The twentieth century saw Ram on celluloid with films like Bharat Milap (1942), Ram Rajya (1943 film) andSati Sulochana (1961). Ramanand Sagar's tele… - Devdutt Pattanaik

Despite their deep knowledge of Hinduism, neither Elst nor Frawley, neither Doniger nor Pollock, believe in letting go and moving on, which is the hallmark of Hindu thought, often deemed as a feminine trait. Instead, Elst and Frawley keep drawing attention to injustice done by colonisers, goading Indians to rise up and fight, a violent tendency that is the hallmark of Western thought, often deemed as a masculine trait... Elst and Frawley follow the Abrahamic mythic pattern that establishes them as ‘prophets’ leading the enslaved – colonised – Indians back to the ‘Vedic Promised Land’.

Though in Bengal and Orissa, some say, Alakshmi is visualized as an owl seated beside Lakshmi, Alakshmi is a secret goddess, invisible to all. The only way to see her is to have Saraswati, goddess of knowledge and good sense by your side. But Lakshmi will never let Saraswati stay in the same house as her. She will go wherever there is Saraswati and kick her out, making room for Alakshmi. Why does she do that, one wonders. But then one is told that Lakshmi is a whimsical goddess, she does not like to stay in one place too long. By kicking Saraswati out and by getting Alakshmi in, she ensures there is a fight in the house and when there is a fight, wealth invariably moves out of a house.

The standard trope in modern historical studies seems to be that Hindu temples were destroyed not only by Muslim rulers but also by Hindu rulers as part of establishing their authority. It disregards all Hindu memory and Islamic writing that shows motivation of Muslim rulers at its core was religious, designed to replace the Hindu faith with Islam. This is aligned with Western academic anxiety at being seen as Islamophobic – no points lost if one is Hinduphobic.