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News18
2 days ago
- General
- News18
In Shocking Video, Elderly Woman Grabs Snake Like It Is A Stuffed Toy
Last Updated: Reacting to the shocking video, a user said, "Snakes can't be pets, and it is poisonous and can cause fatality." A 70-year-old woman from a village in Pune has gone viral for her fearless act involving a snake, all done to spread awareness. Shakuntala Sutar, who lives in Kasar Amboli village in Mulshi Taluka, calmly picked up a non-venomous rat snake (known locally as Dhaman) that had entered her home. Instead of panicking or calling for help, she handled the situation herself. A video that captured the moment shows her lifting the snake with her bare hands and even wrapping it around her neck. As per India Today, her son, Ganesh Sutar, explained, 'She held it without fear because it wasn't poisonous," adding, 'My mother wanted to show people that not all snakes are dangerous." The video of the incident was recorded by bystanders and has been widely shared online. Many people were shocked to see the elderly woman dealing with such a large snake without fear. Apparently, Shakuntala's goal wasn't to shock; it was to 'educate". Her family mentioned she 'wanted people to understand that snakes like the rat snake are not harmful and play an important role in nature", especially in farms where they help control rodent populations. What Did The Elderly Woman Say? 'There is no need to panic when you see a snake. Not every snake is venomous. The rat snake doesn't harm humans; in fact, it is helpful for farms as it eats rats and pests. People often kill snakes out of fear and superstition, which is wrong," she explained as quoted by The Free Press Journal. Reacting to the video, a user wrote, 'This is a different level of motivation!" 'Snakes can't be pets, and it is poisonous and can cause fatality. Awareness is needed among the public to minimise human snake interactions," an individual commented. While the elderly woman is seen calmly holding the snake, we strongly advise our audience not to attempt this under any circumstances. view comments First Published: Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Scroll.in
4 days ago
- Entertainment
- Scroll.in
‘The Elsewhereans' by Jeet Thayil travels through timelines, ingeniously connects places and events
Jeet Thayil's genre-blending 'documentary novel', The Elsewhereans, begins with a meet-cute. The year is 1957. Ammu Thomas, winner of 27 medals and 25 cups in school athletic championships, now teaches physics, chemistry, and biology at a high school in Alwaye, Kerala. Thayil Jacob Sony George is a journalist in Bombay, working for The Free Press Journal. Their families have met. Marriage has been proposed. In a break from convention, George decides to meet Ammu, scandalously unchaperoned. Swiftly, in a move familiar to Thayil's long-time readers, the author defies audience expectations, and what follows is not a romance but the chronicle of a marriage that is complex and often messy, a family memoir, a travel diary, an extensive documentation of socio-cultural imperatives, all layered within a narrative of grief, loss, and displacement. Embracing disruption With Ammu and George, and a cast of family members who appear and disappear through the text, the narrative travels across continents and decades, reaching back and forth in memory and re-constructing events through documents like letters, photographs, postcards, and fragments of notes. Lest we fall into the trap of reading the text autobiographically, an unpardonable breach of readerly etiquette in a post-truth, post-postmodern world, Thayil reminds us, gently, 'The real names and photographs in these pages are fictions. The fictional names and events are documentary. The truth, as we know, lies in between.' 'Elsewhere' is a construct, as political as it is cultural, that steps away from the trauma inherent in displacement (as seen in much of diasporic writing and theorisation) and embraces disruption. Ammu and George's peripatetic lifestyle takes them from the young bride's family home, Anniethottam in Kerala, to a small, shared apartment in Mahim in Bombay, and thenceforth to provincial Patna of the 1960s, in the grip of student agitations, followed by the cultural conflict and fraught racism of Hong Kong, the harsh aftermath of the war in Vietnam, and routing through Bombay and New York, lands at Bangalore, where they are forced into a lockdown during the pandemic of 2020. They become Elsewhereans who do not belong to any one place, whose home is an unmoored, shifting space, that defies rootedness. In Hong