Officially, old.

Right. So this is it. The big 3-0. Would love to write more, but uni. Thankfully, no assignments today. First thing I thought of in the morning? "I don't want to go to school." :)

Dear Mr Rushdie, I love you.

How bloody convenient for Danny Boyle to completely remove Christianity and insert that Hindu-Muslim rioting in Slumdog Millionaire.

Did you know there is no Mumbai Hindu-Muslim, communal violence sequence in Vikas Swarup's Q and A? That's the book Slumdog is based upon. Instead, what the book has is a scene where the hero of the film is nearly molested by a Christian priest. Why the change I wonder? Meryl Streep can play a priest-questioning nun in Doubt but Danny Boyle cannot show it in his 'Bollywood' movie? The West wouldn't want India questioning the priests perhaps?

Please don't misunderstand; I am no great lover of Hinduism. I don't understand it, like almost every other religion. I get the point of God, I don't get the point of religion. But that's another post, another time. What's got my goat (again) is the sheer idiocy of Slumdog and how the West sees it as India. It's not and it's rot.

I have really tried to think about it in positive terms, I cannot. This is called being vindicated. This is what Salman Rushdie has to say (I forgive his Padma Lakshmi debacle because of this):

Author and critic Salman Rushdie has responded negatively to both the film Slumdog Millionaire and the novel on which it is based, Q & A. In his essay on film adaptations, "A Fine Pickle," Rushdie argues that the plot of Swarup's novel is "a patently ridiculous conceit, the kind of fantasy writing that gives fantasy writing a bad name. It is a plot device faithfully preserved by the film-makers, and lies at the heart of the weirdly renamed Slumdog Millionaire.

As a result the film, too, beggars belief." He made similar statements about Slumdog Millionaire in a talk given at Emory University, arguing that its plot "piles impossibility on impossibility," and in an earlier interview with The New York Times, where he conceded that he found the film "visually brilliant. But I have problems with the story line.... It just couldn’t happen. I’m not adverse to magic realism but there has to be a level of plausibility, and I felt there were three or four moments in the film where the storyline breached that rule."

Rushdie also blasted Boyle's admission that he made the film in part because he was unfamiliar with India, challenging Boyle to imagine "an Indian film director making a movie about New York low-life and saying that he had done so because he knew nothing about New York and had indeed never been there. He would have been torn limb from limb by critical opinion. But for a first world director to say that about the third world is considered praiseworthy, an indication of his artistic daring. The double standards of post-colonial attitudes have not yet wholly faded away."