Amba, Ambika, Ambalika - The Three Princesses of Kashi

Exploring the Impact of Soft Skills in Engineering Education: A Case Study in Lucknow.

Women of the Mahabharata

Women of the Mahabharata are seriously underappreciated. And not just that, they are criticized for things that they shouldn't be.

Kunti is given hell for abandoning Karna. Y'all forget she was a literal CHILD when this happened, and she ensured that he was well protected when she threw him into the river. Also, is she wrong for loving the children who she raised, than the one who was not a part of her life? I feel that Kunti was too kind to Karna, tbh.

Madri is hated for "being jealous" of Kunti. Plz, go and read something before shitting on our queen.

Draupadi is hated for starting the war, except it was more of a property war, IMO. Only Bhima was technically fighting for her. The disrobing and game of dice just escalated an already upcoming war. TBH, it was the men's fault.

Subhadra, ah yes, now this part is my fav. This women is hated because she was "came in between" Arjun and Draupadi. It is never specified who is Arjun's fav, and you can find your own interpretation in the MB, but one thing is clear. It was ARJUN who was dying to marry her, not the other way round. She wasn't the one who had abducted him, or something. -_-

And don't get me started on Radha and the Ashtabharyas. can't we respect and love them all ? If Krishna did not differentiate between them, then who gave US the right to do so?

Sudeshna is hated as she did not stand up for Draupadi. First, she does promise Draupadi that she will do something, but Bhima kills Kichaka that very night.

Uttara, ah this is first hand. Some dickheads feel that this girl is responsible for her husband's death. I have no words.

There are people who give shit to Satyavati, when she never demanded anything. The one thing she ordered Bhishma to do, aka marry Ambika and Ambalika, he refused.

Amba is hated for demanding justice. In her eyes, Bhishma is a bigger culprit than her father and lover, as they wouldn't have abandoned her if it had not been for him. Yes, she should have said something earlier, but she isn't wrong in wanting justice.

These are only some examples, tbh.

Shikhandi: The Gender-Defying Hero of the Mahabharata

Hindu philosophy holds a simple yet profound belief: within each person resides an everlasting atman (spirit or soul) that exists independently from the physical body, surpassing characteristics such as race, gender, and sexual orientation. Stemming from a common divine origin, every atman forms a spiritual kinship, deserving of love, reverence, and fair treatment.

In the epic Mahabharata, there is a captivating tale that revolves around Bhishma's commitment to celibacy, which leads to a grand swayamvara (a ceremony or event where a bride chooses her husband from a gathering of suitors). This ceremony is where Amba, Ambika, and Ambalika are given the opportunity to choose their life partners. However, Bhishma's interference in Amba's love life sets off a series of events that ultimately culminate in her tragic destiny.

Amba's heartbreak is twofold - first, her intended husband Shalva rejects her, and then Bhishma, bound by his vow of celibacy, refuses to marry her. This leaves Amba in a state of despair, fueling her desire for revenge against Bhishma. Determined to seek justice, she pleads to the mighty god Shiva for assistance in her quest to end Bhishma's life. Miraculously, Shiva grants her wish, but tragically, Amba chooses to take her own life to expedite her ultimate goal.

There are various versions of the next part of the tale. According to certain narratives, Amba is born as the daughter of King Drupada. Upon learning from Shiva that she will eventually undergo a transformation into a man, Drupada names her Shikhandi and raises her as a boy. In this particular version, a formidable entity residing in the forest indeed bestows upon her the transformation into a man. However, in alternative accounts, Shikhandi is born as a male but develops a trans-identity due to Shiva granting them the ability to recollect their previous life.

As the Mahabharata unfolds, Shikhandi emerges as a formidable warrior who defies societal expectations of gender. Their participation in the battle of Kurukshetra serves as a powerful symbol of authenticity, challenging the conventional gender roles imposed on individuals. Shikhandi's strength goes beyond mere physical abilities; it stands as a testament to the immense power that comes from embracing one's true identity.

