Last week’s “Quantico” episode had heads spinning from beginning to end. It is evident that none of these characters can be trusted.
Who is really helping Alex Parrish? And, who is a part of the larger plot to frame Alex?
These questions were raised largely about Simon Asher, and with some help from Ryan Booth, Alex approaches Simon for help—which proves her innocence. She takes the C-4 from her apartment that was used to frame her, along with a piece of wire—the only real piece of evidence that could lead to the actual terrorist.
Simon agrees to help her, taking her to his office where he can analyze the evidence.
When he trips an alarm to alert the authorities, Alex, as well as the audience, thinks that he has set her up. Quickly, he explains that in order to successfully help her without implicating himself, they need to make it look like he did it under duress.
However at the end, it is revealed that while Alex and all of her other former Quantico classmates think Simon was kicked out of the training academy, but he is actually an undercover agent.
Being able to effectively play with the audience’s perception of a character’s innocence or guilt is an impressive feat. “Quantico” has already proved itself to be a series that will have the audience guessing until the very end. The twists and turns keep the show intriguing, but may also get tiresome if it continues at such a fast pace for the rest of the season.
Does the audience have the endurance and patience to last eighteen or nineteen more episodes of emotional, intense narrative twists?
We’ll have to wait and see.
While critics continue to seem pleased with Priyanka Chopra’s performance, there have also been many critiques—mainly from the South Asian community.
In the beginning, Chopra’s accent was a topic of conversation. Some felt that her accent was not convincing enough to play an American FBI agent. Then, her character’s “Americanized” name became a sore point. She was also accused by some of not embracing her Indian heritage by trying to play an “ethnically ambiguous” character, as Chopra puts it. Others have said that the intimate scene in the start of the first episode was purposefully put there just to show that brown girls can be casual about sex too.
Chopra has been placed under a magnifying glass, mostly because she is an iconic Bollywood star who is now an international television and film personality. She is seen as a representative for India and South Asians around the world and has the chance to depict a South Asian woman of modern times accurately on American television. But, one of the points people seem to have forgotten, is that Chopra is simply an actor playing a character.
There are some people of South Asian descent in the world who do not have overtly ethnic names, like John Abraham or myself, for example. Alex’s father was white, so it would seem odd for her last name to be Sinha or Kapoor or Khan.
With that, Chopra does not control the name or the actions of her character. Those decisions are left to the creators and writers of the show.
Whether a Caucasian, African American, Chinese, or Hispanic actor played Alex, that sex scene would most likely still have been a part of the first episode. It shows the character’s attitude toward love, relationships, and sex.
While it is understandable that Chopra is a role model for South Asians and has been given a platform to change the way South Asians are viewed in the American entertainment industry, Alex is the character of a normal American woman with her own life, actions, and morals, separate from those of Chopra.
When it comes to Chopra, she is a brown girl professionally killing it internationally.
Gabrielle Deonath is a full-time college student. She is a contributor to the teen column, “At The Crossroads,” in SISTERS Magazine and the author of the “Hijab Diaries” series on virtualmosque.com. Her dream is to be a journalist and novelist one day. One of her biggest obsessions is Bollywood movies and music. When she’s not in class or following her dream of becoming a writer, she most likely is choreographing a dance to the latest song or watching a new Bollywood movie. To read more, visit her blog at hijabdiaries.com.
Being a teenager is scary. Hormones, high school, trying to fit in — add to it a flesh-hungry demon from the Indian subcontinent and it becomes downright terrifying. At least, that’s what award-wining director Bishal Dutta’s debut feature “It Lives Inside” will have audiences thinking when it hits theaters on Sept. 22.
From the producers of several blockbusters including “Get Out” and “Us,” “It Lives Inside” stars Megan Suri as Samidha. Samidha is an Indian American teenager growing up in a quintessential small town, where she’s one of only a handful of South Asian faces at her school. She has a sweet, hardworking dad (Vik Sahay) and a caring, but stern mother (Neeru Bajwa). Both of them like their daughter home early to make prasad for prayers and insist no one whistles in the house, fearing it’ll attract evil spirits.
Much to her traditional mother’s dismay, when Samidha enters high school, she begins to resist her Indian culture. She prefers to be called “Sam,” and speak English, leaving her homemade lunch tiffins on the counter on her way out the door. Most significantly, she distances herself from her former best friend and fellow Indian, Tamira (Mohana Krishnan)
Tamira has become the center of school gossip carrying around an ominous black mason jar, dwelling beneath the gym bleachers. One day, she corners Sam in the locker room, begging her for help from the “monster” trapped in the jar, but Sam is rigid. Her desire to fit overcomes her emotions. Tamira storms out — and then mysteriously goes missing.
Little does Sam know, her childhood friend’s behavior and disappearance were brought on by the Piscacha — a flesh-eating Hindu demon drawn to negative energy — and Sam’s disbelief has just unleashed its terror back on her.
“It Lives Inside” is a breath of fresh air. It has the nostalgic backdrop of a 1980s teen movie (think “Sixteen Candles” or even “Halloween”) but adds the thrill of an exciting new monster for horror fans, and looks for the final girl.
