Sneha Jaiswal's Blog, page 23

Gachiakuta Episodes 1-2 Review: ‘Trash-Filled’ in the best way!

Sneha Jaiswal (Twitter | Instagram)

Ah! Glad I waited to watch at least 2 episodes of ‘Gachiakuta’ before writing a review, because all the real action and spice is in the second chapter, even though the pilot gives the anime a solidly entertaining start for a dystopian-action series.

Based on the manga series written and illustrated by Kei Urana, ‘Gachiakuta’ (ガチアクタ) follows young protagonist Rudo (voiced by Aoi Ichikawa) quest for revenge, after he is falsely implicated for the murder of his beloved adoptive father Regto, and thrown to his death in ‘the pit’, a massive dumpsite below the city. However, Rudo survives the fall, finding himself in a ghastly world laden with trash heaps, monsters, and strange groups of people.

Directed by Fumihiko Suganuma, with animation by Bones Studio (My Hero Academia, Fullmetal Alchemist, Bungo Stray Dogs, etc.), Episode One of ‘Gachiakuta‘ grittily explains the divisive world Rudo lives in, with the city clearly split between the elite class and the slums inhabited by the less privileged, known as the “tribesfolk.” An orphan, Rudo is raised by Regto in the slums and taught to believe that if you take care of objects, they develop souls. Rudo, therefore, despises how easily the rich discard things without a second thought and often sneaks into the city to salvage useful ‘trash’. This becomes a key theme in this anime, and if you haven’t read the manga or seen the show yet, I’ll not reveal more!

The world of ‘Gachiakuta’ starkly highlights the divide between rich and poor, with the elite classes ironically dressed in sterile, uniform-like white outfits, a clever visual cue that reflects their lack of creativity and soul. And those living in the slums too wear off-white uniforms. I loved the animation for this series, the colors are slightly dull, a deliberate artistic choice to match the grim tone of the tale and the injustice Rudo faces. Rudo’s character design, with crazy big red eyes, is the best in the series so far.

While Episode 1 ends with Rudo being thrown into the pit, Episode 2 of ‘Gachiakuta’, titled ‘The Inhabited‘, is wildly entertaining, showing the aftermath of what unfolds as Rudo enters the realm of trash. There he sees the weirdest things, and meets the intriguing new character Enjin (Katsuyuki Konishi), who is clearly going to serve as Rudo’s mentor in the new place and maybe even help him extract his revenge against those who killed Regto.

The circumstances under which Rudo and Enjin meet are both alarmingly dangerous and mildly hilarious. Episode 2 is action-packed and exciting, and that’s where ‘Gachiakuta‘ really comes to life. If you’re a fan of dystopian action stories led by the ‘angry young man’ archetype, this is definitely a promising anime to check out.

Watch Gachiakuta on Crunchyroll.

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‘Good Boy’ Episode 14 Review: Lead Dong-Ju is the ‘King’ of Violent Showdowns

Sneha Jaiswal (Twitter | Instagram)

It’s time for the final showdown between the athlete cops and Joo-yeong’s (Oh Jung-se) thugs in Korean action-comedy ‘Good Boy’. And there’s no way golden boy Dong-ju (Park Bo-gum) is not going to be a part of it!

Recap of ‘Good Boy’ Episode 13

While Dong-ju is recovering from his injuries, Han-na (Kim So-hyun) goes on a shooting spree at Joo-yeong’s den, missing the villain by just a few inches. Jong-hyeon (Lee Sang-yi) soon arrives as her backup and starts fighting the thugs. In a clever twist, Han-na live-streams Joo-yeong talking about his criminal activities through a police cam, sending ripples through Insung City, with the clip going viral. This spells doom for both Joo-yeong’s illegal operations and his political immunity. In a twist, Leo (Go Joon), the Russian criminal, comes to Han-na’s aide, after finding out his father was murdered by Joo-yeong.

Meanwhile, Dong-ju wakes up (Wolverine this ‘Good Boy’ is, I’ll say it a hundred times) and heads to the police HQ, where he slaps the police commissioner. And even though he’s a wanted fugitive at this point, nobody tries to stop or contain him. He then heads out to rescue Han-na with senior cop Man-sik (Heo Sung-tae).

Episode 14 of ‘Good Boy’

“You’ve been through hell, but you seem to be doing fine.”

Villain Joo-yeong says this sarcastically to Dong-ju when they come face to face again. Have truer words ever been spoken? The guy’s constantly brushing shoulders with death and somehow always survives. So episode 14 is aptly titled ‘Kings Never Die‘ and it better not be just metaphorical. I’ve been complaining that it’s going to be very disappointing if they kill off Dong-ju, so I am hoping the episode title is a prophesy.

