kaanha-ki-barkat

Latest Posts by kaanha-ki-barkat

An old and homely grandmother accidentally summons a demon. She mistakes him for her gothic-phase teenage grandson and takes care of him. The demon decides to stay at his new home.

José Olivarez, “Let’s Get Married”

When someone says these days sexism and misogyny don’t exist anymore show them this.

Movie Rec: "Jab We Met" (Bollywood)

“Jab We Met” is a pretty traditional romance narrative at surface level, which is also quietly but very effectively subverting a lot of the common romance tropes.  It’s one of my favorite Bollywood movies, but it’s rarely one that I use to convert people mostly because it isn’t a movie that could only exist in Bollywood.  It’s a pretty universally awesome romance narrative, all around. 

HOWEVER, there is an aspect of it that makes it more subversive given the cultural context, which is that the heroine, while wanting a romantic happy ending for herself, wants one that’s traditionally frowned upon by her culture.

While the narrative starts with the premise of a Brooding Hero meeting his Manic Pixie Dreamgirl, that’s where the similarities end.  Because we find out a lot more about Geet, her hopes and dreams, and her family than we ever do about him.  One of the only things we do know about him is that at some point in his childhood, his mother ran off with another man because she didn’t love his father.  The language used to describe her elopement will give you an idea of just how huge of a deal elopement is in this culture, and what kind of social disgrace Geet is possibly setting herself up for by wanting to elope. 

However, the movie has Geet identifying with the mother pretty early on, and before the movie ends, this turns into an epic commentary on women and their choices and about doing what makes you happy rather than following social conventions that stifle you.  So the most important thing we DO know about him still becomes about her.  <3 

I never have much to say about men in fiction, but the male protagonist of this movie is one that I quite like.  He spends a good part of the movie being in love with her, but never even telling her, because he sees that as his own issue, and nothing *she* should be burdened with.  Like, he has ZERO need for his feelings for her to be validated or returned.  Which NEVER happens in romance narrative (except for in “Pride and Prejudice,” and that’s why it’s my favorite.)

And Geet!  <3  Geet is one of the most self-assured and confident heroines I have ever come across in any narrative.  She knows what she wants, and she has no hesitation or doubts about how she’s going to get it.  She has a strong sense of self that briefly wavers in the face of the utter force of everything that’s against her, but comes back stronger than ever. 

This is, by all means, set up as a narrative where the heroine would Learn Her Lesson about Wanting Unconventional Things, but the entire movie sets out to show HER way of life as the correct one, with everyone around her adapting to her worldview.  Even though the specifics of what she wants for herself change, she still gets the exact kind of happy ending she set out to chase for herself.

 I also love her need to create drama and constantly strive to write out a more interesting narrative for herself than the one life would otherwise give her.  She reminds me of Jane Austen’s Emma Woodhouse or Catherine Morland, except that both of these women had to learn a lesson about Needing to be Serious/Mature (from the men they loved), while Geet keeps on being herself, and the guy has to change himself to adapt to her viewpoint.  <3

Like, the speech that both Emma and Catherine get from the Men Who Love Them and Know Better?  Geet gets that about halfway through the movie, only to totally set the guy straight, and that is literally the actual moment he falls for her.  BECAUSE SHE REFUSED TO SUBSCRIBE TO HIS WORLD VIEW.  And then he subscribes to her awesomeness.  You should, too.  

“Besides, anyone can feel the way they want to, correct? You don’t have to worry about it at all. Okay?”

Jab We Met is such a good and pure romance like Aditya was fully and honestly in love with Geet but he 1)didn’t act like just because he was in love that that meant they’d be together 2) didn’t regret loving her without being able to have her and actually just used his love for her to inspire him to be his best self and be happy and successful 3)actually tried to help Geet get another guy because he thought that would make her happy and didnt presume anything until she was the one to say something.

And Geet is just a delight like yes girl, be crazy, do the things that light your heart up, be your own favorite what an icon.

Tum se hi

Aankhon mein aankhen teri, baahon mein baahein teri, 

mera na mujh mein kuch raha, 

hua kya?

Baaton mein baatein teri, raatein saugatein teri, 

kyun tera sab yeh ho gaya? 

Hua kya?

Dedicated to the brilliant @ferociouspompom , for being my fave person in the whole wide world. Geet has nothing on you! ;)

when you go back to daydreaming after having been interrupted and your brain does a previously on of your fantasy

19th Century Literary Heroines as Responses to “I Love You”

Emma Woodhouse: Who doesn’t

Eleanor Dashwood: I know

Marriane Dashwood: Thanks!

