Spoilers ahead…
The first half is a template Ayushmann Khurrana movie. The second half is a dull drama whose every single beat is predictable.
On the surface, Anubhuti Kashyap’s Doctor G looks like another product from the Ayushmann Khurrana Assembly Line (AKAL™). Icky issue? Check. An embarrassed protagonist? Check. Eventual acceptance? Check. This time, Ayushmann plays a MBBS graduate named Uday. He wanted orthopedics for his PG, but ended up with gynaecology. That’s the icky issue our protagonist is embarrassed by. How can he treat body parts he doesn’t have? That’s how he puts it. I was reminded of the superb shot from The Silence of the Lambs, where a tiny Jodie Foster is surrounded in an elevator by men who tower over her. She’s a rarity in the FBI: gender-wise, size-wise. Uday is that Jodie Foster character. He is the only male in the PG course, headed by a stern Shefali Shah. Couldn’t the gynaecology class have had one more man? After all, we are told that many of the country’s top gynaecologists are male. Ah, but that would mess up the film’s programmatic design.
You can read the rest of the review here:
https://www.galatta.com/hindi/movie/review/doctor-g/
And you can watch the video review here:
Copyright ©2022 GALATTA.
Baradwaj Rangan 
Abhirup
October 15, 2022
The movie’s premise, if it were to be summed up in one line, is “A man who is mortified at the thought of being a gynaecologist learns to love being a gynaecologist.” And I didn’t buy that premise for one moment. Both of my parents are gynaecologists, and thanks to my exposure to the medical world through them, I know that there are many, many male gynaecologists in India; it is nowhere near as rare a phenomenon as this very weird film would have you believe. Heck, in a small town like Durgapur (West Bengal), where I grew up, there were as many as four male gynaecologists (excluding my father) in the local superspecialty hospital. This was the early 2000s. And this film is set a large city like Bhopal, and in a more recent era. And I am to believe that Uday has never seen or heard of a male gynaecologist? I mean, a quick internet search would have informed him that they exist in plenty. It would have been plausible if he had merely been dejected at not getting the chance to study orthopedics. That he instead keeps insisting that a man simply can’t be a gynaecologist is beyond ridiculous, and as talented a performer as Ayushmann is, even he can’t sell a character this stupidly, unrealistically written. Showing him as the sole male student in his class is also a silly decision for the aforementioned reasons.
And what is with the endeavour to mine comedy from a scene of ragging? I mean, we are asked to laugh at the sight of a student being ragged because the said student is male, and the ones doing the ragging are female? So on one hand, you demand that men be sensitive to women, and on the other hand, you say that ragging is hilarious when women do it to men? I know that nothing makes our directors blunder more when they are trying to be gender sensitive, but this is a new low even for them. Do remind me not to spend my time and money on whatever the director of this film makes next.
As for Ayushmann — and it pains me to say this — he is slowly becoming to acting what Madhur Bhandarkar is to directing, and God knows that that is not a compliment. I sincerely hope he never makes a “message movie” again in his life. This one was by far the worst of his outings. May things improve hereafter.
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Madan
October 15, 2022
“As for Ayushmann — and it pains me to say this — he is slowly becoming to acting what Madhur Bhandarkar is to directing” – Meanwhile, Bhandarkar has decided to become like Ayushmann (see Babli Bouncer). After that wave is over. Ekdum jag uta insaan hai. So…who will direct Bhandarkar-ish now? Maybe R Balki, if Chup is anything to go by?
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hakimo
October 15, 2022
it’s hard to even name 5 good hindi films this year tbh, all-time low ratio for the industry
the only great one is jhund with some flawed interesting projects like laal singh or shamshera and maybe gangubai and tons of very mediocre products, hardly any auteuristic or interesting films, big red flag
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Madan
October 15, 2022
hakimo: I loved Darlings and Jogi this year and that’s it. Albeit I have stayed a mile away from some films like Shamshera just based off the reviews. The one I did bite into – LSC – didn’t exactly prove the critics wrong, at least for me. I thought Chup was okie dokie, likewise with Babli Bouncer and that’s it. Yeah, one of the all time disappointing years for Bollywood. Even 2000 had Sarfarosh and KNPH. Hard to believe that was considered a disappointing year and a wake up call for the industry back then!
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Jayram
October 15, 2022
hakimo: Jalsa is also a wonderful movie.
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Satya
October 15, 2022
AKAL. What a punch!
