watched elite, dropped after 1 or2 episodes, cuz i didn't get a grip. Class got me hooked up right from the trailer. And now I think i'm falling into class fandom. But no one else is giving the hype it deserve, and no one is talking about it. Idk. Just saw ur post about, got hyped up since I knew you from young royals fandom, so yeah!!!!!

I'm from India, btw.

Hello! This took me a long time to answer (hello Sunday!), but I’m finally here. And getting to meet people from Young Royals fandom is like a major throwback, so hello again, old friend! (´▽`ʃ♡ƪ)

So, first of all, being from India and seeing mainstream queer Indian shows has been, well, not so nice experience. We have seen many queer sub-characters come up in shows like The Fame Game, Cobalt Blue, Four More Shots Please, etc. but I personally have never seen an Indian show give its queer characters a love story, which is full of pining and longing and romance and intimacy and silly texts, just like their “straight” counterparts.

So, you can imagine my surprise when I watched Class. Faruq and Dhruv were the best part of the show for me. They gave us everything with FaruqDhruv! Teenage infatuation, fascination, missing someone, wanting to be with them, first love, bliss, first time, literally everything. And the best thing was they did not shy away from showing us the realistic part of being a queer teenager in an Indian household. The blatant homophobia, pressure of coming out, wanting to tell your friends but being scared of their reaction, etc.

And the last scene… Uff! I’ll be replaying that scene forever. When Faruq says, “Main aa gaya (I’m here),” I got goosebumps! One of my other favourite scenes was the rooftop scene, when Faruq told Dhruv about his uncle. The entire aesthetic – music, cinematography, colouring, everything, was so on point. I’m so glad the makers of the show took their time with them and gave us such a perfect sweet couple.

And finally, I’m sure you’ll be glad to know that Netflix would probably have them make 3 seasons of the show, so we’ll definitely get FaruqDhruv back later this year or early next year! And just like you, I cannot wait to have them back!