Sanju Samson’s breathtaking strokeplay formed the cornerstone of Rajasthan Royals’ 19-run win over Royal Challengers Bangalore in a high-scoring IPL encounter in Mohali on Sunday.
Riding on Samson’s 45-ball-92, Rajasthan Royals posted a competitive 217/4 on a batting belter and then managed to restrict the home team to 198/6, earning their second victory in three games.
RCB, on the other hand, slumped to their second defeat in three games despite skipper Virat Kohli’s (57 off 30 balls) first half-century of this edition.
It was ‘local boy ‘ Shreyas Gopal who removed a rampaging Kohli in the 11th over to turn the match decisively in his team’s favour. Kohli’s pull shot was taken at deep mid-wicket by Darcy Short, who timed his jump to perfection.
Leg-spinner Gopal, who plays Ranji Trophy for Karnataka, then silenced his ‘home crowd’ knocking out AB de Villiers, whose poorly executed pull-shot was snapped by Jaydev Unadkat at deep square leg.
Washington Sundar (35 off 19 balls) and Mandeep Singh (47* off 25 balls) added 66 runs for the fifth wicket but they were left with an uphill task as the asking rate kept on mounting.
Put into bat, Samson sent the bowlers on a leatherhunt hitting as many as 10 sixes and two fours.
The Kerala batsman scored his half-century off 34 balls, showing one and all why he is so highly rated by India A coach Rahul Dravid.
Nightmare for bowlers
In Jos Buttler (21 off 14), Samson found an able partner as they put on 73 runs in just 37 balls.
Umesh Yadav after his ‘man of the match’ effort against KXIP was completely off colour going for 59 runs in 4 wicketless overs. The last three overs yielded 60 runs for the Royals.
Samson first got 16 runs off Kulwant Khejroliya, who bowled the 18th over and then hammered Woakes for 17 off the penultimate over by smashing a six and two consecutive fours.
He saved his best for the last plundering Umesh for 27 runs that hit three sixes and a boundary. Only Yuzvendra Chahal had respectable figures of 2 for 22 in 4 overs.
Earlier, Rajasthan began their innings with a flurry of boundaries hit by skipper Ajinkya Rahane (36 off 20 balls).
He then clobbered 14 runs of off-spinner Washington Sundar by hitting a boundary and a six. In next over, he belted two more boundaries of Yadav, taking the score to 33 for no loss.
Woakes however had the last laugh by getting Rahane, whose miscued hit landed straight into the hands of Yadav after he had struck six boundaries and a six.
Soon Darcy Short top-edged which landed safe into the hands of wicketkeeper Quinton de Kock after he had made 11 runs of 17 balls with one boundary, leaving the score at 53 for two in 6.5 overs.
Samson and Ben Stokes put on 49 runs partnership for fourth wicket in 33 balls, before the England batsman was out scoring 27 off 21 balls with two boundaries and a six.
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.”
“So I’m a bad girl.”
“You shouldn’t be a bad girl.”
“Bad girls get in trouble.”
“What trouble? What happens to bad girls?”
“What bad things?”
“Very bad things.”
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.