Not only this acronym has a meaning in Hindi (it means Untimely), but it also kind of sums up everything about the timing of the film’s release and your thoughts in the review. This is sublime!
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Anu Warrier
October 15, 2022
Agree with Abhirup’s comment. I’m beginning to be sick of Ayushman Khurana (and I don’t know how many ‘s’-es and ‘r’s he has in his name anymore) – it is the same damn thing every single time!
@hakimo – Jogi, Darlings, Jalsa, Gangubai Kathiawadi, Jhund, Sharmaji Namkeen were all decent films. I am one of the few who liked Gehraaiyaan, and Jug Jug Jeeyo was a one-time watch.
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lurker
October 15, 2022
Dobaara not in anyone’s list?
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Anant
October 16, 2022
I am glad that I did not read your review before I saw the film today. If I had, I probably wouldn’t have gone. I really enjoyed the film irrespective of predictable nature of it. I liked all characters and solid acting. It probably helped that I watched LSC on Netflix two days back and absolutely hated it. I am sick of all those big masala movies bollywood is churning out. I don’t want to watch any depressing movie that accurately depict the current real world issues. Make no mistake. I do prefer those off beat movies over masala ones but today I am not in a mood for those. I yearned for simple dramedies that Hrisihkesh Mukherji and Basu Chatterji churned out in 70’s. And I felt this one had similar spirit. There were not any laugh out loud jokes but it kept me smiling through out. I am also glad that the director decided to keep the serious issues in the film as short as possible. Why stretch too far when you pretty much know how it is going to end? Sure there is a AKAL formula as you said and if I binge watch all these movies one after another, it may get boring. But that was not the case. I watched AK movie after many years so it was refreshing. I could feel a woman director touch that I used to feel in Sai Paranjpe films. This is my point of view who used to watch about 50 Hindi movies a year and now hardly watch about 5.
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hakimo
October 16, 2022
madan: i don’t know if you will like shamshera but it’s a true masala film, all the nods, the echoes, the mirroring of scenes staging…etc karan malhotra might be a soulless filmmaker and the film is cut weirdly but he respects the masala traditions and the film has very progressive anri-caste politics that’s shocking for bollywood now ( the reviews were negative yes but seriously who do you think of the current critics understand masala cinema ? even br didn’t review it sadly )
yet to see jogi but didn’t like darling at all and i’m fed up of these bland faux-realistic liberal issues-based films, disappointing to see just these films on everyone lists here ( which is not just an ayushmann problem ) there are specific annoying trends going on, none of them is interesting and the critics are guilty for giving them many passes in the past.
hindi films need more eccentric, idiosyncratic and political filmmakers ( that’s why jhund is different from everything else ), disappointing to see someone as slb doing a basic biopic. i’m not joking but the most fun i had watching a hindi film lately was mrs. serial killer ( yes that kunder film everyone hated ) but everyone just wants the same shallow middlebrow safe films.
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Madan
October 16, 2022
“but didn’t like darling at all and i’m fed up of these bland faux-realistic liberal issues-based films” – Well, ok, I guess we diverge a lot in our tastes even if we agree Bolly’s having a bad year. I thought of Darlings as an entertaining story of turning the tables on the villain, not faux-liberal etc.
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Yajiv
October 16, 2022
Wow, I didn’t realise domestic violence & religious riots were liberal issues. I learn something new everyday in this blog 🙂
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Madan
October 16, 2022
Or the assumption that I only like middlebrow cinema if I say I like Darlings and meanwhile Karan Malhotra is to be valourized cuz mah masala – I still haven’t ‘forgiven’ him for having endured the elephantine remake of Agneepath on the day of the AO 2012 final.
I like Mysskin’s films, specifically Anjaathe, OAK and Pisaasu. Now if that is also too middlebrow and disappointing, I can do nothing but doff my hat to such rarefied taste. Oh, and don’t let the fact that Mrs Serial Killer came out in 2020 and not this year get in the way of making an argument.
