{"id":5958,"date":"2016-06-21T19:12:52","date_gmt":"2016-06-21T13:42:52","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5958"},"modified":"2026-07-17T21:56:50","modified_gmt":"2026-07-17T16:26:50","slug":"ghost-stories-review-dibakar-banerjee-kashyap-netflix","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5958","title":{"rendered":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror"},"content":{"rendered":"\n

G<\/span>etting Zoya Akhtar<\/span><\/a>, <\/span>Anurag Kashyap<\/span><\/a>, <\/span>Dibakar Banerjee<\/span><\/a>, and <\/span>Karan Johar<\/span><\/a> together to spearhead an anthology \u2013 right from <\/span>Bombay Talkies<\/span><\/i> (2013), <\/span>Lust Stories<\/span><\/i><\/a> (2018), to now <\/span>Ghost Stories <\/span><\/i>\u2013 is an exercise in inventiveness. For one, it\u2019s a clever way to incite the Indian audience\u2019s interest in shorts, a format that is oft-overlooked. It is also an impeccable showcase of the versatility that has come to define \u2013 and upend \u2013 the last decade of mainstream Hindi filmmaking. After all, these are four directors, whose intent and ambition thrive on being distinct from each other. The surprising pleasures of allowing this quartet to build their own branches off one shared theme under 30 minutes was evident in <\/span>Lust Stories<\/span><\/i>, a collection that dissected a primal emotion in its naked glory. Each of those outings, irrespective of what they fell short of, boasted of a voice \u2013 one that was afforded a leash of life amid the commercial trappings of storytelling.<\/p>\n\n\n\n

The shorts in Ghost Stories<\/span><\/i> have their fair share of stories and <\/span>ghosts<\/span><\/a>, but they severely lack that same voice. The recklessness, that made the two previous collaborations so thrilling, is non-existent here. The problem with <\/span>Ghost Stories<\/span><\/i> is less to do with the fact that these directors \u2013 barring one \u2013 seem hesitant to experiment with the theme but more to do with the fact that the insipidness of their shorts strip the theme of any purpose. In its third installment, the anthology feels less like an adventure and more like an obligation.<\/span><\/p>\n\n\n\n

The 140-minute-long Ghost Stories<\/span><\/i> opens with Akhtar\u2019s short that is undone by its complete reliance on atmospheric horror. Spread over two nights in an eerie Bombay house, the plot revolves around an abandoned, paralysed old lady (Surekha Sikri) and a lonely, young nurse (a fine <\/span>Janhvi Kapoor<\/span><\/a>) who is entrusted with keeping her company. Aided by the self-sufficient cinematography (the camerawork is by Tanay Satam) that judiciously plays with the idea of space and reflections, Akhtar builds a predictable, technically competent tale on the cyclical nature of neglect. Yet the flatness of the narrative and the final twist, leave very little for the director to chew on. The segment not only feels abrupt and underwhelming, but is also Akhtar\u2019s least coherent outing.<\/p>\n\n\n\n

\"Ghost<\/p>\n\n\n\n

Like Akhtar, even Karan Johar<\/span><\/a> interprets the idea of a horror anthology far too literally for one\u2019s liking. His segment is replete with old women, ghosts, and the afterlife. And similar to his <\/span>Lust Stories<\/span><\/i> segment, this outing too boasts of an arranged marriage and a dissatisfied wife but is devoid of the self-awareness that made the director playing to his strengths an enjoyable affair. Here, Johar\u2019s spin on his evergreen catchphrase \u201cIt\u2019s all about loving your family\u201d \u2013 a newly-wed wife discovers that her husband talks to his dead grandmother \u2013 is grossly underdeveloped and juvenile. Even worse is how it underserves the lead actors: bringing Avinash Tiwary and Mrunal Thakur together would have been inspired casting if their performances weren\u2019t limited by Johar\u2019s vision.<\/p>\n\n\n\n

