logo
Already a member? Login here

Chinese Scientists Discover 3,000-Year-Old Female With Amputated Foot, Speculate It Was Punishment

Scientists in Beijing have announced the discovery of an almost 3,000-year-old skeleton of a young woman whose foot had been amputated. The finding, say researchers, is rare evidence for the practice of yue, an ancient practice in which a person’s foot was amputated as punishment for a crime. It is, they say, the earliest archeological evidence for the practice.

The discovery, first reported by the South China Morning Post, was unearthed in a tomb at Zhouyuan site in Shaanxi province, northwest China. Extensive osteoarcheological examination estimated that the woman lived five years after the amputation and was about 30-35 years old when she died. Biomedical analysis further revealed that there was no evidence of disease that might have caused the woman’s limb to have been amputated on medical grounds. The cut to the bone, said the researchers, was roughly made and, thus, does not seem suggestive of medical amputation.

Li Nan, an archaeologist at Peking University in China, told Tom Metcalf of Live Science that the team of archeologists eliminated “other possibilities and agreed that punitive amputation is the best interpretation” of the remains. Though the woman seems to have been poor, she lived for about five years after the amputation.

In the absence of evidence for disease, scientists have concluded that the woman was punished under the “Five Punishments” (wuxing) system, a set of punitive measures that were in place until the second century B.C. According to legend, the five punishments were originally created by the Miao tribes after Chiyou, one of the three legendary founders of China, inaugurated a period of chaos. The fourth century B.C. Confucian text Shangshu or the Book of Documents writes, “[The Miao] made the five punishments engines of oppression, calling them the laws. They slaughtered the innocent and were the first also to go to excess in cutting off the nose, cutting off the ears, castration, and branding.”

The Xia dynasty also allegedly used the system, and yue in particular, to controlled enslaved people. During the Zhou Dynasty (1045-221 B.C.) the Five Punishments were refined to include amputation of the nose [yi], facial tattooing [mo], the removal of one or both legs [yue], castration [gōng], and the death penalty [da pi]. Ancient Chinese artwork also shows numerous depictions of people whose foot, feet, or leg had been amputated.

While the practice was implemented for a lengthy period of time, it was also controversial. Not only was bodily mutilation something that scarred and disabled people for life, but it also had religious consequences. Confucian beliefs stated that a person’s body is received from their ancestors and parents and must be returned to them at death. Mutilation made this obligation impossible to fulfill, as Brian McKnight puts it, since a mutilated body was indicative of a mutilated spirit.

A ninth-century A.D. essay by Tang poet Bai Juyi connects the tyrannical abuse of mutilation to the downfall of various dynasties. A translation of Bai’s essay by Norman Ho reads: “the Miao people started to abuse them; because of this, heaven brought down suffering [on them] to punish them. The Qin [third-century B.C.] Dynasty also violently and brutally used them…and the Qin fell.” Qin dynasty tombs from Longgang site in Hubei contain the remains of those whose feet were amputated in the third century B.C.

The practice was abolished by Emperor Wen, of the Han dynasty, in 167 B.C. A 2019 review of the practice by Norman Ho revealed that centuries earlier there were numerous offenses that were punishable by amputation. Li Nan told Livescience that at the time as many as 500 different offenses were punishable with amputation. Up until that point, as Dr. Jesse Chapman has argued, these punishments served as advertisements of power and permanently associated victims with criminality. Those who suffered under the Five Punishments, writes Chapman, were placed on display: those who were tattooed were sent to guard the gates. Those whose feet were amputated had to guard the gardens.

The use of bodily mutilation (including amputation) as a punishment for crimes is hardly unique to ancient China. In the Roman period, for example, facial tattoos were used to mark enslaved people who tried to self-emancipate (or in Roman terms “run away”). Nasal amputation was employed in ancient Iraq, Egypt, India, and Israel. It continued in the Byzantine and Medieval periods. In 695 A.D. Emperor Justinian II was usurped and disfigured by having his nose sliced off. Holy Roman Emperor Frederick II of Sicily (1194-1250) inflicted rhinotomies upon those who committed adultery; Pope Sixtus V punished highway bandits with the same treatment in the 16th century; and those who spread libel about the King in 17th-century England risked having their nose or ears amputated. Daniel Defoe, the author of the beloved novel Robinson Crusoe, narrowly escaped this very fate.

The most common context for disfiguring others is wartime. This wasn’t because people got caught up in the moment, it was a ritualistic act that deliberately degraded people. As Dr. Tracy Lemos, a professor of theology at Huron University, has written in a series of important studies on ancient Israel, forcible bodily mutilation in war was a way of dehumanizing people, of displaying one group’s dominance over another, and subordinating those who dare to resist.

The association of criminality and the amputation of body parts is most well-known from the Hebrew Bible axiom “an eye for an eye” but it is present in the New Testament as well. In Mark 9 Jesus tells his followers that if a part of your body causes you to “stumble,” then you should cut it off: “For it would be better to enter eternal life impaired than to be thrown intact into Gehenna, into an unquenchable fire where the worm never dies.” Jesus may well have seen this practice of auto-amputation as therapeutic, but it created a legacy in which blinding and amputation were used as punishment for theft in medieval Europe.