Shikhandi's character is truly captivating because of their personal quest for self-discovery. They challenge societal expectations of gender and proudly embrace a non-binary identity. This exploration of identity is a key theme, showcasing the intricate and ever-changing nature of being human.

As we come to the end of our journey through Shikhandi's story in the Mahabharata, we honor a figure whose legacy surpasses time, defies conventions, and forever marks the intricate fabric of mythology. Shikhandi, the ageless fighter, still instills bravery and self-exploration in the souls of those who come across their legend.

The Mahabharata tells a story of a king who had three daughters as precious as diamonds: Amba, the eldest; and the twins, Ambika and Ambalika. Amba was bound in a pledge of marriage - as was the fate of most women - to King Salwa, a man she neither loved nor hated.

One day a sudden blinding light engulfed the royal court. There was talk of a  theif in a chariot, a ghostly presence. Amba and her sisters had been abducted, and the whole court was aflutter because none but the great warrior Bhisma could have managed such a feat. While the epic tells us that the fates were kind to Ambika and Ambalika, who went on to perpetrate the Bharata line through their sons Destarastra and Pandu, Amba’s life took quite a different turn. 

King Salwa sent an army to retrieve his betrothed, but his men were no match for Bhisma. By dawn the next day bones were broken, and the heads of half the king’s army were floating in the river. Meanwhile - and this is the part the book only ever hints at, and which we must flesh out - Amba had fallen in love with her captor, and he with her. But the depth of this feeling frightened Amba: it was a feeling more powerful than she’d ever felt. Overwhelmed, she entreated Bhisma to return her to Salwa. Bhisma recognized the longing in her eyes and, for fear of its repercussions, took no time in returning the princess to her designated suitor.

King Salwa, however, would not take Amba back. He told her that she had dishonored him. His pride was too immense, a mountain from which he ruled. She had worn her love for Bhisma like a mask; it had altered the contours of her face, and it was plain for all to see. Disgraced, the distraught princess had no other recourse but to return to Bhisma, her last hope of saving her honor. But how could she have known that Bhisma had taken a vow of celibacy long before they met? Devoted son that he was, Bhisma had sworn chastity so his father could marry the woman he himself loved. Always quick to reward duty before self, the gods had granted Bhisma the power to choose his own death; until such time, he would be invincible. Invincibility, of course, meant nothing to a man in love; yet more than any man, Bhisma knew where man ended and history began. When Amba arrived to beg him to marry her, he shook his head and turned away. But even the trees and the birds could taste his grief. 

As Amba was shuttled back and forth, eventually abandoned, alone, her heart turned to stone.

In the next life Amba returned as Srikandi, one of Prince Arjuna’s many wives. In the Indian version of the epic, Srikandi is known as Sikhandin, a male warrior who had once been a woman. It was also foretold that she would be the one to bring down the indomitable Bhisma. 

At the battle of Kurusetra, the great conflict between the Kuruwas and the Pandawas, Prince Arjuna was sure to have his warrior wife beside him. From her chariot Srikandi let fly scores of arrows, like a flock of birds set loose upon an island. In the Indonesian version of the epic, Srikandi’s femaleness so disarmed the gallant Bhisma that he yielded, not even two finger’s breadth of his body left unpierced by her arrows. In both versions, Srikandi made the same choice, to kill Bhisma and save Arjuna, as though it never occurred to anybody that there might have been another way, an outcome less brutal and more merciful, a solution that didn't so inextricably intertwine their fates like the red and white of the Indonesian flag - so heavy, so weighted with destiny.

................

Now, it is important to understand that the Javanese are careful with the names they give their children. They understand all too well the great history and burden of a name. Either your life does your name justice or you might as well not have been born at all. The elders have a phrase for this: keberatan nama. It means a state of being burdened by a name too great, or too portentous.

And so, Amba killed Bhisma, thus ending the battle of all battles. The sheer glamour of which, surely, makes the princess ripe for eternal veneration: a heroine from antiquity, a role model for the feminist movement.

