The increasing prevalence of infidelity in India is being linked to Bollywoods portrayal of feminism and hyper-sexualization, which is influencing societal norms. Whats concerning is how the very definition of feminism is being twisted in popular culture. While the actual definition, according to Google, is a belief that women should have the same rights and opportunities as men, Bollywoods interpretation seems to be shifting towards a series of increasingly superficial and problematic traits. The speaker highlights Google search results suggesting cheating goals, a penchant for multiple relationships, alcohol, drug use, and even starting OnlyFans accounts are now being presented as facets of contemporary feminism within Bollywood films.
The reasoning is simple: India heavily models its lifestyle, fashion, and attitudes after Bollywood. Therefore, when Bollywood normalizes cheating and hyper-sexual behavior, it inevitably filters down into everyday Indian life.
The speaker uses specific examples to illustrate this trend. Consider the story of Jyoti Verma and Alok Verma. They were happily married in 2010, Alok actively supported Jyotis ambition to become an SDM Sub-Divisional Magistrate, and they had two children. Jyoti achieved her goal in 2015, but then, in 2020, she cheated on Alok. Alok is now publicly seeking justice, a situation amplified by online videos documenting similar instances.
Another anecdote involves Nisha Sharma, who initially described her marriage to Advait as wonderful – Advait is very sweet and very nice. However, she found the relationship dull due to Advaits respectful and considerate behavior, and consequently began an affair with Daniel. Nisha admits shes now unsure about what to do. She reportedly stated in an online forum, I am thinking what should I do
Ultimately, the argument presented is, Bollywoods distorted depiction of feminism, coupled with the normalization of infidelity, is contributing to a rise in cheating within Indian society as people are adopting behaviors they see glorified on screen.
Four More Shots is a series that sparked considerable conversation about female agency and the frustrating persistence of double standards. Released in 2019, the show follows the lives of four independent women Siddhi, Anjana, and Damini navigating love, career, and societal expectations.
The series immediately dives into complex themes. Take Siddhi, for example. Her mother suggests she have to lose weight for better health, a seemingly harmless comment. However, the show doesnt depict this as a valid concern. Instead, Siddhi seeks validation from external sources, eventually creating an OnlyFans account and embracing positive comments like you are so beautiful, you are so hot. This illustrates a key point: the show challenges the idea of prioritizing societal beauty standards when personal confidence is possible. Siddhi later becomes a stand-up comedian, further expressing her self-acceptance. However, even within this journey, the series touches on body shaming and normalization of sexual encounters.
The double standard narrative gets really sharp with Anjana. A strong, single mother, she initiates a relationship with a junior colleague. When she ends that relationship, the show flips the script. Imagine, the video posits, a scenario where a single father is in a similar situation his junior pursues a woman, and he ends the relationship when things get serious. That girl would be the victim, right The point is stark: while a man leaving a relationship is often viewed as simply moving on, a woman in the same position is immediately portrayed as the victima manipulation of narratives based solely on gender. The show frames Anjana herself as the victim despite her agency in initiating and ending the relationship.
Finally, Damini, presented as bold and independent, enters a relationship with a more unassuming man. While details of this relationship are less thoroughly unpacked in the transcript, the overall premise highlights the constant scrutiny and judgment women face when challenging traditional relationship roles and norms.
In essence, Four More Shots Please doesnt offer simple answers, but it provocatively explores the complexities of female agency, the pressure to conform, and the societal double standards that continue to shape perceptions of womens choices and behaviors ultimately asking viewers to question who truly defines the victim in relationship dynamics.
Modern Bollywood series are increasingly portraying infidelity and questionable values as acceptable, even normalized, behaviour, which is deeply concerning. A prime example comes from the series Damini, where a woman named Damini engages in multiple sexual relationships while simultaneously pursuing a committed relationship with a man.
Heres a breakdown of the problematic narrative:
- The Setup: A man, genuinely invested in the relationship, brings Damini to meet his parents, indicating a serious commitment being considered.
- The Betrayal: While hes demonstrating his intentions, Damini is having sex with other people.
- The Twist: After a period, she reveals shes pregnant, initially claiming the man is the father, sparking his excitement about marriage.
