Why social media declarations that you eat beef are an earnest (but futile) idea

By focusing on beef, protestors are playing into the narrative that the Dadri lynching was about meat. It wasn’t – it was about communal polarisation.

The mob lynching of Mohammad Akhlaq in Dadri last week has generated enormous outrage. Demonstrations are being organised all over the country and, on social media, beef-eating parties seem to be all the rage. After public figures like retired judge Markandey Katju and writer Shobhaa De challenged the "killers” to “come and kill them” because they too eat beef, pictures of people enjoying beef delicacies have become a popular form of dissent.

Amplifying the protests, a young law student from Delhi, Gaurav Jain, last week created an event page on Facebook called “Beefy Picnic” and asked people to come out to eat meat in front of the Bharatiya Janata Party headquarters in Delhi on Sunday. Though well-intended, this act, as well the photos running with hashtags like #‎trykillingmeieatbeaf‬, #ieatbeefcomeandkillme, #ieatbeefkillme, #killmecowisnotmymom, seem to be a case of misdirected outrage.

It isn’t just about the beef

The event and others like it are displacing attention from the larger agenda of communal polarisation to the act of eating beef. Just like so-called love jihad and the myth that Muslims are having more children so that they can take over India, beef is a bogey to foment communal hatred, subjugate a community and instil fear. Beef is the convenient trigger here, but it could have been anything: miscreants also desecrate mosques and vandalise churches to whip up communal frenzy.

Despite the efforts of BJP leaders to portray the anger in Dadri as spontaneous, the mob did not get incensed merely because they believed a cow had been killed and someone had eaten beef. There was a context to it: the atmosphere of hatred had been carefully cultivated.

But beef-eating protests and social-media postings about meat play into the BJP's carefully constructed narrative by failing to challenge the larger communal design now in operation. On being asked why he decided to organise the event, Gaurav Jain told The Hindu, “I decided to do a beef picnic in particular because a picnic is marked by sharing food. It is a way of expressing love and friendliness. We need to stop pedestalising beef and restore its original status as a simple food.” Such protests let the people responsible for vitiating the atmosphere off the hook too easily.

They also fail to send a message of solidarity to the vulnerable community. It isn't clear how the Muslim community in Dadri will feel any safer knowing that a bunch of people tried to eat buffalo meat in front of the BJP office or posted Facebook pictures of themselves eating steak.

It must be acknowledged that the Beefy Picnic event was a daring initiative and the organiser braved the barrage of abuse unleashed on him by online trolls outraged by the disrespect shown to the cow. No doubt, it had symbolic value. But at a time when people are being beaten to death by mobs and a majoritarian ideology is running rampant, we need much more than symbolism. Meaningful social intervention needs wide consultation, on-ground campaigning, mass mobilisation, and a clear political strategy. Otherwise, we might as well eat beef and shout slogans in our own rooms.

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Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”

The actress weighs in on what she loves about the show.

This article has been written by award-winning actor Swara Bhasker.

All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.

The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.

There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.

Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages. 

Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.

But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.

“Nice girls don’t do that.”

“Who does?”

“Bad girls.”

“So I’m a bad girl.”

“You shouldn’t be a bad girl.”

“Why not?”

“Bad girls get in trouble.”

“What trouble? What happens to bad girls?”

“Bad things.”

“What bad things?”

“Very bad things.”

“How bad?”


“Like what?”


A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.

This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with. 

It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.

“Have some shame!”

“Oh for shame!”




“Do not bring shame upon…”

Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.

It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.

And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.

The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!

Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).

Watch the trailer of Sharp Objects here:


This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.