#madhyama segal

[how-to-be-a-tree]

You also do what your father says, right?

No. Otherwise, I wouldn't be standing here.

Class season 1; Netflix, 2023. (VeerSaba 2)

[carladuquette]

The women of Class for Grazia India

[truegodofthearena]

[ramascreen]

Official Trailer For India's Version of Spanish Hit Netflix Series 'Elite,' CLASS

When the need to survive is high, emotions run rife and all rationality is corrupted; where even the slightest trigger can lead to a lapse in judgment, or  even a crime! Joining the elite academy of students who have the world in the palm of their hands, are three scholarship students, from the other side of the track, with nothing to lose. What happens when these two stark worlds collide?…

[dhyanshiva]

Madhyama said bi rights, thank you ma'am 😌🫡 <3

[movienized-com]

Class

Class (Serie 2023) #GurfatehPirzada #PiyushKhati #AnjaliSivaraman #MadhyamaSegal #CwaayalSingh #ZeynShaw Mehr auf:

Serie Jahr: 2023- (Februar) Genre: Krimi / Drama / Thriller Hauptrollen: Gurfateh Pirzada, Piyush Khati, Anjali Sivaraman, Madhyama Segal, Cwaayal Singh, Zeyn Shaw, Ayesha Kanga, Naina Bhan, Moses Koul, Chayan Chopra, Chintan Rachh … Serienbeschreibung: Die drei Jugendlichen Dheeraj (Piyush Kati), Saba (Madhyama Segal) und Balli (Cwayaal Singh) wechseln aus einem Armenviertel an eine exlusive…

[filmmakersvision]

Class Review

April 18, 2023

by Inakshi Chandra-Mohanty

The word ‘class’ is multifaceted. It stands for the hierarchal structure that separates the rich and the poor. But it is also indicative of the weakening of the cultural divide between those of different statuses as the disparate worlds merge in the same ‘class’. In the Netflix web series, Class, three students from lower-income families receive a chance to attend an exclusive school in Delhi and intermingle with those from higher status families leading to inevitable clashes, mystery, and death. These three misfits in a school of elitists navigate relationships and politics as they attempt to forge a place for themselves.

Directed by award winning documentary and indie filmmaker, Ashim Ahluwalia, this remake of popular Spanish show, Elite, sticks to the original storyline and character development. It has the same weak points as Elite. The mystery is not captivating enough, the dramatic development is superficial, and the twists do not lead to a satisfying conclusion. But, as someone who found the original average, I was pleasantly surprised by the detailed, intense world created in Class. For a show that promotes itself on the basis of glitz and glamour, it is surprisingly mild. The aesthetics are raw and real. It fully delves into the underbelly of Delhi and builds up the city as a character of its own. The production design and focus on differentiating the lives of those living in gorgeous bungalows from the ones living in slums is immaculate. This drastic change from the overdone glamorous aesthetics of Elite works in its favor. These characters and situations feel far more relatable.

There is also clear thought put into ‘Indianizing’ this foreign show. The themes are reoriented for the Indian audience. From mentions of caste and its influence on income disparity, to the emphasis on Muslim discrimination, the series highlights prominent issues in present-day Indian society.

While Class is definitely more interesting than Elite, the show isn’t without its flaws. The series consists of a relatively new cast and attempts to create an impact through these young, fresh faces. However, the immaturity of this younger cast is apparent. Many of the actors have a limited range, doing well in lighter scenes but unable to achieve the emotional impact necessary in dramatic moments. I wish they had cast a more effective person in the lead role. While a talented actor, Piyush Khati as Dheeraj does not have the charisma to carry the show. He gets overshadowed and lost in the crowd despite a majority of the show relying on his narration.

Zeyn Shaw as Veer is also disappointing. His limitations as an actor are apparent in comparison to Madhyama Segal’s sharp acting as his romantic interest Saba. From an intellectual perspective, Veer and Saba are the most intriguing couple and I will continue to be excited to see them in future seasons. But the butterfly inducing chemistry isn’t there. The Veer and Saba on paper does not translate to the screen.

