Uorfi Javed's sister Dolly slams Sufi Motiwala for verbally abusing sister on The Traitors: ‘You're such a hypocrite'
Uorfi Javed's sister Dolly took to her Instagram story and shared a screenshot of the video he posted, reacting to the comments he got from social media users abusing him for his sexual orientation. Uorfi's sister called him out for using abusive language towards her family in the show.
She wrote a long note, saying, 'And to this guy. Getting so offended when people are bullying him and abusing him. Okay then why would you abuse my sister. You literally called her "m****ch** s**li.'
She continued, 'I don't stand for people abusing you for your sexual preference, but oh boy, you're such a hypocrite. Toh tum doosro ko maa behen ki gaali de sakte ho? (You can abuse others' sisters and mothers?) This okay with you? Okay so we all can't abuse each other but this guy can. Inke paas saare rights hai doosre ke upar gandagi daalne ka (They have all the right to be dirty towards someone else)!'
'I am again so confused, getting offended over people abusing him but no problems in giving gandi gaalis to me, sabko victim banna hai (using abusive langauge towards me, and playing the victim card),' she ended. Dolly wondered why he was playing the victim card.
At the moment, Sufi and Uorfi are seen in the reality show, The Traitors. About The Traitors
The Indian adaptation of the hit Dutch reality show features Karan Johar as the host. Twenty contestants, including names like Uorfi Javed, Apoorva Mukhija, Anshula Kapoor, Raftaar, Raj Kundra, Sahil Salathia, Lakshi Manchu, and Karan Kundrra, are split into Traitors and the Faithful. The reality show is a murder mystery with a dash of intrigue thrown in. It was released on Prime Video on June 12. Raj Kundra became the first contestant to be eliminated from the show after Apoorva Mukhija exposed him as a traitor. Following this, Maheep Kapoor and Raftaar were voted out of the show.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
13 minutes ago
- Hindustan Times
Yael van der Wouden: 'History also serves as an unfinished thought'
On winning the Women's Prize for Fiction, you note how you stand on the shoulders of queer and trans people before you. Please share the significance of the prize for you? Author Yael van der Wouden (Courtesy It's a huge honour, first and foremost. The word 'woman' as a possessive for me hasn't always been a straightforward one, but my love for stories always has, as has my appreciation for platforms that elevate stories written from the margins. Being acknowledged in this way and read so kindly by the judges — and by so many people — has been a gift, and fully unreal. I've been reading along with the lists for years and can hardly believe I have a little Bessy [the bronze statuette] living in my house now. The other day, I caught a glimpse of my new paperback cover on the counter, and now it has the green circle and the word 'winner' on it. I had my first true, 'Oh my God' moment where the realisation briefly hit home. And then it was gone, and I went back to peeling ginger. 272pp, ₹799; Viking The Safekeep asks readers to reconsider what they own, and discusses people's possessiveness about objects and land. It also raises a wider question about the idea of theft. Were you deliberately invoking these propositions, or did it happen as the story progressed? I come from both a European Jewish heritage and a non-Jewish, Dutch heritage. I have grandparents who fled the war, and grandparents who had to live through the German occupation. I grew up in Israel/Palestine, in a city shaped by colonialism and built on the remnants of destroyed Palestinian villages that go unnamed and unremembered in contemporary Israeli memory. The question of choices made in war, of theft and of land and how people dealt with those choices after all was said and done, is a question that sits at the core of who I am, my position in history. I've been wanting to write something about that for a long time, and for a while, I figured that something would probably end up being an essay or a long read. The idea for the novel came to me almost as a surprise! But once it did, and once I saw the scope of it play out in my mind, the writing became almost compulsive. It's a conversation I'm having with myself, a meditation on homes, on desire, on who benefits from apologies — the person apologising, or the one who is there to receive? Reading The Safekeep, I couldn't help but think of the connections Olivia Laing makes in The Garden Against Time between gardens and post-war real-life