Golf: Anirban Lahiri set to surpass Jeev Milkha Singh’s record with 15th Major appearance

Lahiri will achieve the coveted landmark when he plays in his 15th Majors at the PGA Championship, alongside rising star Shubhankar Sharma.

Anirban Lahiri will achieve a coveted landmark when he plays in his 15th Majors at the PGA Championship, surpassing Jeev Milkha Singh’s previous Indian record of 14.

Lahiri’s younger colleague, Shubhankar Sharma, who has been a standout performer in 2018, will also be part of the field becomeing the youngest Indian and the third overall to have played all four Majors in a single year after Jeev (in 2007) and Lahiri (in 2015 and 2016).

Meanwhile, globally all eyes will be on Tiger Woods after his splendid tied-6th at the Open Championships in Carnoustie last month. Never has he looked closer to a 15th Major in last 10 years as he is looking now. He actually had sole lead on the 10th hole on the final day at Carnoustie.

As for Lahiri, his tied sixth finish at the WGC-Bridgestone is a proof of his improvement.

Lahiri is also up to 82nd on FedExCup rankings and he could improve that this week. It has now put him back in top-100 of world rankings, and only four places behind Shubhankar. Shubhankar has played the first three Majors, but made the cut in only one the Open, where he was tied 51.

He was tied 9th at his first WGC, but has since been languishing lower down at both WGC Matchplay as also WGC-Bridgestone.

On Thursday, Sharma plays with Scott Piercy and Jordan Smith and will start at 10th tee in the morning wave, while Lahiri plays the first round in the afternoon alongside Brian Smock and Mike Lorenzo Vera.

Tiger Woods goes out with Justin Thomas and Rory McIlroy from tenth tee at 8.23 am. Jordan Spieth will play with Jon Rahm and Justin Rose from first at 1.37 pm.

The PGA is sometimes seen as the lowest in the order of priorities in the Major set up, but still, a major is a major and a PGA title counts just the same as a Masters or a U.S. or British Open in a player’s career major championship total.

Of late, a comparison has emerged between Justin Thomas and his friend Jordan Spieth and it seems the former is pulling away. In the last 20 months, Thomas has seven wins, 1 major, 1 World Golf Championship, 16 top 10s and eight missed cuts, while Spieth has three wins, one major, no World Golf Championship, 17 top 10s and eight missed cuts

In the 2017-18 season, Thomas has three wins, one WGC, seven top 10’s and 2 missed cuts, while Spieth no wins, no WGC titles, five top 10s and five missed cuts.

But in Majors, Spieth has the edge. Spieth has three majors, Thomas has one; Spieth has nine Top-10s in majors, Thomas has two.

There is another comparison which comes into focus and that is between Rory McIlroy and Dustin Johnson. Rory has 14 Tour wins and four majors, while Dustin has 19 wins but only major and Jason Day has 12 wins, but just a lone Major (the PGA Championship).

Tiger at time looked tired at Firestone. But this is also his first full season since 2015 so tiredness cannot be ruled out, even though he still has the PGA and then possibly four FedEx Cup Playoff events in five weeks and then one week off before the Ryder Cup.

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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.