Class is anything but perfect. Due to the uninteresting story elements and the limited acting ability of many of the cast members, the empathetic touch is missing. However, the well written characters and important themes kept my interest alive. It is a powerful take on the massive class differences that exist in modern day Indian society.

[nwemovie]

Class OTT Release Date, OTT Platform, Time, Cast, Watch Online

Class OTT Release Date, Cast, OTT platform, Time, Trailer, and many more details are available in this article. Class web series digital streaming rights are bagged by Netflix OTT platform. Class is a new web series announced by Netflix starring Gurfateh Pirzada, who has impressed with his performance from the latest blockbuster ‘Brahmastra’. This series is said to be a ground breaking series that will start a new trend in Indian cinema industry. A shorty teaser of this series was released on September 24 on YouTube and grabbed the attention of Indian youth.

Class OTT Platform

Class web series is all set to have a digital premiere on Netflix OTT platform from February 03, 2023. Anjali Sivaraman, who had impressed with her performance in the role of Anuja from the 2022 released movie ‘Cobalt Blue’, will be seen in a leading role in this series. Hope she gets the recognition she deserves for her performance with this series. Class series digital streaming rights are bagged by Netflix OTT platform.

Class OTT Release Date

Chayan Chopra was impressive with his limited role in the film ‘Guilty’ starring Kiara Advani in the leading role that got released in 2020. But the actor was later not seen any of the films and now coming back with this series. Hope this series gives the break he needed in Hindi film industry and this series will be available for streaming on Netflix very soon. Official OTT release date is yet to be announced by the makers.

Story

When three new students from vastly different backgrounds challenge the established order at New Delhi’s prestigious Hampton International School, tensions flare. Class examines the upheaval that occurs in the lives of kids from privileged backgrounds when two contrasting cultures collide.

Cast & Crew

The cast of the class web series includes Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rach, Cyaawal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati, and Zeyn Shaw. The series is directed by Ashim Ahluwalia, and the producers are Sukesh Motwani, Mautik Tolia, and Persis Siganporia.

[newssy]

Darkness Overpowers This Obnoxious World As Goodness Exits From The Back Door; Much More Than Just An Adaptation

Class Review ( Photo Credit – A Still From Class ) Class Review : Star Rating: Cast: Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rachchh, Cwaayal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati, Zeyn Shaw, and ensemble. Creator: Ashim Ahluwalia Director: Ashim Ahluwalia, Gul Dharmani & Kabir Mehta. Streaming On: Netflix. Language: Hindi (with…

[newsaza]

Young adult series 'Class' teaser out- Cinema express

Young adult series ‘Class’ teaser out- Cinema express

The teaser of class, the Netflix series, was released at the Global Fan Event Tudum on Saturday. Produced by Bodhitree Multimedia Limited in association with Future East and directed by Ashim Ahluwalia, the series stars Gurfateh Pirzada, Anjali Sivaraman, Ayesha Kanga, Chayan Chopra, Chintan Rach, Cyaawal Singh, Madhyama Segal, Moses Koul, Naina Bhan, Piyush Khati and Zeyn Shaw in leading…

[how-to-be-a-tree]

The project: how it started

how its going

Requested by @truegodofthearena ✨️

[how-to-be-a-tree]

Veer Ahuja × Saba Manzoor; Cla$$ season 1, Netflix ( 2023-)

Requested by @truegodofthearena ✨️

[how-to-be-a-tree]

" I'm falling, In all the good times, I find myself longing for change and in the bad times, I fear myself"

Shallow; Lady gaga

@truegodofthearena ✨️

[how-to-be-a-tree]

I'm not here to marry you, Saba. I came here to finish the goddamn project.

Class season 1; Netflix, 2023. ( Veer Saba 1)

[truegodofthearena]

[dhyanshiva]

As mentioned in the parent post, Anoushka Shankar's album "Land of Gold" is the core force of this piece.

