the dsir Spring Issue, 2020
editorial I
t’s been almost two months since School closed and we all went back home due to the COVID-19 pandemic, and I speak for the entire community when I say that books, movies, music and TV shows have been our constant companions through the multiple lockdowns our country has undergone since then. We at the DSIR believed that it was important that we released a spring issue to review and reflect on the tremendous amounts of media the community has been consuming these days. Be it the high-octane Netflix Original ‘Money Heist’, the bitter-sweet Prime Original ‘Four More Shots Please!’ or evergreen books that you can read again and again like ‘The Kite Runner’, this issue covers it all! As I stated in the editorial of my first issue as Editor-in-Chief last November, I intend to make the DSIR a magazine that doesn’t simply review books and movies, but one that delves deeper into the issues they deal with and how these issues pertain to our community. Therefore, while deciding the theme for our special section for this issue there was no contention at all. It was quite clear. It had to be about teen movies, teen television shows and teen books. The content that Doscos - across forms - binge watch whenever they can (illicitly or otherwise) get access to Netflix. When a Dosco watches ‘Thirteen Reasons Why’, ‘Elite’ or ‘Sex Education’, or reads ‘The Perks of Being a Wallflower’, he or she immediately tries to relate to the characters and their adolescent problems. Am I a bit like Otis? Do I know someone like Alex? Is my best friend going through what Valerio went through? You begin to relate the narrative to your own experiences, which is what makes you want to sometimes binge watch even an entire season in one sitting. I sincerely hope that our reviews provide fresh insights and bring more meaning to the entertainment that we all love and cherish, especially at a time like this, when we’ve all truly done justice to our Netflix subscriptions and Kindles! Nirvair Singh Editor-in-Chief
Picture Credits: The Guardian
to the movie. Along with this, the colourful costume design helped create an effective juxtaposition between individual vibrance and the communal gloom of Germany at the time. This was important to portray as through historical research we know that while the Nazis indoctrinated the wider German society, many citizens continued to harbour objections towards the regime. Finally, the score and choice of music are also very aptly used to highlight the tone of the scene, as was exemplified at the end of the movie.
mentioned counterpoint to the use of humour is that it trivializes the harm World War 2 caused. On the contrary, I believe humour better portrays the harm the war caused, because it effectively brings to light how, needlessly and without cause, millions of lives were lost. The only qualm, if any, I have regarding this movie is that the portrayal of the Jewish character, Elsa, is too simplified. Elsa serves almost only to act as a foil for Jojo, and we never get to truly understand her own story and history. I believe that to ensure the movie was true to its context, the Jewish story should have been told as well.
Ultimately, at the
Ultimately, at the heart of ‘Jojo Rabbit’ remains the timeless message of valuing love over hate. A Jewish girl and German boy, at opposite ends of the political and social hierarchy, can also come together as sister and brother once they recognize each other’s humanity. That is a powerful microcosm of the world we should all hope to achieve, where recognizing the humanity in one another can help break down the rhetoric and fear that divides us.
Karan Sampath Picture Credits: IMDB
‘
heart of ‘Jojo Rabbit’ remains the timeless
A
t the end of World War 2, the German people often had to respond to damning questions that asked how the war was even allowed to begin. How was Hitler able to inspire such fervour? How was he able to commit such dastardly acts? How was he permitted to stay in power? Taika Waititi, in his film ‘Jojo Rabbit’, scrutinizes those very questions through the change in perspective of a German boy. By doing so, he helps us understand not only the nexus of social conditioning and government propaganda, but also the fundamental choices that make us human. ‘Jojo Rabbit’ tells the story of 6-year-old Jojo Beltzer, whose diminutive stature is the reason for his eponymous nickname
‘Rabbit’ given by his fellow soldiers in the Hitlerjuden. Without spoiling the plot, the film traces the change in Jojo upon discovering a Jewish girl hiding in his basement. Since the story revolves around the boy himself, the creation of the child’s point of view is fundamental to the impact the story has on its audience. Jojo is born into a world where the Nazi point of view is the only truth, and is therefore conditioned to adhere to that norm. This is exemplified by the personification of a Nazi point of view through the character of a fictitious Adolf Hitler. However, when confronted by a Jewish person, Jojo is forced to reconcile and unlearn much of what he has been taught. Through this, Waititi
effectively explores the nature of indoctrination to show how even the most ridiculous ideals can seem viable if portrayed as the normative truth. Such a script would not have had the desired impact had it not been for stellar technical work. Waititi’s acumen as a writer is only furthered by his directorial prowess, with focused shots on Jojo evoking empathy for him from the audience. This is best exemplified when a heartwrenching death is shown only through Jojo’s reaction to it. Of course, such a reaction would not have been so memorable had it not been for precise casting and impassioned performances. Roman Griffin Davis (Jojo Beltzer) and Archie Yates, who plays his best
friend Yorki, wonderfully bring an organic childlike innocence to their characters, generating an instant connection with the audience. Scarlett Johansson, who plays Jojo’s mother, delivers a subtle performance, showcasing the entire depth of her character. My favourite actor, though, was Taika Waititi himself, whose comical and yet strangely accurate depiction of Hitler’s antics will stay with me for a while. A brilliant supporting cast of Thomasin McKenzie, Stephen Merchant, Sam Rockwell and Rebel Wilson also helped add heart and warmth
message of valuing love over hate. Perhaps the most notable aspect of ‘Jojo Rabbit’ is its use of humour in a sombre context. Waititi’s bold choice to combine the comic and tragic cinematic forms allows for a more modern interpretation of the past. By portraying Nazi ideals as comedic, Waititi reduces them to an absurdity, and makes them, in effect, ridiculous. This is, in many ways, the ultimate rebuke to the Nazi regime, where Nazi ideals become so farcical, they can be laughed at. An oft-
A Jewish girl and German boy, at opposite ends of the social hierarchy, can also come together as sister and brother once they recognize each other’s humanity.
