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E19: OMG! Oh My God screenwriting breakdown · Breakdown Besties | Bollywood Screenwriting Podcast

• Ananya: Hello everyone and welcome back to another episode of the Breakdown Besties Podcast. I'm Ananya. And we are your breakdown besties. Combined, we have 14 years of experience writing for shows like Mismatched, Wedding.con, Rana Naidu, Inside Edge, Ishq in the Air and Grahan on Amazon, Netflix, and Disney Plus, along with a host of other shows that got stuck in development hell, but will hopefully see the light of day one day. With the Breakdown Besties podcast, our goal is to give you a somewhat authentic film school experience. Where we break down the scripts just like they would in film schools, the movies of iconic Bollywood films, and analyze the various techniques, tricks, systems used within those scripts so that you can break them down and use them again in your scripts and make them as iconic as the ones we analyze. And today we are gonna be breaking down a really phenomenal film. OMG! Oh My God. Okay. Written by Bhavesh Mandalia and Umesh Shukla. This is the simple story a man who doesn't believe in God and then goes on a journey of finding his faith. Right? Cool. Akshay: Yeah. Yeah, I read It's also based on a Kishan versus Kanhaiyaa, yeah, and based, is in turn based on a film called The Man Who Sued God. Yeah, fun. Ananya: Kishan versus Kanania. Yeah. God, yeah. Okay, so let's get into it like we do with the log line, right? So what is your log line? Your log line is the guiding light of your film. When you get lost for the can't see the forest for the trees and you're just stuck in the weeds of the film and you can't tell what you're actually writing about, ki film ka mudda kya hai, that is when your log line comes to the rescue. It will show you exactly what your film is about. Why? Because a good log line, a complete log line, a holistic log line contains these four basic elements which are elemental to your film. They are one, your flaw, block, limitation, wound, need, whatever you want to call it. That is basically something within the character which has been holding them back, which has been stopping them, which has not allowing them been allowing them to grow and not been allowing them to achieve element number two. Which is their goal. The goal is why we watch the film, it's the journey we are going on. We want to see this character finally achieve their goal. That's why your audiences are sitting sat in their seats. Then we have element number three, which is your conflict. Your conflict is your main story engine. It is basically a manifestation of the internal need, flaw, block or wound, in an external fashion. It keeps coming up. Challenge after challenge and presenting itself as an obstacle in the way of your main character. By overcoming this external manifestation of their internal flaw or need, the character is actually able to grow, to overcome what's been holding them back, and finally get one step closer to their goal with every passing challenge. And finally, we have element number four, which is stakes. Stakes are what your character is going to lose should they not achieve their goal. Akshay: Huh. Ananya: It is not simply not achieving your goal, it is going one level lower and losing something additionally. Right? So in the case of Oh My God, let me read out my log line to you, I think it's actually fairly basic, but yeah. So when an atheist businessman, businessman's insurance claim is denied for it being an act of God, he sues God for compensation lest he lose his home, livelihood, and family. Akshay: Yeah. Yeah. Yeah. Yeah. Ananya: Simple, right? Yeah, I love it. Hmm. Akshay: I just have a very big change. You said he lost his home livelihood. I've written he lose everything. Ananya: Everything. Drama. Yes. Yours is objectively better. let's break this down into its four critical elements, right? So in this case, we first have a block. Right? ⁓ block is that he's an atheist, that he doesn't have faith, he doesn't believe in God, he doesn't believe in a higher power. His goal is looking for compensation through winning the lawsuit. The conflict is that he sues God. So an atheist is suing God. So we can imagine all the challenges that come his way: that you're disrespectful, you're insulting our religion. ⁓ What do you mean that God doesn't exist in extremely religious country? So all of those conflicts directly challenge the fact that he's an atheist. And his stakes are that he loses everything. Akshay: Yeah. Yeah. Yeah. Fairly simple. Yeah. Ananya: Okay. Okay. Let's do the hero's journey next. Yeah. Now, what is your hero's journey? Your hero's journey is the structural spine of your film. Why? Because this is the journey that any character, any human being goes on when they embark on this mission of achieving something new in their life. Every time even you and I have gone and done something new, we ourselves have experienced this same journey. It's just maybe not as clearly as we see it in films. Unfortunately, our lives are not plotted by expert writers. But he is the expert writer. But we are also God. So we are our the writers. I wanna have a full separate metaphysical like discussion on this film, but that's for a different podcast. So if anyone's doing that and wants to invite me. Akshay: I mean he is the expert right? ⁓ Such key takeaways we've had from this film. Or maybe with different people. Ananya: I'm like so game. Yeah. so the reason this works is because in order to achieve your goal, you have to become a different person. You have to embody the identity of someone for whom that goal becomes natural. So when you go on this journey, you meet different turning points which essentially challenge your identity and help you step into a new one and achieve this goal. So over here you're gonna have various beats and various turning points in your films where the emotional highs and lows of this journey are amplified. And when you have this, it's the emotional hits your audiences require every so often so that they stay in their seats and they continue following through on this journey. Cool. So I think the hero's journey also is fairly simple, right? Cool. So let's begin. The first two we have, first we have is the ordinary world. The ordinary world is the world in which your hero exists before they have stepped onto the ⁓ track, the path for their goal. So this is where you establish what their flaw is, where they are, why they are the way they are, what time period it is. Akshay: Yeah, fairly simple. Yeah. Ananya: Everything about their environment, their current world and circumstances, and who they are. Right? So, in this, you have ⁓ your ordinary world where we see Paresh Rawal's character as an atheist, and as an atheist who is so good at selling the myth of God that he has a shop of religious products, of idols, of everything else, ⁓ and makes his living by peddling God while being a non-believer himself. Akshay: Hmm, yeah. Yeah monetizing Monetizing God he knows how to do very well. Yeah. Yeah. Ananya: Very well, exactly. Yes. And ⁓ yeah, and then you have your call to action. Your call to action is when your hero is for the first time beckoned to go on the journey and said that come, come, this is your goal, we are going to achieve your goal. So over here, this is a fairly long sequence of call to action, refusal of the call, right? So let's ⁓ explain what refusal of the call also is here so that we can talk about it