Two Much With Kajol and Twinkle sparks social media backlash: Viewers call it “unnecessary” and “try hard” after controversial remarks

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Kajol and Twinkle Khanna’s chat show Two Much With Kajol and Twinkle was launched as a refreshing, candid space where two outspoken personalities would bring out the unfiltered side of celebrity guests. But instead of earning applause for its frank conversations, the show has found itself at the centre of criticism as several comments made by the hosts and celebrities are now circulating widely on social media—sparking intense backlash. A popular page, The Indian Idiot, shared a compilation of controversial statements from the show, triggering a wave of disapproval from users. Some of the clips show Twinkle Khanna making remarks that many viewers found insensitive or dismissive. Among the quotes drawing attention was her take on modern dating, where she said, “Today's kids change their partners faster than they change their outfits" — "And I think it's a good thing.” In another exchange with Ananya Panday, she quipped, “What emotions! They are traumatised by everythi...
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Best films of 2023 in the UK: No 7 – Saint Omer

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Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

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