Viewers get a heavy dose of violence, knife fights, fistfights, gunfire, and even grenade blasts. A few flashbacks reveal murders committed by a younger Joo-yeong, but with just two episodes left, the backstory feels undercooked. The glimpses we get aren’t enough; the series should’ve shown more of his rise from a nobody customs officer to the city’s underworld kingpin with truckloads of cash.

Tae Won-seok’s portrayal of Shin Jae-hong has been the dullest part of ‘Good Boy‘, and his role could’ve easily been trimmed or pushed further into the background to make room for more compelling arcs. For example, we still don’t know why Han-na broke up with her ex, even though both are key characters.

Unfortunately, Joo-yeong manages to slip away again, so the second half of the episode follows Dong-ju and his team as they try to track him down. The team is also on the hunt for a police informant who’s clearly been helping the criminals. So this chapter of ‘Good Boy’ is a little bit of everything, some action, some investigative work, comedy, and some romantic moments between lead pair Dong-ju and Han-na too.

As always, Dong-ju and Jong-hyeon team up for ground work, delivering some classic love-rival comedy, especially since Han-na has made her growing fondness for the boxer clear to her ex-boyfriend. Park Bo-gum and Lee Sang-yi’s onscreen frenemy dynamic remains one of Good Boy‘s most entertaining highlights.

The final few minutes go completely over the top, but yo, no spoilers here! All you need to know is that Dong-ju gets smashed to a pulp again, but he’s basically but he’s our Terminator, our Wolverine, our Superman at this point… so yeah, he better walk this one off too.

Watch ‘Good Boy‘ on Prime Video.

Find the writer on Twitter and Instagram for more pop culture chatter.

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‘The Fragrant Flower Blooms with Dignity’ Episode 1 Review

Sneha Jaiswal (Twitter | Instagram)

Humans, why does this anime have such a long title?! And going by the first episode (I haven’t read the manga), it doesn’t even sound on brand. ‘The Fragrant Flower Blooms with Dignity‘ makes the show sound like an Edo-era classic about some wronged character fighting against all odds for their honor. But this anime is about the blossoming friendship between an intimidating boy from a public boys’ school known for teen delinquents, and a cute girl studying at an elitist private girls’ school next door. The problem? The schools hate each other. Yes, the classic ‘rich versus poor’ divide, like the high school version of ‘Romeo and Juliet‘, but with warring schools.

Based on the Japanese manga series written and illustrated by Saka Mikami, the anime adaptation of ‘The Fragrant Flower Blooms with Dignity’ is directed by Miyuki Kuroki, with animation by CloverWorks. Titled ‘Rintaro and Kaoruko’, the first episode quickly, cutely, and sentimentally, establishes the personalities of its primary protagonists. The animation is glossy, engaging, and the character designs are a slight improvement on the manga version, or it seems like it due to the bright colors.

Rintaro Tsumigu (voiced by Yoshinori Nakayama) looks tough on the outside, everybody is comically scared of the very sight of him, owing to his towering height and slightly rowdy look. He often helps out in his family-run cake shop after school hours, it’s there that he meets the short, pretty customer Kaoruku Waguri (voiced by Honoka Inoue). Unlike everybody else, Kaoruku isn’t scared of Rintaro, and even shows signs of wanting to befriend him, which really takes the boy aback.

Except for the last few minutes that get overtly sentimental, with Rintaro going on a self-deprecating thread about how everybody judges him based on his looks, the episode is an entertaining start to ‘The Fragrant Flower Blooms with Dignity‘. It swiftly establishes that Kaoruko is a sweet, open-minded, honest teen girl who loves eating cakes, while Rintaro has a similar personality, except that he hides his soft side and is an introvert.

Kaoruko gave me flashbacks to the dessert-loving heroine from ‘Shoshimin: How to Become Ordinary‘, a teen girl with a pastry obsession who’s often seen hopping from one cake shop to another. Kaoruko, however, is more devoted in her dessert habits, sticking loyally to one spot for her sweet fixes: Rintaro’s shop.

If you’re looking for soft-romantic teen comedy, check the show out.

‘The Fragrant Flower Blooms with Dignity’ is streaming on Netflix.

Find the writer on Twitter and Instagram for more pop culture chatter.

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‘Desire’ Episodes 1-3 Review: Visuals & Exposition Overload

Sneha Jaiswal (Twitter | Instagram)

Chinese series ‘Desire’ (垂涎) is set in the fictional Omegaverse universe, which luckily for viewers unfamiliar with the genre, is explained in great detail in the first episode of the drama. All you need to know is that humans can be divided in three biological classes: Alphas (dominant), Betas (neutral with low fertility), Omegas (submissive, fertile and can get pregnant regardless of gender).