jointly. ⁓ refusal of the call is when after your call to go follow this path, either you or someone in your life is just like, ⁓ no, this is too scary, or I don't have the tools or implements to do this, or you shouldn't do this. Telling you that do not heed the call, ignore it and stay where you are. You're even though you don't have something, you're still comfortable where you are, right? So over here, the first call to action kind of comes when ⁓ there's an earthquake. Akshay: Mm. Hmm. Right. Ananya: That strikes and everything is fine except Paresh Rawal's shop, which is fully destroyed in this earthquake. Right. And it is at that time where people tell him to have more faith in God, like to be more respectful. It is because he's an atheist that things like this has have happened. And he is essentially like, screw you, no, I am going to the insurance company. The insurance company says, Bruh, this is an act of God, like we can't help you ⁓ And Paresh Raval essentially loses his shit there. And the insurance company says that listen, ⁓ if you have a problem, take it up with God. And Paresh Raval goes into this fit of saying, take it up with God, fine. He takes the security guy's gun, steals it from him, and says, Okay, you say that everyone is God, right? You're God, their God, they're God. So if I shoot you, that means God has shot you. So that should be perfectly fine. Everything is an act of God. He's just refusing to believe in God. ⁓ so this is another refusal of the call. Akshay: Yeah, yeah Ananya: And after that he is on his terrace, he's with his colleague, slash friend, slash employee. ⁓ that's when he comes up with the brilliant idea of suing Right? So he goes on to find different lawyers and advocates who will take on his case, but everyone calls him absolutely crazy for wanting to sue God, especially in a country as religious as ours, where that would bring on like the wrath of everyone. Akshay: Yeah. Ananya: Until he meets the mentor. Meeting your mentor is the next stage of your hero's journey. The mentor is a person who has essentially walked the paths that you are now going to walk on. They have been where you are. And if your goal is to slay the dragon, they're the ones who tell you how to reach the cave, here's the sword to kill the dragon, and anything else that you need to know in your journey to become who need who you need to become to slay the dragon. So over here, he his mentor is a lawyer called Haneef Qureshi, who has himself been a victim of the wrath of the people for fighting certain cases, and he has been disabled thanks to that. ⁓ he tells Paresh Rawal that, okay, I think you're fighting for a worthy cause, but if no lawyer is willing to fight your case, per law you have the ability to fight this case for yourself, by yourself. And Paresh Rawal's like, okay, cool. And he files the case. Akshay: Yours, Dalton. Ananya: And then you have crossing the threshold. Crossing the threshold is when you take your first and final first steps into the new world where you put your feet on the path that will eventually take you to your goal. Right? And over here, the crossing the threshold is the first session in court, which is where Paresh Rawal lays out all the facts of the case. He lays out his belief system where he says that Akshay: Yeah. Ananya: okay, I've been paying insurance premiums and I know I signed an insurance contract where they said that an act of God will not be permissible and will not be claimable. But what about all the premiums I've been paying to all the mandirs and all the pandits my whole life, you know? So and here we also establish the other party, which are all the at this Hindu ⁓ religious priests and Akshay: Yeah, all the donation boxes. Yeah. Godmen. ⁓ Ananya: Godmen, yeah. Godmen who are basically criticizing him for not having faith, for being an aetheist. ⁓ And see the sense of the we see the magnitude of the problems that he's going to be facing. And this is this ends they're leaving the courthouse and he's essentially given a warning that this is not going to be an easy path for you to tread. Right. Akshay: Yeah. Ananya: And that is, and even though he's been given this warning, he's not going back. So that is how we know he has crossed the threshold into this new world. Now that he's crossed the threshold in this new world, he has to meet his tests, allies, and enemies, which is the next phase of your hero's journey. It is where you meet all these new people who are going to be part of your new world and you're going to see who's going to support you, who's going to stand in your way. Akshay: Yeah. Yeah, yeah. Ananya: Who is gonna help you out? What sort of challenges you're going to face in this new world, right? And over here we see the enemies in the form of Godmen, politicians, and godmen and politicians largely, and goons who are working at behest of at the behest of the godmen and politicians. And then you also have friends and allies. So over here we are introduced to two of his biggest allies Akshay: Yeah. Yeah. Ananya: one is other people who are who have also been denied Act of God claims and they say that look, we really need the money and you know we s we've had our faith our whole life, and you know, but when an act of God happens, like suddenly our faith stands for nothing. So we need ⁓ And then you have the ultimate ally who also takes on the role of a mentor, who plays the trope of a mentor character, which is God Himself. Akshay: Yeah. ⁓ Yeah Ananya: Presenting Akshay Kumar and he takes on the role of Krishna because Kanji his name is Kanji, right? Kanji Lalji Mehta, yeah. Because Kanji is a Gujarati businessman, so because his faith is technically linked to Hinduism, he presents himself as Krishna. He says, If you'd have been Muslim or Christian, I would have presented to you in another form. But God is essentially the same. Akshay: Kanji Lal Ji Mehta Yeah Ananya: Right. And throughout his journey, Krishna keeps leading him to various that he can take and various clues to be able to like fight this mission ahead. And there are some beautiful moments in there where they say he says things like, you know, this is a big journey, but a journey like this has to be tread alone. That I am going to help you, but at the end of the day, you are the one who has to do what it takes. I will show you the direction, but you have to go to the destination yourself. Akshay: Mmm. Yeah. Ananya: So beautiful ideas of what spirituality actually is, what faith actually is, is incorporated in this phase. ⁓ And what happens is that ⁓ Paresh Raval's starts getting a lot of national fame and support because his idea of religion is one where we serve each other. It's not Akshay: Yeah Ananya: all of these facades what Godman put up of donating, of putting milk on shivlings. He's like, I would rather give my milk to the needy. I would rather help people than go into these temples all the time. And there is a lot of support. And just where you think the case is in the bag, that is when he's told to present proof. Proof that this was actually an act of God. They're like, all your stories are great, you have a great way with words, but the court of law functions on the basis of evidence. So you need to present evidence to move forward. Akshay: Yeah. Huh. written evidence yeah yeah Ananya: So while you think Paresh Rawal is fully stamped at this point, Krishna presents him with all religious texts, from the Bhagavad Gita to the Bible to the Quran. And then you have the approach to the innermost