Bodily mutilation is not only about the formal or official exercise of power. The lynching of Black and Mexican men in the American South regularly involved castration, ocular excision, and the amputation of hands and feet. Even today, forcible bodily modification can be a means of violently and illegally asserting power and dominance; as a CNN report revealed in 2017, young women who are trafficked and forced into sex work in the U.S. are regularly branded or tattooed.

In his 1919 short story “In the Penal Colony,” Franz Kafka told the story of a traveler who witnessed the execution of a condemned man. The condemned had insulted his superior officer by falling asleep on duty and failing to stand and salute on the hour. His execution was administered by a machine that inscribed the nature of the crime on the man’s body over the course of 12 hours. (The machine seems to have been the inspiration for Dolores Umbridge’s Black Quill in Harry Potter.) The story makes explicit, Chapman notes, what is implicit in the historical practices of bodily mutilation: it inscribes the body of the victim in a culturally legible way. You can read their punishment, corresponding crimes, and moral failings from their bodies. Mutilation renders a person less than human. But, from our vantage point, these kinds of inscriptions work only to damn the inscriber, not the condemned.

Official US Trailer for Gaspar Noé’s ‘Lux Æterna’ Film About Witches

Official US Trailer for Gaspar Noé’s ‘Lux Æterna’ Film About Witches

by
April 5, 2022
Source: YouTube

“A modern day witch incineration.” Yellow Veil Pictures has released a new trailer for this trippy, strange Gasper Noé film Lux Æterna, which is a medium-length feature running only 51 minutes in total. This first premiered in 2019 at the Cannes Film Festival, and Noé’s other new film Vortex premiered in 2021 and is also being released in the US this year. Two new Noe films in one year! Two actresses, Béatrice Dalle and Charlotte Gainsbourg, are on a film set telling stories about witches – but that’s not all. This one gets super crazy (as with most Noe films) in the second half once things to get weird on the set. The cast includes Abbey Lee, Claude-Emmanuelle Gajan-Maull, Clara Deshayes, and Félix Maritaud. I did not care for this film when I saw it at Cannes, but Noé fans may flip for it. Or at least find it peculiar enough to enjoy.

Here’s the new official US trailer (+ poster) for Gaspar Noé’s Lux Æterna, direct from YouTube:

Béatrice Dalle Charlotte Gainsbourg are on a film set telling stories about witches. Technical problems and psychotic outbreaks gradually plunge the shoot into chaos. Lux Æterna is also an essay on cinema, the love of film, and on-set hysterics. Lux Æterna, also written as Lux Aeterna, is directed by the Argentinian writer / filmmaker Gaspar Noé, director of the movies I Stand Alone, Irreversible, Enter the Void, Love, Climax, and Vortex last year, as well as many music videos and other short films. This initially premiered at the 2019 Cannes Film Festival a few years ago, and already opened in France in 2020. Yellow Veil Pictures will release Noé’s Lux Æterna in select US theaters (NY LA to begin) on May 6th, 2022 coming up soon.

Find more posts: Horror, Indies, To Watch, Trailer

Official Trailer for Doc ‘¡Viva Maestro!’ on Conductor Gustavo Dudamel

FOLLOW FS HERE

OUR RSS

Harry Potter author JK Rowling reveals she used to write during lunch hours and after 2 am


JK Rowling’s tweet tweet found favour with fans who lauded her hard work and determination.

Harry Potter author JK Rowling has often shared the difficulties she had faced while trying to become a published author. As a single mother who was unemployed for some time, Rowling recently revealed that she would write after 2 am after doing the dishes and once her baby was asleep.

The 56-year-old was responding to a question by Twitter user Janet Emson who asked authors how they fit writing into their everyday schedule when they first started.

Rowling also revealed that to ensure that she writes everyday even when she secured a job, she would write during lunch hours and at the end of the day after marking assignments.

After graduation, JK Rowling had taken up a translating job at the research desk for Amnesty International. Although she found the work important, it did not suit her. “I read hastily scribbled letters smuggled out of totalitarian regimes by men and women who were risking imprisonment to inform the outside world of what was happening to them,” she had said in an interview. Later, she took up teaching English in Portugal.

Related stories

Meanwhile, her recent tweet found favour with fans who lauded her hard work and determination.

“And that’s how you wrote one of the best series of books to ever exist and made million of children be interested in books. Dreams do come true in ways you can’t even imagine by purely hard work and never giving up,” tweeted Thiare who goes by @ravenclawfem. Ravenclaw was one of the school houses in the Harry Potter universe.

German politician Milena Schiller Ninô commented, “Don’t forget she is also a mother and wife, a woman, a human with all the problems that come with being human. She is incredible and she created a wonderful world.”

Rowling has been mired in controversy because of her “women’s rights” comments which were perceived as transphobic by many in the community. She, however, has not backed away from a dialogue and continues to make herself heard, even through Twitter.