Kong, where everyone is from somewhere else, Ammu experiences Elsewhere 'as a spiritual calling' and begins to see 'internationalism as the true nationalism and freedom as the only patriotism.' This unmooring from the normativity of a fixed, unalienable 'home' and the felicity with which it is transformed into something mutable is what makes the text and its inhabitants unusual. It also captures the multi-lingual/ multi-ethnic/ multi-cultural milieu of many of its readers, for whom leaving 'home' is no longer defined by a hybrid duality. The book's primary narratorial voice belongs to Jeet, the son of Ammu and George, named rather infrequently, despite a significant presence in the narrative. As much of an Elsewherean as his parents, while also caught in that most banal of power dynamics – the father-son conflict, Jeet finds himself retracing the trajectory of journeys already undertaken. He goes to Hong Kong to work for the Asia-centric magazine initiated by his father, re-lives his father's journey in Vietnam, in search of the woman in a photograph he finds in his father's documents, and travels to Paris to visit Baudelaire's grave in a re-tracing of his Uncle Markose's lifelong dedication to the works of the French poet. Jeet insists he is a migrant, not an immigrant, reiterating the difference between someone who wants to make home afresh in a new location and someone whose home moves with them, affecting no need for permanence. He is not the only one choosing a life of continual transit. In a church in Dessie, Ethiopia, Uma, Ammu's sister-in-law, finds a portrait of Mary, Joseph and Jesus, dark-skinned like her, and recognizes in them the aura of Elsewhere: 'Mary and Joseph were migrants when Jesus was born, and for years afterwards. Jesus was a migrant. His family went from one place to another to stay alive. Movement. Movement is God's message'. Early in the book, George points to the centrality of the same sort of movement in the Indian epics as well – in the Ramayana and the Mahabharata. Elsewhere, then, becomes the human condition for those who subvert stasis, for whom 'home is anywhere but here', whether voluntarily or under coercion. Places and contexts Recent shifts in geopolitics have brought us to a point where history itself has become suspect, subject to constant revisioning, elisions and erasure by governments and systems of education. Fiction and memoirs seem to have nimbly stepped into the gaps that appear in official accounts and textbooks, such that more history – cultural, social, political and personal – is being told in the interstices between fiction and non-fiction than in classrooms and public discourse. The Elsewhereans firmly situates itself within this space where the accounts of the people in its pages also become accounts of the places and contexts they emerge from. When Ammu is in what looks like interminable labour at Anniethottam, there are protest rallies being organised across the state against the Namboodiripad government by anti-communist church organisations allied with the Congress party, the reader learns, getting a minor lesson in the turbulent politics of the state. Da Nang, Jeet's guide during his visit to Vietnam, structures her 'sightseeing' plan to bring alive the history of the war – its horrors, its violence, and the pushback of the Vietnamese people – to tourists who are left questioning their certainties. State control in China and the fallout of the Cultural Revolution are brought home in vivid detail in the narrator's conversations with Lijia, a photographer and documentarian whose father was penalised for his seemingly radical poetry and came perilously close to being executed as a political prisoner. Thayil writes of encounters with racism and the debilitating politics of hyper-nationalism that uses language and linguistic difference as tools of oppression. 'To know history is to know loss, and the displaced know it best', he writes, and the text stands testimony to its truth. In calling this a 'documentary novel', Thayil pushes the boundaries of both genres, incorporating visual, visceral elements in his narrative while disregarding the rules of plot and temporality. Re-constructing memory through material documents and in storytelling, the book travels through timelines, connecting places and events in a manner as itinerant as its characters are. It is the Elsewhereans, people who cannot be assigned a singular location or identity, that give the book its raison d'être, pulling the reader, almost voyeuristically, into the everyday concerns, anxieties, and triumphs of Thayil's characters. At Ammu and George's wedding, we are introduced