stories. Then, I read your essay, On (Not) Reading Anne Frank, where you mention reading Frances Hodgson Burnett's The Secret Garden. The consumption of the forbidden fruit in the Garden of Eden explains humans' origins in many cultures. There's, however, something unmistakably erotic about that act. Gardens are also private little paradises where a lot of pivotal scenes in your novel are set, alongside the unabashed, unapologetic eating of the fruit, with its core and all. Am I making puzzling connections here, or were gardens and erotica on your mind, too, while working on this book? Oh, you're absolutely not making puzzling connections here — that's as bang on the money as it gets. My background in academics was a niche within a niche: in Comparative Literature, I was doing Memory Studies, and within that, Landscape Studies. That's a very complicated way of saying: I was writing about and looking at the ways national identity-making and memory-making define the way we shape our environment. One of my favourite lectures to give was one on the history of the suburban lawn, where we trace the path of a lawn from being a symbol of wealth (consider the renaissance Venetian garden, and compare it to your run-of-the-mill monastic garden: the former says, 'I have all this land, and I don't even need to use it for the production of food, that's how wealthy I am!', and the latter says, 'I'll use every piece of this garden to feed and maintain my community'), and how a patch of grass — a plant kept in infancy by its continuous mowing, so it's never allowed to grow into maturity or procreate — has therein become a marker of control—of nature, of wealth. Run that through the mill of industrialism and the making of the suburban city, the creation of the individual under capitalism, and what you end up with is the middle-class home with its small square of well-kept grass to tell the neighbours: I too have money, I too am in control. And yet nature pushes back: continuous weeds to pull out, the roots that grow too deep and the seeds that spread too quickly. The garden is nature's glorious excess, and our relationship to it is one of restraint, of nipping the one to allow the other. There's something compulsive and almost fetishistic in that, isn't there? Certainly, a kind of eroticism in the pretending that we do when we keep a garden, the same theatre of control that we apply to bodies, to desire. In leveraging the diary Eva maintains to further the story, were you trying to invoke the most popular historical record of WWII, the diary of Anne Frank? Eva's recollections are markedly different, for they're not manipulated by hope but document what the diarist has been robbed of; entries are almost tainted by a feeling of revenge. Then, there's your history with Frank, when, looking at you, children in school chanted Anne Frank! so much that the 'nickname stuck'. Initially, when I started writing the novel, I didn't mean for it to have a diary chapter at all! I knew that there needed to come a moment of reveal for Eva, where we find out her true thoughts and desires and how she ended up at the house. My first idea of how to do that was very convoluted and involved a set of initials and an aunt and a trip to the local library — things that bored me just thinking about having to write them. So, I put them out of my mind and began writing the first chapters, figuring that I'd solve that piece of the puzzle when I got there. I realised in that process that Eva had a book with her, and that book was there so that she could take note of certain things and not use it much else, which is how I wrote that at first. The diary solution was a sudden one and one that I definitely struggled with for a few whiny days — I didn't want to take that route, worried I was going to fall into a gimmicky trap, worried indeed over the Anne Frank associations! I wanted to move away from conventional war narratives in many ways (another thread I desperately wanted to avoid: most war stories tend to focus on middle-class and wealthy families, because those are the families that tended to be able to afford the cost of hiding in someone's attic. Those are the ones who more often survived, because there was a delay in how long it took for them to get deported. There's a whole class element to who survived the camps that I rarely see spoken of, and I wanted that woven into the novel so badly … and simply couldn't make it work within the plot). What became clear, though, was that there was my will and then there was the story's desire towards the path of least