On the other hand, Kashyap\u2019s segment is too self-absorbed by its need to incite fear to be read as an effective story. This tale of the paranoia of child-bearing that casts motherhood as a mental breakdown sacrifices plot for gimmicks and a consistent narrative for metaphors. The trouble is that neither are as smart as they seem. If anything, they distract from Sobhita Dhulipala<\/span><\/a>\u2019s selfless performance as a pregnant woman consumed by her own fears. Even if one were to justify Kashyap\u2019s indulgence as his visual grammar, it\u2019s hard to ignore the fact that the provocation is often derivative.<\/p>\n\n\n\n

The dullness of these three shorts dilutes, in a sense, the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation<\/span><\/a> of the police force, the othering of <\/span>minorities<\/span><\/a>, and in the clampdown of dissent. That, three of the most perceptive filmmakers of our country chose to look past this normalisation of dystopia and instead serve generic, outdated horror tropes is telling of Hindi cinema\u2019s inherent reluctance to take a leap when it really matters. It\u2019s probably why Dibakar Banerjee\u2019s segments in these three installments have consistently stood out: the director keeps utilising the freedom of the format to not only make a film, but also a statement.

In his Ghost Stories<\/em> short, Dibakar Banerje e interprets horror instead of blindly replicating it.<\/blockquote>
In his Ghost Stories<\/span><\/i> short, Banerjee interprets horror instead of blindly replicating it. His <\/span>zombie<\/span><\/a> apocalyptic survivor tale of a man-eat-man world acts as a prescient commentary of an India that preys on its own: exploiting the suppression of voices, identities, and citizens as a weapon. The plot follows an education officer being dropped off in an isolated rural town with only two survivors \u2013 a young girl from \u201cbig town\u201d and a boy from \u201csmall town\u201d. There\u2019s a communications blackout and the rest of small town is dead, victims of the cannibalistic makeover of the big town. The political subtext is right there in the methods of survival: Don\u2019t speak, don\u2019t move, and eat other humans. In other words, don\u2019t protest injustice and remain a blind spectator. The spookiest moment of the film arrives in a sequence that mines abject fear by underlining just how easy it is to radicalise even the sanest of humans, culminating into a closing sequence that is chilling in its matter-of-fact approach.<\/p>\n\n\n\n

It is perhaps the only short out of the four \u2013 in the same fashion as Jordan Peele\u2019s Get Out<\/span><\/i><\/a> \u2013 whose subtext makes its text even richer and not the other way round. (The people who eat other humans begin losing their eyesight, a plot point that can be read as an allegory of how blind the government-endorsed perpetrators have become to their own crimes). That Banerjee manages to hint at the internet shutdown in <\/span>Kashmir<\/span><\/a>, mob lynchings, and the steady erasure of minorities to pave the way for a <\/span>Hindu Rashtra<\/span><\/a> under one hour is unquestionably commendable. But more importantly, that he takes it upon himself to remind the country that you don\u2019t always need ghosts to live out a modern horror story, is nothing short of a miracle.<\/p>\n","protected":false},"excerpt":{"rendered":"

