Air hostesses (now commonly referred to as flight attendants) often adopt specific positions and perform certain actions during takeoff for safety reasons. One of these actions is placing their hands on the seats. This practice is part of the pre-takeoff safety briefing and is intended to ensure that flight attendants are in a stable position to react quickly in case of any unexpected events during takeoff.
The primary reasons for flight attendants to adopt this position include:
Balance and Stability: Placing their hands on the seats helps flight attendants maintain balance and stability during the critical phase of takeoff. In the event of sudden acceleration or turbulence, being in a stable position allows them to move quickly and efficiently through the cabin.
Readiness for Emergency: Flight attendants are trained to be alert and ready for any emergency that might occur during takeoff. By positioning themselves in a way that provides stability, they can respond more effectively if there’s a need to assist passengers or manage an emergency situation.
Cabin Surveillance: During takeoff, flight attendants are also responsible for visually monitoring the cabin to ensure that all passengers are seated, seatbelts are fastened, and carry-on items are properly stowed. Placing their hands on the seats allows them to maintain a steady stance while scanning the cabin.
It’s important to note that these practices are part of the standard operating procedures established by airlines and aviation authorities to enhance the safety of passengers and crew during critical phases of flight. While the specific procedures may vary between airlines, the overall goal is to ensure that flight attendants are in a position to respond quickly and effectively to any unforeseen events.
The Marvels builds on The Multiverse Saga in an ensemble brimming with female energy. But it’s too quick to take stock of how it’s shifting the stakes.
Two Marvel shows and a movie merge into a whole new film, that almost serves as a sequel to Captain Marvel (2019), starring Brie Larson in the titular role. She joins forces with Kamala Khan (Iman Vellani) from Ms Marvel (2022) and Monica Rambeau (Teyonah Parris) from WandaVision (2021). Kamala naturally christens them The Marvels, even though Monica doesn’t approve of her superhero name, Professor Marvel.
Multiverse Madness
The Marvels doesn’t go full bonkers on the Multiverse Saga, shuttling across time and space like in recent Marvel instalments. It stays the course and sticks to only four planets, including Earth, and the space in between. When the motive of the villain, Dar-Benn (Zawe Ashton), surfaces, the intergalactic ride and the choice of the planets handpicked for action make narrative sense.
A whole new world of Aladna, which is like a page out of an Asterix comicbook more than Marvel‘s, is a breath of fresh air. Firstly, like Wakanda, it’s set in a natural location, devoid of VFX. The landscape of a Corsica-like island lends the place an exotic but relatable appeal. The fact that the first language there is song-and-dance allows the Disney in Marvel to take over for a musical intervention. It’ll be a fascinating spin-off to see how Captain Marvel landed on that planet, with Park Seo-joon as Prince Yan.
Director Nia DaCosta and co-writers Megan McDonnell and Elissa Karasik don’t limit the time-space churning to only an intergalactic scale. As seen at the end of Ms Marvel, Kamala and Carol Danvers also see themselves swapping with each other because they’re bound by the same electromagnetic energy. Soon, Monica Rambeau joins in too, and it makes for a fun training montage of the three women rehearsing the switching. It could’ve resulted in more ingenious action sequences though.
The Marvels fills a hole in the Multiverse Saga in more ways than one, setting the foundation for a couple of superhero ensembles towards the end, which are likely to be seen in full throttle in future instalments. It would’ve been fun to see Zawe’s villain face off against Tom Hiddleston’s Loki, since the actor happens to be her real-life husband. But Marvel isn’t interested in that kind of real-reel crossover.
Its focus in The Marvels is on women power, as female characters, who have remained on the fringes or merely served as a helping hand to titular male superheroes, pop up for cameos here. However, it’s Brie Larson doing the heavy lifting mostly. There’s no moment exploding with women power as much as the sequence in the final Avengers: Endgame battle did, where women superheroes from all storylines formed an impromptu army of their own.
More frantic than intimate
The Marvels wastes no time in character introspection and redemption. Brie Larson uses her nuance to project her dilemma in the little time she gets before she has to snap out of it and save the world. It’s refreshing to see Kamala go from a fan of the Avengers to possibly building her own team, like Nick Fury (Samuel L Jackson) once did with The Avengers. Monica has some unresolved business with Carol, but the two never get the screentime for a more felt heart-to-heart. All the character corrections seem more like ticking check boxes than actually seeing them through.
