From “Chachi 420” (aka “Mrs. Doubtfire”) to “Hum Tum” (aka “When Harry Met Sally”), Bollywood has proven time and again that its ability to shamelessly copy classic Hollywood films is unparalleled. But with every remake comes the question: “Who did it better?” Today, we place two remakes of the Hollywood classic “A Star Is Born” (1937) in the ring to see who remade it better: “Aashiqui 2” (2013) vs. “A Star Is Born” (2018).
Some may think the winner of this battle is obvious, given the newest iteration of “A Star is Born” was just nominated for 5 Golden Globes, including Best Motion Picture – Drama, Best Actress (Lady Gaga), Best Actor and Best Director (Bradley Cooper for both). But let’s really break things down, shall we?
Important note: This piece does give away important plot points, so here is your official SPOILER ALERT.
A Brief History of “A Star is Born”
For those who have been living under a rock, “A Star Is Born” (2018) starring Bradley Cooper and Lady Gaga is the fourth iteration (to date) of the 1937 classic “A Star Is Born” starring Janet Gaynor and Fredric March. The two other were released in 1954 (starring Judy Garland and James Mason – my personal favorite) and 1976 (starring Barbara Streisand and Kris Kristofferson).
Each movie, although adjusted to the trends and dialogue that are iconic of that generation, tells essentially the same tragic boy-meets-girl story centered on fame, alcoholism, and ultimate self-destruction.
Oddly enough, the first “Aashiqui” film (known more for its songs — I’m serious go download all the songs right now) was not a remake of “A Star Is Born”, but was prefaced from the get go that it would be the first installment of some sort of love-story series. “Aashiqui 2” was then modeled after “A Star Is Born.”
ROUND 1: The Incomprehensible Tragic Relationship
The hallmark of A Star is Born franchise is creating a love story so tragic that that it confuses and almost frustrates the audience – why would you stay in a relationship that is so mutually destructive? The story isn’t about one or the other character, it’s about how the two feed off each other. This is where this year’s iteration of A Star Is Born, lacked (in my opinion).
The first half was fantastic and truly captured the intimacy and first sparks of a romance. The second half, however, turns into a movie that lacks focus and is no longer about the two of them functioning as a unit. A part of me wonders if this was intentional. Maybe it is supposed to be telling our generation that she really didn’t “need no man” to rise to the top. But even if that was the intention, her rushed decision to drop everything and help him, in the end, seemed wildly out of place and unnatural which is why Jackson’s suicide at the end seems “unearned” and slightly “left-field”.
In Aashiqui 2, Arohi’s (the Lady Gaga counterpart, played by Shraddha Kapoor) fame always comes second to RJ’s (Bradley Cooper’s counterpart, played by Aditya Roy Kapoor) health. This is established from the very beginning. At any given point in the movie, as hard as the decision may be, she is willing to walk away from her fame to help him get better. Therefore RJ’s demise at the end hurts that much more.
Bollywood: 1, Hollywood: 0
ROUND 2: The Power of Music
Story aside, it is no secret that Bollywood’s strength is our music industry and the talented composers, singers, and lyricists that comprise of it. This strength, in my opinion, elevated the emotion and romance between Arohi and RJ in Aashiqui 2 to a level that A Star Is Born did not and could not do.
Aashiqui 2 opens on the rock version of “Sunn Raha Hai” (“Are You Listening”) a song that at first makes you want to bob your head up and down in a rock n roll fashion. But when you really listen to it, you realize that the lyrics are truly gut wrenching. It’s about not being heard but then finding the person who not only hears you but listens to you.
The first time RJ meets Arohi, she is singing an acoustic version of the song and hearing it stripped down reminds RJ what the song is really about and establishes the electrifying spark that ends up being the foundation of the film. Throughout the movie, every song transforms their relationship and builds the tension all the way to the final song that plays after RJ has made the decision that he needs to kill himself.
In its Hollywood counterpart, the songs take a bit of a back seat and as a full-on Bollywood junkie, that was just unacceptable (I’m only partly joking). Though, to be fair, the song “Shallow” is pretty wonderful.
Bollywood: 2, Hollywood: 0
ROUND 3: Characters
Where I think both films exceed in comparison to the earlier versions is how both Jackson and RJ never truly resent the girls’ success. They want their girls to stay true to themselves and not fall into the dark holes that they both have fallen in already.