to Thommen, a wedding chef 'famous for his bad temper and his red meen curry'. It is to Thayil's credit that the force of Thommen's personality lingers in the reader's memory just as much as the spectral taste of his feast lingers on the palate. The 'opiated midwife' who attends to Ammu has a string of legends that follow in her wake and is also a conduit into the history of the opium trade and colonisation in Asia. Then, there are the rule-breaking women – Nguyen Phuc Chau, immortalised in a black-and-white photograph of the woman on a motorcycle, responsible for keeping George alive during his time in Vietnam; her granddaughter, Da Nang, who named herself after her father's hometown, a major site of battle during the Vietnam War; and Chachiamma, Jeet's cousin who chose herself over social obligations. These Elsewhereans weave in and out of each other's stories, constructing a complex structure that needs the reader's participation to come together as a whole. Unusually, for Thayil's incisive writing, at the core of The Elsewhereans is a delicate handling of complex emotions. Grief, frustration, joy, and love all play across the relationships of our Elsewhereans. Ammu's assumption of marital responsibilities that George had started to shed from the very beginning of their marriage sets in motion a critique of marriage and patriarchal oppression that turns darker with other relationships, other marriages in the narrative, leading to the insipid conclusion that women who resent their husbands do not often leave them. Until they do. The breakdown of communication between fathers and sons, the inability to accommodate difference, and relationships caught in the liminality of love and resentment is another thing the narrative captures, without any drama, any cloying sentimentality. Its understated response to grief- stemming from the loss of home or a beloved or oneself – is as heartbreaking as it is compelling. Thayil takes the affect of grief and ties it to an ongoing project of social mirroring. Alongside a young Jeet, the reader must learn that 'the dead did not return. Their peculiarities fade first, then their faces and last of all their voices.' 'In time', Markose tells him, 'you'll find that our forgetfulness about death and a hundred other things, for example, the keeping of slaves, the contempt for people of darker races and castes, the belief in godmen, the denial of equality, fraternity and liberty, all this is not the sole prerogative of Indians.' Did grieving just turn political? You might need an Elsewherean to confirm.
News18
5 days ago
- Entertainment
- News18
Sonu Sood Sends ₹1.5 Lakh To South Actor's Family After His Death
Sonu Sood extended financial help to late actor Fish Venkat's family after his death due to kidney failure. Tollywood actor and comedian Venkat Raj, aka Fish Venkat, passed away on July 18 in Hyderabad due to kidney-related issues. He was 53 and undergoing dialysis while admitted to the ICU. His family had been seeking financial help for his kidney transplant, needing around Rs 50 lakh. Sadly, Venkat died before they could secure the funds. Venkat had worked in several Telugu films like Adhurs, Gabbar Singh, Shivam, and Khaidi No 150. His last appearance was in the 2024 film Coffee with a Killer. Sonu Sood Steps In to Support the Family After hearing about the tragic news, actor Sonu Sood came forward to help Venkat's grieving family. He immediately transferred Rs 1.50 lakh to them as a token of support and also spoke to Venkat's wife and relatives on a phone call. According to Sonu's team, he initially hoped Venkat was still in the hospital and could recover. However, he was 'shocked to know" that the actor had already passed away. Sonu also personally spoke to Venkat's wife and other family members over a phone call, and assured them that he would support them whenever needed, as per Hindustan Times. Venkat's wife, who was deeply moved by the gesture, felt relieved as her husband had always admired Sonu, Hindustan Times also states. Confusion Over Prabhas' Alleged Donation There were earlier reports that actor Prabhas had offered Rs 50 lakh for Venkat's kidney transplant. The family later clarified that they never received the amount. 'Some unknown person called us pretending to be Prabhas Anna's assistant. We found out after that it was a fake call. He doesn't even know something like this is happening. We have not received any financial help yet," a family member shared as quoted by The Free Press Journal. Before Venkat's passing, actors like Vishwak Sen and Pawan Kalyan had also reportedly stepped up to help. Pawan had reportedly donated a sum upon hearing about Venkat's condition. Despite the delay in aid, the support shown by the film community, especially Sonu Sood, brought some comfort to the family during this difficult time. First Published: Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Time of India