So when a Twitter user commented on this tweet: “Which bit of this is about trans people?” another clapped back by saying, “Not everything is about trans people. Sometimes it’s answering questions.”

Download your money calendar for 2022-23 here and keep your dates with your moneybox, investments, taxes

The Hinduization of India Is Nearly Complete

When the British withdrew from the Indian subcontinent in 1947, paving the way for the independence of the newly partitioned nations of India and Pakistan, the Muslims of the region had a choice. They could resettle in Pakistan, where they would be among a Muslim majority, or remain in India, where they would live as a minority in a majority-Hindu but constitutionally secular state.

For Shah Alam Khan, whose great-grandparents were among the roughly 35 million Muslims who opted to live on the Indian side of the Radcliffe Line in the aftermath of Partition, his family’s decision was in many ways a political gamble. “They didn’t want to go to a theocratic state,” Khan told me from his home in Delhi. Indeed, when Pakistan finally adopted a constitution, nine years after Partition, it enshrined Islam as the state religion. For his family, the promise of a pluralist India, as envisaged by the country’s founders, trumped the warnings of the pro-Partition Muslim League (which went on to become the party of Pakistan’s founders) that a Muslim minority would inevitably be subordinate to the Hindu majority.

Seventy-five years later, those warnings have gained a new prescience. Nominally, India remains a secular state and a multifaith democracy. Religious minorities account for roughly 20 percent of the country’s 1.4 billion people, who include about 200 million Muslims and 28 million Christians. But beneath the country’s ostensible inclusivity runs an undercurrent of Hindu nationalism that has gained strength during the eight-year rule of Prime Minister Narendra Modi. The concern shared by many among the country’s religious minorities, as well as by more secular-minded liberals within the Hindu majority, is that the country’s secular and inclusive ethos is already beyond repair.

Muslims and Christians alike have faced a surge in communal violence in recent years. A raft of new laws has reached into their daily lives to interfere with the religious garments they wear, the food they eat, where and how they worship, and even whom they marry. Many of the Indian journalists, lawyers, activists, and religious leaders I’ve spoken with for this article say that the institutions on which the country once relied to keep this kind of ethnic supremacism in check—the courts, opposition parties, and independent media—have buckled.

To Khan, it feels as though the India he has inherited is gradually becoming another version of the theocratic state his family turned away from all those years ago. “They were promised a secular nation,” he said. For them, and for the country’s religious minorities today, “the unmaking of secular India is a betrayal.”

This ideal of a pluralist, secular India is popular not only among its religious minorities. A 2021 study conducted by the Pew Research Center found that by a wide margin, Indians of all faiths consider religious tolerance an essential part of what it means to be “truly Indian.” This civic value is as old as the country itself: Jawaharlal Nehru, India’s first prime minister, rejected any concept of the nation as Hinduism’s answer to Pakistan. His India would not be “formally entitled to any religion as a nation,” he said, but a place where all faiths could coexist and be celebrated equally.

That founding ideology, however, has long been disputed by Hindu nationalists. “To be a Hindu means a person who sees this land, from the Indus River to the sea, as his country but also as his Holy Land,” wrote the politician and activist Vinayak Damodar Savarkar in his 1923 book, Hindutva: Who Is a Hindu? (Hindutva, meaning “Hindu-ness,” has become shorthand for Hindu nationalism itself.) In Savarkar’s view, only those who regard India as both their country and their sacred Hindu homeland could be truly Indian. While Christians and Muslims could fulfill the first requirement, of patriotism, they would never be able to achieve the second. “Their holyland is far off in Arabia or Palestine,” Savarkar wrote. “Consequently their names and their outlook smack of a foreign origin. Their love is divided.”

Modi’s own Hindutva credentials run deep. Before he went into mainstream politics with the Hindu-nationalist Bharatiya Janata Party, he cut his teeth as a member of its allied paramilitary organization, the Rashtriya Swayamsevak Sangh, or RSS. After his landslide reelection victory in May 2019, one of the first things he did with his new mandate, in August of that year, was to fulfill a long-standing demand of the RSS by revoking the special autonomous status of Jammu and Kashmir, India’s sole Muslim-majority territory (over which Pakistan also claims sovereignty).

That same month, the northeastern BJP-led state of Assam published a national registry that left nearly 2 million people, many of them Muslim, off the list, casting their Indian citizenship into doubt. Perhaps the most contentious decision came at the end of the year, when Modi’s government pressed through a new law granting non-Muslims from Afghanistan, Bangladesh, and Pakistan the right to seek fast-tracked citizenship in India. Critics likened the move to a religious test for citizenship, and warned that it would open the door to additional forms of legal discrimination against Muslims.

These events loom large in Indian politics, but when I spoke with members of India’s Muslim and Christian communities about how life in India has changed under Modi’s rule, they rarely came up. People attested instead to the smaller, often more insidious ways in which the experience of India’s religious minorities has been altered.

