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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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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