And yet this is not what happens. The name Amba, far from being heroic, still reminds folks of the worst of all women, a woman twice spurned, a woman discarded by not one, but two noble men, and one whose legacy is not defined by her brains or by her skills or by the quality of her heart, but by her burning desire for revenge. And there is nothing more shameful than a woman who does not gracefully accept her fate, justified or otherwise.

Yet every so often people dare to chose a culturally unpopular name for their offspring. They do so because they have a different take on mythology's influence on human lives, or they are prepared to challenge the notion that a name makes a person. Sometimes it simply feels right, because no other name will do.

For is it not true that all stories exist to be written anew? - Laksmi Pamuntjak, The Question of Red

Pick one meme:-

Mahabharata edition

Bold one character

Gandhari/ kunti ( absolutely love her do think she focuses too much on karna tho)

Yudhishthir/karna ( hate him, but hes better than karna i have so many issues with him honestly)

Arjun/ Krishna (loml fr, arjuns a bit of a crybaby at times love him tho)

Drona/ kripacharya (dont like either lmao)

Jayadrath/ dushasan (purely cause he didnt participate in the vastraharan)

Draupadhi/ subhadra (queens i adore them both, should've run off with each other tbh)

Nakul/ sahdev (I STILL LOVE NAKUL BUT I FEEL LIKE SAHADEV DESERVES A HUG AND A CUP OF COFFEE)

Bheem / drishtdyum ( literally me just 5000 years ago)

Shikandin/ eklavya (ABSOLUE ICON YOU SLAY BESTIE)

Abhimanyu/ amba (I TELL YOU NOW I STILL CRY WHEN HE DIES AND I EMOTIONALLY ADOPTED HIM)

Ambalika / ambika (don't rlly have an opinion either tbh)

Vidur/ bhisma ( give my man some drugs he needs them)

Parshuram/ vyas ( im not even-)

Madri/ satyavati ( she was chill tbh dont like satyavati tho)

Duryudhan/ ashwathama (i detest them both)

Uloopi/ chirtangada ( dont acc know enough abt them but they seem cool ig)

Vichitraveer/ dhirtrash ( don't like either lmao i think e can see a trend)

Sanjay/ drupadh (SANJAYYYYYYYYY MY FAV HUMAN SATELLITE)

Shakuni/ shalay (I just find him lowkey hilarious)

Ghatotkach/ yuyustu / satyaki ( My darling was taken too soon)

Vikarna /yuyustu ( Just cause he fought with the pandavas ig)

Dushala /uttara ( DUSHALA I LOVE YOU BUT I ADORE UTTARA WITH MY LIFE)

New Video: Mahabharat Part 2 — Sanatan Dharma with Nilma Prabhoo & Mitesh Bajpai

https://www.youtube.com/watch?v=Wg8W0iyzCq8

Namaste and welcome to the second episode of Sanatan Dharma with ALRA TV's hosts, Nilma Prabhoo and Mitesh Bajpai.

In this episode, our hosts introduce the Four Legs of Dharma; the tale of Amba, Ambika and Ambalika, the princesses of the kingdom of Kashi; the story of Kunti and the divine conception of her son, Karna, as well as the three sons she beared to King Pandu, who play an integral role in the heroic epic of Mahabharat.

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Essential Information About Engineering Entrance Examinations

Engineering is a highly sought-after career path, and aspiring engineers often face the challenge of gaining admission to prestigious engineering institutions. Engineering entrance examinations serve as the gateway to these institutions, and they play a critical role in shaping the future of engineering students. This article provides essential information about engineering entrance examinations to help students navigate this crucial phase of their academic journey.

1. Types of Engineering Entrance Examinations

Engineering entrance examinations can be categorized into two main types:

a. National Level Examinations

Examples: JEE (Joint Entrance Examination) Main and JEE Advanced, BITSAT (Birla Institute of Technology and Science Admission Test), and AIMT (Ambalika Institute Of Management).