In a world where Lady Gaga is trying to “reverse rebrand” if you will, casting her as the lead in this film was smart (no matter how cringy I personally may have found some of her acting). Fun fact: Barbara Streisand was cast in the 1976 version to facilitate an image makeover just as I’m sure Gaga is attempting to do as she transitions out of her eccentric music phase and into a new grounded one.
The 1976 version also reflects the hustle and bustle of the women’s liberation movement. Likewise, Gaga’s character is reflective of some of the modern struggles women experience when it comes to fame. She struggles with appeasing to the masses, dressing differently, standing out in a disingenuous way, the perils of social media and paparazzi and all in the name of selling more hits.
Although, in my eyes, Bollywood won this time around, these two films will remain timeless renditions of how our generation interprets the classic “A Star Is Born” story. It makes me curious to see if Bollywood will do another rendition in 10 years, or how the inevitable next Hollywood version will fair in terms of gender dynamics.
February 2, 2023February 11, 2023 7min readBy Arun S.
Kevin Wu, previously known as KevJumba, is an American YouTuber, from Houston, Texas, with more than 2.68 million subscribers on YouTube and more than 323 million views. His content consists of vlogs, social commentary, musical parodies and more. Wu also streams on Twitch and has released original music as well as freestyles. His most popular YouTube video is titled “Nice Guys” with Ryan Higa. Wu has also worked with many individuals including A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. He has also appeared in movies such as “Hang Loose,” “Revenge of the Green Dragons,” “Man Up,” and more. Wu is one of the first original YouTubers gaining popularity in 2008 and even had another channel, titled JumbaFund, now known as Team Jumba. Continue reading to learn more about Kevin Wu’s journey!
We really enjoyed the project ‘Underneath the Lights.’ On the track “WHY U IN LA” the lyrics, “Don’t know who I might be, it might surprise me. I could be a hypebeast, That’s nothing like me, It’s so enticing.” How do you feel this speaks to the idea of self-discovery? What have you learned about yourself, diving back into making content?
I love that song we did. The artist who sang those lyrics his name is Zooty. I really provided the energy and direction for the musical piece, but I give credit to my producer Jonum and Zooty credit for the lyrics. Both guys are a slightly different generation, gen-Z, whereas I grew up as a millennial. I find that I left a lot on the table when I left YouTube at 23, so when I work with gen-Z I have so much that I want to give. Coming back to YouTube this time around, it’s all about self-reliance. Coming from movies and television, you have to depend on people to get a better product. But with YouTube, I’m going back to my roots and putting my wit and effort into every part of the process again (writing, directing, performing, producing, editing). I want the result to be authenticity and a homegrown feeling.
When you started your YouTube channel you were known for your vlogs and social commentary. How do you feel about the new age of content creation — where content is in surplus but individuals aren’t feeling the content?
It’s hard to say whether or not individuals are or aren’t feeling content — the taste is just so wide now. It’s like living in Los Angeles; food is very competitive, and when picking a restaurant you have every ethnic variety and even fusion foods. I imagine opening a restaurant in LA to be very competitive and the attention to detail in what you make has to be authentic or hit a certain demographic. I feel on the Internet, YouTube does a decent job of catering to your sensibilities, the so-called algorithm. However, the personal connection you get with content creators has somewhat been shifted, and now it’s become more interest-based (ie gaming, how-to, music, politics, etc.)
How do you feel the original algorithm has changed, and what do you miss most about that time?
I don’t remember talking about algorithms back in 2010 to 2012. People watched their favorite Youtubers because their homepage included their subscriptions first and foremost, and then if your subscriptions hadn’t posted anything new, you would typically check the most popular page. Then trending became a thing and now you have algorithms generating your timeline based on a bunch of data. I think it’s forced creators to think externally and hanging onto identities i.e. what are my interests? Am I a gamer? Am I a streamer?
We parodied your music video for “Nice Guys” for our orchestra music camp skit back in high school. If Chester, Ryan, and you, had to recreate “Nice Guys” today, would you focus on the concept of self-love for the current generation? We also really loved “Shed a Tear.”