The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.<\/p>\n","protected":false},"author":103,"featured_media":5961,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[1287,9871,9872,1290,9873,9874,9875,3001,240,31,5499,9876,9877,9321,9878,9879,5503],"class_list":["post-5958","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-anurag-kashyap","tag-avinash-tiwary","tag-bombay-talkies","tag-dibakar-banerjee","tag-ghost-stories","tag-ghost-stories-review","tag-hindu-rashtra","tag-janhvi-kapoor","tag-karan-johar","tag-kashmir","tag-lust-stories","tag-modern-horror","tag-mrunal-thakur","tag-sobhita-dhulipala","tag-surekha-sikri","tag-tanay-satam","tag-zoya-akhtar"],"yoast_head":"\nGhost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror<\/title>\n<meta name=\"description\" content=\"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/13.201.39.237\/?p=5958\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror\" \/>\n<meta property=\"og:description\" content=\"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.\" \/>\n<meta property=\"og:url\" content=\"http:\/\/13.201.39.237\/?p=5958\" \/>\n<meta property=\"og:site_name\" content=\"Arr\u00e9\" \/>\n<meta property=\"article:published_time\" content=\"2016-06-21T13:42:52+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-07-17T16:26:50+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/13.201.39.237\/wp-content\/uploads\/2026\/07\/1578049500.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1520\" \/>\n\t<meta property=\"og:image:height\" content=\"850\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Poulomi Das\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror\" \/>\n<meta name=\"twitter:description\" content=\"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Poulomi Das\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#article\",\"isPartOf\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958\"},\"author\":{\"name\":\"Poulomi Das\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/#\\\/schema\\\/person\\\/7cc6b159b4669ddf75eae5f2b536d679\"},\"headline\":\"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror\",\"datePublished\":\"2016-06-21T13:42:52+00:00\",\"dateModified\":\"2026-07-17T16:26:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958\"},\"wordCount\":1056,\"image\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/13.207.105.184\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/1578049500.png\",\"keywords\":[\"anurag kashyap\",\"Avinash Tiwary\",\"Bombay Talkies\",\"Dibakar Banerjee\",\"Ghost Stories\",\"Ghost Stories Review\",\"Hindu Rashtra\",\"Janhvi Kapoor\",\"Karan Johar\",\"Kashmir\",\"Lust Stories\",\"Modern Horror\",\"Mrunal Thakur\",\"sobhita dhulipala\",\"Surekha Sikri\",\"Tanay Satam\",\"Zoya Akhtar\"],\"articleSection\":[\"Bollywood\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958\",\"url\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958\",\"name\":\"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror\",\"isPartOf\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#primaryimage\"},\"image\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/13.207.105.184\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/1578049500.png\",\"datePublished\":\"2016-06-21T13:42:52+00:00\",\"dateModified\":\"2026-07-17T16:26:50+00:00\",\"author\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/#\\\/schema\\\/person\\\/7cc6b159b4669ddf75eae5f2b536d679\"},\"description\":\"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.\",\"breadcrumb\":{\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\\\/\\\/13.201.39.237\\\/?p=5958\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#primaryimage\",\"url\":\"http:\\\/\\\/13.207.105.184\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/1578049500.png\",\"contentUrl\":\"http:\\\/\\\/13.207.105.184\\\/wp-content\\\/uploads\\\/2026\\\/07\\\/1578049500.png\",\"width\":1520,\"height\":850},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/?p=5958#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\\\/\\\/13.201.39.237\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/#website\",\"url\":\"http:\\\/\\\/13.201.39.237\\\/\",\"name\":\"Arr\u00e9\",\"description\":\"In every person lies a creator and in every creator, an enterprise.