A recent episode of “Koffee with Karan” featured India’s sportsmen for the first time in the show’s history, with cricketers Hardik Pandya and K.L. Rahul of the Mumbai Indians revealing all about their families, competitive profession and sex lives. Within a week of the January 6 airdate, both cricketers faced immense social media backlash and were banned from the sport indefinitely.
“Koffee with Karan,” director and producer Karan Johar’s celebrity talk show, is known to be controversial in nature. Because Johar seems to know most of India’s popular personalities on a personal level, his show creates an environment where celebrities, even with their great PR training, feel as though they are just having an intimate conversation in his living room. This is exactly why it continues to rake in high ratings. “Koffee with Karan” is a peek behind the glamorous gates of Bollywood, welded shut to the outside world. It’s the only place one can watch the nation’s most loved stars, unfiltered.
The only professionals in India idolized more than film stars are cricketers. As Johar acknowledged at the start of the episode, Indian cricket fans exhibit a kind of religious fervor for the beloved sport. Cricketers in the Indian Premier League are considered national role models, and there is a certain level of professionalism and sportsmanship expected of them. That’s why when Hardik Pandya spouted several comments construed as misogynistic and borderline racist on Johar’s show, it created a massive uproar.
Specifically, when talking about attending nightclubs with his teammate, Hardik Pandya admitted that he doesn’t learn the names of the women that he meets:
Pandya: “It’s difficult to ask her name after talking for one hour…”
Karan: “It would be nice in the beginning to ask the name, na?”
Pandya: “There’s so much to talk, man. How can I remember the name also? I mean, it’s so loud.”
Johar: “What exactly are you talking [about]? I want to know.”
Pandya: “It’s not talking. It’s just watching, observing how they move.”
Johar: “Is that important to you?”
Pandya: “Obviously.”
Johar: “It gives you an indication.”
Pandya: “As I said, I’m a little from the black side, you know. So I have to see how they move first. Then I can imagine the picture. I mean picture as in how they move.”
His statements seemed to clearly perpetuate the objectification and disrespect of women, the epitome of “locker room talk,” and “Koffee with Karan” viewers and cricket fans were quick to express their outrage over his comments.
Just watched the KL Rahul and Hardik Pandya's episode on Koffee with Karan and Pandya there emerged as a perfect example of "why education is equally important for each one of us".#KLRahul#HardikPandya#KaranJohar#KofeewithKaran
"The episode further proves that cricket is not a gentlemen's game. It's dominated by UC, nationalist, sexist men who're smug about their privilege and the crazy fan following they have." https://t.co/88rQrTZhMw
Last night's koffee with karan episode with Hardik Pandya and KL was the only episode where I cringed so much instead of being entertained. Hardik Pandya is truly an epic example of how money and fame can't necessarily bring u class and he also proved how important education is!
However, his apology didn’t satisfy the Board of Control for Cricket in India (BCCI). According to the Hindustan Times, both Pandya and Rahul were issued show-cause notices just a few hours later, allowing them 24 hours to provide an explanation for their remarks on the show. They were suspended from professional cricket activity pending investigation and were sent home from the team’s Australia tour.
Sreesanth’s observation about the swift and unforgiving punishment doled out by the BCCI is indicative of a recent shift in tolerance of such behavior. This is likely due to India’s #MeToo movement, which began in September 2018, highlighting rampant sexual misconduct by prominent figures in various professions and giving survivors a platform to share their trauma with the world.
The BCCI CEO, Rahul Johri, was accused of sexual harassment in late 2018, and the allegations were investigated by a probe panel. Though a female member of the panel (lawyer and activist Veena Gowda) recommended that Johri partake in gender sensitivity training, and the female member of the two-person Committee of Administrators of the BCCI (former captain of India’s women’s cricket team Diana Edulji) believed he was no longer fit to act as CEO, the BCCI came under fire for clearing him of all allegations and allowing him to return to work.
