Entertainment
Review: 'The Pradeeps of Pittsburgh' is a splendid new comedy centered on an immigrant family
“The Pradeeps of Pittsburgh,” premiering Thursday on Prime Video, is a funny, splendid, oddball new series from Vijal Patel, whose own family experience it reflects and whose writing and producing credits include “The Kids Are Alright,” “black-ish” and “The Middle,” among the century’s best family comedies — which is to say it comes from a place of professional knowledge and lived experience.
That it’s generic on a couple of counts — culture clash comedy, battling neighbors comedy, crazy family comedy — says nothing against it, since you have not seen these characters before, and the writing and acting are consistently top flight. If I say it reminds me of Jason Jones’ great “The Detour,” whose framing (it’s a story being told to investigators), family dynamics and hectic attitude it calls to mind, I don’t expect it to mean anything to many readers; but those who know, know.
We begin in the offices of the U.S. Immigration and Naturalization Service, where the five Pradeeps, who arrived from India two years earlier, are being interviewed by two agents identified in credits only as Dark Suit (Pete Holmes), the friendly junior, and Light Suit (Romy Rosemont), his super-serious superior. They’re trying to get to the bottom of a couple of mysteries — who burned down a house, and something illegal that happened in Ohio — which might or might not end in the family’s deportation.
Father Mahesh Pradeep (Naveen Andrews) is behind the move to Pittsburgh (played by Toronto, and snowing when they arrive). He has a contract with SpaceX to make some sort of rocket part and a space to make it in (formerly a sex toy factory, with some inventory still on site). Wife Sudha (Sindhu Vee), the power in the family, is a surgeon who expects that Americans’ poor eating habits will keep her busy in the new country. Eldest child and only daughter Bhanu (Sahana Srinivasan) sees America as a chance to break free and live; middle child Kamal (Arjun Sriram) is freakishly attached to his mother and afraid of everything; and youngest Vinod (Ashwin Sakthivel) is, in his mother’s words “an optimistic dufus” who worships the garbage man.
Vinod (Ashwin Sakthivel) is the youngest Pradeep, whom his mother describes as an “optimistic dufus.”
(Steve Wilkie / Prime Video)
“It’s OK, we have two others,” Mahesh says to Sudha, when Vinod declares his intention to follow that profession.
“Do we?” she ruefully wonders.
Two houses over live the Mills, Janice (Megan Hilty), Jimbo (Ethan Suplee) and son Stu (Nicholas Hamilton); Sudha describes them as trash, but they do have a thing for TV show “The Good Fight.” Janice, who makes velour Bible covers she hopes to sell on QVC and has a sideline selling nutritional supplements, is also Kamal’s English teacher, on whom he has an all-consuming crush. Jimbo, who coaches basketball at Vinod’s school, is friendly and nonjudgmental, and he and Mahesh, who is also friendly and nonjudgmental, easily bond. (Which is not to say there won’t be hiccups.) Stu, a sweet lug Bhanu first sees doing pull-ups in his garage, will become the focus of her romantic aspirations, and she his. Vinod will later be smitten with Stu himself, when he discovers his online stunt videos.
Naturally, things will not go smoothly. The story is developed through interviews with all the main and some minor characters who pass narration on to one another like a basketball, each bringing a different point of view, reflected in what plays out onscreen. (Sudha and Janice’s visions of each other’s children as corrupting influences on their own is especially funny.)
Ethan Suplee and Megan Hilty star as the Pradeep’s neighbors, Jimbo and Janice.
(Ian Watson / Prime Video)
There are more jokes about (white) Americans from the South Asian point of view than about South Asians from the (white) American point of view. On first stepping on to the school bus, Bhanu gasps as she’s “blinded by the Caucasians.” Sudha explains that the denial of a medical license is a matter of “accreditation and compatibility, a.k.a. America hates brown foreigners.” Still, though race is a subject for humor — “I don’t even see color,” says Janice, “to me everyone’s white” — it’s not the subject of the series.
There are weak spots. The question of Mahesh’s business is so far in the background, except as a shadowy motivating force, or a threat to stability, that it barely exists at all. (A late scene reveals some random equipment in his factory, but there is no one to work it.) Indeed, one wonders how the Pradeeps have survived for two years. A drug dealing storyline, portrayed as innocuously as drug dealing can be, fades away to nothing, and makes no great sense for the characters involved — though it does produce some funny scenes in Janice’s imagined retelling.
The central mysteries are strung out across the season’s eight episodes, as the agents pursue — but practically speaking, put off — answers. (Their evolving relationship is its own amusing arc.) Episodic events involve bullies, basketball, bankruptcy, a bad grade, a Halloween party, a hunting trip. Vinod makes two friends, Willa (Beatrice Schneider), who stutters, and Mo (Zachary Rayment), who walks with two canes; a sort of pee-wee “Jules & Jim” scenario develops.
Indeed, you may have stopped caring who burned down the Mills’ house long before you realize it’s nothing you’re going to learn this season. All that matters is how our heroes — and they’re all heroes, each in their own way — get along. Deep down, every dysfunctional family comedy is about togetherness.
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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