These exams are conducted at the national level and are the primary gateways to some of the most prestigious engineering institutions in India.

b. State Level Examinations

Examples: KEAM (Kerala Engineering, Architecture, Medical), TS EAMCET (Telangana State Engineering, Agriculture, and Medical Common Entrance Test), and MH CET (Maharashtra Common Entrance Test).

State level exams are specific to individual states and provide access to engineering colleges within that state.

2. Eligibility Criteria

Eligibility criteria for engineering entrance examinations can vary, but some common requirements include:

Qualifying examination: Generally, candidates must have completed their 10+2 (or equivalent) with a specific set of subjects, including Physics, Chemistry, and Mathematics.

Minimum age: There may be minimum age requirements.

Nationality: Some exams are open to Indian nationals, while others allow foreign nationals or Persons of Indian Origin (PIO) to apply.

3. Application Process

Applying for engineering entrance examinations typically involves the following steps:

Online registration: Register on the official examination website.

Filling out the application form: Complete the application form with personal and academic details.

Uploading documents: Upload necessary documents, such as photographs and signatures.

Application fee: Pay the required application fee, which can vary based on the examination.

Admit card: Download your admit card, which serves as your entry pass to the examination center.

4. Syllabus and Exam Pattern

Each engineering entrance examination has its own unique syllabus and exam pattern. However, most exams include questions from Physics, Chemistry, and Mathematics. It's crucial to thoroughly understand the syllabus and exam pattern for the specific exam you're appearing for, as this will help you plan your preparation effectively.

5. Preparation Strategies

Preparation for engineering entrance examinations is rigorous and demands dedication. Here are some effective preparation strategies:

Understand the syllabus: Start by understanding the exam syllabus and make a study plan accordingly.

Study materials: Choose the right study materials, including textbooks, reference books, and online resources.

Mock tests: Take regular mock tests to assess your progress and get a feel for the actual examination.

Time management: Allocate sufficient time for each subject and revision. Consistent time management is crucial.

Stay healthy: Maintain a balanced diet and get enough sleep to stay physically and mentally fit during the preparation phase.

6. Important Dates

Engineering entrance examinations are typically held once a year, and the dates can vary. Be sure to keep track of key dates, including the application deadline, examination date, and result announcement date. Missing these dates can have significant consequences on your admission prospects.

7. Counseling and Admission

Once you've cleared the examination, you'll need to participate in the counseling process. This involves selecting your preferred engineering colleges and courses based on your rank and the availability of seats. Admission is typically based on merit, and candidates are allotted seats accordingly.

8. Alternatives to Engineering Entrance Exams

In addition to national and state-level engineering entrance examinations, there are other pathways to engineering education, such as diploma courses, lateral entry, and direct admissions in private engineering colleges. Research these options if you are unable to secure admission through the primary entrance exams.

9. Persistence and Perseverance

Engineering entrance examinations are highly competitive, and success may not come easily. It's essential to remain persistent and resilient, even in the face of setbacks. Many successful engineers have overcome initial failures to achieve their goals.

In conclusion, engineering entrance examinations are pivotal for those aspiring to become engineers. Understanding the types, eligibility criteria, application process, syllabus, and effective preparation strategies is essential for success. Remember that these exams are not just about gaining admission to a college but also about pursuing your passion and making a significant contribution to the field of engineering.

Character of the Day - Ambalika

I'm gonna draw one mahabharat character everyday till I give up

All Mahabharat Character of the Day Sketches

Men of the Mahabharata

Aka, sequel of Women of the Mahabharata. In our previous post we saw women being given shit for no reason. Now we shall see men being excused of their faults.

Dushyant literally calling Shakuntala unchaste and what not, so that a divine voice will speak up and confirm that Bharat is his son (for the other ppl present at that time)

Shantanu falling for a girl younger than his son, and then going into depression when he can't marry her.

Bhishma getting princesses for his brother/nephew. He abducts Amba, Ambika and Ambalika in their swayamvara, which is wrong, since they aren't shown to be interested in Vichitraveerya. And don't get me started on Dhritarashtra and Gandhari.

