Saif Ali Khan's Sartaj Singh from Netflix’s show can take a rest. My latest ‘grey’ character crush is Hathi Ram Chaudhary in Paatal Lok, played by Jaideep Ahlawat.
Amount of time people spent streaming spiked by more than 20% worldwide, including more than 40% in Austria and Spain, thanks to coronavirus restrictions.
Video-streaming platforms such as Netflix have refused to be part of a new self-regulatory body as fears grow that stalemate may prompt govt to step in and fill the void.
Canada faces serious foreign interference issues, but these challenges must not be weaponized to unfairly target friendly and important allies like India.
In Episode 1544 of CutTheClutter, Editor-in-Chief Shekhar Gupta looks at some top economists pointing to the pitfalls of ‘currency nationalism’ with data from 1991 to 2004.
Among 19 Indian firms sanctioned by US Treasury Dept was Lokesh Machines Ltd accused of coordinating with 'Russian defence procurement agent to import Italy-origin CNC machines'.
While we talk much about our military, we don’t put our national wallet where our mouth is. Nobody is saying we should double our defence spending, but current declining trend must be reversed.
A jarring note in the film was the analogy with the title which has two females. It could not be Mirza and Bankey, nor Mirza and Begum. Was it named just to pay pseudo-tribute the art form? Does the script writer enjoy the liberty to let loose a stray title on an unsuspecting audience? Film critics and media are silent about the glaring incongruence. Is film criticism awed by the publicity machinery of studios film gradually loosing its acerbic wit and happy with paeans to the reputed and the mighty? Is it going the media way?
A jarring note in the film was the analogy with the title which has two females. It could not be Mirza and Bankey, nor Mirza and Begum. Was it named just to pay pseudo-tribute the art form? Does the script writer enjoy the liberty to let loose a stray title on an unsuspecting audience? Film critics and media are silent about the glaring incongruence. Is film criticism awed by the publicity machinery of studios film gradually loosing its acerbic wit and happy with paeans to the reputed and the mighty? Is it going the media way?