Based on a novel by Nong Jian, ‘Desire‘ also introduces a fourth biological class: the extremely rare Enigma, a one-in-200-million rarity capable of dominating even Alphas. The story follows protagonist Hua Yong (Huang Xing), a beautiful, wealthy Enigma and heir to a business empire, who takes on a fake identity to romantically pursue Sheng Shao You (Qiu Ding Jie), a handsome, top-tier Alpha, and an influential pharmaceutical tycoon. Another subplot explores a possible romance between Shen Wen Lang (Jiang Heng), Shao’s business rival, and his assistant Gao Tu (Li Pei En), an Omega pretending to be a Beta due to family baggage and past trauma.

The first episode is slow, and serves a lot of exposition to explain everything in the plot. While the guide to it’s Omegaverse dynamics is necessary, a lot of other long explanations over character motivations and their work is far too wordy. Huang Xing as the mysterious enigma Hua Yong looks like a porcelain doll, he’d got eerily perfect features, not sure if it’s the make-up or some kind of post-production filter. That said, Huang Xing’s portrayal of Hua Yong is on point, he looks like a cold, scheming brat, almost-always in character as a ‘poor damsel in distress’ for Shao You, because that’s just his type.

Visually, ‘Desire‘ is stunning, with grand set designs that bring to life the glamorous world of powerful alpha men in a fictional country simply called “P.” Hua Yong resides in a jaw-dropping mansion, complete with infinity pools and breathtaking views. Much of the early story unfolds in sleek offices and luxurious lounges, all styled with a professionally polished, high-end aesthetic. The background music however doesn’t do much to elevate the mood in the series, dominated by bland piano pieces so far.

Hua Yong teams up with his buddy Shen Wen Lang and goes undercover as an intern at his firm, just so he can conveniently pop up wherever Shao You is. With sneaky charm and zero shame, Hua Yong starts low-key ‘training’ the Alpha like a Pavlovian pup, seducing him bit by bit with daily cookie deliveries and perfectly timed appearances. Interestingly, Yang Peng Cheng who plays Song Huan Cheng, manages to steal the scene in his very small appearance in the first episode of ‘Desire’ as Shao You’s ex. But after that, it’s a ‘Hua Yong-Shao You’ show.

Among the four leads, Li Pei En’s Gao Tu is the only working-class character, and also the one with most baggage. Gao Tu relies excessively on suppressants and painkillers to hide his Omega identity, while flashbacks reveal his mother encourages him to do so. In the present, he is clearly in love with his Shen Wen Lang, someone very vocal about hating Omegas, so it gives Gao Tu more reason to suppress himself.

A major subplot in ‘Desire‘ revolves around Shao You’s mission to find a cure for his father’s rare cancer. His pharmaceutical company is heavily investing in R&D while also eyeing rival firms for valuable research and breakthroughs. One name that catches his interest is the elusive, socially distant heir of a company called ‘X’, and of course, that mysterious billionaire is none other than Hua Yong. The best bit so far is how Hua Yong always stays in character of the ‘poor pretty boy’, almost always on the verge of tears, to milk Shao You’s emotions, while masking his manipulative, dominant, cold side with flair.

Going by the first three episodes, ‘Desire’ is rich in visual details, has a gorgeous cast, but the storytelling is choppy, the dialogues too long, over-explaining scenarios and slowing down the pace. But the whole ‘omegaverse’ setting gives ‘Desire’ an edge due to the novelty, with Thai-series ‘Pit Babe’ being the only other ongoing live-action title in this genre.

You can watch ‘Desire’ on YouTube, Youku, iQIYI and WeTV.

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‘The Summer Hikaru Died’ Episode 2 Review: Things Get Eerily Sensual

Sneha Jaiswal (Twitter | Instagram)

Cops descend into the sleepy village of Kubitachi Village in episode 2 ‘The Summer Hikaru Died’, to investigate an old woman’s death. Meanwhile, a classmate asks Yoshiki Tsujinaka and a few others to accompany him back home through a forest path, claiming it’s too spooky for him to make the journey alone. In the forest, the one near where Hikaru Indo had gone missing before coming back changed, Yoshiki sees something strange…

Quick recap of ‘The Summer Hikaru Died’ Episode 1:

Protagonist Yoshiki, a high-school student, finds out his best-friend Hikaru is dead, and an unknown supernatural entity is pretending to be him. Devastated, grief-torn, Yoshiki decides to accept the new Hikaru, convincing himself it’s better to have his shell than nothing at all. But unknown to him, there are hunters about that kill entities like the one pretending to be a cheery Hikaru. The episode ends with the brutal murder of an old woman by a demonic being, attracting a hunter to Yoshiki’s sleepy village.

