Savita Bhabhi Hindi Episodes Download
Savita Bhabhi is a pornographic cartoon character, ahousewife, published by Kirtu. Her promiscuous behaviour is justified by Ashok,her husband. The title bhabhi (sister-in-law) is a respectful term for NorthIndian housewives. The character was promoted through a comic strip medium byanonymous activists in India. It has since been converted into a subscription-based strip.
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The character proved controversial in India as soon as itwas introduced in 2008 (March 29), due to conservatism present in Indiansociety. Some critics felt it represented the face of India's new ultra-liberalsection.
With dozens of magazine articles under its kitty, theweb-comic ‘Savita Bhabhi’ is probably the face of new India’s liberal sectionnow. It’s been called bold, funny and sometimes, erotic. But most articles havemissed two vital points in the mythology of Bhabhi, or of Indian pornography ingeneral — that the comic marks a departure from traditional approach to porn, and that the typecasting of the Bhabhi as a middle class woman is particularly not fitting.
This piece is not intended to lend support to moralists whobelieve Bhabhi’s portrayal is a “dent on the way a traditional Indian maleconsiders family values”. Rather, the intention is to look at Bhabhi for whatshe is — a pornographic comic in the tradition of Japanese hentai, which isfunny in bits and pieces, and could be India’s most famous sexual export
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after the Kamasutra. Indeed, it is probably India’s first‘sophisticated’ pornography; it marks a clear departure from the earlier trendsin India, where pornographic magazines would skulk behind well-known moviemagazines, or if one was lucky, a year-old edition of Playboy could be found inthe second-hand bookshops.
Let’s look at Bhabhi herself. She is an example of thefemale daguerreotype we Indian males love to dream about. Yes, she is buxom.Yes, she is well-endowed. Yes, she has an hour-glass figure. No — she does notexist anywhere except on the web, or that eternal repository of knowledge, themind.
Why is that such a problem? Pornography has always intendedto be a medium of suspension of disbelief; indeed, it works on the idea of theunreachable — from the Debonair centre-spreads to Hustler’s honeys. Then whydoes that create issues at all?
For a couple of reasons. Firstly, the idea that itrepresents a modified version of repressed middle-class sexualities isunjustified. Repressed middle-class sexuality? That in itself is a label we‘supposed-urban-liberals’ love to attach to those living in Tier II or Tier IIItowns. How do we know sexuality is repressed there? Because they still practise arranged marriage, or because women still wear salwar-kameez and don’t talk to boys too often?
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The point being, Bhabhi cannot be classified as amiddle-class representative, because she isn’t one. She is a city-bred, liberaland informed woman who knows the difference between lust and power, as in therecently concluded series, where she seduces a film-actor (who lookssuspiciously like, ahem, ahem, the Biggy himself) to win a model contest. She is someone who is not afraid of peeping-toms (the lingerie salesman who views her changing inside the trial room) or of dacoits (in the present series — continuing that K-serial phenomenon with unknown characters from her past propping up here and there).
That brings us to another bone of contention. If it isindeed intended to be a representative of modern Indian sexuality, then how isit that additional props haven’t turned up in any of the love-making episodesso far? Where are the toys? Where is the kink in the love-making? It is commonknowledge by now that there are indeed places in urban
India where toys and costumes can be picked up. In fact, atheory abounds that a room at the Bombay International Airport is filled withseizures of such kinds from vacations abroad. And why is it that so far, wehave only seen the traditional methods of love-making in the series?
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While Internet forums have filled up volumes post the serieswith images of one’s imagined ‘neighbourhood Bhabhi’, the series itself hasbegun to wind itself around like the soaps we all love to hate. It has begun toimagine itself as a serious comic series, and unfortunately, it falters onthat. Why on earth would the creators want Bhabhi to entrap a dreaded gangster with what they call WMDs (weapons of ‘male’ destruction—no need to explain what they might be)?
Savita Bhabhi as a series instead marked a turning point ofsomething else. What Bhabhi unintentionally did was spark off an interest in anunknown and unconventional idea called a web-comic, giving a boost to anart-form that was traditionally only recommended as a hard-copy. And thatindeed, is the one idea we have to be grateful to Bhabhi about.
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