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_papas-bakeria-to-go-all-gold-customers-perfect-day.webp "kelmi")
_papa39s-bakeria-to-go-tips-amp-tricks.webp "DeluxePizza")
_patna-shuklla-2024---raveena-tandon---blockbuster-movie.webp "Patna Shuklla stars Raveena Tandon as Tanvi Shukla, a Patna-based lawyer who goes from arguing inconsequential cases in a lower court to taking on the entire system in a landmark trial. Tanvi’s life changes when she decides to represent an underprivileged B.Sc. student, Rinki Kumari (Anushka Kaushik), who refuses to believe she’s failed her final-year exams. As Tanvi digs deeper, a wider conspiracy is uncovered – featuring a marksheet scam, the son of a powerful chief minister, unsuspecting victims, and a corrupt university. The case gets media attention; Tanvi and her family are subjected to societal bias, threats and administrative bullying by a government that’s determined to silence her. <br/><br/>The narrative template is fairly derivative. You don’t even have to go too far back. In terms of Tanvi’s underdog journey, Patna Shuklla brings to mind Bhakshak, the recent Netflix movie about a small-time female reporter (Bhumi Pednekar) who exposes a sex trafficking racket in Bihar. Tanvi’s domestic identity is similar: She juggles home-making – cooking, cleaning, fussing after a state-employed husband (Manav Vij) and school-going son – with her day job. Her father (Raju Kher) is wary of her career, her husband downplays it, and her male colleagues don’t take her seriously. Rinki Kumari’s case gives Tanvi purpose and direction; her family learns to respect her a little more through the struggle. The education scam itself has thematic similarities with Farrey (2023), the well-acted social drama co-produced by Salman Khan Films, which aligns with the fact that Patna Shuklla comes from the same family (it’s produced by Arbaaz Khan). The courtroom portions – Tanvi’s opponent is an arrogant lawyer named Neelkanth Mishra (Chandan Roy Sanyal); the veteran judge (the late Satish Kaushik) is a silent ally – unfold like a lesser sibling of Jolly LLB (2013). It’s not supposed to be authentic or even plausible, but there’s a sense of déjà vu about the melodrama, the surprise witnesses, the reasoning and closing monologues.")
_working-for-stickers-in-papa39s-bakeria.webp "Novayon")
_tensei-shitara-slime-datta-ken-3rd-season-episode-6-english-subbed.webp "Tensei shitara Slime Datta Ken 3rd Season<br/><br/>Season: Spring<br/>Genre: Action, Adventure, Comedy, Fantasy, Isekai, Reincarnation, Shounen-2024,<br/>Country: Japan<br/>Quality: HD")
_papa39s-bakeria-rank-100.webp "JackXcp YT"){kind=icon}
_giving-sasha-1006-pancakes-on-papa39s-pancakeria.webp "Poofesure")
_kabir-singh---full-movie-4k---shahid-kapoor-kiara-advani---sandeep-reddy-vanga.webp "The character Kabir Singh, or Arjun Reddy for that matter, is basically an updated Devdas, a loser in love, with additional anger management issues, who hits the bottle at the drop of the hat. There’s even a Chunni babu in his life in the form of bestie Shiva who keeps coming to his rescue and appears to have no life whatsoever of his own. In fact not a single character in the apology of a script — from his college principal to the family to the hospital staff — seems to have any raison d’etre other than pandering needlessly to a man, who, instead of any sympathy or indulgence for his “troubled” mind needs some serious treatment and therapy to control the inherent noxiousness he is spreading in the world around him. The entire arc of the film is to somehow make his negativity attractive, explain it away as “unconventional” and have him find redemption despite his unforgivable ways. Well, he is a genius at everything after all, even at performing surgeries when he is sloshed and coked out.<br/><br/>Having watched and balked at Arjun Reddy for its celebration of a misogynistic, infantile bully of a hero, Kabir Singh felt like a doubly suffocating experience. One that makes you feel violated. Devdas at least had the headstrong Paro and graceful Chandramukhi, two beholden women alright but with personalities of their own, to bring some sense of balance to the man-woman game. Here the woman is denied any agency whatsoever. She is a property, marked and owned by the man. She will meekly follow him wherever he takes her, eyes always down, is masochistic in allowing herself to bear with his violent ways. While the soulful ditty in the background plays “tujhpe hi to mera haq hai (I have the right on you)”. He is the protector and the saviour.")
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