Back to Episode 2

Titled ‘Suspicion‘, Episode 2 of ‘The Summer Hikaru Died‘ once again blends horror and emotion in an gritty manner. The episode follows Yoshiki and Hikaru’s hike through a forest path, where something supernatural occurs, while a parallel subplot focuses on the carefree Tanaka, a hunter from “the company,” who arrives in Kubitachi Village to investigate the unnatural death of the old lady.

This chapter includes key flashbacks, the most important of which reveals a family belief passed down in the Indo household: members must marry as early as possible, or else the forest entities will take away the person closest to them. The Kubitachi Village is rife with several rumors and supernatural beliefs about the mountains and forests surrounding it, with more people convinced something unnatural has walked into their lives.

Things take an eerily sensual turn between Hikaru and Yoshiki in this episode, a combination of words (“eerily sensual”) I’ve perhaps never used before, but you’ll have to watch ‘The Summer Hikaru Died‘ to understand what I mean. Yoshiki, of course, is still struggling to come to terms with Hikaru’s death and the entity’s presence in his best friend’s body. But he can neither let go of his grief nor the new Hikaru, whatever he may be.

In an unsettling twist, a stranger named Rie senses something off about Yoshiki and warns him that he’s getting too close to something extremely dangerous. This happens towards the end of the episode, pushing Yoshiki into a new spiral of thoughts, making him question his proximity to Hikaru. There’s the familiar angst, loneliness, and desperation from the first chapter, and once again, it’s subtly established that the strangely evolving relationship between the teens isn’t going to end anytime soon, unless they’re torn apart by external forces.

Watch ‘The Summer Hikaru Died’ on Netflix.

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‘Good Boy’ Episode 13 Review: Dong-ju’s Down, Han-na & Jong-hyeon Go Rogue

Sneha Jaiswal (Twitter | Instagram)

With Good Boy‘s Dong-ju (Park Bo-Gum) out of commission in episode 13, it’s time for Han-na (Kim So-hyun) to shine and live up to her reputation as the Olympic-famed “shooting fairy.” Both Han-na and Jong-hyeon (Lee Sang-yi) get their action-hero moments, proving to be just as badass as their boxer protagonist. Honestly, though, actor Oh Jung-se, who plays the primary antagonist in this K-drama, deserves his own anti-hero horror series. He gives you chills with those evil, no-remorse grins. A total standout performance.

Recap of ‘Good Boy’ Episode 12

Dong-ju and team barely have time to celebrate their victory against criminal mastermind Min Joo-Yeong (Oh Jung-se) before the villain strikes back with brutal force. Furious over the disbanded special team’s seizure of his hidden stash, truckloads of illegal cash, Joo-Yeong unleashes his wrath, sending henchmen to kidnap Dong-ju so he can personally kill the boxer-cop.

Joo-Yeong injects a lethal dose of drugs into Dong-ju’s veins, a move that would’ve killed him, if not for Drug Demon, who sneakily intervenes and saves his life. Battered, bloodied, and still under the influence, Dong-ju makes a desperate escape, only to be chased through the streets by armed goons. In a vicious twist, he’s framed on national news as a drugged-up, violent cop attacking civilians in broad daylight.

Now both hunted and helpless, the ‘Good Boy’ is forced into survival mode. With a police arrest warrant out against him and a massive bounty on his head, every thug in the city is now after Dong-ju’s blood. The episode ends with Jong-hyeon reaching out to his influential brother to secure a safe house and discreet medical help. Meanwhile, Han-na packs her bags and sets off alone, to take down the true Bad Boy, Joo-Yeong.

‘Good Boy’ Episode 13

Titled ‘Load, Start… Don’t Stop‘, the episode is all about revenge and getting justice served. It opens with Han-na grabbing her guns and heading to Joo-Yeong’s hideout with murder in her eyes. When Jong-hyeon and Man-sik (Heo Sung-tae) realize what she might be up to, they rush to help her, and as always, receive no backup from the police.

First off, this episode proves that ‘Good Boy‘ is powered by Park Bo-gum’s charm, without him in action (since his character is bedridden), the energy just isn’t the same. That said, Kim So-hyun and Jong-hyeon carry their solo combat scenes against hordes of thugs with both style and substance. Clearly, Dong-ju isn’t the only wolverine style hero in the squad. Personally, though, I feel Lee Ho-jung, who plays ‘Drug Monster,’ has brought more sass to her supporting role and might have pulled off the part of Han-na even better. Who knows!

While the pace feels a little challenging in the first half of the episode, the second-half is more entertaining, filled with back-to-back violent face-offs. A major twist towards the climactic minutes helps Han-na finally land some concrete proof against Min Joo-Yeong, dealing him a severe blow. Meanwhile, all the powerful men in the city gather to cover up their crimes, but not every successfully.