So, should you watch this movie? Certainly, but before doing so, make sure you remember and read about the Nazi regime: the ideology it stood for, the crimes it committed and the lives it destroyed. Only then will you be able to truly appreciate and enjoy the way Taika Waititi cleverly reduces the horror and violence to mere absurdities. ‘Jojo Rabbit’ remains a story of the triumph of humane love over cruel hate, enabling us all to fearlessly laugh in the face of tyranny.
LA CASA DE
papel FUN FACT Despite the intricacies of the storyline, Money Heist writers did not write the plot beforehand. It was more of a gradual process, where the writers develop the story bit by bit alongside filming.
Picture Credits: Netflix
Agam Bhatia “After all, love is a good reason to make everything go wrong.” - Tokyo A supposedly foolproof robbery goes haywire, guns blaze and panic settles as a bunch of robbers start blaming love for the chaos that reigns on screen. But this love that they refer to isn’t merely love for one another. It extends to the love for power, to the love for control, and, most importantly, to the love for money . As a whole, ‘Money Heist’ combines these elements to craft an incredibly gripping plot, filled with unforgettable characters that make the series an enthralling and binge-worthy watch. ‘Money Heist’, better titled ‘La Casa De Papel’ (‘The House of Paper”) has often been oversimplified as just a bunch of thieves organising a heist. Truth is, the series is so much more than that. In fact, the thieves represent a movement, “The Resistance” as they like to call themselves, against the capitalist government. Clad in crimson jumpsuits and wearing Dali masks, these are citynamed robbers who hardly know each other. This gang is led by a criminal mastermind called the Professor(Alvaro Morte), who has devised the heist(s) and taken care of all the variables that might jeopardize it, or so he claims. ‘Money Heist’ is told in the form of constant flashbacks to the planning of the heist and then back to the heist itself. Over the four seasons, relationships form, hearts break and a tremendous amount of exposition takes place to drive the plot forward and keep the adrenaline rushing. There exists a human element in ‘Money Heist’ that injects it with high-octane action scenes. There is a deliberate attempt at making the characters impulsive and flawed: Berlin is a misogynistic sociopath, Tokyo is volatile and the rest are no different. At times, they make rash decisions, sometimes overtly unnecessary ones, and the viewer feels like screaming at their naivety. Yet one still tends to side with them, constantly
craving that they succeed, that the Professor comes to their rescue. This is largely due to the masterful exposition of the series, which prolongs tropes and narrative elements, thereby allowing ‘Money Heist’ to delve deeper into its characters’ actions and motives, not to forget exploring the complexity of the Professors’ plans itself. From the meticulous heists planned to every last second to the humorous and apt names of those plans, the professor exhibits a rare composure amidst the chaos around him. Even when everything does not go according to the plan, there are moments when one is left astounded by the frenzy, which keeps the viewer wanting more. Something that goes unnoticed is how ‘Money Heist’ incorporates Spain’s rich history in putting its message across. The buildings which the robbers occupy have this grandeur, being relics of the Spanish War era. They serve as reminders of the country’s fascist past, which becomes, in many ways, an appropriate backdrop for the cause that the robbers are fighting for. This, partnered with the mesmerising lyrics of “Bella Ciao”, a song about middle-class hardship, becomes the heart of the series, and binds the various elements of the narrative together to give strength and hope to the thieves and their movement. Without giving too much away, the dynamic power structure within the gang is a central element that drives the characters’ actions in the series. Berlin (Pedro Alonso) initially leads the gang, with an anti-heroic charm, but is then displaced by Nairobi(Alba Flores), who then exclaims “Let the matriarchy begin”. The different motives of the characters necessitate these actions as each one tries to maintain control, only to find themselves worse off than before. The characters also never see themselves as robbers (which is why they do not kill any hostage), something that increasingly becomes questionable as they are prompted to take violent actions to keep the captives from organising a rebellion. The idea of the heist is not to rob the people, but to print more money themselves and take it. Despite the flawed
economics here, it is an interesting plotline to run and it becomes a central factor that dictates most of their actions. Though new characters come into play later on, the narrative elements remain the same: a profusion of emotions drive the plot forward and Tokyo’s narration of the heist(s)(with the benefit of hindsight) provides an ominous foreshadow that motivates the viewer to watch the next episode. ‘La Casa De Papel’ is riveting and inescapable, with theatrical elements that are successful in getting an important message across. As the tables turn one way or the other there are continuous shifts in authority and control and love becomes the scapegoat for the mess that is created as the robbers are locked inside the Bank Of Spain. Undoubtedly, ‘Money Heist’ is a lockdown story you have to experience.