The strict form of discipline used against Hardik Pandya and K.L. Rahul could be an attempt by the Committee of Administrators to get ahead of this newest scandal and minimize additional harm to its reputation. If the BCCI had not been caught in the middle of India’s #MeToo movement, it is probable that more lenient action would be taken against the players, as Sreenath points out has happened in previous cases.
Pandya also lost an endorsement deal with Gillette just before the personal care company unveiled its new international campaign — #TheBestMenCanBe — directly addressing the issue of sexual harassment and the #MeToo movement, amongst other issues stemming from toxic masculinity.
Mumbai’s sports club Khar Gymkhana also terminated Pandya’s honorary three-year membership, just granted to him in October 2018. According to Khar Gymkhana’s joint secretary Gaurav Kapadia, the call was unanimously decided due to pressure from other club members, specifically its female members.
Because of the #MeToo movement, women’s voices are being heard more than ever before, society’s notions about what behavior is appropriate in and outside of the workplace are being reevaluated and companies are reassessing their values as they adapt with the times.
While there is still a long way to go, it is evident that this type of reaction would not have occurred in years past. It wasn’t long ago that the Hindi film industry and the media were slow to condemn an ignorant comment involving rape made by superstar Salman Khan during promotions for the film “Sultan,” and though there was a similar sense of public outrage from fans, “Sultan” still went on to become one of the biggest successes of 2016.
It’s a lesson learned the hard way for a rising cricket star like Hardik Pandya, but it’s this “locker room talk,” unchecked behavior and lack of awareness that perpetuates the dangerous mindset that can escalate to sexual harassment and assault. And isn’t accountability what survivors have been fighting for all along?
January 1, 2023January 1, 2023 7min readBy Brown boy
Wyatt Feegrado
Wyatt Feegrado is a comedian and content creator from Walnut Creek, San Francisco, California. Feegrado moved to New York City to attend the Tisch School of the Arts at NYU. Feegrado always wanted to be a comedian and grew up watching “The Last Comic Standing” with his mom — his favorites being Alingon Mitra and Sammy Obeid. In 2020, Feegrado starred in the TV show “Bettor Days,” on Hulu and ESPN+, as the character Vinnie bets on the baseball team The Astros and wins big. Feegrado also has a podcast called “First World Problematic,” along with Vishal Kal and Surbhi, where they talk about a range of topics such as racism, sexism, and homophobia, and will be dropping an “Indian Matchmaking” Reunion show. Currently, in Bangalore, Feegrado is performing his first show in India, at the Courtyard in Bangalore. He was previously on tour in the United States. He recently dropped the Amazon comedy special “Wyatt Feegrado: De-Assimilate.” Continue reading to learn more about Wyatt Feegrado.
Do you feel that your upbringing in Walnut Creek and your personal experiences are what molded your comedic style?
Walnut Creek, for people who have never been there, is frankly a very white place. I must’ve been one of four or five Indian kids in my high school of 2000. I think growing up like that, you begin to believe that it’s a bit ‘odd’ that you’re brown. Part of finding my comedic voice was changing that perspective to say; it’s not weird that I’m brown, it’s weird that you’re not. That’s the paradigm shift — I don’t move through the world trying to impress people, why should I? Who are they? They should be trying to impress me.
What was it like attending the Tisch School Of The Arts and what classes helped shape you as a person?
I hope I don’t get too much flack for this…but I don’t really think that NYU helped my career very much. Being in New York helped me immensely, it raised the ceiling on what I could achieve. I really appreciate NYU’s approach, they teach art as a fundamentally collaborative discipline, which I do believe it is. However, that’s just not how I learn. I’m a competitive person, I want to be pitted against my fellow students and prove I’m the best. That motivates me. I would say, if you want to use NYU or any art school to your advantage, understand that classes are only half of what you’re supposed to be doing. That was a pet peeve of mine, I used to see my fellow students finish class and simply go home. That’s not the way to do it in this industry. Every day, after school, I used to go to two or three open mics, send in self-taped auditions, and make opportunities of my own. You’re betting on yourself — so go all in.