I definitely think self-love would be a very nice theme. Recreating it would be nice, actually. I think it’s hard to get three people to all be in the same room again, especially after leading different lives. But “Nice Guys” was something special for each one of us, and Chester See deserves a lot of credit because of his musical talent. It’s made me realize today the impact of music. I really enjoy the expression of music because it forces you to be more artistic, versus just saying what’s on your mind. Like poetry, or hearing harmonies.
You’ve worked with many individuals and groups in the past including, A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. If you could create content with any group of individuals who would be your dream collaborators?
At this stage in my life, I really enjoy coming back and rekindling those creative connections and checking in with previous friends or acquaintances. Doing a video with Ryan Higa, Jeremy Lin, Chester See, David Choi, Wong Fu, Jamie Chung, those would all be very fun. But the first step would be to just see how they’re doing. So that’s the closest thing to a best case scenario for me. I’m not trying to force any collaborations at the moment (haha!). Unless it’s convenient.
As an NBA fan you expressed you would like to talk more about basketball on Ryan’s “Off the Pill Podcast.” How do you feel watching sports and has playing sports helped you become more in tune with yourself?
After going through a lot of physical adversity after my car accident, reconnecting with sports has been really helpful. I played basketball for a while and I’d like to get back into soccer. I wanted to talk about basketball on Ryan’s podcast because I was still dipping my toes into Internet content/social media and didn’t want to talk too much about myself at the time.
As a content creator how do you balance not letting validation get to your head and authentically connecting with your audience?
We all seek validation. It’s innate, but it’s about where you seek it. Nowadays I remember to validate myself first, by starting with my mind and body. After a while, you can get a sense of when you need validation versus being totally unconscious of it. Sometimes that sense of validation is important, so we know to check in with our parents, or see if a friend needs positive feedback. To connect with the audience, that’s like number five in my priority list (haha!). Having an audience can be scary; you definitely want to be in tune with yourself first.
How do you deal with comments consisting of “I miss the old KevJumba?”
As live streaming has become a new form of content now, how have you enjoyed live streaming on Twitch for the Head In The Clouds Festival both in 2021 and 2022? We really enjoyed seeing Ylona Garcia sing “Nice Guys!”
It’s fun, I enjoy live streaming and I really appreciate 88rising and Amazon Music for inviting me both years to be the host for their livestream.
What was the decision behind putting your family in your videos?
I put my Dad in my videos accidentally; we were on a ski trip. I think people responded really positively in the comments, and then I just sat down had a conversation with him on camera, and it became a hit. After that he just became his own character. I think I tend to come alive more when I am interacting with someone on camera.
We really liked seeing you upload videos to Team Jumba. Is the mission still to donate earnings to a charity that viewers suggest?
At the moment, no. The Supply, which was the charity I donated to before, has since shut down. I also don’t make much money on YouTube anymore, since I was inactive on my channel for a while, so that format from 2009 will be difficult to replicate.
We really enjoyed the ‘KevJumba and Zooty Extended Play,’ specifically the track “With You in the Clouds” featuring fuslie. How has Valorant inspired your music as well as other forms of content creation?
The album was really experimental. I find the personal connections I made in gaming to be the most enlivening. “With You in the Clouds” was inspired by TenZ and, since he’s such a legendary figure in the pro FPS community, we had to do a worthy tribute. I think paying tribute to the things you like is a really great way to think about content creation.
How do you feel your childhood experiences in Houston, and playing soccer, have shaped you to chase your dreams of acting? How have you enjoyed acting in comparison to YouTube?
I love acting. It’s a wondrous lens at which to see your relationship with others. I find that in studying acting, you are often really studying the human experience or the mind. It’s like learning psychology but you are on your feet, or you are reading great theater. Playing soccer and growing up in Houston don’t really contribute directly to why I enjoy acting, but I very much enjoy coming from Houston and thriving in soccer. It made me commit to something and seeing how consistently “showing up” can really ground your childhood and prove to be valuable, later in life.
How do you feel we can uplift each other across the Asian diaspora and unify to create ripple effects of representation?
I think listening is probably the best thing you can do. Just genuinely hearing about something, or someone, helps you really invest in them during that time that you are there. So I think that’s probably the first step.
What made you go back to school and finish your degree at the University of Houston in Psychology?