But there’s ample fun to be had in two sumptuous small but effective tracks. One is Nick Fury’s banter with Kamala’s conservative parents. Her mom even refers to Fury as “Nicholas” (who does that?) and the father starts praying in Urdu when they see a spaceship going down. Kamala may be saving the world, but she still has to deal with her protective and obsessive brown parents.
The other fun track – and possibly the whackiest in recent memory – is a bunch of cats, the kids of Goose, just engulfing people at a space station because they have only limited evacuation pods. Of course, once they land on Earth, they’d feel sick and vomit out those people as they were. Well, if we’re not going intimate or high-stakes, give us more of these endlessly catchpit crazy sequences.
Tiger 3′, the newest entry in the YRF spy series, brings us back to the story’s beginning chapter before moving ahead. The prequels had set the groundwork and the Maneesh Sharma-directed action film explored the world that was created and carried the tale with larger-than-life characters.
Make no mistake, the movie still has a lot of uncalled-for flaws, grandiose action, and swag rather than realism. However, given that it comes in the package of a mainstream spy thriller, particularly the ones that make up the YRF universe, one has come to terms with it. The romantic plotline got a great deal of spotlight in the first two chapters, which was my one issue. In the film directed by Kabir Khan, the love story between a RAW and an ISI agent did a good job of winning hearts.
The plot of the sequel follows Tiger and Zoya, who are now married and have a son, as they head on a mission together. However, the entire plot of ‘Tiger 3′ centers on Emraan Hashmi, an old foe who is ravenous for vengeance and eager for bloodshed. More than anything, the movie explored the intricacies of spies’ lives as well as duty and dignity. The movie focused more on the intricacies of spies’ lives, duty, and honor. With this installment, the Salman Khan film becomes unexpectedly more touching and intimate.
‘Tiger 3’ (written by Sridhar Raghavan) is the continuation of the tale of an Indian agent and former Pakistani spy as the former faces allegations of treachery, his son’s life is in danger, and his wife takes the burden of saving both her family and the nation. Aatish Rehman (Emraan Hashmi), the antagonist, is a resentful former Deputy Director of ISI who must get revenge for the brutal murder of his wife Shaheen (Ridhi Dogra) and the baby they are expecting. There are old scars that need healing.
Peace negotiations between India and Pakistan are on the line as the two are assigned to securing a suitcase. Aatish, the rogue Pakistani agent, who aspires to oust the prime minister of his home nation and lead a military takeover traps Tiger and Zoya to attain his sinister goal. This culminates in a clash between Tiger and Aatish’s troops, full of hand-to-hand combat, deceit, crossfires, plot twists, and an ample supply of chest-thumping patriotism.
There is barely any depth in this tale; therefore delving too far would only bring us to the bedrock. The elements are largely the same as in other spy flicks. ‘Tiger 3’ takes you on a real rollercoaster after a slow-paced first half. Action scenes steal the show, occasionally even making up for overly dramatic dialogues (Thank goodness, there aren’t any preachy speeches), as Tiger takes on his rivals and Hashmi prances around.
Emraan, who is constantly experimenting with different genres in an attempt to regain his stature, is simply not unnerving enough for us, let alone for Tiger. Though the script doesn’t help him, the actor seems to be making a lot of effort to appear as a believable ‘bad guy’. But his exchanges with Zoya give nearly all of the best scenes for the character. As for her, Tiger is no longer a Salman Khan film series because Katrina Kaif has at last taken the throne right next to him. In contrast to the previous films, Kaif’s portrayal this time around was more polished and real, even overshadowing Khan during the combat scenes. Kaif steps it up and gets you to cheer for her as a sauna turns into a wrestling mat.
But one of the best parts of the new film is the bromance between Salman Khan and Shah Rukh Khan. His character keeps his word from the last action-packed blockbuster from the realm of YRF espionage, ‘Pathaan’, and flies into a far-off land with sharp one-liners to rescue his pal. Amidst thunderous cheers and deafening whistles from fans showing their immense joy, the two super spies bring style and nostalgia to the big screen.
Even while ‘Tiger 3’ is massive and full of intense action, its backbone is still fragile. A slick actioner like this one still couldn’t find a better ending for its hero after all these years, with the third installment. There will undoubtedly be a ‘Tiger 4’, and we hope that the movie doesn’t wrap up like a morally-laden Panchatantra tale.
