On January 31, actor and prolific tweeter Amitabh Bachchan put up a curious post threatening to quit the micro-blogging website over a dramatic reduction in the number of his followers. This came a few days after a New York Timesreport on January 27 alleged that several prominent personalities, including actors, journalists, businesspersons and politicians, had paid Devumi, a third-party company, to have their followers artificially increased through fake profiles. The ensuing investigations saw several Twitter users lose many followers as more than a million ostensibly fake profiles disappeared from the website.
Bachchan was not mentioned in the New York Times report. It is not clear if the drop in his followers was linked to the investigation. But the 75-year-old actor did not seem pleased, as he made clear when he posted that it was time to get off Twitter.
Bachchan did not follow up on his threat. On Friday, he laughed off the issue saying that everyone is “Twittered”.
Bachchan’s resized Twitter follower list still counts 32.9 million people, but he has now dropped a place in the list of the most popular Indians on the social media platform. Previously second only to Prime Minister Narendra Modi, Bachchan is now in third place. Taking his spot is actor Shah Rukh Khan.
Bachchan’s outrage was greeted with shock and amusement on Twitter.
Some Twitter users suggested that the reason for the drop in Bachchan’s followers could be the actor’s decision to meet and greet Israeli Prime Minister Benjamin Netanyahu when he visited India last month. Netanyahu’s itinerary included an event called Shalom Bollywood, where the politician met several film industry members, including the Bachchans and Karan Johar.
Some interpreted the action as the actor’s endorsement of Israel’s stance on the border dispute with Palestine even as he has stayed silent on pressing issues in India.
Bachchan’s social media game has irked Twitter users in the past too. In particular, there has been criticism and mockery of Bachchan’s curious habit of tweeting a thought or a statement with his own picture, or a still from his movies. These pictures usually have no connection with the content of the tweets.
For instance, during the downpour in Mumbai in August 2017 that waterlogged many parts of the city, disrupting rail and road traffic and imposing an unofficial shutdown, Bachchan joked about the calamity on Twitter. As always, his tweets were accompanied by a photo of himself.
Twitter users promptly called him out for his posts.
On the actor’s birthday on October 11 last year, several users parodied Bachchan’s quirky social media strategy by tweeting their best wishes to the actor, but with their own pictures.
Bachchan has also used Twitter to air his grievance at younger actors who ignore his birthday greetings sent via text messages.
It is perhaps fair criticism, since Bachchan firmly believes in responding to all messages, even those from his legion of fans on Twitter. The Bollywood veteran is courteous with his several million followers, and ensures that he never lets them feel ignored.
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.