Fans of Roadies & Splitsvilla? Get your fix with these ultra-competitive OTT shows
Representing the live examples of Panga – JioHotstar edition
Remember the brothers Raghu and Ram fighting the contestants? Comments such as 'Aye, tu toh Roadie hai' used to hurt people's pride until the show became mainstream and stars like Ayushmann Khurrana emerged, even though he was labelled a 'Roadie'. Now, this guilty pleasure watch brings generations together.
What started off as a show filled with juicy content where couples come together on a retreat but could leave either single or with a completely new partner altogether continues to attract eyeballs, only this time in secret. Splitsvilla continues to top people's guilty pleasure watch even today.
The latest to be added to the list is Faissal Shaikh aka Mr. Faisu and Shefali Bagga's newly released show, Loventure. Combining Roadies and Splitsvilla, Loventure is quite the trip for the couples involved as well as the viewers.
Elvish Yadav introduced a new show, Adda Extreme Battle, and it instantly found fans! Challenges that appear fun but could become intense any minute are what every Indian lives to see, and Adda Extreme Battle brings that to life!
After tempting viewers across the globe, India found its own version of Temptation Island. Named Temptation Island India, this reality show, hosted by Mouni Roy, instantly became a guilty pleasure watch. Do you even need to know why? After watching just one episode, you will clearly understand what we mean! So, subscribe to OTTplay Premium now!
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Indian Express
a few seconds ago
- Indian Express
‘Sex and the City' showed fashion could be joyful — ‘And Just Like That' shows it must also be responsible
When the HBO show Sex and the City (1998-2004) began airing, it was quickly recognised as being more than just a television show; it was a cultural moment. For many, it redefined what women's lives, friendships, and ambitions could look like in New York City and beyond. And, perhaps most importantly, it gave fashion a voice, treating clothes not as mere costumes but as extensions of identity, aspiration, and even rebellion. Carrie Bradshaw's (Sarah Jessica Parker) Manolo Blahnik heels became shorthand for daring indulgence, Samantha Jones's (Kim Cattrall) power suits for unapologetic confidence. Charlotte York's (Kristin Davis) ladylike dresses reflected romantic idealism, while Miranda Hobbes's (Cynthia Nixon) practical workwear symbolised a woman navigating ambition and motherhood. Fashion in Sex and the City wasn't just fabric; it was narrative. It invited women everywhere to dream — not only of closets full of couture, but of lives where fashion could serve as freedom, self-expression, and social capital. The show democratised the imagination of luxury by turning it into fantasy. For the price of a cable subscription, viewers could vicariously live through Carrie's tulle skirts, Fendi baguettes, and Dior newspaper dress. That fantasy made us believe fashion could be our passport into a bigger, more glamorous life. But looking back from today, that dream feels more complicated — in a time when sustainability, inclusivity, and shifting gender politics shape how we think about clothes. But then came the sequel, And Just Like That (2021-2025), with its third season wrapping up recently. And here, the fashion story shifts. While the costumes are still striking — Carrie in Valentino, Charlotte in Oscar de la Renta, Miranda embracing a more fluid style — the emphasis is no longer on aspiration alone. Instead, it is on interrogation. And Just Like That asks: What does fashion mean in a world where inclusion, sustainability, and shifting gender politics matter just as much as aesthetics? This evolution is striking because it mirrors our own cultural journey. The 1990s and early 2000s were obsessed with consumerism, status, and excess. Fashion was spectacle, a glittering escape from reality. Today, however, our closets are increasingly burdened with questions: Who made this garment? At what cost to the planet? Does this piece allow me to express my identity beyond the binary? Can style coexist with sustainability? In And Just Like That, these questions bubble to the surface, even if subtly. Che Diaz (Sara Ramirez), a non-binary stand-up comic and Miranda's love interest, introduces a wardrobe that challenges the rigid dichotomy of 'women's fashion' versus 'men's fashion.' This alone is a radical departure from the world of Sex and the City, where femininity was performed through heels and handbags. Meanwhile, Charlotte's daughter Lily experiments with identity, prompting conversations about how Gen Z and Gen Alpha navigate fashion without the rules that governed their parents. Together, these characters expand the canvas of fashion — no longer confined to stilettos and clutches, but encompassing non-binary styles and generational experimentation. Carrie herself trades her sky-high heels for practical footwear in certain episodes — not because she no longer values glamour, but because age and experience demand new definitions of comfort and elegance. Perhaps the most meaningful shift lies in what fashion no longer hides. In Sex and the City, clothes were a shield — Carrie wore couture even when her bank account was near empty; Miranda suited up to hide vulnerability; Samantha wielded glamour as armour. In And Just Like That, fashion is still powerful, but it is porous. It reveals insecurities, contradictions, and the discomfort of ageing in a culture that worships youth. Carrie's layered, sometimes eccentric outfits reflect a woman renegotiating her sense of self after loss. Charlotte's polished looks clash with her messy attempts to be the 'perfect' mother in a rapidly changing social landscape. Fashion is no longer fantasy alone; it is friction. It is this very push-and-pull — fashion as both fantasy and friction — that makes And Just Like That a cultural text worth taking seriously. It doesn't abandon the joy of dressing up. There are still moments of jaw-dropping couture, gowns that belong on mood boards, and shoes that remind us of Carrie's undying love for heels. But it tempers this joy with honesty. Just as our wardrobes today oscillate between thrifted finds, rental couture, and recycled fabrics, the show's styling reflects a world where fashion is not about perfection but about negotiation. Critics often complain that And Just Like That lacks the sparkle of the original. And perhaps they are