All this while in ‘Good Boy‘, it was the special team of athlete-turned-cops who seemed increasingly isolated in their fight against crime in Insung City. But now, Joo-yeong is starting to lose allies and advantages. Also, I can’t stop with the Wolverine jokes, because toward the end, Dong-ju, who practically dies in the last episode, wakes up and chooses violence. As always. L-O-L. I’m telling you, this series is going to be extremely disappointing if they kill him off in the end, especially with the overall tone leaning more toward action-comedy.

With three episodes to go, things are heating up in Good Boy, but honestly, the creators could have wrapped it up in just one more. It’ll be interesting, or maybe even a bit challenging, to see how they stretch the story across three more chapters.

Watch ‘Good Boy‘ on Prime Video.

Find the writer on Twitter and Instagram for more pop culture chatter.

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Pune Highway Review: Weirdly Comical, Serves 90s Style Thrills

Sneha Jaiswal (Twitter | Instagram)

When we were kids, we loved buying cheap ice-lollies from pushcarts, despite the persistent rumors that they were made from the same ice used to preserve dead bodies. A few Bollywood films even helped fuel that bizarre theory. Now, ‘Pune Highway’ adds a new entry to the morgue-ice-cream conspiracy club, featuring a scene where a cop stores a body at an ice factory because he has no better option. Sorry if you hadn’t heard this urban myth before, because now, you might never look at roadside ice shavings the same way again.

Directed by Rahul da Cunha and Bhargava Krishna, ‘Pune Highway’ follows four friends, who become suspects in a young woman’s murder, after her body is found in a decomposed state in Pune. Long review short, this is a decent thriller with a heavy 1980s/1990s drama mood and will entertain viewers who enjoy shows like ‘Crime Patrol‘ a great option for true-crime fans in India, where just one episode (sometimes two) gives you an entire story.

‘Pune Highway’ begins with a horror-style scene of an eerie-looking corpse washing up on the shore of a river. It’s an unidentified woman, with the only clue to ascertain her identity lying in a golden bangle on her wrist. Honest Inspector Prabhakar Pethe (Sudeep Modak) takes a personal interest in the case, intent on solving what is clearly a murder.

Meanwhile, viewers are introduced to a group of friends: siblings Pramod Khandewal (Amit Sadh), aka Khandu, Natasha Khandewal (Manjari Fadnnis), aka Nats, Nicky (Anuvab Pal), and Vishnu (Jim Sarbh). A fifth friend, Saple, is bedridden after a violent attack by goons belonging to a powerful Maharashtrian strongman called Mansekar (Shishir Sharma). Flashbacks reveal that Khandu helps hush up the case because he works for Mansekar, a man not to be messed with. Vishnu is an accomplished lawyer, Nicky an aspiring filmmaker, while we have no idea what Natasha does. It turns out the victim, identified as Mona (Ketaki Narayan), is connected to these friends, making some of them primary suspects in the case.

With multiple suspects, “who killed Mona?” is the primary suspense, and to the creators’ credit, they keep throwing red herrings to mislead the viewers, sustaining intrigue until the climactic moments of ‘Pune Highway’. Although, the way the case unfolds is comically unprofessional, with characters treating the police station like a guest house. The primary cast deliver convincing performances, but those given small bit parts are awfully bad, making their scenes unwittingly hilarious.

‘Pune Highway’ feels part thriller and part parody, but the primary cast and little twists, some of which are outright nonsensical, like a bit where a character who is arrested and could potentially face serious jail time refuses to give an alibi despite having one, over something ridiculously emotional, keep it engaging. The childhood flashbacks were quite unnecessary and the plot progression often feels jarring.

Anyway, like I said, if you’re a ‘Crime Patrol‘ fan, this film is a pretty entertaining one-time watch, even though it is absurdly over-the-top and melodramatic in parts. If I had to rate it, I’d say maybe 6 out of 10.

Watch ‘Pune Highway’ on Prime Video.

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Quick Guide to the Omegaverse: What It Is & Why People Are Obsessed

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So… what exactly is the Omegaverse?

If you’ve ever read fanfiction or scrolled through spicy webtoons, chances are you’ve stumbled across the term “Omegaverse” and thought, uh, what is going on here? Don’t worry, you’re not alone.

The Omegaverse (also called A/B/O – short for Alpha/Beta/Omega) is a fictional universe with a unique set of social dynamics, often focused on relationships, power roles, and primal instincts. It originally started in fanfiction (especially in Supernatural and Teen Wolf fandoms), but now you’ll find it everywhere, from original webtoons to full-length novels and mangas.

