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Watching plays has always been a soothing experience for me. I enjoy them. It’s a good way to relax and recharge, especially after a hectic week. Naturally, it’s good for my anxiety too. But this time, my experience was quite the opposite. Don’t get me wrong, the actors carried out the drama phenomenally. But the storyline for ‘God of Carnage’, a play by Yasmina Reza, adapted in Nepali language by Absurd Icons Nepal in association with Mala Arts Academy, was just not my cup of tea. The dark comedy is based on the talk between two sets of parents, who have gotten together to sort out the problem between their children. One of the couples’ son was hit by the other in a public park, and is now suffering from two broken teeth and an exposed vein. So, his parents, Vanshita (Reema Midhun Magar) and Mohan (Saroj Shrestha), have set up a meeting with the other child’s parents, Anuja (Sabina Gopali) and Anmol (Bimba Adhikari), to discuss the incident. While watching the first 10 minutes of the play, the audience could get a faint idea on the personalities of all the four characters involved in the drama. Vanshita, a writer by profession who is also fond of artworks, likes to consider herself as a “progressive” woman who values a civilized conversation and is strictly against violence, while her husband Mohan, is a people-pleaser who has been dragged into this meeting because of his inability to disagree with anyone. Their house is filled with paintings and artworks, which shows that Vanshita makes most of the decisions in the household. On the other hand, Anuja has a bit of a pretentious personality, which is clearly seen from her choice of wardrobe and an elaborate pair of sunglasses. She is trying her best to seem interested in the conversation, while constantly getting angry at her husband Anmol, a lawyer, who is frequently on calls with his clients, and seems to like nothing but his work. He looks sophisticated, but turns out to be the exact opposite once you get to know him. All their views and personalities clash terribly with one another, making the entire play as chaotic as it could get. The drama starts with a calm conversation between the four characters. But they start showing their true colors once the disagreements begin. The arguments slowly escalate, and gets worse once the drink is poured when Mohan admits to being an alcoholic and grabs a bottle of rum for himself. The characters even get violent at some point. The play ends with four of them getting drunk, with no conclusion whatsoever on the matter this meeting was held for in the first place. Everyone in the audience, including me, felt like we knew just how to put a stop to those arguments. But seeing the characters not get to that conclusion was frustrating (and a trigger for my anxiety). Hence, I wouldn’t say it’s an ideal play for those with anxiety, or so I think. But that also says a lot about the actors. They had to show how obnoxious their characters were, and they did so brilliantly. The play, however, did run into some technical issues with the lights going off every now and then. Yet, the actors were able to carry out the sequence from where they left off. They made it flow, without making the play seem jarring. Although I have to admit, the frequent blackouts did ruin the mood and it took a minute or two for the audience to get in the zone once the play resumed. But, there were some moments I thoroughly enjoyed during the play. Some of the dialogues were downright funny, especially the nickname ‘Meow-meow’ Anmol had for his wife Anuja. The little arguments between the couples reminded me of my own parents, who still like to bicker about things that make no sense. Once you watch this play, you will find a lot of relatable instances, making you chuckle time and again. I, personally, would not recommend this play for anyone who is not a big fan of family dramas, and someone like me who gets easily startled by plays that involve a lot of arguments. But if you don’t mind all that, this theatrical adaptation is beautifully executed, with exceptional actors who infuse a lot of life to the story.