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hakimo
October 16, 2022
yajiv: that’s weird misreading of my comment. i’m not talking about the issues, i’m talking about the political approach to these issues ( isn’t jhund an issue film too lol? a liberal version of that would be laughable but manjule is a fearless filmmaker bless him), i didn’t even mention jogi because i said i didn’t watch it ( zafar is def more political than most of the other kids, tandaav issue must tame him but i’m interested ) some people really jump on weird conclusions without even reading the damn thing well but hope you learned a new thing with this reply too.
madan: wait.. who said you like that? it’s clear that your mention ended with the big space and i was talking in general after that and mostly targeting the critics.
mysskin is an eccentric auteur, the same way ranjith, or selva or ratnam are ( all dropped new films ), this is the bar for tamil film but hindi film had to settle for darlings, well sure. why do we blame ayushmann then? he is doing what everyone is doing.
sorry for your agneepath experience but forget good or bad it was far more interesting than most of those masala films released in that year.
and mrs serial killer being a 2020 film is the point, hindi film is struggling for 2 years to give us anything worthy and fun while the critics were busy bashing that and the imtiaz ali back then, that’s what the middlebrow point was about.
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Madan
October 16, 2022
hakimo: “wait.. who said you like that? it’s clear that your mention ended with the big space and i was talking in general after that and mostly targeting the critics” – You said this: “and i’m fed up of these bland faux-realistic liberal issues-based films, disappointing to see just these films on everyone lists here”. Everyone-Darling-movie on my list. I made the logical inference. Maybe compose your comment more coherently then because it’s confusing whose is your real target. I am not done. I don’t see Darlings as an AK type film at all. If at all it resembles any AK film, it’s Andhadhun which is a Sriram Raghavan masterpiece that happens to star AK. What part of Darlings is preachy and what feelgood message does it have? It brutally shows domestic violence and then turns it on its head by turning victim into revenge-oppressor. What part of this is bland or faux-liberal?
Sure, there is a big gap between Darlings and Mysskin’s films but did you know that Mysskin’s films don’t generally run well in TN either? Why must every filmmaker indulge in self-immolation to satisfy hard-to-please cinephiles? Darlings is playing to a bigger audience than Mysskin, that’s all.
“sorry for your agneepath experience but forget good or bad it was far more interesting than most of those masala films released in that year.” – That’s not a good yardstick, no? Better than idk Rowdy Rathore or Ek Tha Tiger is not my benchmark. I liked the masala of peak AB days, I am not interested in keeping masala for the sake of it if it means Hrithink knockoffs. As for 2012, it had Talaash which I happened to watch just last week and it’s a far more interesting film than Agneepath, easily. Much better music too.
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hakimo
October 16, 2022
madan: your quote still does not have ‘ the middlebrow ‘ accusation and well i said ‘ faux-realistic liberal ‘ not ‘ faux liberal ‘ seems no one reads words well in this blog. i fail to see the similarities with andhadhun, films are content and form and raghavan besides having a great eye for staging makes mostly pulpy referential thrillers, darling is far from that and not even half as interested formally.
well good for you if you want the death of post modern masala but some of us still care about the classical hindi films and its roots or else what will a foreign like me do with hindi films that’s similar to american dramas that plays sundance ? well that’s darlings for you
talaash is not a masala and wasn’t even a hit but it was great, the only one aamir did in the last 17 years ( if anything aamir was really the original middlebrow )
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Madan
October 16, 2022
“but some of us still care about the classical hindi films and its roots or else what will a foreign like me do with hindi films that’s similar to american dramas” – Well, first off, kindly kindly back away from your sweeping conclusions. I liked Baahubali and RRR and yes they are not Hindi but why should I care? I like a good INDIAN film in the ‘traditional’ sense done well and can’t force myself to like a half baked Hindi film just because it adheres to some imaginary rules about what Indian films should be (or dislike perfectly alright Hindi films simply because they don’t adhere to these ‘rules’). Speaking of,
Unlike you, I and most others on this blog have grown up on our films and I would rather our filmmakers make films for us than for an international audience that wants to be rescued from Hollywood (I mean other than the theme park age, why?). I submit that your judging of Hindi films where you slot Darlings as akin to an American film at Sundance is entirely too superficial as local cultural nuances elude you. You have no idea how well Darlings portrays the Mumbai lower middle class Muslim mileu, a mileu that doesn’t even feature very often anymore in our films (and this is coming from a Mumbaiite so don’t ask me how I am equipped to judge this). It looks ‘bland’ or ‘faux realistic’ to you because you are judging only what you can gauge from the cinematography, story and dialogues and think that is all there is to the film. Likewise, Talaash is a much truer representation of life in Mumbai than Agneepath’s designer world with our oppressed six pac ab hero.
They used to depict Mumbai as it was in the days of Amitabh Bachchan. Why did ‘classical Hindi films’ become about photoshopping the grime of Mumbai and why is that somehow so aesthetically superior to noir done well? Oh, by the way, what IS classical Hindi film anyway? Guru Dutt’s epics like Pyaasa or KKP have a lot more in common with European art films than masala.