Audiences have spent decades watching and screaming at faith-based horror stories like “The Exorcist,” “The Conjuring,” and “Carrie,” but “It Lives Inside” is the first of its kind for Hollywood, drawing from Hinduism for its frights.
Now, I can’t lie…when I first learned the story would be rooted in Hinduism, I was nervous. I worried that religion and culture may be used as a gimmick, but I was pleasantly surprised.
Dutta’s approach is reminiscent of Bisha K. Ali’s with “Ms. Marvel” on Disney+. Characters speak Hindi and we see South Asian religious practices, foods, and clothing displayed prominently, in a natural and authentic way that other groups can easily learn and understand. The culture merely rounds out the story, it’s not the main character or conflict.
The Piscacha, feeding on the despondence of its prey, may remind some of Vecna from season 4 of Netflix’s “Stranger Things,” but Dutta offers a fresh angle, alluding to the characters’ negative feelings toward their culture being the source of its power.
He offers South Asian American audiences relatable family dialogues and dynamics, but also steers clear of cliches like showing popular kids as mean or Sam’s American crush unlikeable.
“It Lives Inside” isn’t a horror movie you’ll lose sleep over, but that doesn’t mean it’s without palpable moments of fear.
Thanks to Dutta’s creative shots, smart pacing and sensory visuals, in addition to the emotion-packed acting of its cast, the film successfully makes your skin crawl and your jaw drop on several occasions.
The characters are smartly cast with several standouts. Suri is a welcome new face for the horror genre’s final girl and she delivers her role with the right amount of escalating fear and desperation. Meanwhile, Bajwa leans into hers with the passion you’d expect from a protective brown mom, though, at times, some of her Hindi dramatells come through.
“Get Out’s” Betty Gabriel is also noteworthy as Sam’s teacher Joyce and an early confidant. Her support of Sam was a refreshing break from the “this person must be crazy” trope we see so frequently in demonic films.
All that said, “It Lives Inside” does border on being formulaic. It follows a template and scares we have seen numerous times and ones that have done well historically.
But in its familiarity, it also manages to feel fresh. With its South Asian twist, the film proves that even formulaic horror films can find new life through diversity and inclusivity. It raises the idea that they have the potential to scare wider audiences and tell more spooky stories by exploring new cultures and casts.
While “It Lives Inside” is not perfect — the climax may leave you with a few lingering questions — it is a stylish and well-made film and a welcome piece of mainstream South Asian representation.
Recent past has seen South Asian stars delve into many different genres on television and the big screen, but horror has remained largely untouched. Thankfully, “It Lives Inside” has set the table for some brilliant South Asian-based horror films in Hollywood for years to come.
“It Lives Inside” made its world premiere at SXSW and has made its way through the film festival circuit. It will be released theatrically by Neon on September 22.
“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.
This film is a worldwide collaboration among trans and queer south-Asian artists from the United States, India and Canada. It was recorded, shot and filmed during the lockdown of 2020 and 2021.
Awake at 10 am but out of bed at noon,
I want to be here where I lose myself in these sheets
Glancing through half-shut eyes
At the gold pressing past my window
The glimmer remarks on the ledge of my bed
But the voices are so loud
Like dust collecting in the corner of my room
I am unaware to why I’m still here
With the chilling doubt of the breeze…
I’m swept into lucidity After so long
Mil rahi hoon mein aaj iske saang barso baad,
(Today, I’ll be meeting them after so long)
Koi paata nahi diya tune
(But with no destination sight,)
(What should I do?)
(Where should I go?)
Shayad agar mein chalne lagoon,
(Perhaps, if I keep walking)
Inn yaadon ki safar mein
(Down this road of memories)
Mujhe samajh mein ayega,
(I will find out)
Yeh rasta kahaan jayega,
(Where this road leads)
Inn aari tedhi pakadandiyon pe baarte hi jaana hai,
(Through the twists and turns of this winding roads, I must keep going on)
Mujhe mil na hain aaj uske saath,
(I wish to meet them today)
(After so long)
I feel like I’m retracing my footsteps
From these concrete stretches
To broken cement walls
Chips and cracks forge their way for new designs
I see the old abandoned buildings
That once held the warmth of bodies
Now just hold memories
Supporting the nature’s resilience
In vines and moss
After so long
Dhoondli shishe mein jaaga leli hai
(These isty mirrors have offered refuge)
Bikhri hui laatao ne,
(To these scattered vines)
Zameen pe uchi ghaas pe
(Amidst the tall grass stretching from the ground)
Lehrati kamsan kaliyaa
(The swaying little buds)
Bheeni bheeni khushboo bikhereti
(Spreading honeysuckle scent through the air)
Phir wahi mausam,
(I lose myself in reminiscing, the same season)
(The same heart)
(After so long)
Phir bhi mein chal rahi hoon aaj
(Still, I keep carrying on today)
Khudko khudse milane ke liye
(In the pursuit of my higher self)
Inn galiyo se guzarna hain aaj
(I must pass through these streets today)
Chaalte chaale jaana hai aaj
(I must keep going on today)
Kabhi hum milenge kisi mor paar
(Someday, we’ll meet again, somewhere on this road)
(After so long)
Kabhi hum milenge kisi mor pe
(Someday, we’ll meet again, somewhere on this road)
(After so long)
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Few people can call themselves rocket scientists. Even fewer can say they are a rocket scientist-turned-actress, producer and Broadway star. Salma Qarnain is a Pakistani Muslim woman who can claim the title.
