“I didn’t join the movement. I was in love with him and I could not pull myself away from him.”
Watching Wild Wild Country, I feel I am witnessing a repeat of Osho’s vanishing act, of the man behind the Oz curtain.
“I honestly wanted to call it Seriously? I need to explain this?”
The first Indian-American to run a show, Kaling has to know the cruelty of the speed of change more than most.
“The whole process was very stressful.”
“I was told repeatedly, ‘Don’t go after POTUS, don’t roast the administration in absentia.’”
The world’s most bipolar name.
“She’ll just show up with random comments and make everyone’s day.”
“America is great because of the immigrants. You cannot shake the foundation.”
Even as terms like “yellowface” and “whitewash” sink into our cultural vocabulary, there remains confusion on basic matters of colorism.
And why comedies have done some of the most affecting work in this area.
Dev’s last stand.
Those early hours before the day begins, when working people get to love.
Aging in America is a thankless task.
Men live in a different world from women. I could write that ten times, and it still wouldn’t be enough.
We fall in love with the people around us.
This episode’s last scene is a manifestation of Aziz’s most unique trait as a budding auteur.
Most brown people in Hollywood — men in particular — cannot escape it.
Waitress Alice is a nightmare dressed like a daydream.
“[Aziz] is acknowledging that he doesn’t have to ignore being Indian to be recognized as a guy who is talented in America.”
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