To belong to a religious minority in India today is to feel “there is no future,” an Indian Muslim from Kashmir, who spoke on condition of anonymity for fear of government retaliation, told me. That sentiment is echoed by Ajit Sahi, a former journalist who left India for the United States days after Modi’s reelection. “I have friends who are desperate to get out,” Sahi, a secular-inclined Hindu who now serves as the advocacy director of the Indian American Muslim Council in Washington, D.C., told me. “There is no future for somebody like me back in India.” Nandita Suneja, who moved from her native Delhi to Australia in 2019, told me that the communal tensions made her Hindu family’s decision to leave much easier. She didn’t want to raise her daughter in an “atmosphere of stifling freedom and hate.”

For Indian Muslims, in particular, the situation is dire. During the recently passed holy month of Ramadan, they saw their houses and shops bulldozed, their businesses boycotted, and their religious gatherings heckled by Hindu-nationalist mobs. Open calls for genocide against Muslims have become commonplace, as have violent clashes and lynchings. Although the authorities generally avoid the appearance of explicitly endorsing these kinds of actions, they rarely go out of their way to condemn them. A recent open letter signed by more than 100 former civil servants accused the Indian government of being “fully complicit” in the subordination of the country’s religious minorities as well as in the undermining of the country’s constitution.

Shah Alam Khan, who teaches orthopedic medicine at Delhi’s All India Institute of Medical Sciences, considers himself relatively privileged compared with most Indian Muslims, who tend to be among the country’s poorer and more marginalized citizens. But even for him, he says, the country’s majoritarian turn has forced a change in his quotidian habits. He thinks twice before using the greeting Assalamualaikum, or using any other obviously Islamic phrase, in a crowded public space. Asked for his name, he typically offers only Shah, because it’s more common and less identifiably Muslim than his surname.

This type of self-surveillance has affected other members of his family. “Whenever I used to go meet my mom, she used to give me food,” Khan said. “But ever since [Modi] came to power, she stopped giving me that food, because a large part of that food used to be meat.” Cows are considered sacred to the Hindu faith, and their slaughter has been proscribed in most states—a rule often enforced by vigilante mobs. If Khan were stopped by a hostile crowd on suspicion of carrying beef, his mother feared, he could be arrested, even lynched.

Akif—who asked to be identified by only his first name for fear of persecution—grew up in what he describes as comfortable circumstances in Aligarh, southwest of Delhi. But that comfort has slipped in recent years. He won’t leave home wearing traditional Islamic attire if he is going to an unfamiliar neighborhood. His wife, who works in academia, has been asked by colleagues about why she wears a hijab, the Muslim headscarf, and why she doesn’t work at an Islamic institution. Some of the most incendiary comments, Akif says, have come from people he considered friends.

These restrictions, compounded by public debates at the local, state, and even national levels over whether Muslim students should be allowed to wear headscarves in school or how loudly mosques should broadcast the call to prayer (known as the azaan), have left many Indian Muslims feeling unwelcome in their own country. “Initially, they came for our dietary habits, now the azaan,” Rana Ayyub, an Indian Muslim journalist and author, told me. “Everyday you wake up and it’s like, ‘Okay, what part of our identity are you going to attack today?’”

Indian Christians face similar hostility. Attacks on Christians have been rising steadily since 2014, and 2021 was the most violent year on record for the community: The United Christian Forum, an ecumenical organization based in Delhi, reported a tally of more than 500 violent incidents—an 80 percent increase over the previous year. A human-rights lawyer who works on minority-rights and religious-freedom cases, who requested anonymity in order to speak candidly about their work, told me that most of these incidents originate with Hindu-nationalist mobs, which descend on religious gatherings at churches and in homes to accuse those involved of forcing Christianity upon unsuspecting Hindus, in violation of the country’s anti-conversion laws. In the violence that ensues, pastors have been beaten, churches vandalized, and religious schools attacked.

In many cases, rather than intervene to maintain public order, police officers join the mobs, ready to arrest the suspected Christian proselytizers. In one incident, on April 14, dozens of worshippers were gathered at a church in the state of Uttar Pradesh to observe Maundy Thursday when a mob showed up with police. “Everyone was arrested,” the lawyer told me. “‘Who are you converting? Everyone is detained.’ It was a little bizarre.” That case is still pending.

Hindu-nationalist groups and BJP lawmakers claim that forced conversions are rampant in the country. But there is little evidence for this. None of the arrests have yet resulted in a single conviction, A. C. Michael, a former member of the Delhi Minorities Commission and the national coordinator of the United Christian Forum, told me. But if the real purpose of the harassment is to intimidate members of a religious minority, it has already had its desired effect. “Earlier, we were very proud to display our faith, like wearing a cross or, if we were traveling, we would say our prayers aloud,” Michael said. “All that has now stopped.”

This is so far from the India that Nehru’s vision promised that Muslims and Christians now have little expectation that the state will protect not just their rights but their very lives. “The year I left India, in 2015, there were several attacks on churches in Delhi,” Dominic Emmanuel, a former spokesperson of the Delhi Catholic Church who is now based in Vienna, Austria, told me. When he and his fellow congregants staged a protest against attacks within their church compound, they were arrested.

