Shababa Iqbal
Shababa Iqbal is a Journalism graduate of Independent University, Bangladesh (IUB) and a sub-editor of ICE Today. She likes Jane Austen's novels and Disney movies. Email: shababa@icloud.com.
Shababa Iqbal is a Journalism graduate of Independent University, Bangladesh (IUB) and a sub-editor of ICE Today. She likes Jane Austen's novels and Disney movies. Email: shababa@icloud.com.
The most positive aspect of “Bhool Bhulaiyaa 3” (2024) is its unpredictability. While the climactic twist is audacious and unique, the film suffers from clumsy execution, falling short of evoking the intended emotions. It's a fine thought, albeit underwritten, and it deserved a bit more complexity than the film's chaotic momentum allows. Nonetheless, I have to say that I did not see it coming.
“Call Me Bae," created by Ishita Moitra with co-writers Samina Motlekar and Rohit Nair, follows the story of poor little rich girl Bella Chowdhary, affectionately known as Bae, played by Ananya Panday. For those who may not be familiar with generational slang, 'Bae' is a term of endearment used to refer to someone's sweetheart.
The success of “Emily in Paris” reveals that there's room for both highbrow, thought-provoking TV and light, unchallenging fare. While there are plenty of complex, intellectually stimulating shows, there are times when we just want something easy and predictable—shows like “Suits”, “The Office”, and “Friends” continue to top streaming charts long after their original air dates for precisely this reason. There's comfort in knowing what to expect and in watching a storyline wrap up neatly within 30 minutes.
With the guidance of writer and showrunner Gemma Burgess, "My Lady Jane" translates well into an eight-episode Prime Video series that confirms that history is a lot more fun and watchable when approached with an unapologetically tongue-in-cheek attitude.
Even without a full-blown sympathetic backstory, a villain’s motivations can be complex.
“Crew” serves as a great example of how a light-hearted comedy can successfully blend entertainment with relevance by maintaining an air of levity while addressing timely topics.
The 2010 and 2013 Percy Jackson films, despite Logan Lerman's charismatic lead performance, fell short of expectations, drawing criticism for creative decisions like omitting significant book sequences and ageing Percy prematurely to 16.
“Dunki” is about the shocking ways in which people try to illegally migrate to the UK or any other developed Western country. Called the ‘donkey route’, it involves unscrupulous agents, tough border controls, corrupt officials, and lots of money.
The movie tells the classic love story from the perspective of Juliet's cousin Rosaline, who happens to be Romeo's recent ex-girlfriend. Crushed when Romeo meets Juliet and begins to pursue her, Rosaline schemes to foil the famous romance and reclaim her man.
To me, Wilde’s novel articulates the deepest anxieties of the late Victorians and continues to offer us ways to interpret our own experiences.
Progress is underway, but some studios are still hiding behind the curtain of racebending as if it will solve all of the problems of race innate to cinema itself. Nonetheless, all of it matters—Ariel and Annabeth being portrayed by young Black women—because what we read and watch feeds our imagination.
Thanks to 2023's The Little Mermaid, Black and brown girls can finally see themselves as princesses in a film where the protagonist's skin colour is not as instrumental to the story as the princesses' heritage was in Aladdin, Mulan, and The Princess and the Frog.
From mental health struggles to characters with different racial and LGBTQ+ backgrounds, the series shines a light on people—and heroes—of diverse identities.
Zemeckis' version will likely be a comforting trip into nostalgia and sentiment, an ode to the power of the human heart to do the right thing despite life's many temptations. At the same time, del Toro's will be a dark fairytale with troubling implications, examining how we puppets can learn to think for ourselves.
It got me thinking that we are fascinated by the behind-the-scenes lives of our cultural obsessions, and the personal lives of authors can come to feel like public possessions just as much as their works. It is this sense of ownership that can risk conflict over films about literary icons.
We are drawn to stories about first experiences, and YA literature is rich with it. First experiences draw us in because they are the crucible for change.
It has made literary criticism—often regarded highbrow or excessively academic—feel accessible.
Studios seem to think female characters need to be glossed with a “zany” and “feisty” persona in order to be relevant.