What matters in reality TV’s finest hour: Suchitra, the interviewer, and Karthik Kumar

By H. Prasanna 

“Hell hath no fury…” said William Shakespeare, who some believe was a woman. “There are no greater misogynists than women and gay men” goes the trope. Was William Shakespeare a gay man or a woman, or did they use a man to make it as a playwright, does it matter? None of this matters. Was he starting a trope for centuries when he said that? Yes, that matters. The reality TV gold in every Suchitra interview is that she never tells us why it matters. And she similarly jumps from one seemingly unhinged theory to another. This time, in an interview with Kumudam, she has captured lightning in a bottle much like her contemporary Vanitha Vijaykumar, who did it during the pandemic.

The conflation of “real” stakes and “reality” stakes is so engaging that I wanted to jump up and scream at my mobile screen. From Shakila’s proxy motherhood of a girl she has never met to YouTube Moms guilting their children, how fascinating her trains of thought that leave the station never to come back.

Does it matter that the interviewers don’t let women speak?

In an interview almost exclusively chronicling the misdeeds of men, the coveted “worst male” award goes to Suchitra’s interviewer. He interrupts her with his moralizing so much, that we would not have this gold if not for Suchitra’s sheer force of will breathing him down. The interview gets away from him very quickly. He cannot keep her on track and he cannot keep her off track.

Bill Burr, in a recent podcast with Bill Maher, said “You are someone with a fantasy football team who believes he is a GM.” He was responding to Bill Maher saying “he was the only brave one” for standing up to students protesting in American universities. Interviewers more often than not seem to believe that they and the audience have some personal stake in the interviewee’s life. This man is no exception.

Does it matter that we (the royal “we”) men are held accountable for our actions?

The problem for us reality TV audience is (to borrow from “Blue Sattai” Maaran) the villains are weak. Much of the content created by men are between blasé and banal. Bailvan Ranganathan (BR), a “reporter” who called her a nymphomaniac, is simply attacking her by calling her “a criminal psychopath” and Karthik Kumar is asking for “positive vibes” on Instagram.

The fact that Suchitra gave an interview and not a one-man show like BR and Karthik Kumar matters. It shows what women are really up against when holding men accountable. We need a male interviewer there to legitimize that what she is talking about is not just a “woman’s issue”. And the fact that he interrupts her constantly makes us realize she needs to be heard.

The most interesting thing about Karthik Kumar’s rebuttal was what he didn’t say. Suchitra piles on a million reasons about how he is human garbage. Maybe he is not. But, he doesn’t care about those things. He only talks about sexuality. Not his sexuality, sexuality in general. Does it matter if Karthik Kumar is a closeted gay man? It doesn’t. But it does matter if he was in a marriage with a straight woman!

A screenshot of the movie poster for the movie Kaathal - Teh Core

He does not need to address that. But then he didn’t need to address anything, and with these fake reality TV stakes he could have really made this blossom. With him being a comedian who writes his own material for a living, I really expected more. But, he just vaguely rambles on about sexuality: “all types of sexuality are normal.” “Gay people have to say pride to be accepted as normies.” “Be proud to be all types of sexual.” Thanks for nothing, Karthik Kumar.

The responsibility and work of emotional competence in the light of abuse is not on the victim, if he is the victim. But, is it ever typical that a man conducts himself with emotional competence when accused of something by a woman? He refuses to contextualize himself or present his case in any coherent manner. He simply asks for support, which is he is getting, mostly from women. At its worst, it is a reality TV dud, a banal passive aggressive jab against a mountain of viral content.

Does it matter how we are held accountable?

It does matter how we are held accountable, and it should not descend into abuse. The fact that Suchitra gets a platform and her open disdain shows us she is privileged and empowered. She doesn’t mince words, she minces those she accuses. She calls them names. She soulfully manifests that they get no IPL tickets (equals a slow painful death in cricket fandom).

But, Suchitra’s brand of rage is extremely familiar to men. It is the reason women talk to husbands when they are driving or at the dining table. Because men run away and women are not heard and things remain the same. It is the quiet simmering ember that lives on the surface fuelled by the our (man’s) refusal to learn emotional competence and address the real issue, learn thought leadership and take point at least sometimes, and learn to be kind when we are right. Watching this interview is like plunging into the ashes of those embers.

Suchitra says she lost her career because of something that men did. I don’t know what is going to happen to BR or Karthik Kumar or the others, but I can guess. They never need to take any responsibility or change. They will be supported through this ordeal, probably by the law as well. It will not end their careers, quite the opposite, at least for Karthik Kumar, who had previously positioned himself as a woke comic. This is not a glitch in the system, this is the system. I think I am pretty safe in assuming Suchitra knows this, and every other woman too. So, you have already lost your career and no one will be held accountable. If it is not “right,” how she speaks at least makes sense to me. But does it matter?