MONEY HEIST
City of Djinns Nirvair Singh
S
ince the country has been in lockdown I have been away from my hometown of New Delhi and one evening a feeling of homesickness overcame me so I decided to read ‘City of Djinns: A Year in Delhi’ by William Dalrymple, to comfort myself. The Delhi I pictured when I began reading the book was completely different to the city I came to know by the time I put it down. The crumbling ruins that I drive by on a daily basis in Delhi seemed to have so many stories attached to them, and the city I call home, such a rich history.
Dalrymple uses the ruins of the present as a gateway to telling stories of the past. For most people a visit to Old Delhi’s Chandni Chowk and Turkman Gate is characterised as chaotic, crowded and noxious, but this is not the case for Dalrymple, who romanticises Delhi to such an extent that even Delhiwallahs fail to recognise it. The book encapsulates Dalrymple’s historical adventure around Delhi and his words bring back to life the abandoned ruins that are interspersed through the city. Suddenly the sandstone fountains in the Red Fort seem to gush with water, trumpets can be heard from the forgotten Lal Kot and the crumbling
tombs in Hauz Khas Enclave seem grand again. As Dalrymple navigates his way through the city with his taxi-driver Balvinder Singh, he comes across the seven cities that once bustled where Delhi, as we know it, stands today. Dalrymple brings to life the ancient cities of Shahjahanabad, Tughlaqabad, Firozobad and Indraprastha using his interactions with scholars, dervishes and priests along with extracts from the accounts of chroniclers and travellers that inhabited these cities. As he visits forts, tombs and havelis, Dalrymple tries to create a portrait of them at their prime by recounting historical events that took place in them, essentially, imbuing them with life. He makes the reader feel as though the beautiful Jahanara still rules over the sprawling harem at Lal Qila, Ibn Battuta still walks the corridors of Tughlaqabad Fort and the horses’ screeches can still be heard at Nigambodh Ghat as the Pandavas perform an Ashvamedha yagya. Dalrymple uses the ruined remnants of monuments as a gateway to the past. However, not all periods are equally represented. His passion for the Mughal period - as his various other works depict - have resulted in the monuments and anecdotes from the Mughal era getting more attention as compared to those from say the Tughlaq or Lodi dynasties. Overall, though, the book does give the reader an interesting insight into what Delhi and its surrounding areas looked like in the past. By including so many references and anecdotes from people that lived in those
times, Dalrymple creates a curiosity in the reader to learn more about the history of these periods. For instance, by citing diary entries of Moroccan traveller Ibn Batuta in the Tughlaq court, Dalrymple develops in the reader a desire to know more about the Delhi Sultanate. In this book he explores thousands of years of history going all the way from the 4th century BCE to the late 20th century AD, from the Mahabharata to the Sikh riots of 1984, and is therefore unable to give great detail. However, he manages to beautifully plant a seed of interest in the mind of the reader, leading them to nurture it with further reading. It acts like an introduction to the history of India by focusing on one geographical region and its complex history. It may seem that a book so well researched would have a serious academic tone, however it is the unpedantic and personal tone, laced with gossipy asides, that makes it such an easy read. As a foreigner, Dalrymple brings a fresh third person perspective to a city that appears mundane to its residents. This point of view is very important in making the people of India appreciate their own past and see the richness and beauty in a city that is mostly infamous for its political imbroglios, traffic jams, air pollution and slums. The book not only gives the reader an account of the history of Delhi, but also an insight into the life and work of a historian who travels across countries and contexts. Language and sociocultural barriers and extensive reading and interviewing are only a few aspects of Dalrymple’s year in Delhi and all his efforts and hardships can be observed in the book. Conclusively, ‘City of Djinns’ can be described not only as a travelogue, but a walk down memory lane of an important and ancient city that continues to evolve and reveal its new avatars through time.