What was the process of creating the comedy special “Wyatt Feegrado: De-Assimilate?”
In terms of writing the jokes, it’s the culmination of studying joke writing for 10 years. But I was approached with the opportunity in March or so, and I had my reservations to even tape a special — I’m a perfectionist so I wanted all my jokes to be some of the best ever written. But that’s just a bad strategy in terms of trying to make it in life. When an opportunity falls in your lap, you have to take it no matter what. Worry about whether you’re ready later. One time I was cast in a commercial for Facebook that required me to do skateboard tricks. I lied and said I knew how to do skateboard tricks at the casting call. I landed the commercial and then started practicing how to skateboard. I think the most important lesson in comedy you can learn is how to believe in yourself when nobody else does. I always have the confidence that I will rise to the occasion.
What was it like getting your special on Amazon Prime?
So Four by Three, the amazing production company that produced my special, has a very good relationship with Amazon, as they’ve produced a lot of content for their platform. They handled distribution for me, and together we made the strategic decision to also release De-Assimilate on YouTube. I think because of the over-saturation of streaming services you have to pay for, combined with the renaissance YouTube is having, where a lot of the content will have TV-level production value, more and more young people are turning to YouTube as their primary source of content. People are always asking who is going to win the “streaming wars.” My dark horse candidate is YouTube.
As a comedian how do you deal with hecklers?
So many comedians are mean to hecklers. I hate that. There’s no reason for that. They’re a person too and it’s not right to berate them unless they truly insulted you first. In my opinion, there are three types of hecklers — the heckler who is just too drunk, the heckler who thinks they’re helping the show, and the heckler who actually hates you or thinks you’re unfunny. I think only the latter deserves to be berated. The rest of them I try to work around, and tell them they’re interrupting the show in a way that doesn’t interrupt the show in itself.
What was the first joke you ever wrote and your favorite joke you have ever written?
Oh god this is going to be horrible. The first joke I every wrote was:
“Shawn White is a professional snowboarder, but a lot of people don’t know he is also very skilled in Curling, his hair”
That is so bad. I’m embarrassed. At least it disproves the BS some people say that “funny isn’t learnable.” That is NOT TRUE. What they mean is the infrastructure for funny scant exists. There’s no Standup Comedy Major in Art Schools or Textbooks that teach joke writing. There will be one day, but for now there isn’t.
My favorite jokes I write are jokes that I really think encapsulates the zeitgeist. My favorites on the special are the joke about how Jesus’ Disciples are Brown, and how the Vaccine is the first time anyone in the US has gotten healthcare for free.
Are there any jokes that you regret telling in front of an audience?
Of course. Referring back to my answer to the first question, any joke that has the underlying presumption that it is ‘odd’ to be brown — which is a genre of jokes that many Indian-American comedians in history have been pigeonholed into — I regret saying those type of jokes when I first started. Now I do the opposite. Sometimes I’ll do a joke about how Jesus was brown in Texas just to piss them off.
What has been your favorite project to work on?
Flying to Nashville to shoot Bettor Days for ESPN+ was great. I was just out of school at the time so it felt amazing to make money, travel, and work. Also the sets were fun and I’m still friends with the cast. And then getting to see myself on TV for the first time — thrilling.
Can you tell us more about your podcast First World Problematic?
Yes! First World Problematic is the comedy podcast I host with Vishal Kal — yes the same one that broke Nadia’s heart on Indian Matchmaking — and Surbhi, another close comedian friend of mine. We’re all Indian-Americans, and we discuss a wide variety of topics, such as dating, pop culture, and just in general make a lot of jokes. ALSO! We just released an Indian Matchmaking Season 2 reunion special — we brought back all the cast members of season 2 for a tell all! In Jan we plan to do a Season 1 reunion.