Modi’s ruling BJP has no incentive to change course. In March, the party won a resounding victory when it held on to power in Uttar Pradesh, where the government is now led by Yogi Adityanath, a hard-line nationalist and former monk widely seen as Modi’s likely successor. The main opposition party, the Indian National Congress, was once the standard-bearer of secularism in India, but it has failed to mount a strong defense of the country’s religious minorities. Analysts I spoke with attribute part of that failure to the opposition’s fears of alienating a Hindu majority that has been swayed by Hindutva ideology.

If the political system is no longer a check on majoritarian rule, neither is the legal system. Just as the authorities fail to protect minorities from communal violence—or even participate in the violence themselves—the legal system fails to hold officials to account. Worse, a series of draconian and discriminatory laws have recruited both police and courts to efforts to silence government critics and advocates for India’s religious minorities. (The Indian government did not respond to requests for comment.)

At grave personal risk, several Indian journalists have shed unflattering light on Modi’s majoritarian rule. Some have been jailed for their reporting. One is Siddique Kappan, who was charged with sedition and conspiracy to incite violence for trying to report on the gang rape and murder of a 19-year-old Dalit woman. (Dalits, pejoratively known as the “untouchables,” are at the bottom of India’s caste system.) Others, like Ayyub, have been hit with spurious fraud and money-laundering charges; their cases are laborious and expensive to defend. The BJP-controlled state does not need to worry about time or money, so the process is the punishment.

“There is no one left,” Ayyub said, noting that as the country’s high-profile figures in politics, law, and the media have been largely silenced, so, too, have celebrities in India’s entertainment industry. The most prominent example is Shah Rukh Khan, one of Bollywood’s biggest stars, as well as one of the country’s most influential Muslim figures, whose films portray India’s pluralism at its best. Last year, the actor’s son was embroiled in allegations of drug use—a charge seen by some as part of a broader effort by the government to crack down on its critics in the film industry, as well as an attempt to discredit Khan personally.

Khan not only embodies that anathema to the BJP of being a Muslim married to a Hindu, but he has also spoken out against religious intolerance in the country. By attacking a personality like Khan, Ayyub said, the government’s message was clear: “If it can happen to Shah Rukh Khan, the biggest superstar,” she said, “imagine what happens to a regular Muslim without the access.”

That Modi feels emboldened enough to take on a movie star like Khan is telling. Modi “is popular because of the fact that he’s a bigot,” Aakar Patel, the chair of Amnesty International’s India Board and the author of The Price of the Modi Years, told me. “He is seen as somebody who has put Muslims in their place.” Despite rising inflation and high unemployment, as well as the government’s mishandling of the coronavirus pandemic and democratic backsliding, the prime minister still enjoys widespread popularity with his own BJP-supporting constituency. For most Indians, he is an Indian success story.

“Modi has been a real son of the soil for young Indians and they see themselves in him,” Vivan Marwaha, a researcher in emerging markets and the author of What Millennials Want, told me. If the son of a tea seller can become prime minister and command an international stage, the logic goes, so could they. “His appeal is in his personality,” Marwaha added. “Foreign leaders have to listen to him speaking in Hindi. He sells out stadiums in New York, London, and Sydney.”

Many Hindu Indians also appear comfortable with Modi’s ethnonationalist aims, despite the outbreaks of communal violence. “The whole religious agenda is not seen as something radical because, at the end of the day, something like 80 percent of India’s population is Hindu,” Marwaha said. “People just believe, ‘Well, why can’t they just live with our rules? Why can’t they not eat beef? Why does the azaan need to be played in public places?’ Things like that.”

If no check to the Hinduization of state and society comes from within India, then what about from without? So far, India’s international allies have shown little inclination to call Delhi out over the treatment of its religious minorities, largely because they see India as too important a partner to alienate. This is especially true of the Biden administration, which counts its relationship with India as a strategic asset in its Indo-Pacific strategy.

When Washington has voiced concern about the treatment of religious minorities in India, it has done so in private. That could be starting to change. In April, at a joint press conference with the Indian foreign and defense ministers, U.S. Secretary of State Antony Blinken noted that the United States is monitoring the rise of human-rights abuses in the country. That same month, the U.S. Commission on International Religious Freedom, a federal body created by Congress in 1998, designated India as a country of “particular concern” for the third year in a row in its annual religious-freedom report, placing India alongside countries such as Afghanistan, China, Iran, Russia, and Pakistan. In India’s case, the commission recommended imposing targeted sanctions against those responsible for severe religious-freedom violations.

Although the commission has no power to enforce such measures, its condemnations may have some cumulative effect. “When your own agency is recommending a policy move for three years in a row, it becomes harder to ignore with each passing year,” Pranay Somayajula, an advocacy and outreach coordinator at Hindus for Human Rights, a group based in Washington, D.C., told me.