\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\\\/\\\/13.201.39.237\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"http:\\\/\\\/13.201.39.237\\\/#\\\/schema\\\/person\\\/7cc6b159b4669ddf75eae5f2b536d679\",\"name\":\"Poulomi Das\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g\",\"caption\":\"Poulomi Das\"},\"url\":\"http:\\\/\\\/13.207.105.184\\\/?author=103\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror","description":"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/13.201.39.237\/?p=5958","og_locale":"en_US","og_type":"article","og_title":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror","og_description":"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.","og_url":"http:\/\/13.201.39.237\/?p=5958","og_site_name":"Arr\u00e9","article_published_time":"2016-06-21T13:42:52+00:00","article_modified_time":"2026-07-17T16:26:50+00:00","og_image":[{"width":1520,"height":850,"url":"http:\/\/13.201.39.237\/wp-content\/uploads\/2026\/07\/1578049500.png","type":"image\/png"}],"author":"Poulomi Das","twitter_card":"summary_large_image","twitter_title":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror","twitter_description":"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.","twitter_misc":{"Written by":"Poulomi Das","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"http:\/\/13.201.39.237\/?p=5958#article","isPartOf":{"@id":"http:\/\/13.201.39.237\/?p=5958"},"author":{"name":"Poulomi Das","@id":"http:\/\/13.201.39.237\/#\/schema\/person\/7cc6b159b4669ddf75eae5f2b536d679"},"headline":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror","datePublished":"2016-06-21T13:42:52+00:00","dateModified":"2026-07-17T16:26:50+00:00","mainEntityOfPage":{"@id":"http:\/\/13.201.39.237\/?p=5958"},"wordCount":1056,"image":{"@id":"http:\/\/13.201.39.237\/?p=5958#primaryimage"},"thumbnailUrl":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1578049500.png","keywords":["anurag kashyap","Avinash Tiwary","Bombay Talkies","Dibakar Banerjee","Ghost Stories","Ghost Stories Review","Hindu Rashtra","Janhvi Kapoor","Karan Johar","Kashmir","Lust Stories","Modern Horror","Mrunal Thakur","sobhita dhulipala","Surekha Sikri","Tanay Satam","Zoya Akhtar"],"articleSection":["Bollywood"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"http:\/\/13.201.39.237\/?p=5958","url":"http:\/\/13.201.39.237\/?p=5958","name":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror","isPartOf":{"@id":"http:\/\/13.201.39.237\/#website"},"primaryImageOfPage":{"@id":"http:\/\/13.201.39.237\/?p=5958#primaryimage"},"image":{"@id":"http:\/\/13.201.39.237\/?p=5958#primaryimage"},"thumbnailUrl":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1578049500.png","datePublished":"2016-06-21T13:42:52+00:00","dateModified":"2026-07-17T16:26:50+00:00","author":{"@id":"http:\/\/13.201.39.237\/#\/schema\/person\/7cc6b159b4669ddf75eae5f2b536d679"},"description":"The dullness of Ghost Stories dilutes the urgency of a horror anthology. In the times that we live in, horror is everywhere you look \u2013 in state-sanctioned violence, in the militarisation of the police force, the othering of minorities, and in the clampdown of dissent. It\u2019s probably why Dibakar Banerjee\u2019s segment stands out: the director doesn\u2019t just make a film, but also a statement.","breadcrumb":{"@id":"http:\/\/13.201.39.237\/?p=5958#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["http:\/\/13.201.39.237\/?p=5958"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"http:\/\/13.201.39.237\/?p=5958#primaryimage","url":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1578049500.png","contentUrl":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1578049500.png","width":1520,"height":850},{"@type":"BreadcrumbList","@id":"http:\/\/13.201.39.237\/?p=5958#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"http:\/\/13.201.39.237\/"},{"@type":"ListItem","position":2,"name":"Ghost Stories Review: Dibakar Banerjee Single-Handedly Offers a Compelling Definition of Modern Horror"}]},{"@type":"WebSite","@id":"http:\/\/13.201.39.237\/#website","url":"http:\/\/13.201.39.237\/","name":"Arr\u00e9","description":"In every person lies a creator and in every creator, an enterprise.","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/13.201.39.237\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"http:\/\/13.201.39.237\/#\/schema\/person\/7cc6b159b4669ddf75eae5f2b536d679","name":"Poulomi Das","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/9cf0b507b562a532eccd19be07aac58ddce2a6079eb4ea28e6afef54b07f4cf9?s=96&d=mm&r=g","caption":"Poulomi Das"},"url":"http:\/\/13.207.105.184\/?author=103"}]}},"jetpack_featured_media_url":"http:\/\/13.207.105.184\/wp-content\/uploads\/2026\/07\/1578049500.png","_links":{"self":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/5958","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/users\/103"}],"replies":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5958"}],"version-history":[{"count":1,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/5958\/revisions"}],"predecessor-version":[{"id":5960,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/posts\/5958\/revisions\/5960"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=\/wp\/v2\/media\/5961"}],"wp:attachment":[{"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5958"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5958"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/13.207.105.184\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5958"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}