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Issue 23

Heartstopper

Heartstopper is a British television show that coming-of-age story about two teenagers who find themselves and each other during a tumultuous time, that is, high school. Based on a graphic novel by Alice Oseman, the show is wholesome, sweet, and heartwarming while also highlighting sensitive and important subjects in a nuanced manner. The show’s protagonist, Charlie Spring, develops a crush on Nick Nelson, and the story is centered around their romance while also navigating friendships, social structures, and emotions that surround them both.  This LGBQT+ story beautifully narrates the anxieties and rushes that arise out of first or new loves. It is a must watch for the ones who loved the graphic novels, and even those who may be unfamiliar with them. 

Heartstopper is available on Netflix. 

Shree Bhattacharyya is a student of English literature and Media Studies at Ashoka University.

Picture Credits: Radio Times

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 23

Not Just Like – We Love It! 

Please Like Me (on Netflix) is a warm, thoughtful comedy-drama. An Australian series revolving around Josh, a twentysomething navigating coming to terms with his sexuality, a mother on the verge of suicide, and his friends being the boon and the bane of his existence, the show has a high relatability quotient for all viewers. While the show is centered around a gay man, the learnings from the series apply to all viewers irrespective of their gender, which enhances the beauty of the show. The way in which the show draws out the brazenness of human insecurities; the candor with which the characters articulate what they’re feeling is reassuring, warm, and also, inspiring. And with its smart, understated humor, PLM combines the strengths of multiple genres. A must-watch!

Jaidev Pant is a third-year student of Psychology and Media at Ashoka University. He is interested in popular culture and its intersections with politics, gender, and behaviour.

Picture Credits: Youtube

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 18

Call of Duty: A Surgical Strike on the Discrimination in the Indian Army

Celebrating 75 years of Independence, the Beating Retreat marked the end of this year’s Republic Day through a mesmerising display of lights, history, and inspiring tunes. Each year, the Beating Retreat showcases the grit and strength of the Indian Armed Forces, the continuation of tradition, and acts as a record of history. However, recognising how far we have come also makes one wonder how far we have yet to go. 

In 2018, the government of India decriminalized section 377 of the Indian Constitution. This marked a historic moment in the history of LGBTQ+ rights in India. In the four years since, the Indian Armed Forces have not explicitly recognised the ripple effects of the judicial move, nor have they extended any visible hand to include the community into their forces. In January 2022, the Ministry of Defence rejected a script for a film, directed by Onir, that told the true story of a gay ex-Army officer. The true story affirms that people from the LGBTQ+ community are present in the Indian Armed Forces — however, the institution staunchly refuses to acknowledge them. In 2019, a statement stressed that the Indian Armed Forces were not yet “westernised” and were still quite “conservative.” While it is true that the Indian social and cultural landscape is different from the west – and it may not be fair to compare the two – nonetheless, perhaps the west should be viewed as a society to take note of, rather than one that is unfathomable for India. Moreover, countries in the west are not the only examples. Each country has its shortcomings concerning unequivocal acceptance and inclusion. However, Nepal, the Philippines, and Israel are a few examples of countries that accept service in the military regardless of one’s sexual orientation. 

In the Indian Armed Forces, though they can not punish those in the Army for their sexuality, they can punish them for carrying out certain sexual acts. The Army Act of 1950, section 46(a) states that any “disgraceful” conduct of an “unnatural” kind may lead to punishment. The phrasing of this act is vague, but can be imposed on officers depending on whether those in authority view the encounters and relationships between LGBTQ+ individuals as “unnatural.” The LGBTQ+ community is often ignored and effaced from both within the forces, and from those who wish to serve their country. The first crucial step is that the Armed Forces recognize the existence of the community, after which the system and the state have to collectively work to embrace them into the force. 

The discourse around gender and sexuality has especially been prominent in the past few decades — as laws are modified, views are changing, and people are aiming to be more accepting. The attitude of the Indian Armed Forces towards women differs slightly from their attitude toward the LGBTQ+ community. Women are proudly recognised, and when one visits the official page of the Indian Army, the radiant smiles of five women officers greet them under a section titled ‘Our Ethos’. In February 2020, the Supreme Court granted Permanent Commission (PC) to women officers, irrespective of their number of years of service. Previously, to argue against PC, the government had used excuses such as “motherhood”, “child-care”, and “biological requirements.” In September 2021, the Supreme Court declared that women were now allowed to appear for the National Defence Academy (NDA) exam, and nearly a third of the 2021 exam applicants were women. 

After the landmark decision was taken, only 19 women cadets were inducted into the NDA, and the Centre justified it by stating that they did not have the necessary infrastructure, and they would be ready by May 2022. However, in January 2022, the Supreme Court had to demand the Union Government to explain its reasons behind limiting the intake of women cadets in the NDA to 19 again – even after their assurance the previous year that they would be ready. 

