
Employees welcome client to office with dance performance. Video sparks outrage
Watch the video here: In the comments section of the post, some users called it a fun, team-building gesture, while others viewed it as unprofessional.Many called it "pathetic," adding: 'This is embarrassing. They need to stop this random dance scene. The dance itself isn't good and the optics are much worse." Another said, 'Submissiveness is a state of mind. To foreigners, politicians, bureaucracy, or even business magnates.''Servants in front of their boss,' a user said, adding that the act was nothing but "cheap and vulgar." 'This is terrible and cringe! I've been part of companies that call these 'all-hands' and 'celebration' but it's a really pathetic mockery of people and talent,' another added.The debate extended beyond the dance itself, with a few pointing to deeper workplace cultural issues. 'The first step is to stop calling people in a professional environment 'Sir' and 'Madam'. Native English speakers seldom use that at work. This 'thanks for giving us work, we're now your slaves' attitude should stop,' one user commented.Meanwhile, one user defended the gesture, saying, 'Happens everywhere across the world. Roles reversed as well. In every country. And helps a long way.'Another user added that the performance was likely meant to strengthen team bonding, showcase talent, and ensure the client left with a smile and a memorable experience.What is your take on this?- Ends

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


India.com
27 minutes ago
- India.com
This legendary actress married a 15-year-older man, was forced to quit acting, died a lonely death at 39, her name is...
In the glitzy and glamorous world of Bollywood, where it's often the dazzling and glitzy lives of celebrities that take center stage, the struggles and challenges are often overshadowed and don't come to the spotlight. One such similar tale is of a legendary actress from the golden era who captivated the audience with her painful and sorrowful roles, but her real life was no less than that. Behind her luminous eyes that lit up the screen was a life scarred by emotional pain, unfulfilled love, and a tragic end. The Tragedy Queen The actress that we are talking about is none other than Meena Kumari, also known as the Tragedy Queen. Born on 1 August 1933 as Mahjabeen Bano in Dadar, Mumbai. Meena ventured into the world of the limelight at a very young age when she was just five. Her debut film was Leather Face (1939). She worked tirelessly through her childhood, appearing in films like Adhuri Kahani, Pooja, and Bachchon Ka Khel. Post-independence, her career blossomed with acclaimed performances in Baiju Bawra, Parineeta, Sahib Bibi Aur Ghulam, and Phool Aur Patthar. Her screen presence, often melancholic, made her the face of tragic romance in Hindi cinema. How was Meena Kumari's married life? Speaking of her personal life, it was no less than her on-screen tragic avatar, full of challenges and struggles. At 19, she married filmmaker Kamal Amrohi, 15 years her senior and already married with children. Meena's father was against this marriage and objected to her decision, but Meena, blinded by love, moved forward. Soon after the wedding, tensions rose. Amrohi reportedly restricted her freedom, insisting she quit acting. Conflicts deepened during the making of Pakeezah, a film they began together but halted due to marital issues. What Was the Reason for Her Untimely Demise? Though she continued to act in other films, her troubled marriage and emotional isolation pushed her into depression. The shooting of Pakeezah was shelved for years. It was finally released in February 1972 and turned out to be a timeless classic, but it was too late for Meena. Just a few weeks later, on 31 March 1972, she died at the age of 39 due to liver cirrhosis. As per reports, Meena had been battling alcoholism, which stemmed from emotional trauma and loneliness. Tragically, Pakeezah, the film she had waited her whole life to complete, also became her final performance. In it, Meena glows with unmatched vulnerability—perhaps because she was portraying her pain. Her untimely demise left her fans shocked, but even in death, she remained unforgettable. Even today, she lives on not just through her films but in the collective memory of a nation that still mourns its most heartbreaking star.


