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aisling-writes · 2 months

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Why the real villain of Chhota Bheem was King Indravarma: A meta-analysis of who he really was.

Alternative Title: An episode where I go nuts and have zero backing behind my essay.

(A note to the readers: This essay does not take into account the existence of the Mighty Little Bheem show. The matter at discussion is purely based on the Chhota Bheem show only.)

Most Indian Children born in the late 2000s can easily recognize the musical ensemble of the theme song of Pogo’s crowned jewel: Chhota Bheem. Eyes were glued to the television and clock ticks were memorised for when the show would start because Chhota Bheem to them was not just an animated show; it was an expression, a memory, a piece of childhood, if you will.

And yet, while watching the show through an “adult” lens, Chhota Bheem leaves a bitter taste in the mouth.

Why?

The answer, I personally believe, is of two aspects. One would be the obvious irritation in how King Indravarma ruled the land, and the other is about how Chhota Bheem was a Mary-Sue and how the show perhaps needed to be styled around Kalia, his imperfections and his character arc. (But that’s for another time.)

Let’s focus on the topic at hand: King Indravarma. He was, bluntly put, a stupid King.

Imagine a King as such in the real world. A King who had no strong Military, who constantly relied on a 10-year-old for any trivial matter whether it was an external threat to the kingdom instead of sending out an army, did not invest in new technology for the betterment of his people and used it for personal gain. The list can go on and on.

The argument presented here is that King Indravarma as a villain is not a bad evil person but rather how his aloofness was the one reason his kingdom suffered. Being a “villain” does not always necessitate violence and crude language; all it requires is to bring harm to others. And King Indravarma, indirectly, does that.

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“Stupidity is a more dangerous enemy of the good than malice. Dietrich Bonhoeffer ----------------

On the other hand, we can theorize that King Indravarma was merely “acting” to be stupid and always had ulterior motives behind his every move. This argument is also proven along the way when I dissect his character in this essay.

In fact, this essay reaches a conclusion that King Indravarma was a strategist who was…. stupid. A perfect balance. (But not for Dholakpur.)

I.Outsmarting a kid; getting outsmarted by the world.

When scouring through the deep dark pages of the internet, one question plagued me: How did Chhota Bheem get his powers?

Yes, it’s common knowledge that eating a Laddoo gives him super-human strength but how does he get such a power in the first place? Alas, that’s not an answer that the cartoon canon can answer but it is integral to the next question that follows: How did King Indravarma realize Chhota Bheem had such powers? Maybe he never found out because had he, he definitely would’ve chosen to make all his citizens the perfect citizens. (A strategist, remember?)

It’s natural for any parent to desire the safe protection of their child from the dangers of the world. As seen in Spider-Man, Aunt May chooses to protect the identity of Peter as his alter-ego and would go to any extent for his safe keeping. But why didn’t Bheem’s mother do the same? Why didn’t she hide the powers of Bheem?

Or maybe, she did.

She did try to hide it but somehow it reached the ears of King Indravarma. And King Indravarma strategicallydecided to use it to his advantage.

And I say strategic because, by all rights, Bheem deserved official employment. He worked as a protector of the kingdom more than the soldiers ever did. He could’ve been a member of the royal guards, or a leader of it too. But instead, the king always played along with the HA-HA Bheem- is- just- a- loyal- citizen- who -helps- sometimes card and gave him no remuneration.

This could’ve had two motives: An economic perspective where he didn’t have to pay Bheem for his services and/or a jealous King perspective where he wanted to avoid a 1789 France Bastille-Storming situation. Empowering Bheem and giving him more administrative power on top of the physical power he already had would make him a dangerous weapon. He was already charismatic and loved by the villagers; it would only be a matter of time until they felt that Bheem would be a better leader than the King himself.

The king further added on to this plan by employing some of the most useless soldiers in his army ever therefore making it seem that the King did try to save his kingdom, but it was to no avail. And at some point, he stopped using the soldiers (probably dismissed them, thus saving even more money for his personal gain) and purely relied on Bheem, a kid who he didn’t even have to pay! (And Bheem, being a “kid” did not have the sense of asking for remuneration as well.)[1]

Smart, isn’t he? (King Indravarma, I mean.)

But also, stupid.

By following this method, he made sure that the one key asset that Dholakpur had was revealed to the entire world. He placed the country in danger from threats all the time! (And I truly mean one asset because by its looks Dholakpur had nothing else to offer. The crops often struggled due to pests, the landscape was unappealing to the eyes, it had no tourist’s income etc.) It’s truly surprising how Dholakpur was not already overtaken by some other colonizer or king because all they had to worry about was defeating one kid. Just one kid. (Yes, he’s strong and what not, but Bheem’s got to have some limit?)

II. Economic drain for… what exactly?

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“Th’ abuse of greatness is when it disjoins remorse from power.” Brutus in Julius Caesar (2.1.19-20) ----------------

In one episode of Chhota Bheem, King Indravarma had no qualms or shame in announcing that the kingdom had no new bicycles for a bicycle race when the neighbouring kingdom had brand new, shiny bicycles and therefore, Bheem and his friends had to manage with the old bicycles. Either the kingdom was not financially stable to accommodate the purchase of such bicycles, or the king lied that the kingdom had no money.

Let’s explore both the views, shall we?

The kingdom being too “broke” to purchase bicycles implies how financially unsecure it is! Perhaps the kingdom was knee-deep in debts or just refused to spend whatever reserves it had on importing foreign goods. Maybe the kingdom had an import substitution policy (similar to what the post-British India followed) but was not able to implement it seeing how the kingdom had an agrarian economy.