Picture Credits: Digital Spy
Special section
Ms. Sakshi Tikku
S
ex Education’ is a British drama revolving around the lives of high-school students on a hormonal rollercoaster, exploring their sexuality. Needless to say, SEX, even as a word has such secrecy and taboo around it that having an entire show on it comes to the rescue of the youngsters. It opens doors for conversations around real, serious and sensitive matters. The show has aired two seasons so far and has been rated very highly for dealing with sensitive topics in a mature yet light-hearted manner. The show’s pivotal characters are Otis, Jean, Eric and Maeve who are foundational to the setting and characterization of the show. The run time is roughly 50 minutes for each episode and both seasons have eight episodes each. Season I, episode 1, opens with a fairly explicit scene, leaving no doubt in the audience’s mind about what the show deals with. However, don’t let that fool you. The show is so much more than just the sexual graphics it displays. It explores themes around friendship, sexual experimentation and orientation, cyberbullying, self-esteem, body image issues, importance of consent, teenage pregnancy, stigma and stereotypes, peer pressure, mental health concerns, sexually transmitted diseases (STDs), standing up for oneself and others, relationships with parents, different types of families, parenting styles and expectations etc. The first season begins by establishing the
SEX EDUCATION
Picture Credits: Wallpaper Access
foundation for the central characters which then becomes deeper and more layered in Season II. The central character, Otis (Asa Butterfield, lead in Scorcese’s Hugo) is a socially awkward virgin who is in high school, struggling with masturbation. His mother, Dr. Jean (Gillian Anderson, most famous for The X-Files) is a single parent who is a well-known sex therapist and runs a clinic at home. Otis’s best friend and confidant Eric (Ncuti Gatwa) is a zestful, humorous and sensitive person who is gay and hails from an orthodox religious family. Maeve (Emma Mackey) is an intelligent, unconventional, ambitious and confident student who lives independently but struggles to make ends meet.
Needless to say, SEX, even as a word, has such secrecy and taboo around it that having an entire show on it comes to the rescue of the youngsters. The plot mainly revolves around Otis running a clandestine sex clinic in his school with encouragement and support from Maeve. Otis gives sex advice for a fee to his peers using the information that he gathers from his mother’s sex clinic resources. Meanwhile, Eric struggles with school bullies and acceptance from his family and society at large. Maeve copes with her social image and relationship status while encountering a life altering situation. As the plot unfolds, many other characters are woven in to the story at different points in time to bring out various concerns that the teens of today are dealing with. The final episode of Season I ends with triumph for certain characters and despair for some others. Season
II
is
quite
interesting
and
informative on various levels. It builds on the main characters, adding more depth and meaning to the narrative. New characters are introduced along with new storylines for the supporting characters. The episode (S2E1), dealing with the outbreak of a sexually transmitted disease is hilarious but ends with an important message for the audience. It highlights the importance of having a sexuality education curriculum in schools, which as a mental health professional, I completely agree with. This season also tackles extremely sensitive issues like sexual assault and mental illness. These issues are not uncommon, however, due to lack of knowledge and awareness, youngsters and even adults, seem ignorant of them at times. Season II also introduces the audience to the vast spectrum of sexuality ranging across hetero-homo-bipan-asexuality. This season also highlights how even the grown-ups are struggling with their sexuality and the choices that they have to make to either stay or walk away from a relationship. It brings forth their insecurities, vulnerabilities and addictions that make the narrative more authentic and relatable in the real world.
FUN FACT Asa Butterfield’s (Otis) real mother is a psychologist. There are plenty of heart wrenching moments in the show which bring out the true essence of human nature – the need for connection; not just physical but emotional. Whether it’s Maeve who is seated in a clinic holding hands with other patients or Otis dressing up like a female to celebrate his best friend’s birthday or Maeve’s mother painting her fingernails or the friendly hug between two characters
when one of them finally feels accepted and wanted– all of them highlight the basic human need of being loved and having a sense of belonging.
Picture Credits: The Quint
The success of the show wouldn’t be possible without the actors living up to the characterization in the script. The acting is flawless and every single character adds meaning and purpose to the storyline. The background music is apt and helps with the build-up of emotions during the scenes. Some dialogues worth contemplating are - “You can’t choose who you are attracted to. You can’t engineer a relationship”; “Sometimes the people we like don’t like us back, and there’s nothing you can do about it”; “Sex doesn’t make us whole, so how could you ever be broken?” The irony is that though the show is about high school students, it is rated 18+ for its viewership. Though, the show has nudity, foul language and violence for which the rating may seem justified, it leaves out the very audience whose experiences are being portrayed. This must watch drama exhibits an array of emotions ranging from happiness, joy, relief, satisfaction, love to confusion, fear, shame, guilt, sadness and rejection. It underlines the importance of connection and loving and accepting oneself just as we are – flawed, imperfect, confused but still lovable!
