Section 377 is often used to harass gays, but rarely do the cases land up in courts and result in prosecution or conviction
Whether or not Karan Johar comes out is a choice that should be left to him. It shouldn’t be a burden on him because of his privilege and influence.
Instilling a feeling of national unity can be a legitimate state interest but such a feeling cannot be pursued at the cost of individual liberty.
“Do you realise that your statement will push so many people who struggle with their identity back into stuffy closets?”
Why should a completely legal economic activity need the permission of an extra-constitutional bully like the MNS? And why is the state continuing to look the other way?
This week’s column examines the creative ways, other than comedic skits, with which people choose to express political dissent.
Who are these people – the ones who are so fundamentally insecure about whatever it is that they claim to love – that a movie’s name, dialogue or plot turns their devotion to agitation?
There remain and will always remain, on both sides of the border, peace-loving citizens who will reach out to each other and say: “I friend you for life”. And the movie supports this message.
A fortnightly column from The Wire’s Public Editor.
The movie also ventures into subjects that Bollywood romantic drama is not usually known for: acceptance cloaked in rejection, the interplay between the past and the present, between forgetting and remembering.
Why the ‘deal’ struck between the MNS and Karan Johar is nothing but state-sponsored extortion.
Johar has decided to put a special mention in the beginning of the film paying homage to the martyrs.
It is easy to criticise the filmmaker, but with barely any support from within the industry and the threat of violence, there was little else he could do
The Cinema Owners Association says its decision not to screen the film in four states is in keeping with the public’s sentiments.
Although a ban has been imposed on Pakistani actors in Bollywood and on Indian channels in Pakistan, it is not all bad news.
Director Shakun Batra shows a keen understanding of the dynamics of families and of the fact that the family is a machine that can work well only if all individual members truly accept each other.