As menacing as the persecution of religious minorities has become, for most Indians, emigrating is not an option. Only about 5 percent of citizens have a passport, and those who leave the country tend to be among the wealthiest. “If we decide to abandon the ship, what will happen to people who do not have the resources to go out? That is a very big concern,” Akif told me. As the last of his siblings still living in India, he can’t bring himself to leave his parents behind.

For Shah Alam Khan, remaining is a point of principle too. Because he spent several years working as a doctor for the National Health Service in Britain, he could emigrate there. But doing so would hand the nationalists who don’t see him as a true Indian a win. “It’s like running away. I won’t do that,” he said. “This is my country at the end of the day.”

New ‘Fantastic Beasts’ movie reuses ‘Harry Potter’ plot device

  • Warning: Spoilers ahead “Fantastic Beasts: The Secrets of Dumbledore.”
  • A plot point involving Newt’s briefcase feels ripped from “Harry Potter and the Deathly Hallows.”
  • The slightly altered plot device feels like lazy writing, recycling old material for new audiences. 

Over 3 million people read ; you should too!

“Fantastic Beasts: The Secrets of Dumbledore” is definitely better than the last film, but fans will undoubtedly groan over some derivative writing that feels plucked straight from the final “Harry Potter” book in the seven-book saga.

In “The Secrets of Dumbledore,” in theaters now, Newt Scamander (Eddie Redmayne) rallies together a ragtag group of witches, wizards, and one non-magical muggle to thwart Gellert Grindelwald’s (Mads Mikkelsen, replacing Johnny Depp) plans to start a wizarding war.

The convoluted plan to take down Grindelwald involves Newt’s assistant, Bunty Broadacre (Victoria Yeates), taking Newt’s magical suitcase to get duplicates of it made.

Bunty gets duplicates of Newt’s case made in “Secrets of Dumbledore.”

Warner Bros.


If you’re a big Potter fan, this scene may have given you pause. 

Surely, “Fantastic Beasts” wasn’t about to replicate the famous scene from “Harry Potter and the Deathly Hallows” in which the Order of the Phoenix (a group of Dumbledore loyalists consisting of Harry, Hermione, Ron, and several others) drink Polyjuice potion, which allows a person to morph into another, in order to disguise themselves as decoy versions of Harry to cause confusion for the franchise’s villain, Voldemort. 

Hermione, Ron, and more drink Polyjuice potion in “Harry Potter and the Deathly Hallows: Part 1” in order to try and confuse Voldemort’s Death Eaters.

Warner Bros.


But that’s exactly what they do. 

Late in “Secrets of Dumbledore,” another group of Dumbledore loyalists — the first iteration of Dumbledore’s Army — gathers together in Hogwarts’ Room of Requirements (the famous room where Harry and Dumbledore’s second army to defeat Voldemort would gather years later). Several copycat briefcases fill the room alongside Newt’s real one. 

No one knows which is the real one, containing a “fantastic beast” Grindelwald desires to capture.

Similar to “Deathly Hallows,” Newt’s group disperses and hopes to cause confusion among Grindelwald and his allies. The only difference between the scene in “Fantastic Beasts” and the original “Harry Potter” books and film is that no one knows who holds Newt’s real case. In “Deathly Hallows,” everyone knew which Harry Potter was the real one.

Everyone grabs a case to cause confusion among

Warner Bros.


Still, for those who grew up with “Harry Potter,” this reused plot device feels lazy. 

If you’re a Potterhead, the reveal is so painfully predictable early on that it’s frustrating.

It will probably make fans wonder whether or not franchise creator J.K. Rowling herself wrote the material. And it’s a fair question. According to the film’s credits, “Secrets of Dumbledore” is based on a screenplay by Rowling that was then cowritten by Rowling and producer Steve Kloves, who wrote every film in the “Harry Potter” franchise.

That’s in contrast to the past two “Fantastic Beasts” films, which have solely been written by Rowling. 

The briefcase scene would be almost forgivable if another scene soon afterward didn’t feel like a lesser replication of one of the franchise’s most iconic scenes, also from “Deathly Hallows.” 

An emotional moment between Credence (Ezra Miller) and a family member (we won’t spoil that reveal but go ahead and click the link if you want to know) is an obvious nod to Snape’s death scene in the earlier film. 

No one dies in the “Secrets of Dumbledore” sequence, but the exchange of dialogue, ending with the word “always,” feels like such a forced reference to “Harry Potter” that the words ring hollow here instead of acting as a sweet nod to the former franchise.

Both moments may make fans wonder why Rowling and Warner Bros. ever thought they could stretch the thin source material of a “Harry Potter” dictionary (yes, “Fantastic Beasts” is a glossary) into a five-film franchise if they’re simply going to recycle old material and try to pass it off as new to fans if Rowling is out of fresh ideas.

Perhaps its best that WB is reportedly waiting to see how “Secrets of Dumbledore” performs before carrying on with the saga.