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Kaathuvaakula Oru Villain

A poster of the movei Kaathuvakula rendu kaadhal with Vijay Sethupathi, Nayantara and Samantha

I watched Kaathuvaakula rendu kaadhal this summer, and my first thought was — how daring is this filmmaker, how courageous — he made a straightforward film about a villain and his life. 

KRK opens like most well-designed anti-hero stories, with a clean origin story for its male lead. We find out what makes this character feel so entitled, why he believes he can construct realities in which he receives anything he’d like. Vignesh Sivan constructs a neat argument for us to empathise with this anti-hero — at one point, I began to wonder if this is a film with no male protagonist. And this conventional thought is what failed me: the protagonist is the villain.

In Super Deluxe, Vijay Sethupathi made you hate yourself for liking the performance of a cisman who played a transwoman, for appropriating the life experience of a trans person and participating in denying opportunity to a trans person to play a marginalised character. In Naanum Rowdy Dhaan, he enraged you as he gaslit the female lead and denied her the truth about her father’s death and disallowed her grief so that he could enjoy a few extra  hours of watching her in her hollow shell. In KRK, VS exceeds all expectations as a man, who openly, with no regard for performative wokeness, simply objectifies women and repeatedly, endearingly, honestly, politely, loudly tells them that their consent means nothing. 

KRK is an important film for Tamil cinema, for its actors, for the times we live in. It reinforces the message that feminist thought has no place in mainstream entertainment and art; the audience loves a good villain; good production values mean nothing in the age of digital releases. 

And of course, it delivers its primary message — a woman’s consent means nothing in the face of a man who believes he deserves everything he’d like. 

I simply cannot wait for Frozen 3

Frozen is a coming-of-age story quite unlike any other Disney animation movie because of its white feminist essence. Much like all other works (Wonder Woman, Captain Marvel), white feminist actors and filmmakers come at us with their technical proficiency and prowess and unleash their empowerment in the subtext of the white man’s template. But, you could choose not to see the essence and consume it as simply another Disney adventure.

In Frozen, an ingenue becomes aware of herself through her choice of partner, and a matronly sister afraid of her own superpowers comes into her own by letting it go. The villain is male, and the strongest male character is in a supporting role, but they get more to do than most movie supporting characters. And there is a reindeer, a snowman, and mountain trolls with magical wisdom and quirky wit. Wondering whether people with marginalized racial-ethnic backgrounds are identified as these “magical creatures” lands us in a murky zone; but gender-wise, they are an amazing way of identifying the marginalized in Disney movies.

Frozen 2 picks up on this essence and rolls with it, changing and evolving into a hopeful narrative for the future. It is once again a white feminist narrative, but quite overtly so. Disney was likely pushed by the fear of Jennifer Lee (co-writer, co-director), Idina Menzel (lead singer and star), and Kristen Bell (pioneer of the teenage feminist narrative in Hollywood) leaving the project if they gave up this feminist essence. The villain is male and much more sinister, and the previously ‘leading’ male character comes to accept and assume a supporting role. What gives us hope is the white guilt of the Disney princess urging her to see the past and usher us into a better future.

We know the past, or know of the past. A bunch of power-hungry, white men tried to take over the world and failed, leaving in their wake a summary desecration of the very essence of being human. We don’t necessarily see this past. That is because we inherited much of the comfort we live in through this privilege. In Frozen 2, Queen Elsa listens to herself and takes an odyssey into her past to see where her privilege comes from. And like us, she knew of it, and she probably knew it was evil, but chose to live on, facing her day-to-day obstacles. Now, she chooses to do the difficult thing, and sees the past and relives a betrayal so colossal by the evil white man, that nature retreated into itself. Nature shook the earth and darkened her city to urge her to see. And she inherited her power to rule from this and she falls into herself unable to, in all her physical power, find an antidote to move on. But the ally Anna comes into her own, pushing herself into every quest, calling Elsa out on her individual/existential adventure (it is the history of all white people). Anna moves forward, her male allies finding it in themselves to embrace the supporting role, and sees it through to the end. This act of great courage and empowerment makes Elsa come back, and she saves the day (for everyone, this time).

In Frozen 3, if all goes according to overt white feminism here, Queen Anna, now ruling the nation, will need to take down all her grandfather’s statues and change the honorary titles and places named for him. With this act, a majority of her people will turn against her. Why won’t they? Elsa has the great privilege of following her voice. But even among us who are similarly privileged, we have to work for a living and cannot leave our cats unfed to take on a grand odyssey to reshape our identity. Anna will also face the dilemma of whether her claim to power is legitimate and if she chooses to democratize now, the majority who want the grandfather’s name reinstated will win.

