Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

We watched Dhurandhar last night at Apple Cinemas (the last time we went to see Ishaan Khatter’s Homebound). It is the best mass-market Bollywood film I’ve seen since Animal, and far more immersive. What struck me most was not the action, nor the plot, but Bollywood’s new formula: a full-scale fetishisation of Pakistan.

Kabir keeps claiming that Bollywood casts Pakistanis as villains. This misses the point. The villain is always the sexiest figure in any film. Bollywood has finally realised this. Raazi hinted at it. Animal stumbled on it with Bobby Deol’s star stealing turn. Dhurandhar perfects it.

For the first time, Hindu actors are not performing cartoon versions of Pakistan. They are cosplaying Pakistanis with forensic precision; the clothes, the diction, the swagger, the social codes. In earlier decades the attempt was clumsy. Now the calibration is exact. Pakistan, in these films, becomes the Wild West of the subcontinent: familiar enough to feel intimate, distant enough to feel dangerous. Continue reading Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

On the Question of Who “Owns” the Indo-Muslim Legacy

Reading Sophia Khan’s superb piece on the lost Muslim cities of Hindustan, and then watching the BP comment-thread unfold, a few thoughts crystallised for me; less about “ownership,” and more about the intellectual pattern that keeps resurfacing whenever Indo-Muslim history is discussed.

First: I genuinely did not know that Khan was originally pronounced with a silent n, nor that paan had such a deep Islamicate turn in its social history. Much like music, I had long assumed paan to be a largely Hindu-coded practice. The article forces a re-examination of how intertwined everything actually was. The same goes for Hindustani music: I once thought of it as essentially a Hindu, temple-rooted tradition. Then you realise how much of the courtly synthesis, Persian, Hindavi, Turko-Central Asian, was shaped by Muslims, even if the Vedic lattice underneath remained foundational.

This is partly why I found Bombay Badshah’s objection (“Pakistan cannot claim any of this”) an odd line to draw. One can, of course, make the territorial argument; but it collapses immediately once you observe what India itself is doing: aggressively appropriating the Indo-Muslim aesthetic while deracinating its historical context. If Bollywood, tourism, cuisine, and the Indian cultural machine can freely claim Delhi, Lucknow, Agra, and Hyderabad as national inheritances, then Pakistanis whose families actually come from those cities are hardly crossing an intellectual red line by acknowledging lineage, memory, or loss. Continue reading On the Question of Who “Owns” the Indo-Muslim Legacy

L’OpĂ©ra, Iran, and the Post-Hindu Condition

A Meditation on Revolution, Secularism, and South Asia’s Futures


Inspiration arrives in the strangest of places.

Recently, I found myself deep in yoga, settling deeper roots in Cambridge, Massachusetts. It’s not clear whether this will be our long-term home yet but even so time to lay down the contours of a life (our main life of course still remains Cambridge, UK while Chennai, India is a must thrice yearly ensconcement).

In the midst of this personal flux, a video Nivedita just shared with cut through the noise: a YouTube interview about Iran before and after the Islamic Revolution, told through the eyes of a Baha’i couple who fled Iran and went on to create a French patisserie empire in India, L’OpĂ©ra.

Continue reading L’OpĂ©ra, Iran, and the Post-Hindu Condition

Brown Pundits