The Pandavas watching as their wife is being disrobed. This is why y'all's sons will die. It isn't even about Draupadi, what kind of a warrior/husband/king/HUMAN are you if you are just sitting and watching a woman being harassed like this?

Same with Bhishma, Drona, Kripa, Vidur etc. on the above.

Karna calling a woman unchaste. There is only one unchaste person in this room and it is you, Karna.

The Kauravas being kauravas and well, enjoying this bullshit. Only Vikarna has some brains, yet Bhima is killing him.

Technically, the other Kauravas are just watching this, except Dury and Dushy, then why did Bhima pledge to kill them? Because they are watching? Then kill your brothers first, but nO.

The shit that occurred on the 13th day. There was TIME for the Pandava army to get in, there were strategies that they could have used, but they did not. It is mentioned in the text how the "array was broken" and the Pandava army "began rejoicing". ENTER THE FORMATION, IDIOTS.

Drona being the ultimate reason for Abhimanyu's death. If he had not opened his mouth, then who knows, half of the Kaurava side would have been dead. But yeah, Arjun still admires and respects him, ok.

Abhimanyu's whole death sequence. Dude was literally pierced by 200+ arrows that day. No stabbing, etc, but the arrows mainly killed him. And yeah, the skull smashing done by Dushasana's son when Abhimanyu was well....unconscious.

The Pandavas STILL respecting half of the Kaurava side. Yeah, this makes me feel that y'all deserve this.

Bhishma and Drona using divine weapons regularly on common soldiers.

Yudhishthira blaming Arjun for not killing Karna as per his convenience and wishes.

Ashwatthama's night attack. Kripa and Kritavarma helped him too, btw. Yeah, the Pandava side was probably drunk and asleep, because THEY WON the war, but these guys literally killed everyone and set the whole camp on fire.

Ashwatthama being pitied and called "nice/a grey character" when he literally shot the Brahmastra initially for Pandava destruction, then hit it at the wombs of the Pandava women, and well, killing baby Parikshit.

The Pandavas being so FORGIVING. This is not a good sign, yk.

Yudhishthira keeping Karna on the same level as his mother and other family members/being depressed for Karna's death.

You can see which list is longer, tbh.

bharathas = repulsive brahmins

a Brahmin, Vyasa, was needed to preserve the bharatha dynasty after the death of shantanu and his sons

This Brahmin who wrote the Mahabharatha detailing the Kurukshetra war was the great grandson of Vasishta who strategized the victory of the Bharathas in the Battle of 10 Kings

Also, Vyasa who was apparently darker, didn't like that his brother's wife Ambika closed her eyes during their forced intercourse. He called her cruel and cursed their son, Dhritarashtra, to be blind + 100 sons: Kauravas

He then had intercourse with her sister Ambalika, who fell pale due to his grim appearance so he also cursed their child, Pandu, to be pale.

He then went to have forced sex with Ambika again, who substituted a lowest caste maid in her place. The maid wasn't repulsed by his appearance or door like Ambika, so he blessed her to no longer be a slave and an intelligent son: Vidura, the supposed reincarnation of the god Dharma