I don’t remember the last time I laughed so hard while reading a book. ‘Finlay Donovan is Killing It’ by Elle Cosimano made me giggle and snort. It’s really not a good idea to read this book at work or in public spaces. People will look at you like you’ve lost it. And you very well might have since Cosimano’s writing is witty and sharp making Finlay come alive right before your eyes. I read this book at the beginning of January and I’m still thinking about it. I can’t wait to get my hands on the sequel—Finlay Donovan Knocks ‘Em Dead—the premise of which was set at the end of the first book. I’m so happy that the third part of what is now a series—Finlay Donovan Jumps the Gun—was just released on the last day of January this year. Even if the books are ten percent as good as Finlay Donovan is Killing It, I know I’m in for a rollicking ride. Finlay Donovan is Killing It starts with Finlay being overheard discussing the plot of her new suspense novel over lunch with her agent. Only, she’s mistaken for a contract killer and hired to kill someone. Finlay isn’t a murderer and has no intentions of actually killing someone but she is intrigued. So, she goes to meet the man she’s supposed to get rid of and, somehow, by the end of their meeting, the man ends up dead. In Finlay’s garage. To make things worse, Finlay has to submit the draft of her book to her agent. Else she could lose the contract and, as a single mom, she can’t afford that. Her husband and his partner are already vying for the sole custody of her daughter, claiming she’s an unfit parent. She desperately wants to be able to give her daughter the things she needs and wants. Desperate, she fictionalized the truth and hands in the draft. Her agent and editor love it and they want her to work on the story. But her book could be all the evidence the police need to put her behind bars. A great thing about the book, besides the story obviously, is that it has carefully crafted characters that add different dimensions to the plot. Cosimano has fleshed them out really well. Finlay’s nanny Vero adds a lot of spunk to the story. She’s the yin to Finlay’s yang. She balances things out and her laid-back attitude is something you wish you could emulate. Vero is also the friend everyone will wish they had. There are other interesting characters like Finlay’s four-year-old daughter, Delia, and her sister Georgia, who is a cop and hasn’t been on a date in 10 years. All in all, the eclectic mix of characters coupled with a great story will keep you hooked till the very end. Four and a half stars Finlay Donovan is Killing It Elle Cosimano Published: 2021 Publisher: Headline Review Pages: 359, Paperback https://www.goodreads.com/book/show/53138099-finlay-donovan-is-killing-it

Recently released on Netflix, the Indian Malayalam language movie ‘Kaapa’ takes viewers on a pulse-racing journey into the gritty and dangerous world of gang culture in the city of Thiruvananthapuram. Written by G.R. Indugopan and directed by Shaji Kailas, the movie tells the story of a seemingly normal couple, Anand (Asif Ali) and Binu (Anna Ben), whose lives are turned upside down when they are unexpectedly pulled into the middle of a deadly gang war. The movie starts off with an intriguing premise as a police officer enters the couple’s home for a ‘routine’ visit, only to inform them that Binu is being mistaken for the head of a notorious gang because of her family background and typically male-sounding name. This sets the stage for a thrilling and suspenseful story that unfolds through Anand’s naive perspective as an IT engineer who is new to this world. Determined to clear his wife’s name, Anand sets out on a dangerous journey to uncover the truth and seek justice. As he delves deeper into the city’s criminal underworld, he finds himself caught in a web of lies, corruption, and deceit. He meets the city’s most powerful gangster, Kotta Madhu (Prithviraj), and his wife Prameela (Aparna Balamurali) in an attempt to clear his wife’s name. But as he becomes more entrenched in the city’s criminal world, Anand finds himself in a race against time to save his wife and himself from the dangers that threaten to consume them both. And unwittingly, Ananda also finds himself engulfed in the war between two rival gangs, where he has to bear the consequences of his involvement. As an action thriller, Kaapa has plenty of twists and turns in its screenplay that will keep audiences on the edge of their seats throughout its runtime. The plot, which starts with the introduction of a seemingly normal couple, thickens as the movie progresses, introducing the audience to the lives of its characters with interesting backstories. Even as it gives glimpses into the lives of its characters, the movie stays true to its premise and plot. There are also some well-conceived background stories, such as one in which Madhu exploits a boy’s poor economic background to commit a crime but the movie does seem to fail to fully explore the characters it focuses on, especially with its female representation. Both Aparna