- The Revelation Victim Blaming: She then retracts the claim, stating the baby isnt his, prompting him to express outrage. Crucially, Damini is then presented as the victim in this scenario.
- Confession and Justification: When confronted, Damini admits to her infidelity, normalizing it with a casual, Its not such a big deal, is it She further suggests he might be right about her having relations with other people, and dismisses his reaction as judgmental.
The series actively frames Damini as blameless, shifting the responsibility for her actions onto the man who genuinely sought a committed relationship. The narrative essentially suggests that cheating is not inherently wrong and that the mans hurt and reaction are the problem.
Beyond Damini, this trend is apparent across various Bollywood productions. The presenter highlights the casual depiction of sexual encounters brother, go anywhere, do it with anyone, there is no problem trivializing the emotional complexities and potential hurt involved. Theres a pervasive normalization of behaviours like cheating, hookups, alcohol consumption, and drug use, all presented under the banner of feminism.
The popularity of these series, evidenced by aggressive promotion like the widespread posters of Four More Shots displayed across Mumbai bus stops, combined with enthusiastic audience engagement in the comment sections, suggests a significant portion of the audience is receptive to these portrayals. The presenter questions where this trajectory is leading audiences and expresses worry about the overall impact of these narratives on societal values.
Bollywood films are increasingly depicting sexual encounters and casual relationships, raising concerns about the normalization of potentially harmful behaviors. A common narrative revolves around female characters openly discussing and pursuing their sexual desires, culminating in multiple partners and a casual attitude towards intimacy. For example, one film portrays a woman detailing her sexual experiences with a professor, a classmate Arjun, a friend Rahul, and even a street vendor rabdi wala, claiming her right to orgasm. She nonchalantly declares Im not shy when questioned about her actions.
This trend, while framed as empowering, raises complex questions about the messaging around relationships and consent. The critique highlights how some films, even those marketed as feminist like Lipstick Under My Burkha, can inadvertently normalize problematic scenarios. In Lipstick Under My Burkha, one storyline depicts a woman engaging in honey trapping – deceiving a man into a relationship under false pretenses by pretending to be a younger person. While the film portrays the aftermath of this deception as negative for the man something very wrong happened to him, the initial act itself is presented with a disconcerting lack of moral condemnation.
The core argument isnt against sexual activity itself. Instead, its a critique of Bollywoods casual depiction of casual sex and deceptive practices. The speaker emphasizes that if someone is experiencing dissatisfaction in a relationship, the solution should be open communication with a partner, not seeking fulfillment through unknown individuals, and certainly not through deceptive practices like honey trapping. Its crucial that honesty, transparency, and respect for boundaries are present, regardless of age or sexual expression; concealing identity and intentions as seen in the honey trapping example poses a significant ethical concern that Bollywood shouldnt normalize.
Bollywood frequently presents a skewed and problematic portrayal of victimhood and relationships, often prioritizing dramatic narratives over realistic consequences and ethical considerations. It consistently inverts traditional perspectives, prioritizing female characters as victims even when their actions are questionable, while minimizing or dismissing the harm inflicted upon male characters.
Lets look at a few examples. Consider a scenario presented hypothetically: an older man, posing as a younger boy, manipulates and exploits a young girl. The natural response is to acknowledge the girl as the unequivocally harmed party. However, Bollywood often flips this narrative, depicting the girl as the victim, even when she confronts the perpetrator with anger and accusations. There is an old man who talks to a young girl on call pretending to be a young boy and traps her and later, when that girl meets him in real life she will slap him saying that this old man did so much wrong to me. Yet, the speaker rightly argues, If an old man does it with a girl, then who is the victim It is a girl. Bollywoods deviation emphasizes a troubling trend of prioritizing female narratives regardless of contextual truth.
This distortion extends to other storylines as well. Take the example of Leela in an unnamed film she engages in sexual activity with her ex-boyfriend on her wedding day, then casually rejoins the wedding festivities, framing it as if nothing happened. Theres no real accountability for her actions, or exploration of the impact on all parties involved.