‘The Kashmir Files’ movie review: A disturbing take which grips and gripes in turns

Once upon a time, writer-director Vivek Agnihotri told us a  Hate Story; this week, he has etched yet another. Mounted like a revisionist docudrama, that tracks the tragic exodus of Kashmiri Pandits from their homeland in the 1990s,  The Kashmir Files is essentially a battle of narratives, where Agnihotri has determinedly sided with one version of the events. Employing some facts, some half-truths, and plenty of distortions, it propels an alternative view about the Kashmir issue, with the intent to not just provoke… but incite.

The Kashmiri Pandits’ pain is real and should be expressed in popular culture, but it deserved a more nuanced, more objective take rather than the ‘us vs them’ worldview that Agnihotri has propagated over 170 minutes. 

The film is based on the testimonies of the people scarred for generations by the insurgency in the State, and presents the tragic exodus as a full-scale genocide, akin to the Holocaust, that was deliberately kept away from the rest of India by the media, the ‘intellectual’ lobby and the government of the day because of their vested interests.

Agnihotri has improved upon the form he adopted in  The Tashkent Files where he presented his take on former Prime Minister Lal Bahadur Shastri’s death through memories and flashbacks, with the narrative going back and forth in time. 

Here, Krishna (Darshan Kumar), a Kashmiri Pandit and student of a premier university, modelled on Jawaharlal Nehru University, has been tutored by his ‘liberal’ teacher Radhika Menon (Pallavi Joshi) into believing that the secessionist movement in Kashmir is akin to India’s Freedom Movement.

When Krishna’s grandfather Pushkar Nath (Anupam Kher) dies, he returns to Kashmir with his ashes and meets four of his grandfather’s friends who reveal the ‘real’ story of Kashmir to Krishna, and of course, the audience. In their narrative, Kashmir was faced with a clash of civilisations, and the Pandits were left to die by the State and the central government to appease one community. The villain of the piece is Bitta, who seems like a combination of real-life Ghulam Mohammad Dar alias Bitta Karate and Yasin Malik, the faces of terror outfit Jammu  Kashmir Liberation Front.

Unlike Vidhu Vinod Chopra’s films on the subject, Agnihotri has no time for romance in the Valley. It is more like a rejoinder to Vishal Bhardwaj’s  Haider, as the film tries to suggest that the Kashmiri Muslims deserved to suffer after what they did to the Pandits and other minorities.

A disturbing take, it grips and gripes in turns. The scenes of bloodshed, torture, and otherisation of Pandits have been filmed with brutal intensity. The camerawork captures the dark, brooding shades of the Valley and the performances are compelling. 

As the conscience keeper of the film, Kher is at his rhetorical best. Darshan is a revelation and it is good to see the gifted Pallavi back. Mithun Chakraborty, Prakash Belawadi, Puneet Issar, and Atul Shrivastava sound convincing, as friends of Pushkar Nath. 

However, the film that accuses the foreign press of milking choreographed unrest and clickbait headlines, gradually falls for the same alleged exploitative methods to reach out to tear ducts and arouse animosity. There is hardly any effort to understand what happens when a majority becomes the minority and vice versa. The voice of the moderate Muslim is conspicuous by its absence. The representation of the educated elite is shallow and towards the end borders on easy character assassination.

Some of the dialogues give hope that Agnihotri will address the complexity of the subject that hasn’t been addressed before, but once he starts peddling an agenda against a religion,  The Kashmir Files loses its objective, humanistic gaze. 

It does the same selective treatment of the period that it accuses the players in the ‘90s of.

Like most in the era of social media, Agnihotri looks at the past from the prism of today and a lot of dinner table discussions make it to the screenplay. There is no middle ground for him, as he picks and chooses instances from the past to suit his narrative. He talks of Sheikh Abdullah, but doesn’t mention the role played by Raja Hari Singh at the time of the accession of Kashmir to India. He also doesn’t talk about how the rigged ballot gave way to a bullet culture in Kashmir in the late 1980s.

The film underplays the Pakistan-Afghanistan angle and puts the onus for perpetuating the insurgency on the local Muslim. In Agnihotri’s documentation, terror has a religion and it appears every Muslim in Kashmir has been a separatist and keen to convert Hindus to Islam. How the Dogra Kings ruled the State till 1947 is out of the syllabus here.

Of course, religious slogans were raised, and indeed Kashmir Pandits got caught in the crossfire between India and Pakistan, but the history is not as black and white as Agnihotri wants us to believe.

The names of Kashmiri legends and their contribution that Krishna invokes in the climactic speech are very much there in history books and oral tradition. If the makers got to know them during the research for the film, it is not fair to tell the audience that they have not been taught about the mystic Lalleshwari, the journey of Shankaracharya to Kashmir, and the intellectual capital of the State.

Talking selective use of facts, the film directly attacks Farooq Abdullah and Mufti Mohammad Sayeed, and indirectly holds Congress responsible for the exodus, but conveniently forgets to tell us that it was the National Front government that was in power in January 1990, when the alleged genocide took place, whose survival depended on the outside support of the Bharatiya Janta Party and the Left parties.