India.com
27 minutes ago
- India.com
Son of Sardaar 2 Movie Review : A big-hearted, high-energy entertainer
The Sardaar is back and he is unstoppable. Ajay Devgn is back as Jassi, and this time around is even swaggier than last time. Helmed by Vijay Kumar Arora, this ultimate joy-ride is packed with amazing performance, exotic locales, stellar ensemble, and outsntaing music, an ultimate high-energy enterainer of the year! Ajay Devgn as Jassi, has plans to visit his wife Dimple (Neeru Bawaj) in London. He is excited and full of hopes, as he jets off for a reunion, but his trip doesn't go as planned. Dimple has found love in someone else, she has a boyfriend, and she wants Jassi to move out and she wants a divorcee, and with that she kicks Jassi out of her house. Out of luck and without a roof over his head, Jassi's life takes an unexpected turn when he meets Rabia (Mrunal Thakur), a spirited Pakistani career-woman who runs a company of wedding dancers. The duo strike a connection and Rabia offers Jassi help. Now what starts off as an accidental encounter quickly turns into an unexpected adventure ride, when Rabia ropes Jassi into a plan, with all the good intentions, but it spirals out of control pretty soon. Rabia's colleague Danish (Chunky Panday) daughter Saba (Roshni Walia) is in love with Goggi (Sahil Mehta), the son of the Raja Sandhu (Ravi Kishan), an ultra-traditional man, and he wants a traditional Indian wife for his son. Now entire team of Rabia hails from Pakistani, only member around her is Jassi, who is an Indian. Rabia comes up with a plan only commercial Hindi cinema could pull off, she convinces Jassi to pretend that he is Saba's Indian father, an ex-army officer with traditional values, to impress Raja Sandhu and his family. What follows is a delightful mess of mistaken identities, hilarious misunderstandings, and a wild web of lies that somehow manages to stay heartwarming throughout and keeps on getting complicated and funny. Ajay Devgn as Jassi, steals the show. He is the Sardaar we all need in our lives. He is the heart and soul of SOS 2. His comedy timing is pitch perfect, especially during the scenes where his lies are about to get exposed but he maintain a straight face through the madness. The is the first ever commercial film for Mrunal Thakur, and she manages to ace it. She manages to blend warmth, and strength without going overboard with loud emotions. A special shoutout of Deepak Dobriyal, who played the role of Gul, a transgender. It would be difficult to picture him as anything else after SOS 2. Bhojpuri superstar Ravi Kishan along with Sharat Saxena, Sanjay Mishra, Ashwini Kalsekar, Mukul Dev, Vindu Dara Singh, Dolly Ahluwalia, Kubbra Sait, Chunky Panday, Roshni Walia, and Sahil Mehta, the makers have managed to give space to every character, which is a difficult task for a commercial family drama. Every character in the movie feels needed, and offers something incredibly unique and hilarious. Music Album, is outstanding. The film is packed with soulful and foot-tapping numbers. Songs such as Pehla Tu Duja Tu, Nazar Battu, and Nachdi, captures the spirit of the film perfectly. The film is a treat visually. The story travels from India to London and Scotland, every country is captured beautifully. Produced by Devgn Films and Jio Studios, the film understand its audience and delivers accordingly. If you're in the mood for a feel-good film that will make you laugh, Son of Sardaar 2 is exactly the movie to watch! Director – Vijay Kumar Arora Cast – Ajay Devgn, Ravi Kishan, Mrunal Thakur, Deepak Dobriyal, Kubbra Sait, Chunky Panday, Sharat Saxena, Mukul Dev, Vindu Dara Singh, Roshni Walia, Sanjay Mishra, Ashwini Kalsekar, Sahil Mehta, Dolly Ahluwalia, Neeru Bajwa, Rating – 4


Indian Express
27 minutes ago
- Indian Express
Dhadak 2 movie review: After Saiyaara, the passion in Triptii Dimri and Siddhant Chaturvedi's feels performative
Dhadak 2 movie review: A little group, sitting outside their tiny homes, is swapping stories. The tone is civil, but the matter at hand, clearly hypothetical, is deadly serious– about a group of starving humans turning into cannibals, and a victim who gets devoured. Someone says, 'agar Dalit hota toh bach jaata, koi chhoota tak nahin' (If it was a Dalit, no one would have touched him). This line hits hard. Or, it should have. But it stays a throwaway, and we don't really feel the impact as much as we should have. That single dialogue encapsulates centuries of caste-discrimination and exploitation and the almost inhuman resilience that a group of Indian citizens have been forced to live with. But in Shazia Iqbal's 'Dhadak 2', we hear it, and before we could absorb the enormous weight of it, it's gone. I felt the similarly torn while I watched the film (a spiritual sequel of the 2018 Ishaan Khatter-Jhanvi