More recently, the series Made in Heaven further exemplifies this trend. The story follows Tara, a middle-class wedding planner who deliberately seduces her boss and records their intimate encounter to leverage it for marriage. She seduces her boss in the office and has intercourse with him and shares the video of it so that she can get married to the boss. While initially seemingly empowering, the storyline quickly spirals into a cycle of manipulation and hurt. Her boss subsequently cheats on her, leading her to file for divorce. During this process, she manipulates and emotionally uses a genuinely nice guy shes dating as a stepping stone. She prioritizes material gain over genuine connection. She needs a bungalow in the divorce settlement in alumni, so she goes back to her ex husband ie boss and gets physical with him. Finally, when confronted by her new partner, she delivers a cold, dismissive line perfectly encapsulating the series troubling message: Dont thank you…You can never make that decision.
Essentially, Bollywoods narrative choices consistently downplay accountability for female characters, particularly when their actions involve exploitation or betrayal, while often portraying men as either perpetrators or vulnerable victims, regardless of the full complexity of the situation. This skewed portrayal fails to reflect the nuanced realities of relationships and the genuine suffering of victims.
Modern media, particularly Bollywood series and movies, is increasingly normalizing coercion and presenting deeply flawed portrayals of relationships, potentially misleading younger generations. The core issue isnt about partners expressing opinions a healthy relationship allows for that but the problematic trend of portraying a partner as having no right to inquire about their significant others choices.
The speaker draws a stark example from the film Virgin Bhanupriya, which aggressively promotes the idea that virginity is a barrier to be rushed through, almost presenting it as an urgent societal pressure. This is framed as damaging because of the way it views personal choices. Consider this: the speaker recounts personal anecdotes of their experiences: I was 16, I was 20 years old, and sharing how when I was 19 years old nobody stayed virgin at this age, even if you have to force someone to break your virginity. This illustrates a concerning social current.
However, the most alarming aspect highlighted is a specific scene from Virgin Bhanupriya where the actress pressures the male protagonist, repeatedly stating, If not now, then never, and physically forcing him. The speaker then poses a critical question demonstrating the double standard: If you change the gender in this scene, will any society…accept it without concern If a boy forces himself on a girl like this, it is called rape. This highlights the inherent problem forcing someone into any intimate act, regardless of gender, is unacceptable. The scene is presented as some sort of empowering act freeing a woman which is offensive.
The speaker accuses Bollywood of masking this normalization within a misguided concept of feminism, dangerously suggesting that independence equates to disregarding consent and boundaries within a relationship. She believes these movies center around sexand we are not being able to see them as the best, advocating for a shift in narrative that showcases female strength and independence without resorting to coercion and misleading portrayals of intimacy.
This chapter is a passionate plea for building a resilient and strong-minded community, explicitly rejecting destructive trends often glamorized in modern media and societal narratives. The speaker argues that the current portrayal of feminism, as often depicted in Bollywood and popular culture, is a distorted and harmful version, contributing to a widespread mental weakness and ultimately leading to unhappiness.
Its not a condemnation of feminism itself the speaker explicitly supports actual feminism, citing films like Mary Kom, Dangal, Chak De and Thappad as examples of authentic representations showcasing empowerment and strength. However, these films are largely ignored while movies promoting casual sex, drug use, and infidelity are normalized. The speakers frustration is palpable; they laugh at individuals who uncritically emulate behaviors portrayed in these damaging movies.
The speaker cites anecdotal evidence, suggesting a deep dive into platforms like Reddit and Quora reveals a stark reality: Who is such a person who is happy even after having casual sex There are no people who are happy. They contend that seeking satisfaction through these pursuits inevitably results in depression and anxiety, a consequence theyve observed consistently. Its not just about sex, but a broader trend of succumbing to fleeting and ultimately empty pleasures.
The core message is a call to action. The speaker is dedicated to fostering a community of strongminded people. They urge viewers to resist the influence of negative media and avoid making life choices based on these portrayals. This isnt about judgment, but about creating a supportive environment that promotes genuine well-being and strength. I am on a purpose, I want to create a community of strongminded people. I dont want you to get influenced by such mentally weak movies or series and take any wrong step in your life.
By BHARAT GLOBAL TIME