Balamurali and Anna Ben, who play important roles in the movie, are underutilized and have hardly anything to do for much of the runtime. But to its credit, the movie gives a strong suggestion of a sequel right after its climax. And also promises the audience that the action will be led by the two female characters. The acting in Kaapa is top-notch, with Asif Ali delivering a powerhouse performance as the determined Anand and Prithviraj Sukumaran delivering a chilling and multi-faceted portrayal of the ruthless Kotta Madhu. Among the movie’s many characters, Madhu stands out as particularly complex and intriguing. On one hand, he is a villainous force to be reckoned with, but on the other, we see glimpses of a more vulnerable and even sympathetic side to him. As the movie progresses, our understanding of Madhu deepens and evolves, leading to a satisfying shift in audience perception. The movie also delves into the intricacies of the relationship between Madhu and his wife Prameela, as well as the moral dilemmas that arise from living in a world of crime and violence. Who should watch it? Kaapa is a pulse-pounding and action-packed crime drama that will keep audiences on the edge of their seats from start to finish. The powerful performances, well-crafted plot, and even pacing make it a must-see film for fans of the genre. Even if you’re not much intrigued by crime thrillers, the package is enough to lure in connoisseurs of drama. Definitely worth the watch. Rating: 4 stars Genre: Crime/thriller Actors: Prithviraj, Aparna Balamurali, Asif Ali, Anna Ben Director: Shaji Kailas Run time: 2hrs 16mins https://www.youtube.com/watch?v=nMEI_nRoLGU&t=3s

The Invitation is a horror, thriller movie that was recently released on Netflix and caught the attention of many due to its star, Nathalie Emmanuel who created quite a stir in the HBO fantasy series Game of Thrones. It’s inspired by Bram Stoker’s classic ‘Dracula.’ The movie tells the story of Evelyn ‘Evie’ Jackson, a struggling artist in New York City who discovers dark secrets about her family after meeting long-lost relatives for the first time following her mother’s death. The movie begins with Evie taking a DNA test that leads her to a distant cousin, Oliver Alexander, in England. He reveals to her the scandalous past of her great-grandmother, Emmaline, and invites her to a family wedding in England. Once there, at the New Carfax Abbey, Evie starts to notice unsettling occurrences and begins to uncover the truth behind her family’s dark secrets. One of the strongest aspects of the movie is the acting by Emmanuel, who portrays a common New Yorker suddenly thrown into a wealthy British family. Her performance adds depth to the character, and she manages to shine. You could very well say her portrayal of Evie as a strong, bold, and beautiful woman while being the only colored member in a white family is a highlight of the movie. She effectively conveys the character’s emotions and reactions to the events unfolding around her. Other notable aspects of the movie are the cinematography and lighting. The movie switches between the colorful New York City and the somber English countryside and the darkness of the characters and the setting are well captured through the camera and lighting. The movie’s use of lighting is particularly effective in creating a sense of unease and suspense, as the audience is left wondering what horrors will be revealed next. The use of lighting has also helped in creating a sense of isolation, as the audience is left to wonder about the fate of the characters in the eerie and remote setting of the New Carfax Abbey. However, the storytelling in the movie isn’t particularly noteworthy. The plot is similar to many other horror thrillers and it’s only at the end that the horrors of the house are revealed, leaving the audience anxiously waiting for a ghost or demon to appear. This can make the movie feel slow and predictable at times. Furthermore, the audience is not given much background on the characters, and the motivations of the characters aren’t always clear. Despite these shortcomings, The Invitation is still an enjoyable horror thriller for fans of the genre. The acting, especially Emmanuel’s performance, and the cinematography and lighting make up for all that’s lacking in the movie. The movie’s use of lighting is particularly effective in creating a sense of unease and suspense. The movie is not likely to become a cult classic, but it’s still fun while it lasts. I’d say it’s a good way to kill some time and get your horror fix. Who should watch it? The Invitation is an average horror thriller movie that only fans of the genre will enjoy. The acting, especially Emmanuel’s performance, and the cinematography and lighting are the highlights of the movie. The themes explored in the movie add a deeper layer of meaning to the story, making it more than just another horror movie. Rating: 2.5 stars Genre: Horror/Thriller Run time: 1hr 45mins Actors: Nathalie Emmanuel, Thomas Doherty, Sean Pertwee Director: Jessica M. Thompson