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hakimo
October 16, 2022
‘Well, first off, kindly kindly back away from your sweeping conclusions. I liked Baahubali and RRR and yes they are not Hindi but why should I care?’ well you should because well why can not hindi film pull off the same films ? if we talked about tamil films raising bar then ssr did too and that starts with bashing the mid uninteresting films
‘I like a good INDIAN film in the ‘traditional’ sense done well and can’t force myself to like a half baked Hindi film just because it adheres to some imaginary rules about what Indian films should be (or dislike perfectly alright Hindi films simply because they don’t adhere to these ‘rules’)”
i don’t know what’s Indian film mean ( masala traditions itself differ from every industry to another ) and no one is forcing you to like half-baked films but at least to demand those films and karan malhotra films are definitely not half-baked.
“I submit that your judging of Hindi films where you slot Darlings as akin to an American film at Sundance is entirely too superficial as local cultural nuances elude you.” funny you assume that when like my favorite film of the year is jhund which is without the cultural nuances is hardly anything, the cultural nuances without a political gaze are well worthless aesthetics sometimes even exploitation.
” You have no idea how well Darlings portrays the Mumbai lower middle class Muslim mileu, a mileu that doesn’t even feature very often anymore in our films (and this is coming from a Mumbaiite so don’t ask me how I am equipped to judge this)” american films that play sundance also does portray its cities but they suck because they missed the point of the realistic filmmaking but you know what this is a self-own: lower class muslims will always featured as abusers which is more vile and irresponsible in 2022 india but yeah the liberal faux-realism is just depicting the reality without having a sociopolitical eye ( again JHUND ) and sorry to tell you that i do my homework before watching foreign films and we are speaking in the blog of the critic who failed to see the caste subtext in madras while a foreign like me did.
” It looks ‘bland’ or ‘faux realistic’ to you because you are judging only what you can gauge from the cinematography, story and dialogues and think that is all there is to the film.” it is bland because nothing about its form is interesting ( a dark comedy without even being funny ughh ) and it’s faux realistic because it made by upper class people that believes depicting the reality is the job done. so yeah i did not miss any important cultural nuances at all because they are there just for being there.
“Likewise, Talaash is a much truer representation of life in Mumbai than Agneepath’s designer world with our oppressed six pac ab hero.” funny comparison because talaash aims to portrays reality from reality while agneepath aims to portrays the reality from films it never claimed otherwise.
“They used to depict Mumbai as it was in the days of Amitabh Bachchan. Why did ‘classical Hindi films’ become about photoshopping the grime of Mumbai and why is that somehow so aesthetically superior to noir done well?” well that will turn into a long political discussion about the change in hindi films but for now you can only do a pomo throwback, what’s the the problem with that? what’s this obsession with realism even?
” Oh, by the way, what IS classical Hindi film anyway? Guru Dutt’s epics like Pyaasa or KKP have a lot more in common with European art films than masala.” yes because there could be many classical ways of hindi filmmaking. before bachchan there were many stars. guru dutt films are melodramas and before the masala filmmaking became a thing that was the mode of pop filmmaking back then and guru dutt films have a lot more in common with hindi films in 1950s than any other thing. and i welcome any hindi films that also try to bring back the melodramas.
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Madan
October 16, 2022
“well you should because well why can not hindi film pull off the same films ?” – No, again, why should I care and why would I believe, unlike you, that somehow mercilessly bashing the hell out of middlebrow films is the solution? It’s up to filmmakers to make masala films with conviction, not up to viewers like me to somehow find a way to like them even when they are not as well made as before.
“i don’t know what’s Indian film mean” – But it was you who took upon yourself the mantle of saving classical Hindi films from westernized philistines like us. And now you say you don’t know what it means?
“karan malhotra films are definitely not half-baked.” – Compared to the original Agneepath, Karan’s version is most definitely half-baked and Sanjay’s version of Kancha is a horribly boring ogre where Danny’s enactment was stylish and cunning. Genuinely evil rather than cartoonish and you call it masala? Would you like to see Sanjay’s idiot Kancha duke it out with Gabbar Singh or Mogambo and see who wins?
“funny you assume that when like my favorite film of the year is jhund which is without the cultural nuances is hardly anything, the cultural nuances without a political gaze are well worthless aesthetics sometimes even exploitation.” – the first of two sentences in your comment that I don’t even know what it means. Second one coming up later.