right — but that lack of sparkle is in itself, the point. Fashion in 2025 cannot dazzle us in quite the same way as it did in 1998. We are no longer innocent consumers. We know the labour conditions behind fast fashion, the environmental cost of discarded textiles, and the hollowness of endless consumption. The fantasy has changed because we have changed. What we seek now is not just a dream, but a dialogue. And so, if Sex and the City made us dream through fashion, And Just Like That forces us to rethink what fashion means in an age of inclusivity, sustainability, and shifting gender politics. Together, they form a continuum: One taught us fashion could be joy, and the other reminds us it must also be responsibility. That may be the greatest gift of these shows — proving that fashion, like life, evolves. It doesn't lose relevance with age or social change; it simply asks harder questions. And in those questions — messy, uncomfortable, and beautiful — fashion remains what it has always been: A mirror to who we are, and who we dare to become. The writer is assistant professor of design, IILM, Gurgaon
Hindustan Times
30 minutes ago
- Hindustan Times
Ashwiny Iyer Tiwari on National Film Awards criticism: There will always be another point of view
Ashwiny Iyer Tiwari became a part of the jury for Indian Film Festival of Melbourne (IFFM) recently, along with filmmaker Shoojit Sircar, to judge the short films coming into the festival. The filmmaker believes that it is her responsibility to give voice to young storytellers. Ashwiny Iyer Tiwari 'It is very important that we encourage young filmmakers to have a voice and tell different stories, and this is a great platform because it's an intersection of two countries. Once there is a film which has gone on an international platform, it also gives a tick mark to their portfolio,' she says, adding, 'It's my responsibility as a filmmaker that like how I got opportunities, I give opportunities to young filmmakers and also guide them. That's how you will find the next storytellers.' Being a part of a jury comes with its share of challenges as there will be people who won't like you decisions, as it happened with the recently announced National Film Awards. Mention it to her and Ashwiny Iyer Tiwari says, 'Any place where you are in a point of decision, especially when you're in a jury on that level, there will always be another point of view, and you can't help that. There will always be people who will like what you decide and those who won't. Also, it is a cumulative decision, so what happens inside the room and how decisions are made, it's completely a jury's perspective.' Ashwiny adds that she also learns a lot from the younger generation's fresh perspective. 'I think we undermine Gen Z. They're smarter, thoughtful and they ask questions which are important,' she says. Ask her if not recognising the youth's perspective is the reason behind the Hindi films' box office lull and she responds, 'No one knows what works and what doesn't work. If we start telling stories from a perspective to say that 'okay, this is working, now everyone should be making only that kind of film', storytelling doesn't work that way. You just work from your gut. It's subjective, it's not mathematics.' However, she does acknowledge their role. 'The younger audience are the decision makers. They are the ones who are more aware because they also see international cinema. They also drive the decision-making of what to watch in the household. It is important we cater to that audience, but we do also cater to what we feel as storytellers and what stories do we want to make. That is more important because a trend will be here today, but it won't be tomorrow,' she says, elaborating, 'There was a trend of horror, but now that is diminishing. Now it is a trend of love story because one film (Saiyaara) has worked. Tomorrow, it will be something else.' Ashwiny has made films like Bareilly Ki Barfi and Panga. Does she feel art suffers when filmmakers focus more on the commerce of it? 'When we make commercial cinema, there is a number attached to it. We, as responsible filmmakers, need to make sure that when we're making commercial cinema, we are making it from a point of view that we do need to have a return of investment for the producers. But at the same time, we also need to have a balance of creativity and commerce. You cannot have commerce without creativity, and creativity cannot go without commerce,' she replies.
NDTV
an hour ago
- NDTV
'Delulu', 'Lewk', 'Skibidi' Among 6,000 Words Added To Cambridge Dictionary
Words popularised by Gen Z and Gen Alpha, including "skibidi", "delulu", and "tradwife" are among 6,000 new entries to the online edition of the Cambridge Dictionary over the last year, its publisher said Monday. Cambridge University Press said tradwife, a portmanteau of traditional wife, reflected "a growing, controversial Instagram and TikTok trend that embraces traditional gender roles". The dictionary also took on the challenge of defining skibidi, a word popularised in online memes, as a term which had "different meanings such as cool or bad, or can be used with no real meaning". The gibberish word was spread by a YouTube channel called "Skibidi Toilet" and is associated with the mindless, "brain rot" content found on social media and consumed by Gen Alpha's overwhelmingly digital lifestyle. The dictionary defined delulu, derived from the word delusional, as "believing things that are not real or true, usually because you choose to". As an example, it cited a 2025 speech in parliament where Australian Prime Minister Anthony Albanese used the phrase "delulu with no solulu". "It's not every day you get to see words like skibidi and delulu make their way into the Cambridge Dictionary," said Colin McIntosh, Lexical Programme manager at the Cambridge Dictionary. "We only add words where we think they'll have staying power. Internet culture is changing the English language and the effect is fascinating to observe and capture in the Dictionary." Other new phrases include "lewk", used to describe a unique fashion look and popularised by RuPaul's Drag Race, and "inspo", short for inspiration. Work from home culture has given rise to "mouse jiggler", referring to a way to pretend to work when you are not. There is also "forever chemical", man-made chemicals that stay in the environment for years and have gained traction as concerns grow about the irreversible impact of climate change on the health of humans and the plant.