Jane Eyre: A horrible decision, really

Lizzie Bennet: *laughs nervously*

Catherine Morland: *laughs hysterically*

Margaret Hale: YEET

Fanny Price: I’m sorry

Anne Elliot: *finger guns*

Catherine Earnshaw: If only there was someone out there who loved you

Pride and Prejudice: relatable moments 

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In case you missed this heart warming exchange

David Tennant reads the bookshop scene from Good Omens during Playing in the Dark: Neil Gaiman and the BBC Symphony Orchestra.

Posting here to memorialise this even after the BBC takes it down from their website. Originally performed 12th Nov 2019 at the Barbican, London. 

…his Aziraphale voice is so delicate oh my word, I’m ready to offer my life savings and possibly a kidney in exchange for a full-length audiobook

Good Omens (2019)

That’s it. That’s the show. 

Based on this post.

This is kinda hilarious, he's so clueless 😂😂♥️

“Who’s going to take care of me if I get on your wrong side and become jobless when I’m older?”

Rukmini

And perhaps what made her beautiful

was not her appearance

or what she achieved

but in her love,

and in her courage,

and her audacity to believe,

~ Morgan Nichols

talking to a guy who works in tech about phones and mentioned how i didn’t like the new iphones or androids bc of the size and he was like “yeah i’ve noticed quite a few women feel like that idk why bc it’s so good having such a big screen” and i was like “it’s literally bc our hands are too small, i can’t reach across the screen” and he was shocked and had never thought about it and i had to explain to him how many things aren’t designed for women and he was truly astonished 🙄🙄

😂😂😂

But also, why would you send "good"?

tropes i will never get tired of

fake dating

omniscient narrator who immediately contradicts the characters (“This is fine,” she said. It was, in no way, shape, or form, fine.)

deadpan jokes while swordfighting

the “I FUCKING LOVE MY WIFE” guy

oblivious pining that slowly escalates until A is going on page rants about how pretty B’s eyes are but still doesn’t seem to recognize they’re in love

Strong Leader Type having to physically fall down in order for the other characters to see how exhausted they are

funny villains who talk and make jokes with their heroes while they’re fighting them

the villains presented as the protagonists

*increasingly pulls out bigger and bigger weapons from more unlikely places*

“I said all of your weapons” *pulls out more*

“ALL OF THEM” *pulls out one last tiny dagger*

traumatized character using humor to cover up ptsd

characters going out for a break at a restaurant/movie/whatever and something bad happening

using the “*gasp* what’s that over there???” trick to avert the enemy’s attention and it working

a villain’s weakness being something totally random and nonsensical

a hero duo arguing over who’s the sidekick while fighting a villain

“don’t be silly, we don’t need [important thing]”  “you lost it, didn’t you?”  “yeah”

“what’s the one thing I told you not to do tonight?”  “raise the dead”   “and what did you do?”  “raised the dead”

“I think that went pretty well” *explosion in the distance*

‘am I really about to start watching this show solely because of repeated exposure to gifs of two lovestruck assholes looking at each other’ is the core drive of my fandom experience

Rama and Krishna trading places

for @medhasree

“You killed him,” says one of Kaliya’s wives in a voice devoid of all feeling, even as her husband sinks deeper into the waters of the Yamuna. “He was poisoning our waters, and the very air we breathe,” Balarama says, even as his heart yearns after the greatest part of him lying coiled at the edge of the universe. Almost he could slip into the waters himself and, unaffected, slip his arms around his kinswomen to comfort them. Rama, on the banks, cleans his arrows and slips them into a quiver comically big for him, and says, “I killed him, as I kill all monsters who trouble my people.” “We are ourselves everywhere hunted by Garuda,”another wife protests. “If you retaliate by poisoning mortals, you turn from victims to villains yourself. Betake yourselves to Ramanaka Island, and live unharmed.”

“I would love nothing more,” Krishna reassures Surpanakha, “for I cannot remember when last I saw a woman so divinely lovely, bedecked in all the treasures the world can offer and yet needing none to add to her own beauty.” The rakshasi pauses, and the following smile has a distinct gleam of fangs. “You flatter masterfully, mortal, but I can hear a lie. You would love nothing more, yet surely you will find a reason to refuse me.” “I would love nothing more,” Krishna repeats, “but I have a wife already.” “An obstacle easily removed,” Surpanakha suggests, grinning wider than her slender face should allow. Lakshmana springs to his feet, outraged, but then sits again, arrow unnocked, at Krishna’s amused gesture. “But if you kill her I would mourn a hundred summers and scarcely be in a mood for love. You are far too intelligent to think otherwise.” “Since when do mortal men limit themselves to a single wife?” the rakshasi queries. Krishna grins back at her, sunny and careless. “My own father has three queens, and the jealousy of one has brought us to this forest. So I cannot take you for a wife unless you renounce your royal life and live with us as a mendicant, for to do otherwise would cause resentment in my wife. Yet I cannot ask you to sacrifice your life and all its many enjoyments to live with us as my wife does, for that would anger you. You see my dilemma?” “I… yes,” says Surpanakha. “I will have your brother then, if I cannot have you.” “You could marry him,” Krishna allows. “But he is sworn to celibacy, so I would not advise it for one so given to pleasure as you are, O sensuous one.”