So, How Does the Omegaverse Work?

At the heart of it, the Omegaverse reimagines the world with three main secondary genders:

Alphas – Usually dominant, strong, and possessive types.Betas – The “normies.” Not too dominant, not too submissive. Just vibes.Omegas – Typically softer, more submissive, and able to go into “heat.”

These roles apply to all genders: you can have male Omegas, female Alphas, or vice versa. What makes it interesting (or wild, depending on your vibe) is that biological instincts come into play. Think heat cycles, bonding, scenting, knotting (yup), and sometimes mpreg (male pregnancy).

Why Do People Like It

It’s not just about the spice. Omegaverse stories often explore themes like:

Power dynamics and social hierarchiesFound family and loyaltyStruggles with identity and destinyConsent, freedom, and breaking societal rules

That said, yes, it can be very NSFW, depending on what you’re reading. But many stories also use the trope to dig deep into emotional storytelling, trauma, and character growth.

Popular Omegaverse Stories to Check Out Mangas / WebtoonsLove Is an Illusion by Fargo
Probably one of the most famous Omegaverse manhwas. It’s about a wannabe Alpha who finds out he’s actually an Omega—and falls for a grumpy real Alpha singer.The Silent Alpha (Webnovel & Wattpad)
A mute Omega gets paired with a powerful Alpha in an arranged bond. Lots of angst and slow-burn romance. Novels / WebnovelsCaptive Prince series by C.S. Pacat
Not officially Omegaverse, but fans of the dynamic will love its complex power plays and slow-burn tension.Reborn as Omega by CeeBee (Webnovel)
Transmigrated into a world where Omegas are treated poorly, the MC decides to change the game.The Omegaverse Project (Anthology Series – Manga)
A great intro to various Omegaverse dynamics told in short stories across different couples.Omegaverse Romance (English/Western authors)1. Heat for Sale by Blake Moreno

A steamy and emotional story about Omegas who are essentially auctioned off during heat cycles, and an Alpha who refuses to treat them as commodities.

2. Alpha’s Warlock by Kris Sawyer

A blend of paranormal and Omegaverse tropes—an Alpha werewolf gets paired with a snarky warlock Omega. Think magic + heat cycles.

3. The Omega’s Truth by Tanya Chris

Part of the Omega Reimagined series, this book is a thoughtful, well-written exploration of Omegaverse dynamics, identity, and consent, with a strong plot beyond just romance.

4. The Last Omega by S. Rodman

Set in a world where Omegas are nearly extinct, this story explores themes of survival, bonding, and the tension between biology and free will.

5. Marked by J. Leigh Gray

A rare MF Omegaverse series set in a dystopian society where Alpha/Omega roles impact social status and reproduction. Features an Omega heroine who refuses to be owned.

6. Pack Darling by Lola Rock

Reverse harem Omegaverse (Omegaverse + poly romance). A quirky, sarcastic Omega heroine gets unexpectedly adopted by a pack of overprotective Alphas.

A Quick Heads-Up

Omegaverse stories can be intense, and sometimes explore dark or problematic themes. Always check content warnings before diving in, especially if you’re sensitive to certain topics like non-con, abuse, or mpreg. Some stories lean into the fantasy kink side, while others focus on emotional journeys—so choose what suits your taste!

Final Thoughts

The Omegaverse is definitely not for everyone, but for those who enjoy layered romance, high-stakes emotional drama, or wild world-building, it can be an incredibly addictive sub-genre. Whether you’re here for the spicy tropes, the tender mate-bonding arcs, or just curious what all the “Alpha growling” is about: you’ll find a lot to explore.

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‘India After Gandhi’ Review: 4 History Books In One!

Rating: 5 out of 5.

Sneha Jaiswal (Twitter | Instagram)

‘India After Gandhi’ by Ramachandra Guha is like at least four non-fiction history books smashed into one! A great, easy-to-read (although just a teeny bit repetitive in parts) look at India’s political landscape between the 1940s and early 2000s. And to those who claim Ramachandra Guha sounds partisan and like a Nehru fanboy… well, maybe he does, but he also makes Indira Gandhi sound as the most corrupt, despotic Prime Minister we’ve (India) ever had. The ‘Iron Lady’ who turned Congress into a nepotistic, family-run business filled with sycophants. A tainted legacy that endures even today.

‘India After Gandhi’ was recommended to us by our journalism professors as part of an “additional reading list.” Wish I had read this book back then, but I rarely read non-fiction titles as a student. That said, it’s easy to see why professors would suggest journalism students read Ramachandra Guha. He has made almost seventy years of Indian history accessible in one book, meticulously crediting hundreds of historians, newspapers, authors, famous figures, and journalists in endless references. The “Notes” section alone in the book is book-sized, nearly 100 pages long.