Picture Credits: Netflix
The Inbetweeners Lorcan Conlon
W
e’ve been hearing a lot about Sex Education, the new British TV series lately. There’s something about it that draws in the audience, something one cannot quite describe. I was rather struck, therefore, while watching the British sitcom from 2010, ‘Inbetweeners’. The show had a startlingly similar concept to that of Sex Education, with the same baffling allure. The show is centered around Will, a private school snob forced to join a state-funded school in the inner city, and the awkward, messy and altogether unpolished episodes that he and his group of friends continually blunder into. I’m sure it already sounds like another Western teen comedy that one often sees on Netflix or Prime, however this show is inexplicably set apart from all the rest. Something about its artful klutziness and it’s authentic bungling creates a unique style of cinematography - there’s no exaggerated comedy and none of the artificial hard-partying bravado we’re so often used to seeing in American high school TV programs. The feelings
and emotions that the show elicits are much more real and striking than any of its counterparts. The portrayal of the ordinary, and of the awkward age of hormones and adolescence, is the show’s secret weapon. Its creators didn’t want a remake of some glossy American high school comedy; they wanted something real, whose gritty reflections of British culture and down to earth insights into the teenage mind would strike a different chord with the audience. It would be untruthful to say that much of the show’s impact isn’t just shock value. There’s a lot of swearing, drinking, and coarse talk of sex, but the difference is that it’s not nearly all as romanticized as western media often makes it out to be. Episodes of truancy from school, house parties and visits to the pub never turn out to be nearly as much fun as they expect it to be. At best, it results in a “bit of a drag”, and at worse… well, I won’t spoil it. This is something that obviously resonated with the teenage audience at the time and helped the show achieve the immense popularity that it enjoyed. Through its crude and
often derogatory dialogue, there is something far more subtle going on. The characters objectify and sexualize women to a point where it becomes ridiculous, giving the viewers an idea of how absurd it really is. Granted, a show about four white males is never going to quite make the cut of being a statement about gender and privilege, but it does succeed in pulling the viewer’s attention to the reality of what many teenage girls face every day in working-class environments.
The portrayal of the ordinary, and of the awkward age of hormones and adolescence, is the show’s secret weapon. Though it may be crass, vulgar and unsightly, it has its own sort of charm. With droves of new TV shows today, unapologetically portraying the awkward, embarrassing and unrefined reality of what it is to be a teenager today, ‘Inbetweeners’ was a show years ahead of its time.
13 reasons why Vir Bhatia
T
here are a number of reasons why pop culture is produced and consumed in today’s media driven world. Sometimes, pop culture exists to entertain, at other times to educate. Occasionally, pop culture is produced with the purpose of shedding light on important issues. It is very special then, for a product of pop culture to succeed in doing all of these things and still manage to attract mainstream audiences. Case in point, ‘13 Reasons Why’, undoubtedly one of the most significant Netflix Originals to be released thus far. The show premiered in March 2017 with an inexperienced cast that contributed little to attracting viewers. Selena Gomez, executive producer of the show, did manage to attract some interest in the show with her name and fame. Niche readers of Jay Asher, the author of the book that ‘13 Reasons Why’ was based on, were also keen to see characters from this eerie story brought to life on their television screens. The fact is, however, that the success of the show has nothing to do with the status of its production team or the source of its plot. ‘13 Reasons Why’ was important because it was willing to depict many of the tragic realities that the current generation of teenagers face in a way that was sensitive, without sugar coating any of the issues it covered. While initially, the only issue of this nature in the show may have appeared to be suicide, viewers of the show soon absorbed one of the key messages of the show’s first season; suicide is not an action, but a
process. Visibly, across 13 episodes of bullying, harassment, and unfortunate circumstances, Hannah Baker’s mental health deteriorates until she is reduced to a being who considers nothing worth living for. In later seasons, the show expands its horizons to more significant issues such as sexuality crisis, rape, jock culture, abortion, drug abuse, and more. Each of these issues is dealt with the same characteristic balance of sensitivity and accuracy.
The show tells the tale of damaged mental health like it often plays out in the real world. Therefore, ‘13 Reasons Why’ isn’t a cookie-cutter, high-school fiction piece. The show’s attention doesn’t divert to focus primarily on some problem ridden teen relationship. There is no unrealistic happy ending. Instead it tells the tale of damaged mental health like it often plays out in the real world. People make mean and unkind choices and hurt each other. What this unconventional narrative achieves is a sharp focus of attention. When people are reminded of the fact that most sad stories have sad endings, a sense of accountability is instilled in them. Happy endings tend to exempt people from any guilt and lead to the resolution that things will always be okay. ‘13 Reasons Why’ strives to do the opposite, darkly imploring that the toxic, passive status quo is harmful and requires change. The attempt to demystify mental health, and inspire candid conversations attached
with the show was furthered by the miniseries ‘13 Reasons Why’: Beyond The Reasons, a short documentary featuring members of the cast and crew, as well as mental health professionals in order to analyse the issues in question and the show’s depiction of them. Efforts like this contribute immensely to the growing trend of active discussion and action regarding these issues.