16-07-2025
- Entertainment
- Time of India
Priyanshu Painyuli opens up about lost opportunity to work with Irrfan Khan due to illness: 'Very unfortunate moment for me'
Priyanshu Painyuli shared how a Vishal Bhardwaj film with Irrfan Khan was shelved due to Irrfan's illness, marking a missed opportunity. He was also shortlisted for The White Tiger but was passed over for appearing 'too urban.' Priyanshu is known for roles in 'Bhavesh Joshi Superhero' and 'Mirzapur'. Priyanshu Painyuli recently spoke about a unique opportunity that might have altered his career path—a film co-starring the late iconic actor Irrfan Khan . Sadly, the project was shelved after Irrfan was diagnosed with cancer. The loss was especially painful for Priyanshu, who had already begun physical training for the role and was excited about the chance to act alongside a hero he greatly respected. A Heartbreaking Moment in His Career Talking to The Free Press Journal, Priyanshu revealed, "There was another film with Vishal Bhardwaj that he was making but he stopped because Irrfan sir fell sick. That is one very unfortunate moment for me". Painyuli said that that was a deeply disappointing moment for him, as he had a strong desire to work with Irrfan, even if it was for just one scene. In fact, his role involved several scenes with the late actor. To prepare, Priyanshu committed to gaining weight and looked to age himself for the part by eating heavily for two weeks and growing a beard and moustache. Despite his dedication, the film was ultimately shelved due to Irrfan's health issues, marking a significant missed opportunity in Priyanshu's career. Close to Landing Lead in 'The White Tiger' He shared that he was a strong contender for the lead role in 'The White Tiger', which was ultimately played by Adarsh Gourav . He recalled being shortlisted, meeting with the director, and undergoing a makeup test to embody the character. However, the part didn't go to him because he appeared 'a little too urban for the role.' Despite this, Priyanshu praised Adarsh's performance, saying, 'When I saw Adarsh in the movie, I felt he fit the bill perfectly. He is a great actor.' Priyanshu's Career Highlights On the work front, Priyanshu is known for his roles in films like 'Bhavesh Joshi Superhero', 'Extraction', and the Amazon series 'Mirzapur'. Starting as a model and assistant director, he gained acclaim across mainstream and independent cinema.
Time of India
16-07-2025
- Entertainment
- Time of India
Ashutosh Rana says language shouldn't spark fights; says, 'We're better than that'
Amid the rising debate around Maharashtra 's language row, actor Ashutosh Rana shared some food for thought. Speaking to a news portal, the actor shared his take on the ongoing debate that has drawn both support and backlash. A call for peace While promoting his new film 'Heer Express', the actor responded to a question on the row, calling for people to focus on unity instead of division. 'Mera personal jo maanna hai, woh yeh hai ki bhasha jo hoti hai, woh samvaad ka vishay hoti hai, bhasha kabhi bhi vivaad ka vishay nahin Bharatvarsh jo hai, woh itna paripakv aur itna adbhut desh hai, jahan par isne saari cheezon ko sweekar kiya hai aur samvaad mein vishwas rakhta hai,' Rana said during the event, as reported by The Free Press Journal. This comes as the state sees fresh tension between Marathi speakers and those of other lingual backgrounds. There's been back-and-forth over the new three-language policy, with some regional groups saying it pushes Marathi to the sidelines. Protests, counter-protests, and political speeches have followed. Rana, meanwhile, tried to keep things grounded, explaining, 'India has always accepted differences. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Discover Why These Off-Plan Dubai Apartments Sell Fast? Binghatti Developers FZE Read More Undo It has never believed in fighting over things like this,' he added. 'Bharat vivaad mein vishwas nahi rakhta.' Ground Reality The policy's been deemed controversial, with some Hindi-speaking migrants in Maharashtra reportedly being targeted, with some clashes even turning violent. What's next for Rana? On the work front, he'll be seen in 'War 2', 'Alpha', and 'Heer Express', which hits theatres August 8. The cast also includes Divita Juneja, Sanjay Mishra , Gulshan Grover , and more. Heer Express - Official Trailer