“Of course we will fight for you, with all the might Dwaraka has,” Rama assures the Pandavas. “I could hardly do less when my kinsmen are offered insult, and one I have long called a sister.” “One might argue,” says Prince Satyajit, “that it was Yudhishtira who offered insult to our sister, by waging her as he might his slaves.” It is the position Panchal has been taking on the matter, Panchali not excepted, and even Yudhishtira has grown inured enough to offer no ,ore than a tired flinch. “If he were playing against an honourable man, such a wager would not have been accepted, any more than you would trust a drunkard with your beloved child,” Rama says. “It makes no matter; we go to war not for petty faults, but because of dharma and adharma.” “Then must we wait,” Draupadi asks, “while the world grows heavy with adharma? What keeps us from war this instant?” “A vow binds you,” Rama reminds her, gentle and inexorable as a god. “But it does not bind us,” Satyajit points out. Rama’s answering laugh lights up the day, shakes birds from the trees.

Krishna is the one who fetches his wife from the Asoka grove, swings her off her feet laughing, kisses the tears from her eyes, and tells her, “I know this will be difficult for you after all our years in seclusion, but we must do it for the army, and to stifle any rumours before they raise their heads.” In front of the army he embraces her again, this time a conquering hero and not a relieved husband, and says in the voice that massed regiments can hear in the din of battle, “Now is my life lit up again, with Janaka’s chaste daughter in my arms. All my war has been but for this, that I may have my wife by my side once more.”

Rama and Sita never overhear the dhobi before her pregnancy comes to term

1. Most of Kaikeyi’s power died with Dasharatha and his love with her, but still she has enough influence to overhear the rumors that spread through the city–and, more importantly, to ensure that the wells and taverns that Rama visits in disguise do not mention them. 

Let him confront those ugly truths once his wife delivers Ayodhya its heirs and if he should object, then let him consider: she has done him so many offenses already; what is one more?

2. The child – no, children, and fine sons, too!–are born, and Kaikeyi lets it be known that to challenge their legitimacy would be to deprive Rama of the heirs he loves so well. For a time, it works: Ayodhya loves Rama enough to allow him his happiness.

But all too well she knows it will not last. Did she love him, too, and still prove the cause of fourteen years’ unhappiness? So too will they turn on him, and his blameless queen; unless Kaikeyi can seek to do otherwise. 

3. Crowds always need a scapegoat, and too well Kaikeyi knows one that will suffice. Public opinion has forgiven only because of Rama’s request; and so it is all to easy to sow a word here, a suggestion there, that all the rage and mistrust they feel towards Sita ought to be directed towards the real instigator of mischief, who lives in the palace still, having escaped any punishment for her crimes. 

It works; of course it does. Kaikeyi has lived in Ayodhya for almost forty years, and knows it like the palm of her hand; and just as in the palm of her hand, she can read the signs of her downfall in the crowds’ angry faces. 

4. Before Rama must answer that he allows the criminal responsible for his father’s death to live simply because she is his stepmother, Kaikeyi volunteers herself to return to Kekaya. Too long she has lived apart from her mountains, she says wistfully; and her brother longs for her company. 

She will listen to no protests, not from Rama, nor her fellow wives–and Ayodhya, pleased with itself, forgets its complaints against its queen entirely. 

5. The night before she is to leave, Bharat comes to her for the first time in fifteen years. He knows, of course; any son of hers must. She managed to teach him at least that much. 

“If you expect me to forgive you, simply for what you did for bhabhi-”

“I did nothing but act according to my own nature,” Kaikeyi interrupts coldly. As much as she longs for Bharat’s return, she does not want it to be under such terms. “Manipulation is my only skill; surely I must use it to relieve my own boredom.”

“You’ll never change,” he declares, and still his voice is thick with anger. But he touches her feet before he goes, and in the morning, stands on the stairs and watches Kaikeyi’s departing palanquin until it fades out of view. 

“i have ended wars singlehandedly, brought gods broken to their knees, dragged the very lights of heaven down to the sand, but my greatest victory was always that i was what sparked your smiles.”

— i no longer wish to be remembered for my battles or my blood (via wearealsoboats)

Before kidnapping Sita, Ravana raped Rambha, Queen of the apsaras, and her husband Nalkuber cursed Ravana that if he ever raped another woman, his head would split in seven. This curse later protected Sita from the worst of Ravana’s torments. So I’d like a fic where Nalkuber goes off on Rama that if Ravana has raped Sita, his curse would have taken effect, and how dare Rama disregard a god’s curse, and what did Rambha suffer for then?

It lingers in Nalkuber’s memory, later; after all is said and done.

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