When people are reminded of the fact that most sad stories have sad endings, a sense of accountability is instilled in viewers. Even without interpreting the show as an awareness project of sorts, the characters and plot are entertaining in themselves. The show follows a troubled boy trying to make sense of the suicide of his friend, and the chaotic and dark aftermath of her death. The acting performances are all near faultless. Yes, the second season does spiral into a wishy-washy courtroom drama at times and its ending has largely been viewed as an incoherent marketing stunt, designed as an excuse for the production of a third season. Despite this, the character development and suspense creation are both impeccable and important contributors to the show’s success, and only increase the effectiveness of the delivery of the messaging in the plot. Mental health issues in humans have existed for as long as humans have themselves. Given that, it’s remarkable that they are only being discussed openly now. This show serves both as an introduction to this discussion, and as entertainment, in and of itself. If you’re looking to laugh, cry, and learn something in the progress, or for just three seasons of quality television, this is the show for you.
Picture Credits: Digital Spy
E LI T E Kabir Subbiah (Disclaimer: All quotes used in the article are loose translations of the actual Spanish lines.)
R
ecently, various movies such as ‘Parasite’ and ‘The Joker’ have addressed the class divide that plagues societies across the world. Blatant inequalites, whether they are social, economic or political, that rob the underprivileged of the power to escape their plight, are made well-known to viewers. Little attention, however, is given to the social discrimination and the economic inability that underprivileged students face at school. By placing three such underprivileged students at Las Encinas, a posh private school in Spain, ‘Elite’ portrays the ways in which the class divide comes to affect students.
Picture Credits: Netflix
In Season 1, rich students like Lu (skillfully played by Danna Paola) and Guzman (Miguel Bernardeau) exhibit holier-thanthou attitudes and are averse to conversing with their less-privileged counterparts. This continues into the second season when Carla (Ester Exposito) is unwilling to engage in a relationship with Samuel (Itzan Escamilla). The show brings out the treatment that poorer students inevitably face when they are surrounded by richer students who refuse to identify similarly. I watched the show in Spanish with my brother, and he explained to me that one can notice subtle differences in the
quality of Spanish used by students of varying backgrounds. He had a hard time understanding the ‘street Spanish’ of the underprivileged as he had studied a more formal Spanish that better resembled the language of the privileged students. It is subtle details like these that make ‘Elite’ different from just any other show and allow it to convey its message to viewers more effectively.
‘Elite’ portrays the ways in which the class divide comes to affect students. By introducing elements of crime, namely murder, in the very beginning, ‘Elite’ showcases how class-based discrimination isn’t limited to friend circles and social interactions but is also found in the form of institutional discrimination. Quoting Samuel, “People don’t always get what they deserve”. Less-privileged characters are put in jail or gotten rid of simply because they can’t afford lawyers or security, while the real culprits are allowed to roam free, owing to their influential positions and massive family fortunes. Samuel couldn’t have put it better when he tells the detective that “[It is your fault because of] the f*****g system you work for, belong to, and that you won’t do a damn thing against”. As Samuel and Guzman, two students, obsess themselves with trying to lock up the person who killed Marina, Guzman’s sister, the idea of moving on is introduced.
The principal of Las Encinas puts it very aptly when she says, “Don’t let the past ruin your future”. Understandably, though, it’s difficult to move on when you have to be in the same room as someone who you know murdered your sister. It is through this lens that the show very poignantly paints Guzman’s pain and his inability to forgive and forget. It is this intensely personal pain that makes the moment when Guzman forgives Marina’s murderer so powerful, as it represents the cessation of all the pent-up negative emotions that Guzman previously directs at the culprit.
As episodes fly by, these ideas of forgiveness and bridging the class divide culminate in transforming Las Encinas into quite a different school from what it first was. As episodes fly by, these ideas of forgiveness and bridging the class divide culminate in transforming Las Encinas into quite a different school from what it first was.The viewer begins to forget about the existence of earlier rivalries as the most unexpected of friendships start to form and a general unity between students begins to appear. While this does undermine the development of characters like Lu in the first two seasons, it serves to show the viewer a better reality, a reality wherein students forget the boundaries of class and privilege, a reality where, regardless of competitions and enmities, students stand united in the face of a common enemy, a reality where, no matter what, students are able to empathize with one another.