Kapoor 'Dhadak'), where it can be seen reaching for emotional highs, and you will it with all your might to get there, and then along comes another speech-to-camera, another declarative dive, which undermines the moment, and the cumulative drama. It is in the in-between moments that this adaptation of Mari Selvaraj's 'Pariyerum Perumal' comes alive. Set in a city which looks like Bhopal but is never named, a law college becomes the site of the conflict, just the way it did in the 2018 original. Neelesh (Siddhant Chaturvedi) and Vidhi (Tripti Dimrii) are students in the same class, but there's an invisible hawser-like line which divides them: he cannot even pronounce his surname 'Ahirwar' out loud because he will be 'found out' as lower caste, whereas she never has to, as she belongs to an 'upper caste Brahmin' family. The film doesn't draw back from scenes set in squalor, even if those visuals come wrapped in a Neelesh's outburst as he 'introduces' Vidhi to his lived reality — look, that neighbour is a sweeper in homes, that one cleans gutters. We aren't shown the people up close ; they are blurs in the distance. The Tamil original would have stayed on those faces till their outlines became clear, but the Dharma production's focus is the attractive lead pair, artfully made up to look unmade : is that a slight hint of brownface on Neelesh? A romance flowers between the two, but the passion feels a trifle performative. Coming off from 'Saiyaara' where the two young lovers burn up the screen, about the only really effective thing about that film, you feel this even more intensely. Individually, though, both make us watch, and in some places, Dimri more than Chaturvedi. Does the clearly 'privileged' Vidhi (yes, writers Iqbal and Rahul Badwelkar make her use that word for herself) not realise the differences herself? There's a lot of tell underlining the show : Neelesh's initial helplessness at the constant gross humiliation heaped upon him –people literally pissing on him, muck being thrown at him– turning into the mantra of 'maaro ya maro', which finally becomes his only recourse. Watch Dhadak 2 movie trailer here: The instinct for survival kicking in, and the struggle for ceded space, is a reflection of the sentiments coursing through the veins of his mother (an effective Anubha Fatehpura) and college principal (Zakir Hussain). And Neelesh BA LLB at last finds himself arrayed on the side of his people, shown the way by a fighting-for-the-cause senior student, one spot on a front class bench, one push back at a time. A couple of other threads crop up, crowding the canvas. A vigilante (Saurabh Sachdeva) who goes about 'eliminating' the 'gandagi' from the 'samaaj' is hard at work, and turns into one of Neelesh's roadblocks, along with Vidhi's violent cousin, hate-filled chacha, and a newly-married sister (Deeksha Joshi) who is there to tell us that compromise and good matches go hand-in-hand : providing garam puris will always be the domain of the bahu. Neelesh's father (Vipin Sharma) whose job as a cross-dresser dancer is also his vocation, is a matter of shame, which needs to be addressed. This is a film which is clearly on the right side of many of the hot button issues we need to be pressing: casteism, classism, feminism, sexual identities. While at it, you can see an awareness of the wrongs and injustices which have made, and continue to make headlines. A student suicide on campus after his fellowship is stopped because of his 'activism', reminds us of the Rohith Vemula case. Vidhi talks of 'noodles and jeans and cellphones' as things 'good girls shouldn't have'. Her uncle talks of the danger of 'padhi likhi ladkiyaan', and her father (Harish Khanna) is shown as weak, unable to take a clear stand, like so many of us. When Neelesh cries out, can't you see how things are, he is not just calling out Vidhi's blindness– 'mujhe laga yeh sab gaon mein hota hai, yahan nahin'– it is all of ours. Even though the film is never as searing as it could have been, it is miles ahead of the original 'Dhadak', which in turn was an adaptation of Nagraj Manjule's 'Sairat', a blockbuster which redefined the contemporary young love story in Indian cinema. Maybe it is us, the audience which refuses to be repelled, which is to blame, with filmmakers shying away from showing the true depths of discrimination. But it is still important and timely, and as political as a mainstream film is allowed to be in these times, opening with Thomas Jefferson's famous line 'when injustice becomes law, resistance becomes duty'. Dhadak 2 movie cast: Triptii Dimri, Siddhant Chaturvedi, Saad Bilgrami, Aditya Thakare, Harish Khanna, Zakir Hussain, Vipin Sharma, Deeksha Joshi, Manjari Pupala, Saurabh Sachdeva, Anubha Fatehpura, Abhay Joshi Dhadak 2 movie director: Shazia Iqbal Dhadak 2 movie rating: 2.5 stars