Jawaharlal Nehru with Sardar Patel (Wikimedia Commons)

From the historic first term of Jawaharlal Nehru as independent India’s first Prime Minister to the formation of the first non-Congress governments, ‘India After Gandhi’ traces how electoral democracy took root in a country as vast and diverse as India. It explores the gradual weakening of the Grand Old Party and how Morarji Desai rose to become the nation’s first non-Congress Prime Minister. The book is a burst of political intrigue. For those who have closely followed India’s politics, culture, and religious tensions, it might not offer many new revelations. But for younger readers, this mammoth work is a treasure trove of insight into modern India.

Despite what the title might suggest, ‘India After Gandhi’ doesn’t begin strictly after Gandhi’s death in January 1948. Instead, the first chapter, titled ‘Freedom and Parricide‘, opens with the events of August 15, 1947, when India gained independence from British rule. The author then delves into the horrific communal riots between Hindus, Muslims, and Sikhs that followed the partition of the subcontinent into India and Pakistan, dedicating an entire chapter to ‘The Logic of Division‘. Naturally, the Kashmir dispute, long a point of tension between India and Pakistan, receives significant attention, as the book explores how it has shaped India’s geopolitical landscape.

For me, the most impactful sections of ‘India After Gandhi’ are the chapters that highlight how Indian leaders worked tirelessly to unify the many small states and princely kingdoms into a single nation. They defied the expectations of foreign observers and critics who believed India would eventually fragment into multiple independent nations, much like parts of Europe. Jawaharlal Nehru and Sardar Vallabhai Patel emerge as the two towering political figures who made this possible in the early years.

Given India’s current political climate, it’s understandably difficult for many to view the Congress party in a favorable light. But a closer look at history reveals that being independent India’s first Prime Minister was hardly a role to envy. As I mentioned at the start of this review, critics of ‘India After Gandhi’ often accuse Ramachandra Guha of being a Nehru loyalist. However, considering Jawaharlal Nehru held office for an unprecedented 16 years and 286 days, the longest tenure of any Indian Prime Minister, it’s only natural that he occupies significant space in the book. That record may eventually be broken by Prime Minister Narendra Modi, who, if he runs again in the 2029 general elections, could surpass both Nehru and Indira Gandhi as the longest-serving PM.

Which brings me to Indira Gandhi, the next major political figure who features prominently in ‘India After Gandhi’, largely due to her long tenure as Prime Minister, which included the pivotal creation of Bangladesh. Guha strikes an interesting balance in his portrayal of Indira, acknowledging her bold, decisive political moves while also highlighting the corruption and nepotism that tainted her leadership. There’s a clear contrast between Nehru’s statesmanlike approach and his daughter’s increasingly autocratic style, especially during the infamous Emergency period, imposed when her political position was under threat.

Just as Indira Gandhi is credited for India’s role in the creation of Bangladesh, the Kargil War victory under Atal Bihari Vajpayee’s leadership is also acknowledged with pride. ‘India After Gandhi’ makes an important observation about how the Indian Army has consistently remained apolitical, unlike its counterpart in neighboring Pakistan.

If there is one non-Prime Ministerial leader whose legacy stands out in ‘India After Gandhi’, it is that of B. R. Ambedkar, India’s First Minister for Law and Justice, a highly revered social reformer who championed the cause of those oppressed by the caste system. In several chapters, the author writes about the political movements inspired by Ambedkar, and how his political legacy endures decades after his death.

From the unrest in Kashmir and strained relations with China to secessionist movements across states, linguistic divides, communal tensions between Hindus and Muslims, the Ram Janmabhoomi movement, and the unexpected rise of communist parties in Kerala and West Bengal, ‘India After Gandhi’ offers a chronological account of the many complex challenges that have tested Indian governments over the decades. That India has endured and survived what many believed would tear it apart stands as a testament to the resilience and spirit of its people.

If you don’t read a lot of non-fiction either, but are curious about Indian history and how its politics shaped the country, this is a brilliant place to start. Perhaps in the future, I will revisit ‘India After Gandhi’ again, something I almost never do (read a book twice).

Rating: 5 on 5 stars.

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Aap Jaisa Koi Review: Starts ‘Kadak’, Loses Flavor in 2nd Half

Sneha Jaiswal (Twitter | Instagram) Click for short audio version

What is it with some storytellers using the conflicts of a supporting character to propel their leads? Not that it’s a problem, but at least give that side character enough space in the story to make it feel legit. Like in thrillers, where the author casually mentions a harmless first cousin in two pages, and then suddenly reveals them as the killer in the end? ‘Aap Jaisa Koi‘ does something like that towards its climax, derailing the overall mood. Although to be honest, it started testing my patience after the first hour, despite a pretty fun, cute first half. So it starts ‘kadak’ (strong) but loses flavor fast.