Though the Supreme Court is taking measures to include women in the Indian Armed Forces, the decisions are either long-overdue or are not properly reinforced by the government. On 1st February 2022, Defence Minister Rajnath Singh stated that the induction of women fighter pilots was now a permanent scheme. However, despite its many reforms to include more women, the government has also stated that women are “physiologically weaker”, and has argued that women should not be put in commanding roles due to the “male troops not being mentally schooled to accept them”. While new policies and judicial moves for the inclusion of women are welcome, they must be accompanied by a shift in mindsets. Women in the Indian Armed Forces continue to prove themselves as redoubtable members, and making assumptions about their capability and assuming that those in service will not accept them is limiting the scope of what the Indian Armed Forces can achieve.

For decades, The Indian Armed Forces have remained a formidable and inspiring presence. With each march at the Beating Retreat, one can feel the echoes of generations of people who have selflessly served their country and continue to do so. However, among the assemblage of people who serve the country, there lie those who are grappling with their sexuality and are fighting to be recognised regardless of their gender. Perhaps next year, or the years after that, one can continue to look upon the Indian Armed Forces and be irrevocably proud, as they have every year, while simultaneously being comforted with the knowledge that among its rank are people whose sexuality is recognised, whose gender is empowered, and first and foremost are individuals who are serving free of discrimination and prejudice. 

Shree Bhattacharyya is a student of English literature and Media Studies at Ashoka University.

We publish all articles under a Creative Commons Attribution-Noderivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 8

Remembering SOPHIE

On the night of 31st January, as I was scrolling mindlessly through twitter, I came across a tweet from one of my mutual followers  that changed the course  of my night, for the worse. The tweet read, “Devastated to hear about the loss of SOPHIE. I thank you for helping me become who I am today, and who I might be tomorrow” attached with a picture of the phenomenal pop producer, SOPHIE Xeon. These rumours were later confirmed by SOPHIE’s UK record label, Transgressive, that released a statement regarding the 34-year-old artist’s tragic death in Greece. The statement read, “True to her spirituality, SOPHIE had climbed to watch the full moon and slipped and fell.”  

Rather than talking about emotions, naming them and laying things out for the listener, SOPHIE’s music was obsessed with the power of emotions, as can be seen in her singles  “Bipp“, “Like we never say “Goodbye“, and “It’s Okay to Cry“. SOPHIE’s heavy fixation on the power of giving yourself permission to feel with full intensity, without any inhibitions is a constant reassurance to all  LGBT+ teenagers who grew up questioning their validity, in places where disruption of the cisgender-heterosexual norm is almost always met with backlash. SOPHIE’s music not only provided some solace in a world where growing up closeted is nothing short of hell, but was also full of hope for a future world that was representative of everything progressive — the kind of world you would want to live in. 

SOPHIE’s unapologetic attitude towards her music and herself has not only been influential and life changing for the pop music industry, but also for her fans. From the very beginning of her musical journey, SOPHIE  adamantly refused to put her face on her work, or even create social media accounts in a world and industry that relies so much on social media — she claimed that she wanted her music speak to for her instead, and thus served as an inspiration for fans worldwide by showing them that it is not necessary to adhere to the rules that the world has set up for them, in order to live in it. But, this did not let SOPHIE shy away from reclaiming her voice and space as a transwoman, undeterred by the long list of critics and journalists who were constantly over analyzing her work and misreading it, some going as far as misgendering her.

SOPHIE was always a huge advocate of transparency and authenticity, both through her music and her words. Electronic music is often considered inauthentic or inferior to music that is more vocal in nature, however SOPHIE believed that “authenticity” is an individual and evolving process. In an interview with Sasha Geffin  early on in her career, she said, “A lot of people are interested in recreating an idea of the past, like the post-punk era or something, and would view this kind of recreation as less authentic…I think being completely authentic about the time you live in is something that I would view as a career-long objective — to find out what is authentically this moment.” Music was her way of asserting her true identity and expression. It was a reciprocation of how she experienced the world around her.

In a world where the LGBT+ community, especially transgender and non-binary people, are expected to provide evidence and justification for their identity all the time, SOPHIE’s music comes as an escape, creating an environment of experimentation and innovation that is like a playground for gender expression and identity. 

Calling SOPHIE a revolutionary genius is not an overstatement because she was light years ahead of her peers when it came to creativity and vision. She influenced an entire generation, both as an artist and as a person by reconstructing pop music and reimagining a worldview that places innovation at its core. 

SOPHIE’s loss is enormous for the music industry, but it is an even bigger loss for her family, friends and fans, whose lives SOPHIE coloured with compassion above everything else. They will live up to her legacy and keep honoring what was so close to her heart. 

Image Credits: SOPHIE, YouTube

Madhulika Agarwal is a third year English and Media Studies major who is interested in literature by children and for children. When she is not lamenting over her tiktok career that ended before it could start, she likes learning about animals and reading books with good art in them. 

We publish all articles under a Creative Commons Attribution-Noderivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).