cave, which where are finally fighting the case and you are ready to win. So at this point, if you're for example going to slay the dragon, this is where you go and fight the dragon. So over here, Paresh Rawal goes and gives his final presentation in court, and where he reads from the Bible, from the Gita, from the Quran, and he says that God says that anything that happens on this planet here is has happened because of me. So I am ⁓ And just when you think he has won the case, it's all good, he ends up having a paralytic attack. Which also sidebar this is a second movie where someone's having a paralytic attack that we're like watching like in Guru Yeah, in a courtroom, right. Akshay: Hmm. in a courtroom. Yeah. Ananya: And that your ordeal. The ordeal is that now that you have slain the dragon and gotten a bag of gold, the dragon's, I don't know, family, the dragon's caretaker is after you, chasing after you, and now you are in a pickle. This is his paralytic attack. He is in the hospital. ⁓ And then he is in the hospital, Krishna visits him. And Krishna informs him that buddy you're in the hospital, but I will cure you. I will show you a miracle. And that is your reward. The reward is what you get for finally leaving the dragon behind in your wake and dealing with the ordeal. So Paresh Raval is cured of his paralysis ⁓ and is rewarded with good health. But he still has to make his way back home. He is not back in the old world yet. And his way back. Akshay: Hmm. Hmm. Hmm. Hmm. Ananya: Is going to be very treacherous because Krishna shows him what has been going on in the world while he has been in the hospital paralyzed for a month. Which is this that while Paresh Rawal has proven that God is a farce in the way that your Godmen ⁓ are you peddling the idea to you and religion shouldn't exist. Akshay: Mm. Hmm. Ananya: Krishna says one important thing: don't take people's God away from them. They will make you their God. And that is what we see on his way back. That now the Godmen him themselves have made Paresh Rawal who is in the hospital another god. They have colluded and they are planning to pull the plug on him and say that he has decided to die and be our God. And Akshay: Thank you. ⁓ Ananya: now they're turning him into a business. We see that it's a 400 crore empire for all this invest even though he's won the case and the temples and everyone has to make a 400 crore insurance payout. By turning Kanji into a god, they will recoup all that money and reinstill faith in everyone. Paresh Raval is shocked because he can't believe that after everything he's fought for. Akshay: ⁓ Ananya: That this is the state of affairs, that the world is still the same way it was, that this looking for another savior, someone to worship again. So this is when he goes and he resurrects from the ashes, kind of almost literally the public eye. Now he resurrects, where he goes to a public gathering where there's a murti of him itself. And he's like, Guys, this is absolute nonsense. Because I am no God, just an ordinary mortal. Akshay: ⁓ Yeah. Yeah. Ananya: And who sees God in everyone. And there's idol worship, all of that is absolute nonsense. They are just trying to like shift your focus from me to another, from another god to me, and he destroys his own idol. And this is all thanks to the help he has received from Krishna. So now he goes back into his old world where status quo has been established, his family is back. Akshay: Huh. ⁓ Hmm. Right. Ananya: And Krishna has disappeared. Except that now on the ground, he finds his keychain, which the peacock feather keychain which Krishna has been wielding, and he picks it up and he hears God's voice, he hears Krishna's voice, and he's like, don't turn that keychain into an amulet. You're doing the same idol worship nonsense that we just told everyone not to do. Have faith, I am everywhere. Akshay: Yeah. ⁓ Yeah. ⁓ Ananya: And that is how he returns to his old world, now a new person, now someone with faith and faith that God exists in everything. Akshay: Yeah. Ananya: Cool. You had a different hero's journey? Akshay: Just a little bit muddling up in the middle. I thought that it had like two reward moments. in the sense that ⁓ one, you know how we've had like multiple ⁓ call actions and multiple refusal of the call. So I felt like this one once I had a little bit of those phases in the center in multitudes. In the sense that his approach to the innermost cave, I thought so Ananya: Hm. Hm. Akshay: you like how you said the the moment of the whole court case comes into test allies and enemies. I felt I felt the need to divide that even more in the sense that his second hearing where he presents his biggest monologues of the film like you shouldn't put the milk on the shivling and like you know now he has the backing of so many people with him that becomes part of his approach to the inmost cave because that's his big fight and appeal to the Ananya: Mm. Hm. Yeah. Akshay: authorities. And the ordeal now becomes in his case that he's challenged that he needs to have written evidence. All this was great, but you like the legal system is the bigger, bigger dragon you're like you, did your fight, but you still need to like fight the dragon, which is the legal system that you need written evidence. So that for me became the ordeal. And the reward becomes that he gets those books by Krishna's character saying like, Ananya: Mm. Yeah, yeah, hm, yeah, hm. Yeah. Hmm. Hmm. Hmm. Akshay: read the Bhagavad Gita, read the Bible, read the Quran and that becomes the reward in this case for him to realize that which helps him win the case eventually. So I thought the reward was like was twofold that he gets those books, he presents his case and he also wins the case in that way. And then the road back is again is what you said is similar then. Ananya: Yeah. Hm, hm. Mm this is the case. Yeah, yeah. Yeah. I Similar. Yeah. I had written the same thing as you, in fact. I'd said that the approach is the second last court trial and then the ordeal is that now present written evidence and stuff. But then I went back on it and I rewrote it as this because I thought that if your goal is to win the court case, then your approach is like where you go and you try to win it, like the final time, like Akshay: Yeah. Yeah. Hmm, right. Ananya: The written evidence and stuff is just part of the new world. Like that is what it you know, it's like in your test allies and enemies, because you're learning that, okay, I need written evidence. This is all great. This is all fun and games. But that was part of the new world for me. It wasn't like a new obstacle. I was like, Yeah, this is fair. So that is why I went and made that change. Akshay: Yeah. Yeah. Hmm. ⁓ But I think emotionally they do the same job essentially. The beats do the same job what we're saying. And so yeah, hence I didn't feel the need to like disagree so much because it just felt like ⁓ you've always said, emotional beats of the hero's journey need to feel true and that's what they exactly do. Yeah. ⁓ Ananya: Hmm, yeah, definitely. Hm. Yeah, true. Absolutely. Exactly. Cool. So let's go into the theme of the film now. Because ⁓ yeah. So what is your theme? Your theme is the statement you want to make as an artist in your film. The reason all of us become writers or artists of any kind is because we have a view on the world. Akshay: Yeah. Ananya: That we really feel the need to express, and our art is a medium of expressing it. In film, this is posed as a dramatic question. Where