Our Funarena!

Against my wishes as a true lover of the game of cricket, I’ve still preferred to use the word ‘dubious’ in the title of this piece. This is essentially because what happened in the 18 th over in the match between Mumbai Indians (MI) and Sunrisers Hyderabad (SRH) belied all logic and tenets of professional cricket. Further, this basically business-driven tournament has had its long history of controversies and scandals over the decades. Even now, if you surf the internet over IPL matches, you’ll find a whole lot of sceptics who think most the matches are always stage-managed, primarily through the scourge of the game called spot fixing. Well, their views cannot be correct in general, because we’ve been witnessing fiercely competitive cricket in most of the IPL seasons, and on many occasions this writer has commented about the triumph of cricket over business. Okay, now to that moment that happened last evening at the Wankhede stadium in Mumbai.   Mumbai, opting to field first, eve

An out and out formulaic Bollywood movie ‘Bachchan Paandey’ has been theatrically released all over India on 18 th March 2022 and then Amazon Prime Video started streaming it from 15 th April. The movie’s release has been pending since December 2020 due to various reasons including the pandemic. ‘Bachchan Paandey’ is produced Sajid Nadiadwala of the famed filmmaking house of the Nadiadwala that is celebrating 70 years of filmmaking and is directed   by Farhad Samji. The film is reportedly a remake of the Tamil movie ‘Jigarthanda’ (2014) and also supposedly inspired by the South Korean flick ‘A Dirty Carnival’ (2006). The hero or the antihero or the protagonist or the antagonist, whatever you may decipher after watching the movie, of the movie is the immensely popular action-comedy hero Akshay Kumar with the female lead played by the new generation heroine Kriti Sanon. Popular comedian and character actor Arshad Warsi also plays a key role and Jacqueline Fernandez does a cameo.  

Earlier, commercial breaks were not as intrusive as we could anticipate the time and quantity of their coming perfectly thanks to the limited opportunities available. Doordarshan was the only television channel, entertainment-public service-news all combined, for us to confront them.   We knew that maximum ad time would be for the Sunday evening Hindi feature film and we used to utilize those commercial breaks to entertain ‘silent’ guests, discuss the movie on air and make tea. The virtual breaks that were intrusive even then were the songs of Hindi or Bollywood movies that caught us unawares as always forcing us to take a break and go out of the theater into the lobby.   However, with the advent of cable television and the flood of private entertainment and news channels intruding-annoying-agonizing breaks have become a part and parcel of our existence—you like it or not. There emerged a rich variety of how the commercial breaks began to be presented to us. Maybe at the in