No one reason in particular. I was also studying acting at the time back in 2017-2018 when I completed the degree, so it was just testing my limits and seeing what I could balance. I finished it online.
What are your upcoming plans?
Just experimenting on YouTube for now. Making videos with my own effort.
Your first video was uploaded back in 2007 and was titled ‘Backyard,’ where you are dancing to a song called “Watch Me” by Little Brother, off of the “The Minstrel Show.” We also really enjoyed your video with Ryan Higa titled “Best Crew vs Poreotics.” Are you still dancing these days?
Yes. The body does what the body wants.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Nothing in particular. I try to let my mind flow when I answer questions. I may have jumped to conclusions before fully investing in some of the questions, so I apologize. If you are reading, I thank you for your time and patience. I also thank Brown Girl Magazine for putting together a vast array of questions that allow my mind to stretch and work out a bit. I hope you find a stronger connection to your own truths, and I hope I did not disturb those in any way. Regards.
“Naatu Naatu” is one of the most memorable sequences from S.S. Rajamouli’s epic action-drama “RRR,” and has assisted the Telugu-language blockbuster in becoming one of the highest-grossing films at the worldwide box office. With music by M.M. Keeravani and lyrics by Chandrabose, “Naatu Naatu” is a celebration of regional music, dance, national identity, and male friendship.
But long before the song began collecting its accolades, its infectious tune and fast-step dance, performed vigorously by N.T. Rama Rao Jr. and Ram Charan, became a viral sensation outside of the film. It’s now the first song in a movie from India to be nominated for an Oscar and also to have won a Golden Globe.
When asked about the song’s ripple effect across the world, Keervani remarked,
For us — the musicians and artists — social media is very powerful, because of the internet and reachability. Nowadays, globally, anything that is different by nature, anything that is innovative, a little innovative, will catch instant attention.
It all started with a TikTok dance challenge where thousands of fans mimicked the dizzying hook step, choreographed by Prem Rakshith, garnering hundreds of millions of views, and making the song a bonafide global phenomenon. Today, the official YouTube video has well over 123 million views.
While the science behind why certain songs have a higher virality is widely debated, Keeravani attributes a large part to the song’s instant connection with the masses to its unusual 6/8 time signature, taken from carnatic music — which he believes is “inherently encoded in the human body.”
For non musicians, he vocally percusses the rhythm, “thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha.”
[This beat] will give you instant energy. Like suppose, you’re going low on sugar. So there are things like instant energy boosters; like you consume some aerated drink or a cup of coffee with sugar. And instantly your energy is boosted. So six, eight will give you an instant feeling to get up, create some steps and dance. There is a swing in the beat. So you will react to that beat — involuntarily you will react.
Before Keeravani wrote the music for “Naatu Naatu,” Chandrabose was given the challenging task to pen the lyrics to this rhythm. Continuing a long-standing collaboration that began 29 years ago, Chandrabose has co-written over 400 songs with Keeravani, including this iconic title track — his only co-write on “RRR.”
Regionality played a significant role in the composition.
Ram comes from Andhra and Bheem comes from Telangana. Both dialects are different; the slang is different. So, there is a challenge to write both slangs in one song. Everybody should understand those words. That is the challenge.
Chandrabose explained how he needed to appropriately incorporate the various dialects from the regions the primary characters were from, and reflect colloquialisms from 100 years ago, when the film’s story takes place, that is also recognizable to present-day listeners.
In [the lyric] ‘Yerrajonna rottelona mirapathokku kalipinattu’ (which translates roughly to “like eating a jowar roti with a chili” in English), ‘thokku’ means pickly, like mango pickle. In Andhra, it is known as ‘pachadi’ and in Telangana, it is known as ‘thokku.’ So, everyone can relate and connect [to] that word. And since ‘thokku’ belongs to Telangana, that line is sung by Bheem.
The original Telugu version of “Naatu Naatu” was also dubbed and released across a variety regional Indian languages, including, “Naacho Naacho” in Hindi, “Naattu Koothu” in Tamil, “Halli Naatu” in Kannada, and “Karinthol” in Malayalam, and has collectively been streamed over 92 million times on Spotify.