Will she trust her people to change? How will she persuade them thus? Her sister has become a nature warrior, and on foreign shores, the authority of evil, white men is continuing to lead the world on a destructive path. Will she take the fight to them (Greta Thunberg, essentially)? How will their paths cross? More importantly, will we see them empower someone less privileged, and take them to the top?

I simply cannot wait for Frozen 3.

Mard ka Sar: Getting Man Head

When I watched Kuch Kuch Hota Hai as a young, impressionable cis-female tween, I learned several things:

1. Girls can love boys and have their hearts broken.

Kajol sad

2. Girls can love boys and not have their hearts broken.

Rani Happy

3. The right man will love you when you finally stuff yourself with femininity and other gender attributes.

As with Anjali:

   

And with Tina:

4. Thoughtlessly leaving people at the altar is the best way to show how in love you are.

5. Even if you are 100% doucheface man, if you get a woman to love you, you will be 100% fine and societally accepted. Karmic romantic redemption is not a necessity for men.

 

Doucheface Man

 

6. College is basically wearing colourful clothes and hanging out everywhere, watching 2-3 people live their lives.

(No picture necessary)

7. “Pyaar dosti hai”: Love is friendship

Pyaar Dosti Hai

8. “Ek mard ka sir sirf teen auraton ke saamne jhukta hai. Ek apni ma ke saamne, ek durga ma ke saamne aur…”: A man bows his head only in front of three women – in front of his own mother, in front of Goddess Durga

 

But also:

Kuch Kuch Hota Hai, tum nahin samjhoge. 

 

Pictures with text from: http://perilsofbeing.tumblr.com/post/19027506016/bollywood-recap-kuch-kuch-hota-hai

What are women singing about themselves anyway?

by Iswariya

Context: A couple of weeks ago, Genderally Cinema ran this piece: https://genderallycinema.com/2016/03/09/six-tamil-heroine-introduction-songs-actually-about-the-heroine/ about Tamil movie songs that introduce female protagonists, and actually describe them and their feelings, vs being used as prop to further a cis-male focused story. One of our readers wrote in this excellent piece, she questions if women in Tamil cinema are really singing about themselves the way men do. 

I completely agree with your commentary on the positioning of women in cinema: “Often, they are characterized to sing about men, or about having to experience love or romance, and are often used as a prop for the male protagonist in the film”. I hardly get to see heroines playing roles of significance or roles that break the female stereotype in existence today.

However, to be honest, I am not very sure if the list of songs that have been put together here portray or cherish womanhood. In some sense it also falls prey to the stereotype of how lyricists pen down women in their poetry. Whilst songs such as ‘En Peru Padaiyappa’, ‘Naan adicha thaangamaate’ ‘My name is Billa’, and ‘Maari’ describe the power and strength of men and depict them as the superheroes with no force standing a chance against them, women are always characterized to see themselves as as a happy-go-lucky blissful girl who seems to care only about her day to day living or her unison with nature.

Jyothika in ‘Kushi’ is all about stopping the rain at her will; yes, she does compare herself to the wind with no wings (a.k.a limits) but in the movie, right after this song she is seen forced into marriage. “Konjum Mainaakale” from Kandukonden is an all-time favorite melody, sadly again the song talks only about the woman’s association with nature; where all Aishwarya Rai wants is to celebrate Diwali and to see through that her roses bloom right after she plants them. I am not saying that it is wrong as a premise, but all the song is conveying to me is women are soft, innocent, gullible day-dreamers who live in a world of fantasy where men can walk right into us and our lives.

With cinema creating a huge impact on people’s lives today, it is sad to see songs such as, ‘Adidaa Avala Othadaa Avala Vidra Avala Thevayae Illa’ and not the ones like ‘Uyire Uyire Vanthu Ennodu Kalanthuvidu’ capturing the audiences.

One cannot just blame the Indian entertainment industry, songs from the Western world also describe women as lost in love or waiting for love. But at least, there, I can name a few songs that promote female empowerment where women are shown as strong and independent beings, who have their own accomplishments. Just on top of my head: “Independent Women” from Destiny’s Child, “Confident” by Demi Lovato, “Warrior” by Kesha, “Roar” by Katy Perry, “Run the world (Girls)” by Beyoncé, “Girl on fire” by Alicia Keys and of course not to forget Pink!
I would like to sign-off with one last question with reference to a famous quote: “Behind every successful man there is a woman” , but where is your success story Girl?

 

Iswariya is a researcher; Chennaiite at heart, German by profession. Chocoholic and shopoholic.