Directed by Vivek Soni, ‘Aap Jaisa Koi‘ follows Madhavan as Shrirenu Tripathi, a 42-year-old shy, conservative Sanskrit teacher in Jamshedpur, raised under the shadow of a chauvinist elder brother (Manish Chaudhari). Fatima Sana Shaikh plays Madhu Bose, a 30-something bold French teacher living in a feminist joint family in Kolkata. How an unlikely romance brews between these two contrasting personalities is the crux of the tale.

‘Aap Jaisa Koi‘ kicks off with a 1990s flashback to a party, with the hit song ‘Koi Mil Gaya‘ (Karan Johar is a producer) playing in the background. A school-going Shrirenu approaches his crush and is hilariously rejected. Cut to 2024, Shrirenu is in his early 40s with zero romantic experience and fading future prospects. All that changes when his sister-in-law (Ayesha Raza Mishra) brings along an arranged marriage proposal. With the charming Madhu Bose.

With an almost 2-hour runtime, Fatima Sana Shaikh’s Madhu doesn’t even make her dreamy entry until after the first 20 minutes of “Aap Jaisa Koi”. When she does, she gets a very Bollywood-style intro, mildly reminiscent of Sushmita Sen’s gorgeous saree-clad professor role in “Main Hoon Na“. Until then, the film comically focuses on Madhavan’s struggles as a single man.

Shrirenu’s close friend (Namit Das) convinces him to join an app for anonymous audio sex chats, where you’re never matched with the same person twice. With no hope for real-world romance, Shrirenu is content with his digital flirtations. This bit is portrayed entertainingly, including an entire song dedicated to Shrirenu’s secret chat sessions, where he imagines himself surrounded by beautiful women while doing daily chores. When he finally meets Madhu Bose for coffee, that’s when love walks into his life for the first time.

Shrirenu and Madhu don’t click immediately, and the Sanskrit teacher begins to wonder if someone is playing an elaborate prank on him. Why, after all, would a much younger, very attractive woman want anything to do with a ‘boring’ guy like him? At least that’s what he and his friend think, so they hilariously travel to Kolkata to do a background check on Madhu. The ‘rishta‘ seems legit, the family is quite nice, and things start to move quickly between the teacher couple. However, once Shrirenu discovers a ‘wilder’ or not-so-sanskari side of Madhu, trouble brews between them, after their engagement!

If it weren’t for the smartphones and the app subplot, “Aap Jaisa Koi” could have easily unfolded in the 1990s or early 2000s, and viewers wouldn’t know the difference. But the film is set in 2024 and takes viewers through the streets of Jamshedpur and Kolkata. The latter, of course, wears its colonial hangover so strongly that walking through some of its streets even today feel like stepping through a time portal. The Kolkata setting gives the film a cinematic nostalgia, further deepened by both Madhu and Shrirenu’s love for old Bollywood songs.

Okay, look, this is supposed to be a romantic comedy, and I don’t want to drone on and on about it. At its heart, “Aap Jaisa Koi” tries to be a feminist romance about ‘equal love’, with Madhu challenging Shrirenu’s patriarchal double standards about what makes a ‘good woman’. Although in the end, Madhu learns his lesson through a close relative’s ordeal, the very side character who should have gotten more screen time.

Both families have interesting members, though curiously, Fatima Sana Shaikh doesn’t quite fit into the ‘Bengali’ household and isn’t fully convincing as a sassy Bong lass. Even her grandmother, who is supposed to be in her 90s, doesn’t look the part, though all the uncles and aunties do. Still, Madhu’s big Bengali family is a joy to watch, full of vibrant, talented women. It’s just a shame those moments are so fleeting. Madhu herself is an accomplished pianist, and there’s a great scene where she and Shrirenu share a jugalbandi: she on the piano, he on the sitar. It might just be the only point in “Aap Jaisa Koi” where their romance genuinely clicks.

Despite starting off as a potentially refreshing romantic comedy, the humor vanishes in the second half of “Aap Jaisa Koi”, which also throws in the very cliched ‘love rival’ twist in the mix. The music and songs are a strong element early on, but in the climax, the background score becomes over-the-top and needlessly dramatic, trying to force the mood onto viewers. The onscreen chemistry between Madhavan and Fatima Sana Shaikh is cutesy but not memorable. In the end, the film turns into yet another formulaic flick. Maybe it should’ve been a mini-series, where the characters got the space they needed to grow, to leave a stronger impression by the end.

Rating: 6 on 10. Watch ‘Aap Jaisa Koi’ on Netflix.

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