Artistry runs through Qarnain’s veins. Her grandfather was a filmmaker in Bombay and Karachi, before passing away at a young age. Her mother performed in plays throughout college. Now Qarnain is using artistry to build empathy, playing characters that represent her family’s story and promoting Black and Brown allyship through Black Man Films — the production company she co-founded with Roderick Lawrence.
Qarnain grew up in the Midwest but traveled back to Karachi often. Some of her earliest memories were in Karachi singing along to the Beatles and pretending to be Ringo Starr. When her family moved to the United States, typical of South Asian immigrant parental influence, her interest in math and science and immense love for Star Wars led her to pursue aerospace engineering, hence rocket science. Her mother’s passing forced her to rethink her goals and when she wanted to achieve them.
Today, she describes her purpose for creating art in profound terms.
I want people to be equal. I want people to understand we’re very much all together a speck of dust in the entire universe, and that there are so many more things we share than we don’t.
Starting entertainment work in the aftermath of 9/11 made it clear how she, a Pakistani Muslim woman, would be seen.
I remember [at] that time… Friends of mine told me, ‘Don’t let anybody know x, y, z about you, because they may have a bias against you. Something might happen.’
The beginning of her career was defined by how Western culture perceived Muslims and South Asians. Her first entertainment gig was as a casting assistant in Washington D.C. She noticed if South Asians were cast,
They were going to be playing something stereotypical to what a South Asian person is thought of… that could be the geeky, mainly male, math nerd, or a terrorist.
While the position provided an opportunity to learn about what it took to become an actress, Qarnain also leveraged her responsibilities to make a change — if a role didn’t absolutely require a white actress, she would gather diverse resumes for the casting director, slowly trying to shift the idea of what a person of color on television had to be.
With people of diverse experiences joining writer’s rooms and a “pipeline of young South Asian actors,” the industry has improved but isn’t close to equitable. She sees “Life of Pi” on Broadway and Black Man Films as ways to combat that.
Broadway’s adaptation of Yann Martel’s 2001 novel brings a multigenerational South Asian cast to the stage and has Qarnain playing two roles — Pi’s (gender-swapped) biology teacher, an analytical, guiding mentor, and the Muslim cleric Pi studies under. “Life of Pi” is one of Qarnain’s favorite novels for being a story about faith, storytelling and the power of both to provide hope. She took a callback for the role via Zoom in an Applebee’s parking lot.
I feel very invested in both of these characters. Just because they are absolute extensions of who I am as a person, and to have this be my Broadway debut — I couldn’t have asked for anything better.”
She got to play a Pakistani Muslim character once before in the off-Broadway play “Acquittal.” It was the first time she could represent an authentic story. In “Life of Pi,” Qarnain helped workshop the scenes with the cast and playwright Lolita Chakrabarti to make them more authentic.
She absolutely took our suggestions and comments and reactions, for myself, from another person in our cast – who’s also a Muslim – and then from castmates, [who are] Catholic and Hindu, to understand what would work and what would people respond to. That’s where the gift was, that [Chakrabarti] was very receptive to what we had to say.
Black Man Films and her partnership with Roderick Lawrence run parallel to her theatrical journey. The pair formed the production company during the pandemic through a short film that Lawrence created to explore Black men’s mental health. As an enthusiastic fan of Lawrence’s work and having wanted to begin producing for film and television, Qarnain joined the project immediately. The short film, “Silent Partner,” went to 21 film festivals and won Best Short at several.
It was never done for accolades. It was done because there was a purpose and message to the story around Black men’s mental health told through the lens of micro-aggressions in the workplace.
The second short film, “Speak Up, Brotha!” was released in late March and will be played at Oscar-qualifying film festivals, this summer.
For Qarnain, Black Man Films is a platform for change and Black and Brown allyship.
I want people to look at our films and understand where they are, who they are in this film; in “Silent Partner.” If they’re complicit in propagating systemic racism, and, if so, what are they gonna do about it? How can they start? How can they talk to their parents? How can they, you know, engage with other South Asians and put a stop to colorism and any racism that exists against the black community?
Telling stories that reflect the experiences of people of color gives creatives the power to build systems that can improve people’s lives.
There is a racial hierarchy that exists and if we want to break that, we have to be a part of building everything, not just for us, but for everybody who isn’t white.
She is confident that the stories she’s helping bring to life will do just that and change the world in the process. From “Life of Pi” to “Speak Up, Brotha!” the possibilities for encouraging justice and empathy are endless.