“lower class muslims will always featured as abusers which is more vile and irresponsible in 2022 india ” – this is such a rubbish point because the film itself is set WITHIN, I repeat, WITHIN a lower middle class Muslim world and this is not Muslim abusing Hindu. And in case you didn’t know, Zulfi is also a Muslim and he plays an important role in aiding Badru and Shamshu. And you say ALWAYS? Muslims are ALWAYS featured as abusers? Perhaps your homework is not nearly as comprehensive as you arrogantly assumed it to be.
“it is bland because nothing about its form is interesting ( a dark comedy without even being funny ughh ” – But it IS funny. You do not get the local nuances and are depending on subtitles where much of the essence of the original dialogue will be lost so you wrongly assume it is not funny. Another mistake you’re making is because certain films are not so localized and their humour translates better through subtitles, you think they are better made but that is not so. That would be a bit like pretending Big Bang Theory is better humour than Blackadder just because the context is more universal.
” funny comparison because talaash aims to portrays reality from reality while agneepath aims to portrays the reality from films it never claimed otherwise.” – Second sentence I cannot understand at all.
“guru dutt films have a lot more in common with hindi films in 1950s than any other thing” – You have conveniently moved yardsticks such that they suit you. The point was the Guru Dutt films specifically the tragedies Pyaasa and KKP were NOT at all like masala films. In any way. So you cannot reduce the essence of Hindi cinema to masala. That’s way too narrow. And FYI what you more generously dub as ‘various styles’ of Hindi cinema back in the day necessarily included movies that you would dub ‘American Sundance’ if they were made today. Like Mahesh Bhatt’s Arth or Kundan Shah’s Jaane Bhi Do Yaaro. Why, even Mughal-E-Azam, one of the all time biggest grossers, doesn’t owe very much to masala at all. This placing of masala at the absolute center of everything that matters in Indian cinema is itself extremely revisionist and narrow.
There is much that’s not like masala at all and if it reminds you of Hollywood, that’s really not my problem.
Probably any well made and true to life film without larger-than-life characters would be dubbed ‘Hollywood’ by the likes of you. But why, I ask again, should every Hindi film have larger than life characters? Even if every such film was well made, it would still be boring to see every character pitched at such an exaggerated level. A correction to the excesses of multiplex cinema is needed but that cannot be achieved by desperately polishing a turd because it’s a turd called masala. If Bollywood makes great masala films, they will find their audience again.
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hakimo
October 16, 2022
” “i don’t know what’s Indian film mean” – But it was you who took upon yourself the mantle of saving classical Hindi films from westernized philistines like us. And now you say you don’t know what it means? ” i laughed because it was a rhetorical sentence because indian films never existed, it was always regional cinemas working in different ways, indian cinema is a revisionist idea that leans with the the political powers now.
” “karan malhotra films are definitely not half-baked.” – Compared to the original Agneepath, Karan’s version is most definitely half-baked and Sanjay’s version of Kancha is a horribly boring ogre where Danny’s enactment was stylish and cunning. Genuinely evil rather than cartoonish and you call it masala? Would you like to see Sanjay’s idiot Kancha duke it out with Gabbar Singh or Mogambo and see who wins? ” mogambo is the most cartoonish hindi film villain, and agneepath was late 90s masala far from the peak era let’s not pretend otherwise if anything mukul anand himself killed it with trimurti
” “lower class muslims will always featured as abusers which is more vile and irresponsible in 2022 india ” – this is such a rubbish point because the film itself is set WITHIN, I repeat, WITHIN a lower middle class Muslim world and this is not Muslim abusing Hindu. And in case you didn’t know, Zulfi is also a Muslim and he plays an important role in aiding Badru and Shamshu. And you say ALWAYS? Muslims are ALWAYS featured as abusers? Perhaps your homework is not nearly as comprehensive as you arrogantly assumed it to be. ” this is the most rubbish thing you said so far. you think demonizing a minority does not work within it? you think the token good muslim is a fair representation ? i’m afraid you are not even liberal now. hindi films always tends to show the domestic violence within muslim families, it is dangerous stereotyping. ” always ” is a clear hyperbole but my point is still clear, muslim men bwing wife beaters is a big hindi film cliche and it needs to stop.