Picture Credits: The Book Review
The Perks of being a Wallflower Advaita Sood
T
he Young Adult genre has spawned an array of fiction, each exploring the perils of adolescence in its own way, and each written with the purpose of being relatable to the young reader. In literature, we try to live other people’s lives through their stories, and so, one might argue, literature is simply a remarkable feat of empathy. And although we often enjoy novels that do this, once in a while we may discover a story that mirrors our circumstances so profoundly, that we needn’t
even try. When I read ‘The Perks of Being a Wallflower’, I was Charlie (the Wallflower). Despite our obvious differences in background, I was able to relate to Chbosky’s representation of adolescence to a startling extent, and this article outlines why I think I did, and why you may, too. Narrated through a series of letters written by Charlie to an unnamed confidant, ‘The Perks of Being a Wallflower’ by Stephen Chbosky
describes Charlie’s attempts to “participate” in high-school life, as he attends house parties and productions of the Rocky Horror picture show with his newfound but older friends. The resonating power of Chbosky’s novel lies in the flowing, philosophical nature of the prose. Much like in Salinger’s ‘The Catcher in The Rye’, we’re subject to an uncensored stream of consciousness, in that we see only what Charlie sees, and think as he does. In most novels we understand the
author’s message while seated firmly away from the characters’ world. And although we wince at each of their wrong turns and rejoice at their triumphs, we reserve the ability to judge a stupid action as stupid (while the character hardly knows his
mistake), and an ingenious one as ingenious. We are always vaguely aware of what its impact may be, and how those subject to the action will respond. In ‘The Perks of Being a Wallflower’, however, we wander through life as Charlie does, wide-eyed and innocent,
In The Perks of Being a Wallflower, however, we wander through life as Charlie does, wide-eyed and innocent, failing to understand why people act in certain ways and do certain things.
failing to understand why people act in certain ways and do certain things. When, for instance, Charlie goes to the mall simply to figure out why people go there and observes “Old men sitting alone. Young girls with blue eyeshadow and awkward jaws. Little kids who look tired”, we feel just as perplexed as Charlie. In retrospect, however, we realize Charlie’s fragile mental condition. Chbosky remains consistent in this regard, and as the story progresses, we learn that the point of the story is to acknowledge the complexities of humans and the workings of their minds. Besides the sensitive portrayal of the main protagonist, the novel uses this lyrical form to tackle what have now become standard Young Adult themes such as sexuality and abuse. For example, we learn that as a child Charlie used to playfully kiss boys in the neighbourhood, and that it irritated his father. We learn also that hugging family members, especially boys, was an object of aversion to Charlie’s grandfather. Considering the story is set in the 1990s, Chbosky highlights the societal attitudes toward sexuality at the time by contrasting the older generation’s intolerance with Charlie’s acceptance of his friend Patrick, who is a homosexual. I recommend ‘The Perks of Being a Wallflower’ to both readers young and old because it is crafted in a way that makes it relatable to anyone who reads it. Charlie shares the anxiety and loneliness inside everyone with teenagers who are currently experiencing it, and with every adult who remembers having experienced it.
Picture Credits: Amazon and Wallpaper Access
Tanisha Ahuja
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our More Shots Please!’ is an Indian web series on Amazon Prime Video which revolves around the lives of four bold and independent women from Bombay who struggle to find their place in a male dominated world. The show has two seasons of 10 episodes each, and captures the highs and lows of the four women’s lives, a rollercoaster of emotions as they deal with personal obstacles and find their way back to each other, in a bittersweet comedy. The first few episodes of Season 1 give the audience an insight into the lives of each of the four women - Anjana, Damini, Siddhi and Umang, and the individual turmoil which they are in - Anjana faces the societal pressure of being a single mother, Damini struggles to keep hold of her company as she receives backlash for exposing corrupt, influential people, while Siddhi and
Umang constantly have their self esteem annihilated due to people’s judgements about their sexuality or their appearance. Despite this the women make it a point to unite at the end of the day and provide solace to each other. In Season 1, the show constantly poses the question of whether life really is easier as a man. While gender equality is certainly a core issue in the show, it also deals with other contemporary issues that are still deemed taboo, such as samesex marriages, pornography and mental health. Towards the end of the season, the bond between the four women disintegrates as their personal struggles get the better of them, but the hilarious depiction of grave situations that had set the tone for the entire season leaves the audience craving for a reconciliation in the next one. The second season aired on 17th of April and as expected, begins with the friends reconciling in Istanbul. This season, although
full of unexpected turns, some favourable and some otherwise, presents the women’s lives in a comical way as they continue to blunder and misjudge situations in the process of redefining conventional ideas of love, sex and friendship. It captures the growth of the women as they stand by each other throughout the season despite having conflicting ideas about the choices their friends make. Now, just in case you are wondering, this show does not propagate any misandrist views. In fact, something that makes this show credit-worthy is its understanding of stereotypes which eliminates the tendency to lean towards extreme stances. Neither of the two seasons present all women as victims and all men as misogynists. There are even instances of women putting each other down, evident in an episode in Season 1 when a group of women ironically try to solve the problem of unequal wage rates by pretending that the glass ceiling does not even exist.
However, if we were to question the success of the show in representing the lives of women as they exist and what freedom for women really means, many would say that it failed to deliver. At times, the show tries to portray the women as outspoken and unconventional but they only end up coming off as obnoxious. The show also received criticism for not doing justice to the reality of many Indians, as the women seem to be living in a dreamlike world with beautiful houses, successful careers, marrying people of the same sex and partying almost every day, all at such a young age. In fact, the show seems to be modelled on the American drama series, Sex and the City, to a large extent. Regardless of these poetic licenses, the show is worth watching as it reflects prevalent social issues that seem distant till one sees them close up. It succeeds in making the audience feel attached to the characters’ lives and compelled to reflect on these challenging ideas. This proximity was expected from both the seasons but was not accomplished with the same intensity in the second season, which led to a fall in the overall rating of the show. In any case, ‘Four More Shots Please!’ is a show worth watching and must be appreciated for its attempt at opening portals for discussion on the tightrope that modern women negotiate, and balance upon, in their pursuit of personal and professional freedoms.
