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In October 2022, following a Covid outbreak, factory workers in China began protesting the Chinese government’s stringent measures to control the spread. What followed was a series of protests against lockdowns and the government’s closed-loop management system that did not allow factory workers to leave the factory; this led to the virus spreading rapidly among […]

Mindy Kaling’s comedy Never Have I Ever returned to Netflix for a third season earlier this month, and as with the first two seasons, there’s much to discuss about how the show portrays Asian Americans, religion, and race.

I love the whole thing you said and how have placed it within a historical perspective, like the way Zee world began. That's interesting to see how a television network that stood up to globalization is now a globalizing factor.

Rai: All right, so the first question of that I had for you is how is the Bollywood fandom itself feminized in a global more Western context. This is something I’ve been mentioning is the case in Germany.

I was intrigued by [Kabhi Khushi Kabhie Gham, 2001 (SRK’s film)], but I was even more intrigued by the effect it had on my mother. I cannot remember ever seeing my mother cry, not even at funerals. But there she was watching this film, and she had tears running down her face.

After a painful and exhausting year that found Asian Americans reeling from a surge in anti-Asian racism and violence, the arrival of Season Two of Mindy Kaling’s acclaimed comedy Never Have I Ever was a long-anticipated moment of joy.

As an Asian American who grew up in the 1980s and 1990s, I don’t remember seeing many American kids who looked like me on television, in film, or in books. There was Margaret Cho’s character on the short-lived show, All-American Girl–I think I saw every episode, but there was only one season.