Who do you look up to in the world of comedy?
Man. I’m a student of a looooooooot of comedians. So so so many people I look up to. Steven Wright and Dave Chappelle are my first loves. When I was a kid, I used to think standup was just time pass, until one day I stumbled upon Dave Chappelle: Killin Em’ Softly on YouTube. That is what made me realize that standup can be high art. That is when I knew I wanted to be a comedian. Steven Wright is the comedian who first inspired me to write jokes, many of my first jokes emulated him. I have learned so much about modern Joke Structure from Dave Attell, Emo Phillips, Dan Mintz, and Anthony Jeselnik. Bit structure I take directly from Louie CK and Bill Burr. As for my comedic voice, I learned so much from Paul Mooney. Listening to him is what I feel really unlocked my approach to comedy, the way how he is so mean, so aggressive. He talks about white people the way the media talks about black people. I always thought us Asian people needed that, an Asian comedian that talks about Asian-American issues, but not with the friendliness you typically see Asian comedians portray. He taught me to be in your face. And Chappelle taught me how to be nice about it.
Do you feel that South Asian comedians can be easily pigeonholed?
Historically — unequivocally yes. In the modern times, much less so. I very much think South Asian comedians in some sense pigeonhole themselves, by trying to emulate past South Asian comedians, who were pigeonholed by the market. I do think now, and it is completely because of social media, there is a market for every kind of comedy. Like I said in my previous answer, I’d like to be a South Asian comedian with the confrontationality that we have historically only seen from Black comedians.
But you know who is really pigeonholed nowadays? Female comedians. This may be a tangent, but if there was a Female comedian that talked about Female issues, with the hostility towards men that Bill Burr will occasionally have towards women, in my opinion she would likely be the GOAT.
How do you feel social media such as Instagram, Twitter, TikTok, Facebook, and Snapchat have changed comedy?
Social media has been a truly beautiful thing for comedy. It has completely decentralized the power structure of our business. Back in the day, if you wanted to get famous, you had to do comedy that appealed to the white men who held the power at the networks, at the talk shows, in the writers rooms. They still do control all those things, but now because of social media the people watching our stuff are representative of the population, and we can grow our followings because the market is wider. Now if you have a social media following, you have all the leverage, and therefore you see a multitude more styles of standup comedy out there. Also social media in my opinion is the third great comedy boom. Seinfeld made standup a household art form, Netflix made it possible for people to binge watch standup, and now Tiktok and Instagram have proliferated standup to the point where it is EVERYWHERE. There are more comedians than ever and there’s a bigger market for standup than ever.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Us Indian-Americans are at a very interesting financial and cultural intersection. Indians are the richest ethnicity in America, and culturally Indian parents will generally pay for their children’s college, unlike other ethnicities. If Indian parents were to hypothetically support their child to go into the arts, just like they may support them in getting their Masters degree, I believe Indians would have an astronomically higher chance of making it in the arts than anyone else. The greatest gift you can give your artist child is financial support in the early stages, since we all know the early stages of the arts make next to nothing. We just have to get rid of the Doctor, Lawyer, Engineer only BS that I would argue is a remnant of the Caste System in India.
Also, remember to call white people Euro-Americans. It helps the movement!
South Asian representation in entertainment and media is rapidly increasing nationwide. “We are making strides in the industry, and I am excited about the journey ahead,” said Indian American actor Teresa Patel, known for her roles as Paramedic Harvell in the NBC medical drama, “New Amsterdam,” and Neela Patel in the ABC soap opera, “One Life to Live.”
As a rising star, Patel is breaking barriers for South Asian women nationwide. We, at Brown Girl Magazine, had the opportunity to speak with Patel, a pharmacist by day and an actor by night, about her journey into acting and how she balances both careers.
Patel’s acting career was inspired by watching Bollywood films while growing up. As a child, she would reenact popular Bollywood films with her sister and neighborhood kids.