resistance — a clean, neat story where no one ever leaves the house, and all the explanations needed are there already. In the end, Eva's diary chapter ended up being my favourite chapter to write. I wrote the first half on the six-hour train ride to Berlin, and the second on the return. It was such a relief to get to cast off Isabel's restrictive narrative voice, but especially to get to do it all in the form of a grand reveal. Much of it was cathartic: after a hundred pages of not-knowing, to get to kick down the door and scream out everything that's been happening below the surface. It scratched an itch I often have when in conversation with non-Jewish Dutch people, when the war comes up: this desire to shout, 'You don't even know what you don't know!' The choosing of what went in and what would go was a more collected, restrained exercise; a lot of the research didn't make it in, and I had to be careful and make sure that it still sounded like a diary, not a mouthpiece for academic research — a list of facts. When I sent it in to my editors for a first round of edits, I was sure she'd say that half of it had to go. Surprisingly, they both said: more of this chapter, more of Eva's voice. Great news for me, of course, I had plenty more to say! One of the most satisfying experiences of reading The Safekeep was its deliberate suppression of the characters' train of thought, as if verbalising what's on their minds would give finality, a real shape to their thoughts. Interestingly, as these words hung in the air, someone else would pick them up and carry the conversation forward, as if a co-creation of something mutually thought was being signalled. In the incompleteness of the dialogues, you perhaps wanted to test the thresholds these people could cross or wanted to respect. In that sense, could you reflect on the dialogue writing in the book? The primary rule with Isabel was — she cannot have access. Not to her thoughts, her desires, her feelings. When she feels anything at all, she starts pinching at herself; when she feels desire, she redirects it into anger. When she thinks something that in any way goes deeper than an inch below the surface, she cuts herself off. The moment Isabel has access to herself, that's when we, as her audience, can stop wondering why she is the way she is — and the tension is broken. Isabel herself believes she knows herself, and that fantasy is only maintained as long as she doesn't dig too deep. So much of the novel was writing out bits of dialogue or thoughts and then backspacing them out of existence immediately because 'Isabel would not know this about herself.' I wanted the unfinished nature of thoughts and dialogue to mimic also what it feels like to exist in an environment where history also serves as an unfinished thought. READ MORE: Review: The Safekeep by Yael Van Der Wouden Finally, in celebrating the fierce fire-like desire of a bodily want, you note multiple times that a body doesn't exist unless it's forced into being in the moment during an act of love. While same-sex desires have been considered deviant, there's something utterly mechanical but also philosophical about the love between Isabel and Eva that you describe in the book. To me, so much of that has to do with the body as it's seen and unseen. Both Isabel and Eva enter into the narrative furious with how the world perceives them — they feel utterly invisible in their true form, and only visible as a projection. Isabel is seen by her brothers as an extension of their mother; Eva is seen by her lovers as a mirror image of whatever they want her to be. Neither woman is considered in full until they are pitted against each other. And what they see, at first, is something ugly. Both women despise one another, but there's at least the relief of being despised for who you are, rather than loved for who you're not. The physicality of their desire becomes an extension of that: the body responds to being perceived, especially through Isabel's perspective, which is so deeply tactile. From the very first page, you see how intensely she experiences the world. Everything is vibrant and green, and every smell is overpowering, and every sound is too loud. A breeze could knock the poor woman over! She exists in her body, and the body overwhelms her. The physicality she finds with Eva is both about truth and perception, and it's also about channelling the very tactile way she exists in the world into something physical — touch. Saurabh Sharma is a Delhi-based writer and freelance journalist. They can be found on Instagram/X: @writerly_life.