Chandrabose remarks that he envisioned the lyrics to 90 percent of the song in half a day, but it took about 19 more months to finalize the song in its entirety. This was in great part due to the time spent on researching the dialects and finalizing each word to the overall ethos of the song. Rajamouli had given strict direction that the song should authentically be about one’s nature, their culture and countryside, and be universally respectful.
When asked about how they scaled this process across the other five language releases, Keeravani recalled that they had to prioritize lip sync.
Since it’s a dance number, there is a combination of close shots and long shots. So the long shots are spared, but in the close shots, they need to be as close to the Telugu lyric, I mean, lip wise.
He added that the writing team had to make some concessions,
There will be a certain amount of compromise in the meaning of the lyric. But that is inevitable. As long as the song is conveying its main essence, it has no problem.
Culturally, India has a rich history of celebrating songwriters, composers, and music directors in cinema. However, this recognition does not always translate to credit and compensation. For example, “Naatu Naatu” was extraordinarily successful on TikTok, but TikTok isn’t available in India, creating complex monetization adversities. It’s especially important to understand that India’s non-bollywood and independent music market has a nascent publishing infrastructure and is traditionally known to have a work-for-hire payment model where song contributors are not offered royalties.
Speaking optimistically to changing times, Chandrabose shared,
I’m getting royalty from past 12 years (from performing rights societies IPRS in India and PRS in the U.K.).
He explained that, especially with viral songs, some songwriters and composers have only limited careers in the “limelight,” but “after 10 to 15 years, they cannot get more work and they cannot get money.” He speaks to songwriting royalties as a key to retirement for the next generation of song makers.
So, at that time they will receive these IPRS royalties as their pension to meet their needs. They will get these amounts in their old age that will help them a lot.
Upon concluding our chat with Chandrabose and Keeravani, we marveled at the amount of progress that has happened for independent and non-hindi language music communities around the world. The virality of “Naatu Naatu” is a testament to the musical prowess out of South Asia, but also challenges the Western notion that Indian music is narrowly defined by belonging in the catchall ‘world music’ category, or the sounds of the sitar and tabla, or a lightbulb-twisting Bhangra club-hit wonder, or, if nothing else, then Bollywood — all in large part exclusively North Indian. Unfortunately, this distinctly important nuance still plagues Western media and major music institutions.
Recently during a Songwriters Hall of Fame conversation with Oscar-nominated songwriters, Paul Williams incorrectly introduced “Naatu Naatu,” as “the first Hindi-language song ever nominated for an Oscar,” which is spliced with not one, but two errors — not only misidentifying the language but ignoring A.R. Rahman’s “Jai Ho!,” a Hindi song which was nominated and won in 2009 for the same category. As South Asian artists around the world begin to traverse into global markets, we hope to see more Western entities taking the time to research, hire South Asian contributors, and execute due diligence to minimize inaccuracies and cultural erasure.
“RRR” is streaming on Netflix and Zee5. On March 3 it will be re-released in over 200 US theaters as part of ‘The RRR Fan CelebRRRation’. Check your local cinema guides for one-off theatrical screenings.
Oscar-winning director Steven Soderbergh is known for creating a mix of stylish (read: Channing Tatum-starring “Magic Mike”) and influential films (like “Traffic”).
It’s no surprise to see his name attached to stars like Claire Danes, Dennis Quaid, Timothy Olyphant, Jim Gaffigan and writer Ed Solomon (of “Men in Black” and “Bill & Ted’s Excellent Adventure” fame). But a story about the Guyanese community in Queens, New York was quite unexpected.
“Full Circle” is a whirlwind thriller that released in July on the streaming platform Max.
The six-part mini-series centers around the foiled kidnapping of Jared Browne (played by Ethan Stoddard), the son of Samantha and Derek Browne (Danes and Olyphant) and grandson of celebrity “Chef Jeff” McCusker (Quaid).
The scheme is devised by Savitri Mahabir (played by CCH Pounder of “Avatar” and “NCIS: New Orleans”), a wealthy Guyanese businesswoman with a host of nefarious ventures, and her right-hand man, Garmen Harry (Phaldut “Paul” Sharma). Mahabir is seeking revenge for the recent murder of her brother-in-law by rival Edward Chung, but what does this have to do with the Brownes?
The answer to this question and the unraveling of other dark secrets is what “Full Circle” is all about.
