indian cricket

Vijay Hazare Trophy: Andhra, Mumbai qualify for knockout stage

Mumbai beat Goa by four wickets to register its fourth win in the tournament.

On Monday, Andhra and Mumbai posted wins over Gujarat and Goa to qualify for the knockout phase of the Vijay Hazare Trophy. While Andhra trounced Gujarat by nine wickets to notch up its fifth straight victory, Mumbai won its fourth game to enter the knockout stage.

KS Bharat with an unbeaten 106 helped Andhra steamroll Gujarat as they chased down 251 runs with ease.

Shaw shines

Meanwhile, Mumbai rode on half-centuries by Surya Kumar Yadav (71), Prithvi Shaw (53) and captain Aditya Tare (59) to post a four-wicket win over Goa. Chasing Goa’s score of 266/8, Mumbai secured the win in the 47th over as the top-order got going. Shaw put Mumbai on track with a well-crafted half century.

He was involved in two important partnerships, first with Jay Bista for 64 runs and then with Surya Kumar Yadav (90 runs). Yadav then forged a 52-run stand with Tare, who scored an almost run-a-ball 50. In the day’s other match, Team Rajasthan thumped Madhya Pradesh by seven wickets.

Saurashtra beat Services

A resurgent Saurashtra steamrolled Services by eight wickets to keep their quarter-final hopes alive. Saurashtra bundled out Services for 176 in 48.2 overs before knocking off the small chase in 21.4 overs. Samarth Vyas cracked an unbeaten 114 from 66 balls, an innings studded with 12 fours and eight sixes.

Skipper Cheteshwar Pujara gave fine support at the other end with a 39-ball 45 not out as the duo stitched an unbroken 143-run partnership after Saurashtra lost two wickets inside eight overs. The partnership came off just 86 balls to give a huge boost to their net run-rate (0.854) as Saurashtra (0.854) jumped past Hyderabad (-0.197) to third place despite both having 12 points each. Saurashtra now take on leaders Vidarbha (16 points) in their crucial final group league match on February 14.

Chattisgarh win

Chhattisgarh jumped to second place in the standings with a seven-wicket win over Jharkhand at the AOC Centre Thapar Stadium in Secunderabad. Saurabh Tiwary smashed 107 as Jharkhand scored 288/9 after being put in. But Tiwary’s effort went in vain as Chhattisgarh came up with a solid batting show to chase down the target with four overs to spare.

Three Chhattisgarh batsmen came up with half-centuries – Amandeep Khare (76), Shashank Chandraker (61) and Manoj Singh (54 not out) – while Vishal Kushwah remained unbeaten on 40 as they romped home without any fuss.

Hyderabad crush Jammu

Hyderabad also remained among contention after crushing Jammu & Kashmir by 149 runs at the Rajiv Gandhi Stadium. They are on fourth place with two matches in hand.

Brief scores

Services 176 all out (Soumik Chatterjee 52; Dharmendrasinh Jadeja 4/26) lost to Saurashtra 181/2 (Samarth Vyas 114 not out) by eight wickets.

Jharkhand 288/9 (Saurabh Tiwary 107; Pankaj Rao 4/43) lost to Chhattisgarh 294/3 (Amandeep Khare 76) by seven wickets.

Hyderabad 312 (Rohit Rayudu 130; Umar Nazir 5/52) beat Jammu & Kashmir 163 (Akash Bhandari 3/34) by 149 runs.

Gujarat 250 all out (R H Bhatt 74; Karthik Raman 4/32) lost to Andhra 251/1 (KS Bharat 101).

Goa 266/8 (Dhrumil Matkar 3/49) lost to Mumbai 267/6 (Surya Kumar Yadav 71; Lakshay Garg 3/ 52).

Madhya Pradesh 241/9 (Syed Khaleel Ahmed 3/51) lost to Team Rajasthan 245/3 (Aditya Garhwal 108)

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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?”

“Terrible!!!”

“Like what?”

“Like….”

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!”

“Shameless!”

“Shameful!”

“Ashamed.”

“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:

Play

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