Old mahabharat serial title song

Gandhari is jealous by this development and gives birth to a lump of flesh after being pregnant for 2 years, but this is cut into 101 pieces by Veda Vyasa, and these pieces eventually transform into children - the 100 Kauravas (led by Duryodhana) and a daughter, Dushala. She also chants the boon for Madri, and Madri obtains twins - Nakula and Sahadeva - from the Ashwini Kumaras. She begets Yudhishthira from Yama (the god of death and righteousness), Bhima from Vayu (the god of wind), Arjuna from Indra (the king of the gods). Kunti uses her boon, given to her by Sage Durvasa, to invoke gods of her choice and obtain children from them. After this Dhritarashtra becomes de facto king of Hastinapur. Pandu, heartbroken, renounces the kingdom with his 2 wives. Pandu is later cursed by Sage Kindama, that he will die if he attempts to impregnate his wives. Pandu marries Kunti, a princess of Kunti Kingdom, and Madri of Madra Kingdom. Dhritarashtra is denied the throne for being blind, and the throne is given to Pandu. This angers Shakuni, the brother of Gandhari, and he vows to destroy Bhishma, as it was him who had brought the proposal for Gandhari's marriage. After knowing her would-be-husband is blind Gandhari decided to blindfold herself to share her husband's pain. Soon, Ambika gives birth to Dhritarashtra, born blind, Ambalika gives birth to Pandu, born pale and Parashrami gives birth to Vidura.ĭhritarashtra is married to Gandhari, the princess of Gandhara Kingdom because of her boon of bearing a hundred sons. Besides the queens, Vyasa also impregnates a maid Parishrami through occult. Vichitravirya died without any children, but Veda Vyasa, the son of Satyavati born through occult is requested to impregnate Vichitravirya's 2 wives Ambika and Ambalika the same way he was conceived. She blames Bhisma and vows that she will be the reason of his death. Chitrangad dies and on the advice of queen Saytavati Bhisma wins the three princesses of Kashi kingdom for Vichitravirya but the eldest Princess Amba refuses to marry him and leaves for her lover who rejects her. Shantanu and Satyavati marry and have 2 children - Chitrangada and Vichitravirya. The story begins with Bhishma, the son of Shantanu and Ganga, taking his oath of celibacy to convince Satyavati to marry his father Shantanu, the king of Hastinapura.

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Sarcastic StarBharat reviews: Episode 21: In which we directly start off with preaching-1.

Here comes a fresh post in this series, as we move on to episode 21. 

Tagging a few mutuals: @chaanv @mayavanavihariniharini @medhasree @ambitiousandcunning @ratnas-musings @milesbianmorales @ratnas-musings @allegoriesinmediasres @hindumyththoughts @pratigyakrishnaki @iamnotthat @adishaktis @justahappyreindeer @hermioneaubreymiachase.

Review under the cut.

This episode does not have a good vibe! It starts off with Krishn preaching, so I skipped the introduction, which is a lecture about telling the truth at an appropriate time. (Is this about the Ms. Melodrama and Mr. Glitterwash thing? Probably)

The episode proper starts with the scene the last episode ended with. Ms. Melodrama is going all angsty about the lack of news, Ms. Always Patnidharma is placating her and the drums start beating exactly then.

Off runs Ms. Melodrama to the Sabha Kaksh, followed by Ms. Always Patnidharma and her maid. Scene switches to the Sabha, where a soldier is entering. He hands a letter to Vidur, just as the ladies enter the Sabha. “It is good news, Rajmata. Maharaj Pandu has won over his enemies,” Vidur says with a smile. The ladies trade happy smiles, while Mr. Drama Queen and Mr. Annoying Poseur clench their fists on their thrones. “I was confident that Pandu would win his first war. He has proved himself a King beyond doubt. Make preparations for a festival in the city. No stone should be left unturned for the welcome.” Ms. Melodrama looks down shyly and wipes off a happy tear. Honestly. Ugh.

“Your happy times have begun, Kunti.” Ms. Always Patnidharma says, taking the other’s hand. Okay, something is definitely going to go wrong, then, since this is what this show calls foreshadowing.

“If the husband moves away on the first day of marriage itself, I can understand the grief a wife goes through.” “I do not have any sadness, Jiji,” she replies. “The King has first right over a throne. I don’t have any issues being in the second place.” Ah. I see. Madri is going to enter, then. Such subtle foreshadowing, really.

“Never say that, Kunti. The wife without her husband’s love undergoes hell.” This is why, ladies. Steer clear of men and enjoy your life. LOL. (Not really, you can live your life as you wish, I just hope you get better husbands/boyfriends than these gits)

“May God grant you first place in your husband’s life. Now, it is time to decorate your chambers again.” Gandhari turns to a servant. “Dasi! Go to the Maharaj’s bedchambers with others and decorate it with the utmost perfection.”