Indian Express
13 minutes ago
- Indian Express
Why bizman Sunjay Kapur's death has sparked a feud, corporate power struggle
Over a month after businessman and actor Karisma Kapoor's former husband Sunjay Kapur died of a heart attack while playing polo in London, his mother Rani Kapur has written to the board of directors of family-owned auto components firm Sona Comstar — a part of Indian conglomerate Sona Group — suggesting that she had been 'forced to sign documents behind locked doors' and 'left to the mercy of a select few for survival'. The letter was written by Rani Kapur hours before an annual general meeting (AGM) of the company was scheduled for Friday. The letter, in which Rani identified herself as the majority shareholder of the Sona Group, stated: 'I was approached multiple times and compelled to sign various documents without explanation or even having time to read and understand the same. Despite being under immense mental and emotional distress, I was coerced into signing such documents behind locked doors… the contents of such documents have never been revealed to me.' In the letter, which was also copied to the Securities and Exchange Board of India (SEBI), Rani also alleged that she has lost access to all her bank accounts. 'Please also take note that I have been totally denied access to my accounts and have been left to the mercy of a select few for survival. All this, in less than a month of my only son passing away,' she said. Rani further said that her late husband, Surinder Kapur — the founder of Sona Group, who had passed away in 2015 — had, via a will dated June 30, 2015, made her the sole beneficiary of his estate and also a majority shareholder of the Sona Group. 'It is unfortunate that while the family and I are still in mourning, some people have chosen this as an opportune time to wrest control and usurp the family legacy,' she wrote while requesting that the AGM be postponed by two weeks. She further alleged that in the AGM, a resolution would be passed to appoint certain directors in the company as representatives of the Kapur family, without her involvement. 'Unfortunately, once again, nothing has been told or explained, let alone discussed with me regarding the same by the company or people involved,' she said. Rani, who is being represented by senior advocate Vaibhav Gaggar and advocate Smriti Churiwal, added that she had 'not given any consent or officially nominated any person to come on the board of the company or any other Sona Group company after my son's demise or given any consent to any person to represent me in any capacity before the company and or any other Sona Group company'. The Indian Express has learnt that Sona Comstar, while denying all allegations, has said that it did not defer its AGM — which was 'scheduled in full compliance with the law' — despite the request from Rani Kapur, as she is not a shareholder in the company. On June 12, Sunjay Kapur died at the age of 53 following a heart attack. Some reports claimed that he had swallowed an insect while playing polo, which possibly sent his body into shock.
Time of India
42 minutes ago
- Time of India
Tea App hacked days after becoming top free app on Apple's App Store - over 72,000 images leaked, impacting women seeking safety
4Chan Users Reportedly Discovered and Shared Exposed Tea App Database What Was the Tea App Designed For? Live Events Who Was Affected by the Tea App Breach? How Is Tea Responding to the Breach? Tea App Went Viral Before Hack, Becoming Apple's Top Free App FAQs (You can now subscribe to our (You can now subscribe to our Economic Times WhatsApp channel Thousands of women who joined the Tea app looking for safety and solidarity are now facing a nightmare. On Friday, the company confirmed that hackers breached its system and leaked more than 72,000 images, including 13,000 government-issued IDs and verification selfies, as per an NBC News report. Another 59,000 images publicly viewable in the app from posts, comments, and direct messages were also accessed without authorization after being hacked, as reported by of the photos are now reportedly being shared on social media sites like 4Chan and X, according to the reported that 404 Media, which earlier reported about the breach, said it was 4Chan users who discovered an exposed database that 'allowed anyone to access the material' from the Tea app. 404 Media wrote, 'While reporting this story, a URL the 4chan user posted included a voluminous list of specific attachments associated with the Tea app. 404 Media saw this list of files. In the last hour or so, that page was locked down, and now returns a 'Permission denied' error,' as quoted by READ: Vince Gilligan's Pluribus, starring Rhea Seehorn to premiere on Apple TV—Release date, teaser, cast, plot and details you need to know! Tea was designed as a private space for women to talk about men, a kind of virtual whisper network where users could upload photos, search for men by name, and leave comments describing them as 'red flags' or 'green flags,' as reported by NBC app blocked screenshots and required users to verify their identity by submitting selfies, which Tea claimed were deleted after review, according to the NBC News report. Now, the very process that was meant to protect women is the reason many feel firm said that the breach only affects users who signed up before February 2024, according to AP. A Tea spokesperson told NBC News that 'This data was originally stored in compliance with law enforcement requirements related to cyberbullying prevention,' as quoted in the READ: Think lemon water is always healthy? Here's what you are not being told However, the firm said, 'Tea has engaged third-party cybersecurity experts and are working around the clock to secure its systems,' and added that, 'At this time, there is no evidence to suggest that additional user data was affected. Protecting tea users' privacy and data is their highest priority,' as quoted by hack came just as the app reached a new level of popularity, as per the NBC News report. Tea even became the top free app in Apple's App Store this week, and its Instagram page said new signups had surpassed 2 million in recent days, according to the app was hacked, and over 72,000 user images were leaked online, including selfies and government-issued to reports, images have appeared on 4Chan and X (formerly Twitter).