Now, if this sounds complicated, that’s because it is. The show is fast-paced and makes good use of cliffhangers to keep you watching, but, frankly, the episodes are shaky — quite literally in terms of camera work and figuratively.
Early on, Soderbergh darts between stylish, abstract shots of objects in the shadows and minute details that may create an air of mystery, but ultimately just confuses viewers, raising questions that never get answered.
Most of the acting also leans toward melodrama, but many of the supporting cast members — particularly Sharma and Zazie Beetz (as Detective Mel Harmony) — are commendable, delivering natural performances with the right doses of intimidation and snark.
On paper, the plot of “Full Circle” has all the pieces for suspense, but writer Ed Solomon seems to lack confidence in the viewer to figure it all out, opting against compelling revelations in favor of long-winded monologues summarizing everything for the viewer. This is needed, unfortunately, as most other dialogues are unproductive; consisting solely of characters responding to questions with more questions.
Another major point of contention is the portrayal of Guyana and the Guyanese community.
While The Hollywood Reporter suggests the team had several creative consultants, those with knowledge of the country could say the series actually offers a convoluted image.
The attention of Guyanese viewers like myself may pique hearing familiar words like pickney (children) and bad eye (evil eye) and catching glimpses of Georgetown. Those in Queens may smirk at the mention of real-life venue, Gemini’s Lounge, but other elements arguably come off as reductive and a bit unflattering.
The Guyanese characters are the antagonists. Mahabir is shown lying, cheating, stealing and plotting murders with a smile on her face. She doesn’t use facts or strategy to guide her actions, but Obeah practices and fear of curses.
The casting of these roles is also up for debate considering several staging choices were made by the creators.
For example, an early scene shows a Hindu funeral with a pandit reciting prayers and a chowtal (North Indian classical music) group sitting by in white kurtas and shalwars. This is a familiar sight for many Indo Caribbeans but, as the camera pans, audiences are introduced to several Afro-identifying actors playing the mourning family including Pounder and Jharrel Jerome (as Mahabir’s nephew, Aked).
Guyana is a diverse nation where cultures and racial identities often intermingle and, of course, there very well can be Afro-Guyanese Hindus with Indian names, but one could argue the series missed a huge opportunity to offer rare Indo Guyanese representation in these roles.
While Pounder (born in Guyana) and Jerome are talents with impressive resumes, it begs the question if they were the right talents for the roles. To some viewers, the answer is no.
“Guyana is trending right now. There’s the oil, the booming tourism, chefs on TV and Instagram,” shared Sonia, a young Indo Guyanese woman from Queens, reflecting on the show with me. “In that way, I’m happy [the country is] on people’s radar, but [it seems like] nobody looked into the characteristics of the people before casting. Some things are just not culturally correct. The Obeah is dubious and the Guyanese accents will leave you scratching your head.”
This reaction is not surprising. Aside from Pounder and Sharma, none of the cast is Guyanese, let alone Caribbean. In fact, Pounder shared in an interview that pages of the script were rewritten several times to play with Guyanese elements.
To be fair, I wouldn’t be surprised if the creators had difficulty finding actors for the characters, especially Indo Caribbean actors. But for those familiar with the country, “Full Circle” could appear to have haphazardly mixed the actors as well as bits and pieces from a variety of Guyanese cultures in an attempt to create a catch-all portrayal, rather than a necessarily accurate one.
Today, there are talks of not one, but two Jim Jones biopics starring Leonardo DiCaprio and Joseph Gordon Levitt, respectively, but Guyana is more than the dark history of Jonestown or shady acts like those orchestrated by Mahabir.
Guyana is a country with a rich history, diverse culture and proud people. As one of the first high-profile Hollywood productions to highlight Guyana, it’s disappointing to see “Full Circle” fall into Jonestownian tropes of using it simply as a poverty-stricken place to be exploited, where people will do anything for money and personal gain.
While it’s exciting to see Guyana and the Queens community in a mainstream series and to hear Hollywood bigwigs utter names like Essequibo, “Full Circle” also exemplifies just how much room for growth there is in Indo Guyanese representation.
Hopefully “Full Circle” is just the first of many productions to explore Guyanese culture and, in the near future, we can escape the negative stereotypes that remain so prevalent. For the time being, the series is one that leaves a lot to be desired on many fronts.