indian cricket

Vijay Hazare Trophy: Delhi lose despite Rishabh Pant’s sizzling 93-ball 135, Kerala beat UP

Delhi fell two runs short of Himchal Pradesh’s target of 305 score on back of a fine 150 from Prashant Chopra.

Rishabh Pant once again showed his mastery in white ball cricket with a brilliant 93-ball-135 but couldn’t help Delhi lost a thriller to Himachal Pradesh by two runs with a serious possibility of losing out on quarter-final berth.

The hosts scored a competitive 304 for 5 in 50 overs with Prashant Chopra scoring 150 off 149 balls with 22 boundaries and two sixes. Delhi were all-out for 302 in 49.4 overs.

Delhi have finished their group league engagements with 16 points from six games but now are in danger of crashing out with three teams – Himachal Pradesh, Maharashtra and Kerala locked on 14 points.

With Maharashtra facing Kerala in the decider, one team will go on to 18 points and Delhi will pray that Bengal beat Himachal in the final game so that they can qualify as the second team.

Delhi in reply looked in sight of victory as Pant went all guns blazing during his career-best List A knock in which he hit 16 boundaries and five sixes. The century came in only 69 balls but needing 9 runs from the last over, Pradeep Sangwan and skipper Ishant Sharma were dismissed within a space of two deliveries.

When Pant was batting, the target looked like a cakewalk as he added 115 runs in only 15.4 overs with IPL specialist Nitish Rana (52).

However once Rana was out, the middle-order caved in with no one able to give beefy left-hander enough support.

He punished his former India U-19 teammate left-arm spinner Mayank Dagar (0/70) along with off-spinner Ayush Jamwal, who also got a lot of stick.

Right arm pacer BVikas Galetiya was also hit out of the ground and it was Sangwan, who was responsible for Pant’s run-out with Delhi needing only 16 runs from three overs.

Sangwan then himself got stuck and increased pressure on others as his indiscretion is all set to cost Delhi a place in the quarter-finals. Not to forget, getting Kshitij Sharma, the player who has been constantly under scanner for not being selected on merit being given a chance in the last game, which Delhi had also lost.

Brief scores

  • Himachal Pradesh 304/5 (Prashant Chopra 150, Ishant Sharma 2/39) beat Delhi 302 in 49.4 overs (Rishabh Pant 135 in 93 balls, Rishi Dhawan 3/38) by 2 runs. 
  • Tripura 222/7 in 42 overs (Mani Shankar Mura Singh 55, Satyajeet Bacchav 2/17) lost to Maharshtra 223/6 in 41.1 overs(Ruturaj Gaikwad 115, Ankit Bawne 51) by 4 wickets 
  • Kerala 261/9 (Rohan Prem 66, KB Arun Karthick 54, Mohsin Khan 4/43) beat Uttar Pradesh 141 in 39.2 overs (Sandeep warrier 3/32, KC Akshay 3/32) by 120 runs.
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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:

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