Picture Credits: Google Books, Penguin
The Kite Runner May Iconics Rohan Taneja
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hen I first started reading ‘The Kite Runner’, Khaled Hosseni’s debut novel, I expected another overrated novel that the reader in me, over the years, has become wary about, due to its over publicity. Much to my delight, this book proved to be a heart-rending, moving read. Set in pre-war Afghanistan, the novel follows the story of Amir, a young Pashtun boy and his best friend, a Hazara boy called Hassan. It explores the unlikely but deep friendship between the two boys and how their lives change completely one frigid winter day of 1975, just as Afghanistan begins its plunge into turmoil and lawlessness. Trust, betrayal and love are delicately explored through their journey, highlighting the values of courage and atonement. There wasn’t a moment when I felt bored or disinterested in the story. The backdrop of the historical setting and the insight into a new culture kept me hooked. The thing that is so beautiful about this novel is not only the story of friendship, guilt and atonement that it so wonderfully depicts, but also how the author pulls the reader’s heartstrings with every emotion imaginable.
It takes Khaled only a paragraph at most, to make the reader develop a deep affinity with the character. Khaled’s story is a moving one, but what is so unique about it is Khaled’s creation of a haunting and extremely powerful image of modern day Afghanistan. An Afghanistan ridden with turmoil, poverty, bloodshed and terror, one from which countless others like Amir have tried to escape; one where there are not always happy endings.
While ‘The Kite Runner’ is unique in so many ways, what actually struck me personally was the way the author crafts each character in a way that is so realistic and relatable. It takes Khaled only a paragraph to make the reader develop a deep affinity with the character. Books like this are a rare find and all I can do right now is urge every reader out there to get a copy of this touching story. This is a story not just about Amir, not just about Hassan, not just Afghanistan but about your own value system. This novel will make you question yourself and take you on a journey of self discovery. A journey that will remind you in every walk of life that there is always a way to be good again.
India and The Spectator
The Great Gatsby is published One of the most iconic depictions of America in the 1920s and its booming middle class, The Great Gatsby was not always hailed as one of “the greatest novels written in English”. It was received with the disturbing weariness and resignation that afflicted much of America’s working-class, who lived in sharp contrast to the frivolity and flippancy of the jazz age portrayed in the novel. The book has seen numerous adaptations in film and theatre since its release, and its complex and paradoxical characters and the detailed portrayal of 1920s extravagance have captivated readers, selling millions of copies every year.
First-ever Academy Awards
The universally recognized golden statuette - The Oscar award – was first bestowed on the nominated actors on May 16, 1929. The Oscars is the oldest entertainment awards ceremony and is televised live worldwide. The first-ever Academy Awards ceremony was certainly much more low-key than what we are used to today. It was conducted at a private dinner held at the Hollywood Roosevelt Hotel in Los Angeles, California, and was hosted by Douglas Fairbanks. Tickets cost $5 each, and 270 people attended the presentation ceremony, which lasted a mere 15 minutes.
The Diary of Anne Frank is published One of the most enduring portraits of life for an ordinary family during World War II, The Diary of a Young Girl holds special importance in today’s world. Now more than ever, we relate to the claustrophobia, cabin fever and the suffocating fear that permeated minds across all Europe. Published after Anne’s death in a Nazi concentration camp, the book humanizes the millions of Jewish people who felt the effects of the war most intensely. It reveals the courage and strength of ordinary people, caught in extraordinary times.
Elvis Presley tops the Billboards As many might tell you, The King of Rock and Roll first stepped up to his throne in May 1956, when his song, Heartbreak Hotel, topped the Billboards Top 100 chart for seven weeks straight. The song achieved unprecedented success as it reached the top 5 of Country and Western, Pop, and Rhythm ‘n’ Blues categories, simultaneously. The song inspired several music icons, as they would later admit in interviews, such as The Beatles, The Rolling Stones, and Led Zeppelin. Interestingly, Presley did, in fact, open a real Heartbreak Hotel in 1985. It remained running in Memphis, Tennessee, until 2015.
editorial board Editor-in-Chief Nirvair Singh Chief of Production Vir Bhatia Head of Design Krishnav Singhal Editor Armaan Batta Associate Editors Agam Bhatia Kabir Subbiah Lorcan Conlon Senior Correspondents Gurmehar Bedi Shreyan Mittal Keshaw Singhania Correspondents Anhay Jain Rohan Taneja Vivaan Sood Faculty Advisor Ms. Malvika Kala Special Thanks Ms. Stuti Kuthiala