by the end of the film, you answer that question through your character's actions, through their wins and losses, and you establish your view of the world through that. So, over here, the theme, the thematic question is very simple: is does God actually exist? It is very simple, yeah. ⁓ the film answers it, but it says, yes, that God exists, but he doesn't exist ⁓ in in idols. He exists everywhere. Right? ⁓ And ⁓ Akshay: Yeah. Yeah. Yeah, but I framed the dramatic question in a slightly longer way, like does God exist? And if yes, where to find them? Like, you know, because it's the same thing, like essentially, because the end, the elixir moment really like honed this question in that don't do the mistake what you've been preaching everybody else, you know, that that he wants to save that key chain thinking that this is like one Ananya: Hmm, hm, mm. Yeah, yeah. Yeah. Yeah. Exactly, exactly. Hmm. Akshay: small souvenir, something I'll remember God by and then he gets the voice of God saying that don't do this. You don't need something to remember me by, I'm everywhere. Ananya: Yeah. Yeah. Yeah. Exactly, exactly. Yeah. So that is essentially your character arc, right? So the easiest way to play out your theme, to demonstrate your theme, is have a strong main character who your characters align with, who your audience is aligned with, sorry, and who eventually changes to reflect the message that you want. So your audience goes on the journey with them because of the empathy you've created. And they buy your point of view, or that's how your point of view is established. Akshay: Yeah. Yeah. Ananya: So over here we have Paresh Raval who is an atheist and he over the course of this journey develops faith. And we as an audience develop faith too. And it says that yes, you can have God in your life and God is everywhere. And the fact that he needed a, like you said, souvenir ⁓ essentially what the film is talking about, what I felt is the fact that we are asked to have faith. Akshay: bit. Yeah. Huh. Hmm. Ananya: And then we want proof of our faith. And proof and faith are two contradictory concepts. Because faith implies not needing proof. Akshay: Yeah. Yeah. And also, not Not just proof, but display of your ⁓ That's ⁓ That's what people tell us, that you visited this temple, now tell people you visited this ⁓ Ananya: Faith. Exac exactly. Yeah. Yeah. This temple. Yeah. Yeah. Your faith needs to be performative. It can't just be something you have personally. Yeah. Internally. Yeah. So yeah, that is the theme of your film. Akshay: Yeah, internally whereas fate an internal concept, right? Like, yeah. Ananya: Cool. let's go into scenes and next. ⁓ The first scene I want to talk is a technique called foreshadowing. Now, foreshadowing is when you give people a hint of the conflict that is about to come. ⁓ And then when it actually comes you realize ⁓ okay, so this is the idea all along. Akshay: Hmm. ⁓ Yeah. Ananya: The reason you do foreshadowing is so that your characters, your audiences are not completely in the dark and also that they feel a little bit like in on the story. Yeah. That we've been left there that involved their few clues to solve. They feel smart. So over here, as Paresh Rawal is leaving his shop early on in the film, another shopkeeper called Mohammed says that he is going on a hajj. Akshay: Included. Yeah. Mmm. Mmm. Yeah. Ananya: ⁓ And Paresh Raval says, listen, instead of going on Hajj spending your money there, spend it on your shop which is falling apart and repair it. ⁓ And just then a couple of cyclevalas who are pedaling a mirror cycle by. So this was done in a very interesting way, I thought, because first you have the exact thing which he is going to face, that his shop is going to come under and he's gonna have to repair it and need money. ⁓ And ⁓ Akshay: ⁓ Ananya: He's going to have to call his faith into that, much like this guy is going on hajj. And the second is they are literally showing him a mirror that this is going to happen to you. So this is a wonderful way of foreshadowing on both a dialogue and a visual level. Right. Akshay: Yeah. Yeah. Hmm, very interesting. Yeah. Ananya: Next, I'm gonna talk about act of God itself. So, ⁓ what when the concept of an act of God is explained, it is at the insurance office where the insurance agent is explaining an act of God to Paresh Ravel. Now, this is first we have a technique of exposition where a character who doesn't know something is at the same level as your audience is being explained something. Akshay: Hmm. Ananya: By someone who has the information. So it's giving exposition through a character who is at the same level of your audience. So that's when you're allowed to say things as is. And also, this whole act of god bit is also a gift. A gift is something you give your audiences when they come to watch the film. Something about the world which they wouldn't have known otherwise. So a lot of people who don't know much about insurance or haven't dealt with these situations don't really know what act of god or force majeure is. Akshay: Hmm. Ananya: So they come in and they watch this film and the film tells them that, hey, now you know something new. You have a gift. This is a gift we're giving you. So if you are a writer who's especially writing something genre or niche specific, you really want to give your audiences a gift because that is your way of sharing more with the world. Akshay: Hmm. Yeah. I want to talk about the technique of contrast first in one of the scenes where the first time he is in the court ⁓ and he puts his argument forth to the that why my case should be accepted. ⁓ And finally, after listening to him, ⁓ all like the judge really agrees that your case is accepted in the court of law. Now we will begin the battle. Ananya: Mm. Akshay: So it's a moment of huge victory, right? Now, what Kanji does is that he accosts these three, four godmen in the court who were his opponents in that moment. And he tells them that, see, this is what I've done now. You you be ready to pack your bags. ⁓ he does a victory walk outside the court along with his friend slash employee. And as soon as he goes out, you see that hundreds of other godmen are actually opposing him. They are like with. Ananya: Hm. Mm. Mm. Mm. Akshay: like placards and like wanting to hit him. Now you had such a moment of victory for your character and now you contrast it with immediate threat. So I thought that technique was done really nicely in this particular scene. It wouldn't have mattered unless if they hadn't shown that victory walk because that's to really heighten ⁓ intensity of how victorious he is feeling in this moment. Ananya: Hmm. Yeah. Yeah. Hmm. Yeah, yeah. Akshay: ⁓ So I thought this was done very interestingly and while we're on this scene, I want to talk about the technique of mirroring a scene. Which is, now he is standing in front of the court outside in front of these hundreds of godmen ⁓ the lead godman which is Mithun Chakraborty's character which I thought he was amazing. ⁓ so camp. He comes from behind. Ananya: Hm. Amazing. It's so camp. I loved it. Yeah. Akshay: How will you the wrath of whole community? So ⁓ and what ends up happening in the later scene I think it's just like four scenes after or something when has won the ⁓ support of lot of other people who had also like claims for act God and now they're coming out of court ⁓ and these four God men are now facing hundreds of other these other Ananya: Hm. Hm. Yeah. Akshay: complainants who also like