” “it is bland because nothing about its form is interesting ( a dark comedy without even being funny ughh ” – But it IS funny. You do not get the local nuances and are depending on subtitles where much of the essence of the original dialogue will be lost so you wrongly assume it is not funny. Another mistake you’re making is because certain films are not so localized and their humour translates better through subtitles, you think they are better made but that is not so. That would be a bit like pretending Big Bang Theory is better humour than Blackadder just because the context is more universal. ” a comedy should be universal, i do laugh at the crazy mohan dialogues because their rhythms and timing is terrific even i don’t get it all the same way i laugh at hong kong comedies which are more acquired taste, like this is a dark comedy ffs the most universal kind of humour ever, this is lazy cope
” So you cannot reduce the essence of Hindi cinema to masala. ” when did i say that, masala is a major form not the form. stop your assumptions.
” That’s way too narrow. And FYI what you more generously dub as ‘various styles’ of Hindi cinema back in the day necessarily included movies that you would dub ‘American Sundance’ if they were made today. Like Mahesh Bhatt’s Arth or Kundan Shah’s Jaane Bhi Do Yaaro.” stop your assumptions part 2, i won’t
” Why, even Mughal-E-Azam, one of the all time biggest grossers, doesn’t owe very much to masala at all. This placing of masala at the absolute center of everything that matters in Indian cinema is itself extremely revisionist and narrow. ” stop your assumptions part 3
” There is much that’s not like masala at all and if it reminds you of Hollywood, that’s really not my problem. ” i didn’t say hollywood i said american dramas that play sundance, learn the difference.
” Probably any well made and true to life film without larger-than-life characters would be dubbed ‘Hollywood’ by the likes of you. But why, I ask again, should every Hindi film have larger than life characters? Eve ” stop your assumptions the last 4.
now that you finished read my earlier comment when i said hindi film need more political, idiosyncratic filmmakers, i never claimed that masala is the only thing we need i said we need some of it i said hindi films should return to its roots which means the masala + the melodramas + the arthouse stuff like ketan mehtas + the middle of the road cinema….etc it’s a rich history that should be revisited at least for some films instead of mimicking the worst of cinema today but whatever i don’t want ‘ bland ‘or ‘faux realistic ‘and jhund ( no larger than life hero ) ‘is my answer for that.
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Madan
October 17, 2022
“and agneepath was late 90s masala far from the peak era let’s not pretend otherwise” – Agneepath came out in 1990, not late 90s. So I don’t know who’s pretending otherwise here and I have no energy left to care. I can argue with someone who doesn’t know if that someone is prepared to learn. Since you clearly know more about Indian cinema than all of us put together, you are best left well alone to your devices.
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Krish
October 17, 2022
Anubhuti Kashyap is Anurag Kashyaps sister. Good or bad, Doctor G is so unlike anything Anurag Kashyap would have made.
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hakimo
October 17, 2022
madan: well i meant the late masala era in the 90s which was far from the peak of the 70s ( i agree it’s very poor sentence framing but we all know masala was probably dead by the late 90s and i clearly mentioned trimirti which was 1995 so i don’t get the fixation on finding irrelevant errors and missing the point )
anyway i’m done too the whole thread started with assumptions and misreadings of my point and it continued that way till the end
to conclude i just wanted hindi films to be interesting again, more auteurist-driven more political, more daring FORMALLY and without being embarrassed of its multiple roots and if this sounds like an impossible wish i hope hindi films ( mainstream or arthouse ) at least do not get influenced by the worst lows of world cinema. have a nice day.
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Yajiv
October 17, 2022
@Professor hakimo: I definitely ‘learned a new thing’ from your comments. I learned that you are THE expert in Indian cinema! Could you please submit for Readers Write-In? Would be mighty nice if you shared your wealth of knowledge with others.
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hakimo
October 18, 2022
yajiv: i would love to but then i will need to write tons of replies to explain the basic meaning everytime you misread my point.
funny you are this triggered, it’s fine you could say you misread my comment and move on, it was never about you anyway
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Yajiv
October 18, 2022
@hakimo-sensei: I’m surprised to hear that you are afraid of writing “tons of replies”. Prior evidence seems to suggest otherwise.
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Mrinalini B
December 18, 2022
I am surprised that no review has brought up the sheer ick of Ayushmann trying to protect his cousin’s reputation despite the latter committing statutory rape. He only stops sticking up for his cousin when the girl nearly loses her life, despite sending her off to the ortho clinic knowing that the cousin wants the pregnancy terminated at all costs. He doesn’t even tell the girl that she can’t get a standard abortion procedure. Ugh.
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