PGA Championships: Shubhankar Sharma looks set to make second straight cut at a Major

However, Anirban Lahiri had a poor day as he missed a bunch of makeable putts and went through a horrible streak of four bogeys in five holes.

Indian golfer Shubhankar Sharma was one-under through seven holes in the second round of the PGA Championships when play was stopped because of inclement weather.

Sharma, playing his fourth successive Major this year, was two-under for the tournament at that stage and looked set to make his second straight cut in a Major.

Earlier, the 22-year-old Indian had made the cut at the Open Championships last month.

Sharma’s senior colleague Anirban Lahiri had another miserable day on the greens as he missed a bunch of makeable putts and went through a horrible streak of four bogeys in five holes on the back nine to card three-over 73.

Put alongside his even Par 70 in the first round, his three-over 143 may not be enough to see him through to the final two rounds at the 100th PGA Championship at the Bellerive Country Club course.

Gary Woodland shot four-under 66 to get to 10-under, while in-form Kevin Kisner had a 64 to get to nine-under. Woodland hit 9 of 14 fairways and, for the second straight day, 15 greens in regulation.

Tiger Woods birdied three of his first five holes and was at three-under through his first seven holes. Woods is now three-under for the tournament.

Sharma missed three putts between 14-16 feet and one under seven feet, but got all pars while he birdied seventh.

Lahiri missed no less than four putts inside 10 feet. Still he was one-under when he came off the 11th green. But from there he bogeyed four times between 12th and 16th and that’s where he lost the chance to stay on for the weekend.

Two-time US Open champion Brooks Koepka charged into contention with a seven-under 63 that tied the record for low round at the PGA.

He had a chance to break the record but watched his 20-foot birdie putt slide by on his last hole, the par-4 9th. He’s at eight-under, just two back.

When the horn blew for a weather delay at 3:35 pm, Woods had hit his drive 321 yards into the primary rough at the par-5 eighth hole.

FedExCup No. 2 Justin Thomas, playing in the same group as Woods, was one-under for the round and two-under overall through seven. Rory McIlroy, the third member of the group, was even for the day and even for the tournament, just inside the projected cut line.

Charl Schwartzel, who also shot 63, and FedExCup and world No. 1 Dustin Johnson (66) were among four players at 7 under, three back. The quartet included first-round leader Rickie Fowler, who was 2 under for his first 10 holes when the horn blew for the delay.

The current projected cut line is even par. Those at one-over or worse, who could miss the cut, include Masters champion Patrick Reed (72-71), Phil Mickelson (even through eight holes of the second round, 3 over total) and Matt Kuchar (71-70).

Although the morning wave had completed the second round, the afternoon wave was not so lucky, as players were called off the course with as many as 14 holes remaining when a thunderstorm blew through St. Louis.

They will resume play at 7 am local time in Saturday, and the third round will begin approximately 30 minutes after the conclusion of round two, with threesomes going off the first and 10th tees.

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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.