suffered through the act of God ⁓ Kanji's character does the same thing that how will you survive the wrath of the whole community? So I thought that mirroring was very intentional and and again yeah it's a callback also ⁓ Again in the rule of callback is that the nature of relationship has now changed because the status quo has now changed right somebody Ananya: Mm. Yeah. Yeah. For sure. And it's a callback also, right? Hmm. Changed. Akshay: Like the Godmen felt they were in power, but now Kanji is in power, actually. So that was pretty cool. Another small mirroring scene which I had was that ⁓ his daughter, after his family has left him, his daughter was sitting in a cafe with a couple of her friends. And initially, when they're talking about this case of this guy who sued God, she feels a little embarrassed to be like, to Ananya: Hm. Power. Yep. Mm. Akshay: even say that this is her dad and later on when she watches him on television and in same cafe along with her friends ⁓ finally accepts and says hey by the way this is my dad Ananya: Yeah. My dad, yeah. So it's essentially a character change technique, right? Mirroring where you put one character in the same situation or and you see how their reaction changes, or you change the situation and keep the character the same and see how the character now reacts to it. Because I think in the daughter character's point of view, she's quite a fickle character in that sense, right? Because while her dad is low, she's like embarrassed. Then when he's winning, she's like, Acha, he's my dad. So ⁓ Akshay: Yeah. Yeah. Yeah! Yeah. Yeah, it's convenient plotting, essentially. Yeah. Ananya: It's like you're not there with him through thick and thin. Yeah. And like weak characteristics, right? Like it's a weak character. ⁓ over here. Akshay: Yeah, yeah, yeah. Yeah. I mean, again, like this film has done no effort on building characters of anybody else apart from Kanji, right? like his entire world is just one note, right? Like, and because I think it's a problem of a film like this, which is like just it's this film is essentially like what I personally conceptualize in my head is like a one joke film, right? Like in the sense that Ananya: Mm. Yeah. Yeah. Mm. Akshay: the whole mudda about this film is just this, right? So like, you'll explore nothing else. Like there is no difference of opinion from any way, just, but like, it's like one person, like there's this one big moral our guy has and everybody's against him, you know? But that's life, that's not life. So hence this film becomes a little, you will find these convey- Ananya: Mm. Yeah. Against it. Yeah. No, it's not like. It's polarizing. Yeah. Akshay: Yeah, it's polarizing and you will find this sort of convenient plotting because you essentially are basing the entire film on one person's ideology. So that falls into a trap a little bit. Ananya: Mm, mm. Yeah, yeah. Akshay: One technique I want to talk about is the technique of misdirection in one of the scenes. Where ⁓ after the earthquake, Kanji his family are spot of analyzing their shop and like what's left of it. ⁓ Everybody's telling him, now you please believe that God exists? And he's like, come on, like I still don't believe God exists. ⁓ Ananya: Hm. Hmm. Akshay: if something should happen, something should happen to me right now. And in that moment, you have a point of view shot from like above the shop, you know, where you think that something might fall on him that in that moment. So again, like upping the conflict in that case, like, ⁓ this guy is going to get more screwed over right now only to realize that nothing happens in that moment. But it comes back later when Ananya: Mm. Yeah. Hmm. Akshay: He is in a problem and it's a similar kind of point of view shot but it's actually God watching him. It's Akshay Kumar's character watching him. So I thought that was an interesting misdirection and also foreshadowing of some way. Yeah. Ananya: Hm, God, yeah, yeah. Yeah. Yeah. Yeah. I had one more thing I want to talk about, which is delayed gratification. So we have Akshay Kumar's entry as God and it's a phenomenal scene where he's on a bike and he's rescuing Paresh Rawal from goons. And they've established him as a fun character, which we'll talk about when we go into character creation. Akshay: Hmm. Hmm. Huh. Ananya: So immediately you want to see more of him. But the moment he drops him off at the house on his bike, they end the scene with Akshay Kumar. And you take Paresh Raval's character, which is now on a high because he's been rescued, to an absolute low where his family is leaving him, the whole neighbourhood is like calling him names and calling him an aetheist and all of that. And he goes and he's sitting in the room alone. And as an audience, you're like, Akshay: Hmm. Huh. Ananya: You are waiting for more of Akshay Kumar, but they're not giving it to you yet. And only once Paresh Rawal gets a little drunk, that's when they bring God back in, and you're like, ⁓ my god, yes. Because ⁓ my god, okay, ⁓ Akshay: Huh. hmm you know when we're like promoting this episode we should like put that Janice from friends' like clip of like ⁓ my god Ananya: Yeah. God, yeah. So what they do is if you know something is like you know God's gonna come, right? That's in the title of the film, that's the premise of the film. How and everyone's waiting for it. How do you delay that gratification so that when it finally comes and you get to spend more time with this character, the audience is hungry for it. So delaying gratification like they do it in rom coms all the time. Like how long can you wait for the kiss? Akshay: Huh. Huh. Yeah. Yes. Yeah. I feel like delayed gratification they did with the God character in one more way, which was that like all this time you've seen him in like suits and like really good casual wear and they ask and he asks him like, hey, why are you not in this crown and like all these different clothes? He's like, will I not have a different style? But and like, but as an audience, you're curious to know what this would be like. Ananya: So over here. Mm. Hmm. Yeah. Mm. Yeah. Yeah. Akshay: And only until the final moment when in the road back moment when in the hospital, he actually presents himself in the full avatar of like, we've seen gods and the whole crown and like all these like shankh and all these things. So yeah, yeah, pretty cool. I hadn't thought of it until now. Yeah. Ananya: Yeah. Yeah. Yeah. Exactly. Yeah. Yeah, yeah, 'cause you want to see that avatar essentially. Yeah. Which again brings us back to the theme of this film, right? We want our belief to look a certain way. We want to believe that God is someone greater than us. This all encompassing, like carrying weapons, wielding. You can't believe that God is in a bird or that ⁓ God is you. It is again that. Akshay: ⁓ That visual of God Yeah. Hey. Hello. Yeah. Yeah. Yeah, yeah Ananya: That for him to also finally believe that I'm in the presence of God, he has to conform to the norm. Akshay: Yeah. Ananya: Do you wanna go into genre tropes next? Akshay: Sure! I don't have any. I don't have any. Ananya: Okay, I have one genrope essentially. Which is in a courtroom drama, while this is not the best example of it, because usually ⁓ your genrope is is that in a courtroom drama it has to feel like a tennis match or a boxing match. There has to be sparring. Without that, your courtroom drama falls flat. So Akshay: ⁓ hmm. Ananya: In this film, I wouldn't say it's the best example because every time it's one party