While her love for Bollywood is common among South Asians, her background and continued work in pharmacy are what make her stand out the most among other creatives.
“I went into pharmacy school knowing that I wanted to do both,” Patel said.
She added that while she knew she was interested in both, she wasn’t sure how to pursue them initially. She never let that dream or passion die down.
“I’ve always known I wanted to pursue acting. I knew I would have to pave a path to pursue acting, and I figured I will work as a pharmacist until I could make it possible — because acting is an investment.”
Patel shared her experiences and emphasized the importance of financial stability, especially for women.
“I believe in strong independent women who can finance their own dreams and build the life they want to live. You don’t want to have to rely on anybody else to do it for you.”
She shared that while it was something her parents did want her to pursue, being a pharmacist was something she eventually loved doing and ultimately helped her pursue her dreams of acting, due to the financial stability it provided as she built her acting career.
“I enjoy what I do and that’s what I love about the life I created. I have grown to love my pharmacy life and I love pursuing acting. I feel fulfilled with both.”
When talking about balancing two demanding jobs, Patel walked us through a day in her life. We spoke about the importance of organization and how she managed to juggle both, but of course, it didn’t all come easy. She shared how she worked during the day and simultaneously enrolled in an acting conservatory which she attended in the evenings.
She also noted that she had to make a lot of personal sacrifices since her time was limited with work, training, and auditioning. But despite how difficult the times were or how much she initially “struggled” to find that balance, Patel shared that those were some of her “most memorable” times.
“It felt like a hustle, and I had the chance to experience two very different parts of my life. Looking back, a lot of my growth as a person happened during this time — which is what makes it so memorable for me.”
Speaking about representation and how the media has changed over time, Patel noted that while South Asians are still often given stereotypical roles, recently, a change can be seen in the roles they have been playing and creating.
“There’s just more inspiration and more out there now,” she said, speaking of the different emerging writers, actors, and shows depicted in the media.
“South Asians are starting to be seen as leads, as people who can have love interests, who have their own issues, not just white-collar professionals on screen.”
She added that change cannot happen overnight but is slowly occurring in media spaces. Patel also noted that more roles that don’t just highlight one’s identity are needed, adding that roles should not just represent a culture but be able to be played by anyone, despite identity or color.
Reflecting on roles that emphasize characteristics only associated with one culture, she said:
“Women have so many types of backgrounds, that’s what I want to see more. A role shouldn’t be just for South Asians,” Patel said. “Like any woman should be able to take a role, my identity shouldn’t define what roles I can get.”
Outside of acting and being a pharmacist, Patel wears several other hats including directing her own short film. Without giving any spoilers — we learned that Patel’s film will revolve around the bond between herself, her sister, and her nephew.
“Instead of waiting for the right role or opportunity, I realized I can invest in myself and create my own.”
In terms of advice, she would give to others,
“I don’t believe we are all meant to do only one thing all of our lives. We are full of potential, but you do have to believe in it and try your hardest to live up to it,” she said.
She noted that people often “glamourize” the acting world and forget to talk about what brought them to where they are, emphasizing the importance of training, marketing, and networking — all of which can cost money.
. “While you have a full-time job, you can still invest in yourself financially to live out your dreams.”
Patel can be seen in American medical drama “New Amsterdam” on NBC.The show currently has five seasons available.
March 20, 2023March 21, 2023 4min readBy Nida Hasan
If you are a South Asian, born in the ’80s or the early ’90s, chances are your ideas of love and romance are heavily influenced by Hindi films — that first gaze, the secret love notes, that accidental meeting somewhere in Europe, over-the-top gestures and dancing around trees. While reality may have been far from what was promised on reel, you still can’t stop pining over a hopeless romantic, with chocolate boy looks, chasing you across the earth and many universes; in the life here and the ones after. Somewhere deep down, you still dream of that possibility despite your husband sitting and sipping his morning coffee right next to you. And much of the credit for weaving this dreamland, that we can’t resist happily sliding into, goes to the legendary Yash Chopra. Award-winning filmmaker Smriti Mundhra’s docu-series, “The Romantics,” that released on Netflix on February 14, chronicles Chopra’s prolific career; offering an illuminating look into the highs and lows of his journey, his unblemished vision for Hindi cinema and sheer love for filmmaking.
