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Juhi Chawla: Women are born empowered

Actress Juhi Chawla believes that the number of women centric movies hasn’t increased. In an interaction with a leading Indian daily, Juhi was asked whether she has witnessed any changes in terms of women in cinema. Juhi said, "When I was working in the ’90s, there hardly used to be three or four ladies on the sets that included me, my hair dresser, my mom or an aunt, and maybe one other woman. Today, almost 40 to 50 per cent of the crew on sets comprise women. These are young people working in production, art, creative, in short, every other department. In that sense, the doors have opened and opportunities have increased."

"How has it changed, you tell me? If you are talking about films like Piku or Queen, there have been strong female-oriented films earlier, too. You are forgetting Shabana Azmi who became what she is because of the roles and films she did. Tabu did films that revolved around women. Mitaji (Vasisht) became known for Manthan. We are forgetting films like Mrityudand and Astitva. Even today, I feel the bulk of the films are romcoms or hero-based. Time and again, films with strong female protagonists come, but I have not seen the number going up. The last film, I think, was Mom. I haven’t seen it, but I believe it was women-centric. In fact, the pressure on actresses to look perfect is more now, they have to wear skimpy dresses and look glamorous all the time, thanks to social media. We had it more relaxed," she added.


Juhi’s Gulab Gang highlighted women empowerment with its powerful story line. The film completed 4 years. Talking about the film, Juhi said, "Yes, I still remember when director Soumik Sen met me with the script, and said he has got something fantastic for me. When I read the entire script, I told him, ‘Are you joking? Why would I do a role like this where I am beaten at the end as I was playing the villain?’ So, they tried to justify why she was the way she was but that ruined the whole thing. So, we went back to the original and I did my part the way Soumik read it —strangely menacing and icy cool. I tried to do that and when I saw the final result, I was happy."

Juhi emphasized on the fact that women are born empowered. "I don’t agree with this whole thing about empowering women. They are born empowered! Somebody has said that women are one half of the population and responsible for the other half. You can’t beat that. Somewhere we are thinking that only career women are doing something. But running a home is equally important, if not more. Bringing love and warmth to the home, which is often overlooked, is paramount to a happy family. I salute all those women. Also, working and running a home is a herculean task and my jaw drops when I see women doing that," Juhi said.

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‘Maybe Happy Ending’ wins six Tony Awards as Korean musical makes Broadway history

South Korea just scored a historic milestone at the Tony Awards, with the musical Maybe Happy Ending bagging six trophies, including Best Musical and Best Lead Actor. The show, centred on two ageing helper robots living on the edge of Seoul, left the awards night buzzing. Korean entertainment, long a force in film, television, and music, is now making serious inroads into Western theatre too.


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Maybe Happy Ending wasn’t always destined for the bright lights of Broadway. It first opened in a small Seoul theatre in 2016, a result of a local arts foundation’s programme. Co-created by South Korean lyricist Hue Park and American composer Will Aronson, the story explores loneliness, connection, and memory through the eyes of obsolete robots. Written in both Korean and English, the piece has been reimagined several times since its debut.

Darren Criss, known to many as a Glee star, played Oliver and took home his first Tony for the role. His co-star Helen J Shen portrayed Claire, the other robot. Together, they brought the emotional weight to a futuristic love story that’s more human than it sounds.


While the robots explore feelings in a near-future Seoul, the show managed to preserve distinct Korean elements like Jeju Island and the traditional plant pot hwabun on the Broadway stage, something fans celebrated online.


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With this win, South Korea joins the rare club of nations with major victories across all four major American entertainment awards, including the Oscars, Emmys, Grammys, and now Tonys. From Parasite to Squid Game, and now Maybe Happy Ending, Korean creators are no longer breaking into the global scene, they’re leading it.

The success also validates years of quiet work in South Korea’s theatre scene. Original musicals like Marie Curie and The Great Gatsby have made appearances in the West End and on Broadway, but Maybe Happy Ending marks the first time a Korean musical has truly swept the Tonys.


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