He has also conveniently forgotten the party, whose agenda he is consciously or inadvertently perpetuating, had formed the government with one of the regional parties which the films describe as nationalist in Delhi, communalist in Srinagar.

Curiously, the film talks of justice but doesn’t bring in the role of the judiciary, the legal battle of Pandits, and the fact that the real Bitta spent more than two decades in jail and after being out on bail, is once again behind the bars.

In the bid to distort, even the good old poetry of Faiz Ahmed Faiz is not spared. Written in 1979, Hum Dekhenge uses the metaphor of traditional Islamic imagery to subvert and challenge Pakistani General Zia Ul Haq’s fundamentalist interpretation of them. When he says “An-al-Haq” (I am truth), he comes close to the Advaita philosophy of Hinduism. The film subtly derides previous Prime Ministers like Atal Bihari Vajpayee for aiming to win the hearts of people. Perhaps, the makers believe in ruling only the landmass. 

One fears, in the name of street justice, the clippings of the film will soon end up in social media to fuel further hate against one community.

The Kashmir Files is currently running in theatres

Muggle Uses E-Paper For Daily Prophet Replica

News from the wizarding world is a little hard to come by for common muggles, but [Deep Tronix] has brought us one step closer to our magical counterparts with their electronic replica of the Daily Prophet newspaper.

Those familiar with the Harry Potter series will no doubt be familiar with the Daily Prophet. In the films, the newspaper is especially eye-catching with its spooky animated images, a reflection of the magic present throughout the wizarding world. This was achieved with post-production special effects for the films, but this fan-made front page of the Prophet brings the concept to life using e-paper technology and a few other interesting gadgets, all hidden away in a picture frame.

As mentioned, the heart of this project is the e-paper display and a Teensy microcontroller. While e-paper displays are excellent for displaying static text and simple graphics, they are usually not suitable for moving images due to suffering from a form of ‘burn in’, which can leave errant pixels on the screen. This means that e-paper technology typically has a relatively low frame rate for video. [Deep Tronix] has used a custom dithering library to somewhat mitigate this issue, and the results are impressive. Moving images are loaded from an external SD card, processed, and then displayed on the e-paper display, which is almost indistinguishable from the newspaper print that surrounds it.

The seemingly magical newspaper also has a face detection feature, which is enabled by a hidden camera and the venerable ESP32 microcontroller. This system integrates with the Teensy to record and then display the reader’s face on the e-paper display. A neat trick, which is made all the more eerie when these faces are later displayed at random.

We’ve seen Daily Prophet replicas before using more traditional display technology, however the move to an e-paper display goes a long way to improving the overall aesthetics, despite the lower frame rates. With Halloween just around the corner, you might just end up tricking a few people with this clever prop – check out all the build details here.

Google Play is stripped of movie and TV show sales

Google Play Movies TV—and the Google Play brand in general—seems doomed. Google already pulled the Play Movies TV app from Rokus and other smart TV platforms last year, and it will now remove the Movies TV section from the Play Store. The Play Store, which used to offer a large collection of content, now only sells apps and books.

Google posted a message to the Google Play Help community saying that the Movies TV Play Store section will shut down in May 2022 and that the Google TV app will be the new home for buying movie and TV content from Google on phones and tablets. The company also sells video content through YouTube, and when it shut down the Google Play Movies TV app on smart TVs, Google pitched the YouTube app as its replacement for purchased content.

So when you buy video content from Google, you use the Google TV or Google Play Movies TV app to play content on Android, the Google Play Movies TV app on iOS, and the YouTube app on third-party smart TVs like Roku. “Google TV” isn’t just the name of the phone app and video content store; it’s also the new name of Android TV OS, which you can get on the new Chromecast (it’s also integrated into some Sony and TCL television sets). On those devices, your purchases are built into the operating system. Google Play Movies TV will be completely dead if Google chooses to shut down the phone apps, and that seems inevitable at this point.

The move is the latest step in Google’s sunsetting of Google Play. The company hasn’t officially announced that it wants to kill the brand yet, but a suspicious amount of Google Play services are being turned off. Google Play launched in 2012 as a home for all of Google’s content. Android apps and games, music, books, movies, TV shows, and magazines could all be bought in a unified Play Store interface, and a collection of content playback apps allowed users to access each library type. It seems that Google gave up on this idea at some point. Google Play Newsstand was shut down and merged into Google News in 2018, and Play Music was shut down in 2020 in favor of YouTube Music. Google Play Movies TV seems next on the list. With the removal of purchases from the Play Store and the app from smart TVs, only the phone app is left.

On the Play Store, that leaves apps, games, and books. Google Play Books does not have an alternative home yet, but don’t be surprised to hear about one soon.

Look how one of Toronto’s most famous theatres is transforming for the new Harry Potter show

Ahead of the highly anticipated production of Harry Potter and the Cursed Child, which opens on May 31, the CAA Ed Mirvish Theatre in Toronto is undergoing a transformation to stage the unique show. 

CBC Toronto got a glimpse inside the theatre as the renovations continue.