who's winning, and either they lose at the end, right? But I'd say that the first courtroom session where his case is accepted is a very decent example of a sparring match between ⁓ Paresh Raval's and the godman. Paresh Rawal goes in and says that Akshay: Yeah. Yeah. 37. Ananya: okay, insurance, insurance, this and that. And then the other party says, But you signed on this contract, there's no act of God. Like you've been paying premiums, but we're not refunding this. And he's like, Okay, but I've been praying, like I've been paying premiums to like all the Mandirs. I've been doing my donation there. That then the God side comes up and says that where is your faith? You're an atheist. Obviously, God will do stuff like this to you because you don't even believe. So this is like, how can Akshay: Yeah. Ananya: The reason you have a sparring scene, the reason it's a genre trope, is because ideally in a courtroom drama, you want your audience to keep wondering who is going to win. So for that, you have to have both of them present very solid cases. And if because if only one side presents a solid case, then you're there is nothing to watch. It's like a one-sided show. It's like boring, right? You don't want to watch a one-sided tennis match. Like so you have to keep it going by Akshay: Yeah. Yeah. Yeah. Ananya: having them spar with each other. So I thought that is a genre trope that we should bring out while doing like a courtroom drama. Akshay: Huh. courtroom drama. Now that you talk about this as like the courtroom dramaness of it, I can think of one more genre trope, which is the final ⁓ So what I've observed in a lot of films is ⁓ the one, the party like whom the audience is sort of favoring, you know, they will be challenged that you need to provide one last point of evidence that you haven't done so far. Ananya: Yeah. Yeah. Akshay: And the character doesn't know where that evidence will come from, what will happen. And you see this big long period of them going into almost existentialism that what will happen now. And ultimately, somehow directly into the court room session, we will see that character pulling out of their hat this one big evidence. And then we go into detail how it came to him. Ananya: Mm. Yeah. Yeah. Yeah. Akshay: So I think of films like Aitraaz, Anatomy of a Fall, all these movies where the film relied on one final evidence. And this becomes essential in a courtroom drama because had this evidence come earlier, the case would have been very simple. You would have won the case immediately and there would be no film. ⁓ And also ⁓ a bit how real life court cases are. Like, you you think going in that Ananya: Mm. Yeah. Mm. Akshay: I'll submit these three evidences and I think I should be fine. But they're like, ⁓ this is not enough. We need more from you, you know, more proofs we need. So in this film, that's exactly what happens. He goes into it thinking that I have so much material and like, I'm going to give this one big monologue about giving milk and like there's no God and like how it's all a scam. Ultimately he's told, but get us proof. And now we have the sequence of him like Ananya: Mm-hmm. Yeah. Mm. ⁓ yeah. Akshay: going to like you know him walking on the street somebody approaching him for money ⁓ like he doesn't know what to do and like it goes into a moment of like him getting these books by Krishna's character that like read this read this we still don't know what's gonna happen until we finally come to know that those books had the actual evidence of what he's going to present in it. ⁓ Ananya: Yeah. Mm. Yeah. Yeah. Yeah. The final turning point. Akshay: the final turning point, the final evidence. Ananya: Let's get into dialogue next. Yeah. When it comes to dialogue, I wanted to talk about keeping dialogues very relevant to the character, like doing a pass on it. And we spoke about this in Munna Bhai where we said that how in Munabhai they would have done a 'bhai' pass for dialogue and checked everywhere that this is correct. Like and they call headphones stethoscope and I mean stethoscope for headphones and stuff. Yeah. Akshay: Hmm. Yo. Heh. Huh. Huh. Yeah. Yeah. of go headphones. Yeah. Ananya: So over here, and they point this out too, I feel like they must have done a businessman pass in some places with Kanji. Because when he's in court, he calls it ganpati stall. The godman was like it's not a stall, a temple. ⁓ And he's like, "I paid a premium at the temple." And the response is that it was a donation. So I feel like they would have done a pass on this, maybe at least in critical scenes, like the courtroom scenes. Akshay: Huh, yeah, yeah, yeah Fuck. Yeah, yeah, Yeah. Yeah. Yeah. Ananya: Where they especially needed to elevate the fact that he is a businessman and that's how he thinks. And I also think Akshay: Yeah, yeah. I also think he's done it in other scenes also. Like when he's buying those murtis for the first time, I've noted this, he says, I want the idol of that one the tiger. You know? So like he has no attachment to these. He's treating them exactly as commodities. Like the pudgy Ganpati, this Tiger Wali, Durga Maa. Like that's how he's describing them. So I thought that was very funny also. Ananya: Mm. Yeah. ⁓ No. Exactly. Yeah. Yeah. Funny, absolutely, yeah. So very well done in that sense that it's keeps the dialogue true to the character. ⁓ even in they've done a reverse of this in Krishna's case, where you know he's trying to blend in with the modern world, and he has very well, but sometimes he has to he has slip-ups. So he's hiding. So how do you bring that character out even in plain sight? Like give a little bit of a clue. Akshay: Yeah. Yeah. Yeah. Mmmmm Yeah. Huh. Ananya: So when a neighbor comes and she finds Krishna in the house, it's like apki patni, it's yeah I have sola hazaar. Then he corrects himself and says she's in Solapur. So there he can't be like, I have 16,000 gopiyans. So there they have to give a little error that, you know, ki I am actually to remind you that they are God. So even when he at one point he says Tathasu and he's like, No, I promise. So these are ways to remind you through dialogue that the character is in disguise and this is who they are. Akshay: Cut. Yeah. Yeah. Yeah. Huh. Yeah, yeah. Very good observation. I want to talk about this dialogue which is said, it happens in the hospital where Krishna's character tells him that ⁓ people can't come and worship me, they blame me only. ⁓ ⁓ feel, now this film survives on dialogue, right? Like the structure and screenplays are little bare bones. like the main, ⁓ reason this film survives is the dialogue work. ⁓ Ananya: Hm. Mm. Yeah. Akshay: how I feel like these writers, what they have done is that think about every religious crack or like facet which we like hear about or like read about or think about have been thrown at us and they have sort of examined, dissected, questioned it and then put them in the film in different ways. So whether it comes about like Ananya: Hm. Hm, yeah. Akshay: very small small moments like one i thought was this very strongly like it's a thing that i have heard many times that you know like somebody's that somebody's trip to vaishnav devi got cancelled and they'll be like "God didn't want me to visit him this time around," similarly like these come into use this technique because Ananya: Hm. Yeah yeah, Bulavanaya Bitok. Hm. Mm. Hm. Mm. Akshay: in all the court case moments where like he is talking about like which car you think who has been in an accident doesn't