At this moment of happiness, the drums start beating again. “After news of victory, what other news can it be?” asks Satyavati. Vidur takes the letter, looking stressed. “Is it bad news?” asks Bhishm. “No…it’s not bad news.” “What is the news, Mahamantri?” asks Ms. Melodrama (Ah..I foresee a lot of melodrama coming up!)

“The news is that the King has saved Madra from a war. After that, the King of Madra requested him…he must have requested him…” (This is a canon fail. Bhishm brought Madri to Hastina after paying her bride price.) “He must have requested such that the King could not refuse…” Vidur, you’re beating about the bush. Ah, here comes Satyavati. “Vidur, say it clearly.” “Rajmata, the King of Madra has made Maharaj Pandu his son in law.” (That’s what I assume Jamata means, in which case, this is canon fail #45, because as far as I remember, Bhishm had negotiated with Shalya, not his father.) There’s dramatic music for a while, after which Vidur says “Maharaj Pandu is coming here with his second wife.” Everyone looks stressed. Ms. Melodrama has tears in her eyes. (Why is it a big deal? Everyone and their dads had more than one wife back then. I mean, yeah, Kunti would feel bad, but she would not be publicly in tears, would she? I think I’ll make this canon fail #46)

“Please make preparations to welcome Maharaj Pandu and his new wife, Mahamantri.” Kunti says. There’s dramatic music again.

Scene switches to an aarti taal being decorated. Ms. Melodrama has a flashback. “A King has many wives,” says Priyamvada, her old friend. “When Maharaj Pandu marries again, your secret will be your problem, if you tell him.” She opens her fist, takes out the black thread and ties it around her wrist.

Scene switches to Pandu in a chariot, galloping home. Everyone is waiting to welcome him. Madri enters from behind him. Pandu and Madri lock eyes.

Kunti takes the taal from Gandhari and steps forward. Madri is smiling slightly as she ascends the stairs, Pandu at her side. Kunti does the aarti to the tune of ominous BGM. She puts tilak on both their foreheads and sprinkles rice over them, handing the taal to a maid at the end. “I welcome Maharaj Pandu’s new wife to both Hastinapur and the interior of this palace,” she says. Madri and Pandu look at each other, then moving to Dhritrashtra.

Ambalika says to Ambika “I was worried that after Pandu’s second marriage, Kunti would be upset and not welcome Madri, but see, sister, Kunti has welcomed Madri like she’s her blood sister.” “Just like wounds are hidden behind clothes, so are emotions hidden behind words, Ambalika.” “Whatever it is, everything seems auspicious to me.” “You believe in your eyes. I learnt from my son that eyes cannot really be trusted.”

The camera pans to Honey Boy coming in front of Drama Queen. “Pranipaat, Jyeshth,” he says, bending for blessings. “I and Hastinapur are proud of you,” Drama Queen grits out. “I too am proud of my victory,” replies Honey Boy. Drama Queen and Annoying Poseur share a glance, Drama Queen turning away from Honey Boy.

Honey Boy turns to everyone else. “On this occasion of victory, I would like to make an announcement. From my childhood to this day, I have only seen one warrior who has never admitted defeat, who has always fought for his rights, who has crossed all limits and obstacles with his talent…” Cue emotional music. “Every step of the war, I was thinking of him only.” Seriously? Who did the actual fighting, then? “I will always try to become worthy of him, which is the reason I am victorious today, he is the biggest inspiration of my life.” He turns to Drama Queen. “My elder brother, Dhritrashtra.” Wow. I was NOT AT ALL expecting this, were you? So subtle. About as subtle as a hammer to the head. Cue even more emotional music.

“Pandu?” asks Drama Queen. “Yes, elder brother, this victory is not mine, it’s yours. Only yours.” They hug each other.

“See,” goes Annoying Poseur. “This is called flattery.” Bhishm glares at him. Madri and Pandu take everyone’s blessings. Pandu is congratulated by Bhishm and Satyavati. Satyavati asks Pandu to go to a forest retreat as soon as he can, so that he can get rest. “But, Rajmata…” “Pandu. I do not want debate. Your wives have the right to spend time with you. This is my command.” “As you wish, Rajmata.”