I wanted to look at Indian cinema through the lens of it being a major contributor to the global cinema canon and Yash Chopra seemed like the perfect lens to explore that because of the longevity of his career and the fact that he had worked across so many different genres. His films, for so many of us, defined what Hindi cinema is.
— Smriti Mundhra
As “The Romantics” unveils, in a mere episode — a challenging feat in itself — Chopra did experiment with multiple genres as a budding filmmaker, initially under the shadows of his elder brother B.R. Chopra. From the religiously sensitive “Dharamputra” and the trendsetting “Waqt” to the action-packed and iconic “Deewaar.” It wasn’t until later on in his career that he set a precedent for a Hindi film having a wholly romantic narrative; though “Waqt” did offer the perfect glimpse into what would go on to become Chopra’s cinematic imprint. And then came “Chandni” which ushered in a new era for Hindi cinema; defying the formulaic approach to box office success and making love stories the golden goose.
In the words of more than 30 famous faces, a host of archival videos and interviews, and personal anecdotes, audiences get an extensive insight into the life and career of Yash Chopra and the evolution of his vision through the business acumen and genius of his polar opposite son and a famous recluse, Aditya Chopra. “The Romantics” is not a fancy portrait of a legendary filmmaker but an exploration of what goes into making a successful film family and a path-breaking production house. As viewers, we not only get a peek into the making of a fantasy creator but also learn of the many failures, hurdles and uncertainties that the business of filmmaking comes packaged in, the impact of socio-political shifts on the kind of content being produced and demanded, and just how much control we have as an audience over the fate of the film and the filmmaker.
For both the uninitiated and fanatics, there are some interesting revelations like Shah Rukh Khan’s lifelong desire to become an action hero as opposed to a romantic one and the creative conflict between Aditya Chopra and his father Yash Chopra on the sets of “Dilwale Dulhania Le Jaayenge” — a project that, surprisingly, did not seem too promising to the latter. Mundhra penetrates deep into the family’s history and industry relationships evoking some really candid conversations; almost as if these celebs were eagerly waiting for their moment to speak. With one appraising interview after the other, it’s a panegyric that does border on being a tad tedious but there is enough depth and fodder in there to keep one hooked. Kudos to Mundhra for managing to achieve cohesion despite there being more than enough material to chew on. In the process of bringing this project to life, Mundhra also ends up achieving a number of milestones: one that the series features the last of actor Rishi Kapoor’s interviews and two, it brings Aditya Chopra, who, it appears, can talk a blue streak contrary to popular belief, to the front of the camera after almost two decades. The moment when he puts the nepotism debate to rest by referring to his brother’s catastrophic attempt at acting is quite the show-stealer.
At some point during the four-episode series, you might question if it’s fair to credit the Yash Raj family for being the only real changemakers of the Hindi film industry and for picking up the baton to get Hindi cinema the global recognition that it has. But then there is no denying the Chopra clan’s body of work, their ability to understand what pleases the crowd and their commitment towards growth and progress amidst changing times and technology — Yash Raj Studios is in fact the only privately held and one of the biggest, state-of-the-art film studios in India. Chopra’s career and legacy are in no way under-lit that Mundhra can claim to throw new light on with “The Romantics.” But what she really has on offer here are sheer nostalgia, some fascinating discoveries and an ode to a cinephile and his art with a bit of fan service.
In an interview with Brown Girl Magazine, Mundhra discusses why it was so important for Chopra to be the subject of her docu-series, her own learnings during the series’ research and creative process and her accomplishment of getting Aditya Chopra to talk, and that too, at length.