have a Ganpati in it you know now that only comes if you have thought about every possible religious scenario and like put them in your dialogue work in a very thematic way so so I thought this technique they must have had to do throughout the film because that's the only thing the movie is working on essentially so that Ananya: Hm, yeah. Yeah. Yeah. Yeah. Indeed, yeah. Hmm, absolutely. Akshay: done a good job with it. And what they have done, use this technique to craft monologues, which is my other thing about the dialogue in this film is that on all these court cases, ⁓ Kanji gives these big monologue moments. Now we have established that monologues are a big no-no until they talk about a universal truth. So when Kanji says that, somebody said, if you want to win this court case, Ananya: Hm. ⁓ Akshay: go and put milk on the shivling. He's like, okay, I'll go and do that. I went inside the temple. I thought like everybody is standing with their bottles of milk and there'll be somebody to drink this, consume this, use it. And then I went inside and saw there is nobody. Like we have to put this on this stone essentially. And they're like, okay, fine. But then like, I thought this milk will go somewhere and somebody else will be waiting. To only to realize it was not, it was going into a gutter actually. And Ananya: Mm. Mm-hmm. Mm-hmm. Yeah. ⁓ Akshay: Somebody there was thinking, waiting that, I consume this milk because I'm hungry? Now, these are all very real things. Like, this is a universal truth of the whole religious practice of putting milk on a shivling. Now, this only works because it's a universal truth. Hence, the monologue becomes interesting. And it's something like, it's like a standup piece, essentially, right? Like, you're pulling in the audience by telling them something Ananya: Yeah. Yeah. Yeah. Yeah. Yeah. Yeah, yeah. Akshay: they haven't thought about, but it's a truth. Yeah, so I thought this technique was used brilliantly in this film. Ananya: Hm, truth, yeah. Definitely, yes, for sure. Akshay: Yeah. Ananya: Next, let's go character creation. ⁓ So when it to character creation, I want to talk about characters entries. So first let's talk about Paresh Rawal's entry. ⁓ you want to introduce a character Akshay: ⁓ Ananya: through their most defining and thematic characteristics that you are going to see in a film going forward. With Paresh Raval's, it is his atheism. So the moment you see him, one of the first lines of dialogues of his is questioning the condition of the soul after death. Like, so immediately you get a sense that he is questioning. Akshay: Hahaha, yeah Ananya: This whole religious thing, why do you have to do all these rituals for the soul? The next thing you see is him filling tap water in a holy water bottle. So immediately you know that this man is going to be dealing with this. And of course, as you said, this is a one-joke film. So they've done that right off the bat because it is his most defining characteristic. And similarly, in Akshay Kumar's characters, Krishna, Krishna is essentially the one who's saving the day. Akshay: Yah hell. Yeah. Yeah. Yeah. Ananya: He is the mentor. So the mentor is a trope of a character, a character who will assist you throughout your journey and help you uncover whatever's coming in your way and guide you. Right? And this is not to be confused with the structural mentor in the hero's journey, which can be any person who helps you at that point of the film. They may or may not be the mentor who guides you through rest of the film. And I know that a lot of people watching this are just like, Are they say things like "write your heart." thinks about like structural mentor and this mentor. But the thing is you have to know that that mentor is gonna come at that point and that your characters can change. By knowing these rules, you can play with the rules and realize that things are fluid, right? Akshay: Yeah. Yeah. Yeah, yeah. And meeting the mentor is a very heartfelt moment, right? Like it is, you'll need somebody to tell you ki boss, this is the journey you have to go on. Like ⁓ you have other choice. This is the stake you're at. So it's a very real thing anyway. Like we've just not we but like the rules have just been given names to these real things. Ananya: Yeah. Yeah. Yeah. Yeah. Hmm, things, absolutely. Yeah, yeah, for sure. So Krishna is playing a mentor trope, a savior trope, and he that's how his introduction is planned, too. That he ⁓ Paresh Rawal's character is being chased by goons, and Krishna with our hero on the bike jumps in and there's a phenomenal chase sequence where he rescues him. So introducing characters as their most important defining thematic quality. Akshay: Yeah. Yeah. Taste. Hmm. Hmm. Hmm. Ananya: Is how you craft a solid entry scene. And in Akshay Kumar's case, I also wanted to talk about the modernization of typical character. Because, yeah, like this is we're not watching the Mahabharata Ramayana, where you're going to see God in his original form in wearing a crown et al. So, but you still want elements, right? And we spoke about elements in terms of dialogue, where he has slip-ups in terms of sola hazar and you know all of that. Akshay: Hmm. Yeah. Bye. Ananya: But over here too, now while they've kept him modern as a you and me, they have also brought in his typical facets. Like he has eaten a of butter. Because he is Krishna. He's going to eat all your butter up, you know. Then there is this whole sense of nonchalance to him. If you've noticed throughout the film. Like nothing affects him because and he says it also. "I'm invincible." Akshay: Yeah. Yeah. Mmm. Yeah. Yeah. Ananya: You know, so even while he's being as a being a human, they have what is God is universal energy. Nothing can happen to him, he can't be tampered with. So they bring in that element even while he's in his human form. Akshay: Yeah. Ananya: we also have the fact that Krishna wears this, what do you call it? He has peacock feathers. So again, they can't have him in full garb. So they give him a bracelet of a peacock feather. His keychain is that of a peacock feather. So little reminders through modern and peacock feathers, yeah. ⁓ nice. Great job, team production design. Like really good job. Akshay: His laptop cover has peacock feather I noticed. Ananya: So all of these little elements that serve as reminders, but modernized so that they're not completely out of place in the world, go into a character. Akshay: Yeah. Yeah. Hmm. Very interesting. While you're also talking about entry shots, I also want to talk about the entry shots of the villains in the movie, which is the Godmen. So Siddheshwar Maharaj, the bald Godman, he is set up as this Maharaj in this political rally or something. ⁓ And then Ananya: Hm. Mm. Hmm. Yeah. Akshay: In the first shot, you're like, okay, he is somebody like this guy. And the next time you see him in the rally scene, in the second cut, was till when will we have to sit here? You know? you immediately know that he's not a genuine guy, right? So that's again, a complete like ⁓ image of what we thought he would be, but he's not. Like, and from the get-go, know he's not a good guy. ⁓ the second one, when we have Mithun Chakraborty's character's introduction, he walks into this field. Ananya: Yeah. No, yeah. Yeah. Mm. Akshay: But before he dips his toes into this red liquid, whatever it is. And then he puts his feet on the white paper. And there you see a price tag. It's worth one and a half lakh rupees. So you know that this is just