Camera focuses on Kunti, who goes to her chambers, breath heaving, outright in tears and tears down the canopy of flowers decorating her bed. She knocks down the other flowers, too. (Should I count this a canon fail? Probably not, but it does go against the characterization of Kunti I have in my head, to be this dramatic.) She turns…and finds Madri looking at her. Cue even more sad music. Kunti wipes at her eyes. “The chambers you share with Maharaj are in another direction, Princess of Madra.” Kunti turns away. “Rambha!” she calls. A servant replies. “Please escort the Princess of Madra to her chambers.” Madri rushes to Kunti’s side and falls at her feet in tears. (Uh…this is seriously VERY soap drama, I can’t…I’m adding one canon fail #46, y’all) Kunti looks down, confused. “What are you doing?” “I am washing your feet with my tears, sister.” (The writer of the review is cringing currently) UH-HUH. NO. NOPE. This is canon fail #47. Please and thank you. Madri and Kunti, as far as I know, had a relationship of equals, perhaps, there was friction between them. “I had heard of Maharaj’s bravery and lost my heart” Wait, what? No! Canon fail #48, guys, Madri and Pandu was not a love marriage in the beginning! No! Honestly, how far will they go to whitewash all the ‘good guys’? “I did not know that Maharaj was married, nor that he had left for war the day of his wedding itself. Please forgive me, jiji. Only during our journey here he told me that I should apologize to you.” (Um. What about the apology HE owes, then? He didn’t even look at her properly after he returned? Why is she the only person who owes an apology?) “I have offended you. But an offence committed by mistake can be forgiven, can it not? Will you not accept the service of your younger sister?” (And…this seems to be a rip-off of the first canonical scene Subhadra has with Draupadi, though that would no way in hell be this melodramatic)

Madri starts crying in earnest. Ms. Melodrama raises her. “You have not offended me. You will get the same respect I do in this Palace.” “I feel at peace with your words. I was thinking of you the entirety of our journey here, if I will need to compete with you to win the Maharaj’s love.” Kunti looks at her. “I was worried I’d lose out.” She takes her hand from Kunti’s. “There will be no competition between us.” Kunti replies. “That, I understood the moment I looked at you. I’m younger and more beautiful than you…” (And I’m being reminded of the whole ‘younger and more beautiful’ prophecy of Cersei’s in ASOIAF) Yeah…

She continues, “It is to your benefit, if we don’t compete. I’ll leave. Maharaj must be waiting for me.” Ah, here come the fangs, the friction. I’m still leaving canon fail #46 in for the sheer cheesiness of the line, because I’m petty that way. Kunti is left staring after her.

Scene switches to Ms. Always Patnidharma worshipping Lord Shiva. “I am feeling very sad for the Maharani Kunti, Princess,” says Sukhda. “I too am sad, Sukhda, but Kings always have more than one wife. When you have to go through sadness and have no choice but to accept it, it is named tradition. But I trust Pandu. He’ll love both his wives equally” Er…I don’t think so? “Injustice is not in his personality, nor his values. Kunti and Madri have left for the forest retreat with Pandu, haven’t they? Kunti and Madri would definitely bond there.” “Yes, Princess. Maharani Kunti’s character is like that, she will definitely adjust.” You mean this show made her a doormat. “And both of the wives will get their husband’s love…” she stops. “Not having your husband’s love is the worst misfortune that can befall you.”

BTW, please suggest a name for this version of Madri.

At that moment, a servant enters. “Pranipaat Jyeshth Rani,” she says. “Kumar Dhritrashtra has called you to his chambers.” “He has called me?” “Yes, Maharani, he has called you.” Camera focuses on Gandhari’s face before fading out.

Precap: Pandu looses an arrow and we can hear a man scream. He runs to see the Maharishi Kidama and his wife. “I curse you that if you cohabit with your wife, you will die!” (This scene, as strange as it is, is actually canon.)