I would also like to note that there are references to @truegodofthearena and @cangse-sanren 's pieces (the latter's specifically in the brilliant installment that pertains to this point in the show's narrative). The linking is deliberate and in acknowledgement and expressing gratitude to their influence. If you haven't read these, I'd recommend them!

Madhyama Segal, who has breathed life into the character of Saba Manzoor, is an incredibly talented Odissi dancer who has become proficient and powerful in her communication through dance under the tutelage of her grandmother. I believe Madhyama has delivered the most nuanced performance of the core cast and so much of this is through her eyes and posture.

What I mean to say through highlighting this is that she is an artist and her dance form most certainly informs and influences how she depicts Saba. Hence, I have linked odissi throughout this piece. It is a profoundly intricate form of dance often accompanied by the sitar.

So. Connections are natural.

I hope to remain honest to how Saba has been written and depicted but this is also a piece that I couldn't leave at that distance. Art informs life which informs life, which is in itself political, as I've mentioned above.

Any and all errors that remain are mine. All views expressed are also my own. I have deliberately not written anything from my side in the author's notes either.

Liberation for one is liberation for all.

IN WHAT WE LEAVE BEHIND - LIF P3 | 13/12/23

“All good art is political! There is none that isn’t. And the ones that try hard not to be political are political by saying, ‘We love the status quo.’ The best art is political and you ought to be able to make it unquestionably political and irrevocably beautiful at the same time.”

― Toni Morrison

Hi so, this is where it's at. I will be linking the piece itself in my reblog - this original post will in turn be linked in the upload on ao3 as I'll be giving some additional context to my decisions for this one. I'm trying my best here and I hope my intentions and their outcome are made clearer with this. Key to note that aside from familial or relational terms of address or something specific to culture, every single word of prose and more importantly, dialogue, from all characters, has been done in the English language. My track record with writing for the Manzoors in particular and aiming to remain true to their characterisations, their pride, integrity and all the attached connotations, I've avoided English for them.

However, I could not afford anything getting lost and/or worse, mistranslated. The shameful instance of Palestinian children holding their own press conference in ENGLISH and still not being respected for their humanity, their lives seen as "worthy" literally haunts me. How it doesn't affect let alone haunt those with all the power is truly beyond me.

The overarching matter is of the collective fight for, well, liberation. Liberation is the end, unchanging goal. For all people. I was startled and appreciative of what was shown in E5 with regards to Saba's speech (shown just after the title cards) in my first watch but it may as well have body slammed me in light of everything that continues to happen especially since early October. And just to reiterate, none of this was triggered on and from 07.10, this has been endured across generations, decades and so sharply accelerated and funded, encouraged and bolstered in these past weeks.

So to realise that the production, brainstorming and writing, the filming of that scene in particular in this first season of Cla$$ has been years in the making only adds more necessary weight to this. In my understanding, there is no scope of a false equivalency or "Kashmir and Palestine cannot actually be compared". You realise that this cannot be so the minute you recognise that Kashmir has been in the same time frame, enduring all that they have. The steadfast, staunch solidarity of the Kashmiri people to the Palestinian struggle has been stifled by their occupiers as of late.

"We are each other's harvest:

we are each others' business:

we are each other's magnitude and bond."

― Gwendolyn Brooks

Saba is the only Muslim student in her class. Even in the event of her not being the only Muslim student, she is also someone who chooses to cover her hair. There are multiple reminders of how she holds on to her truth but does not compromise with her respect. She is forced to concede at a cost. The writers have made several choices in this adaptation, in depicting their characters as they have. To make the Manzoors proudly Kashmiri Muslim carries additional, different connotations to the Manzoors being from Aligarh. To have remained true to the base guidelines of adaptation, Dhruv and Faruq's faiths have to be different. Its place in urban, Delhi, Indian society is further different. Veer's attitude, Yashika's statement in E1, everything is deliberate.