a business for this guy. It's not hidden at all. It's a proper out in the open that this is what this character is. So yeah. Ananya: Yeah. Yeah. Price tag. Yeah. Yeah. Exactly. Yeah. And it's a so thematic choice to introduce them like this, right? Because if your film was about uncovering the fact that are these Godmen real or else, you wouldn't introduce them like this. You would let this surface later, right? But here from the get-go, you want to establish that these are the bad guys. So you establish that right off. Akshay: Yeah. Yeah Who's that? think. Yeah, yeah. Yeah. Yeah. Can I have a question, which I actually haven't been able to like figure out, which is that Ananya: Mm. Akshay: why do you think that they made Paresh Rawal's character also had a shop of idols? Like, you know, he doesn't believe in God himself. So, like, what is the merit of that idea? Like, I understand interesting and it's ⁓ multiple layering of his character, which is a good thing. But does it differentiate? Like, why do we feel so differently about Ananya: Hm. Hmm. Yeah. Akshay: his character who is also monetizing God and these God men's characters who are also like essentially monetizing God. Like very obviously, both the facts are not hidden from us. Ananya: Mm. So to answer that question I would say what's the difference between Jeff Bezos and someone who works at Amazon? Akshay: Hmm. Ananya: It's the same idea, right? One person is essentially creating the system, and the other is someone trying to survive within a system that has been created. So I think Kanji is just an ordinary man. He's you and me. He doesn't have the power to create that much change. He's just like, dude, I need to make my living, and this is an easy way to do it. But is he personally responsible? I mean, the answer to that is yes and no. You can talk about the Nuremberg trials where you say that Akshay: Huh. system. man the power ecosystem. Yeah. Yeah. Yeah. Ananya: "I was only following orders" is not a valid defense, which is an easier, which is a morally correct stance to take that I would not, but it's also the complexities of being human, right? That you are working in a system that's stacked against you. So how are you going to kind of make a change or how are you going to cope? You're balancing that. And that is something which capitalism inherently has built into it, right? Moral guilt. Where people like you and me are made to feel like guilty for doing Akshay: Yeah. Correct. Yah, yah. Yeah. Yeah. built into it. Ananya: things which we are bim just doing to survive. Vis-a vis the billionaires who have no fucks to give about anything have no moral qualms. Like they don't care. But by making you feel guilty, they trap you into this system. So that is my answer to your question. Akshay: Yeah. Yeah. ⁓ Thank you for answering that. That's really good. And I feel like the one reason why we feel one is a villain and one is a hero, as I think what you've spoken about, even though our main character is doing these ambiguous, amoral, gray things, is that I think he's been given so much charm and humor. We see them, he's constantly joking and like... Ananya: Yeah. Akshay: He constantly has such a fun spin on life. He's very good with his words. So I think, ⁓ yeah, that was one of the, I think one distinguishing technique between these two characters who essentially have a little bit like same ways of working. ⁓ But like, how do you have different kind of audience connectivity with each of them? I wanna talk one last thing ⁓ Akshay Kumar's character. Ananya: Hmm, yeah. Hm. Yeah, yeah, for sure. Mm. Akshay: the character of God and how they've used the element of fantasy in this almost realistic movie. Now I was actually thinking that why did they need this element at all? they could have had a separate character, not of the God. That lawyer's character was a good enough foil for our main character if that relationship would have been explored more. Ananya: Hm. Yeah. Hm. Hmm. Akshay: But that didn't happen and I went on to research a little bit more about the original film, The Man Who Sued God and I realized they didn't have this God character there. Which got me thinking even more that why did they need to put here? Now I came to the conclusion that because we're in a country which is like so heavy on religion and how will we build empathy for our main character? Ananya: Yeah. Hmm. Yeah. ⁓ Mm. Akshay: which is that he is constantly doing these things, calling out the practices that we as an audience have probably been involved in. So you're constantly oscillating between do we root for him or do we not root for him? Now, but with the introduction of this God character, you know that he's a good guy, no matter what. Because God has come to him. Ananya: Hmm. Mm. Yeah. Because God has come to him. Akshay: Now of course we already have empathy for him because of the sufferings we seeing in his life but this is just an extra padding which his character gets is that no matter what he says and no matter what he does God is with him and even though he doesn't believe in it which the God is okay with so ideally as an audience we should be okay with too. So I thought ⁓ that was a great use of Ananya: Right. Hmm. Hm. Yeah, yeah. Very well done, yeah. Akshay: very good use of God's character and like it has material significance now. Ananya: Yeah, very well known. Yeah, yeah, yeah. Very, very cool, very well noted. Yeah. Akshay: Mm, yeah. Ananya: Another thing I just wanted to talk about is the world of the film and how they have never strayed from the world for a second. So, like even Paresh Rawal's kid, when we first see him, he is also introduced through a Dahi Handi immersion experience, right? They could have introduced the kid in any fashion, but they purposely wanted to do it because we're set in the world of God, like of religion, right? Akshay: Hmm. Hmm. Yeah. Ananya: Then even the foreshadowing moment of Hajj like even if it weren't a foreshadowing moment, they would have still kept the interaction, yeah, to have the connotation of God to attach to it because that is the world. They they can exchange any words in the passing, but they will exchange words about God. Right? Then even the first court case ka date is on Ganesh Chaturti. You see Ganesh in the background. Like that could have been any date, but ⁓ is what shubh aarambh, like you know, new beginnings. Akshay: Could be a normal trip, huh? Yeah. Yeah. side. Hmm, huh? Yeah, hey, yeah Yeah, yeah Yeah Ananya: So they purposely set it there. So they've been very cognizant of keeping every moment like thematically relevant to the world. Akshay: Yeah, yeah that makes sense and I think one moment that they haven't said true to the characters ⁓ the daughter is in a cafe with her friends. Why she not in a temple with her friends? Father, yeah. Yeah. ⁓ Ananya: Yeah. Yeah. Not a temple. Correct. Correct. Praying for her father. Yeah. Yeah. Yeah. So yeah, that's all I have on OMG! Oh My God, what about you? Akshay: Yeah, me too. all I have. Ananya: Cool. Well, thank you guys for tuning in to another episode of the Breakdown Besties podcast. You know the drill. Like, share, subscribe. If you have any questions or suggestions, leave it down in the comments. And next week we will be back with Kartik Calling Kartik. That is another episode recommended by one of our lovely viewers. So we're so thrilled that we get to do this for you and for ourselves. So thank you for your recommendation. And we will see you next week. Bye. Akshay: Bye.