My intrigue and concern sits in the fact that now that we have all these characters, their prejudices and pride respectfully, what on Earth can they do with them? Will they do anything? Overwrite themselves? If so, how? This show streams on Netflix. On Netflix India. I needn't elucidate on the constraints this presents with regards to the matter of censorship.

Thus:

Firstly, my choice to have the album "Land of Gold" (2016) by Anoushka Shankar form the foundation and become the vessel for this piece. From Shankar herself, "encapsulating the central message of Land of Gold as the recognition of the resilience of the human spirit and of our capacity to find the place where enduring hope resides."

This series of 'webisodes' for this album describe the foregrounding of the female voice in the tracks themselves (production and composition involved male professionals. Shankar's former spouse, director Joe Wright was instrumental in emphasising the vision of these tracks as well) and I have compiled the playlist to reflect this. Hozier's collaboration, for example, with the formidable, practically indomitable Mavis Staples, is literally called Nina Cried Power, paying tribute to Nina Simone. I have kept the body of this piece in Saba's voice, her perspective throughout. She is bookended by people closest to this section of the narrative but she expresses her logic behind what we see in E5. Similarly, the album itself is uninterrupted in my playlist. Shankar and her collaborators were aiming for a cohesive sound and I hope my piece echoes this in some way.

I first finalised Land of Gold as Saba's... one... for her LIF piece back in May, shortly after I'd returned from India, smack bang in the middle of a period of immense continued grief and strife. My life continued to distress me and we're now in December. I believe I'd thought to just have the titular song, actually, at the time. And hence, I would've had the lyrics in Saba's piece guide it, like Faruq and Yashika's pieces do. Then, of course, we have, well, the current context. And that many  tracks are literally instrumental - so the question became, what does Shankar intend to communicate and how do I interpret it and transpose it?

Saba's own dialogues, each word choice in the scene in E5 was thus my framework. And I expanded this in all directions as systematically, clearly and with as much integrity as I could put into this.

Secondly, the unfortunate coincidence of Saba Manzoor being selected for the MUN. Especially now, we have unfortunately had to witness the sheer uselessness of the UN and the overwhelming influence of the American vote. And the impact of the veto concept. Over and over in history. Yet, I had to stick to canon. However, I cannot and will not disguise that this is my most blatant piece till date, How can it not be? The boundary between my voice and Saba's is incredibly blurred and I cannot be apologetic for it. All views expressed in this piece are mine and I take responsibility for what I have communicated in 10280 words.

"You will know your task is almost complete when you realise that your body might not outlive your coloniser, but at least your stitching will."

― Bayan Fares

Thirdly, at I think E6, things deteriorate rapidly. She is made aware by her brother of the state of the sales. She looks Vandana in the eye and is proud of her family business, despite being threatened with the "unnees - bees" thing. Her family is called into that ghoulish school, forced to "confess" to their Kashmiri origins, and defend their upbringing and children's characters'. This whole series of events and what continues to happen sits in contrast to some of Saba's beliefs. But as yet, we are in E3 - 5 in this piece. Yet, I operate with the narrative insight that she of course, does not have.

I hope it is reflected here.

In Palestine, and protests in support of Palestine, the integration of the keffiyeh, their fabrics, foods and language is integral to their liberation.

Also, "music has the power to speak to the soul".

My series is called "life's infusing force" and I truly believe that music is that. The reblog with the piece link has a required explanation of some Saba - specific choices but in broader strokes, I have chosen these points to be made here. I may have missed some points but I honestly can't figure out what, things are a bit scattered right now!

Lastly, owing to canon, I have spoken only of Palestine but of course, it bears repeating always, that none of us are free until all of us are free. Liberation for one is liberation for all.

"I believe that the art we create has a message, intentional or not. I will no longer be dismissive of the statements we make. In making art, we convey our humanity. Which cannot help but be political."

― Ruth Sack