Which brings us to the question: How is an economy expected to grow without any investment in additional technology?

The only source of revenue that was noticed were from the fairs conducted, the crops reaped and Tun-Tun Mossi’s Laddoo sale. And as anyone with two eyes can note: It is not enough. The policies followed by King Indravarma were dangerous to Dholakpur in the short-run and long-run. Inflation was just a door’s knock away for the citizens of Dholakpur! People would’ve been forced to lead even more horrendous lives and forced to spend a bucketful of cash but a pocketful of things! (Again, how the kingdom survived is such a mystery.)

On the other hand, maybe the King just wanted to hold all the gold reserves to himself and did not wish to splurge on any investment in technology for the kingdom. Which again proves how he is a stupid strategist because if he wanted more money, the country needs development. More jobs, more employment brings about higher level of income, GDP and better lifestyle. How are the people supposed to pay taxes to the King if he doesn’t provide them enough opportunity to make money for paying the taxes? It would’ve been more understandable if he invested in their advancement first and then participated in red-tapism and what not.

(Idiot.)

The King, in my opinion, is begging for a Marie Antoinette situation by running around in gold chains and necklaces while his people slog and suffer.

III. Diplomacy at its finest. Not.

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To say nothing, especially when speaking, is half the art of diplomacy. -Will Durant

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The third, and final facet of why King Indravarma was the real villain is perhaps the shortest and the simplest. [2]

There’s no doubt why Dholakpur was often plagued with terrorists and external threats and challenges from other kingdoms than the neighbouring countries: King Indravarma’s tongue.

Instead of rallying allies and forming alliances with other countries, the king often chose to goad other rulers into competitions of which-kingdom-is-better game which is humorous to think because Dholakpur had no additional advantage except …Bheem. The entire fragile ego of Indravarma’s was built on nothing but a nine-year old boy!

The demise of the King’s pride would be swift and sweet the day Bheem decides to move out of the godforsaken kingdom.

Conclusion

“It is unwise to let a man who isn't king sit on a throne for too long.” ― Costanza Casati, Clytemnestra

Thus, I bring this essay to its end. A hyper-fixation of my childhood has now become a piece of media that will forever make me think of this 1600+ word essay that brings no added meaning to this world.

To you, Bheem, I wish that you escape from the clutches of Indravarma’s stupid reign. Perhaps if the King was just evil I could’ve respected him more. Alas, stupidity is a turn-off.

To you, Dholakpur, I wish that you understand that it’s better to have no king than have Indravarma as a king. Rise and revolt, fellow comrades. History would look kindly upon you.

And to you, King Indravarma, thank you for spoiling my favourite cartoon.

Aisling Elle 16.04.2024

[1] A further note to be added is that the king was a frequent enabler of Child Manipulation because he always made it seem that Bheem voluntarily decided to choose to fight for the kingdom and was not requested by the King. [2] This argument is in reference to the cycle competition that the King engages in with Pehelwanpur.

Part 1 of Random Essays

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nandakishore17 · 3 years

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Green Gold Animation is a pioneer in creating original Indian animation content and has been entertaining the young generation for over a decade!

#mighty little bheem #mighty little bheem cartoon #mighty little bheem episodes #mighty little bheem season 1 #green gold animation #green gold movie #green gold store #cartoon character #cartoon chota bheem #cartoon chhota bheem #cartoon cartoon #mighty lil bheem #animated children's television series #seasonsTV animated comedies #first animated series from India

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weebuibu · 4 years

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All about anime in India

Indians are actually not new to anime; many people may not have realized but they’ve been watching it since their childhood. The famous anime Dragon ball-z, Naruto, Bayblade, Pokemon and even Doraemon and Ninja Hattori are actually Japanese animated series.

The misconception that Japanese anime is just “Cartoon” and is meant for kids is extremely wrong. I agree that anime’s like Doraemon or Ninja Hattori is targeted for children but Japanese anime industry is more than that.

It’s a huge industry! name any genre, and you’ll find a lot of anime series under that. Nowadays, because of the OTT platforms streaming anime’s, the audience in India is more familiar and are watching, and appreciating them.

This industry has created several masterpieces that has actually been adapted by many foreign movies. For example, the movie Inception directed by Christopher Nolan is actually inspired by Paprika a 2006 film directed by legendary Satoshi Kon, the movie Ghost in the Shell directed by Rupert Sanders is remake of an anime movie with the same name. These movies were extremely good, I recommend watching it.

I got into watching anime because of my friend who insisted me to watch Death Note. For my little brain, it was a really intense anime with much psychological study and amazing characters. I never knew that animated things could be such intense, in India we have cartoons like Chota Bheem, Mighty Raju, Motu Patlu etc. I was lucky enough to grow up in the age where the most popular cartoons (which were anime series, but back then I didn’t know) were Bayblade, Pokemon, Digimon etc. These anime’s were more focused on children under the age of 15. But a series like death note which is targeted for 13 and above, completely blew me away. I was getting introduced to a whole another genre. Ever since then, I have explored a lot more anime’s. While some were disappointing, others and majority of them were just masterpieces. Like “Ghost in the Shell” a steel body with the brain of a human, it explores what it really means to be an individual. Another example, one which is my favorite “Monster” written by Naoki Urasawa, is like a psychological character study involving many characters, and all of them are important! as the story progress we see, and empathize with them. Like Johan Liebert, one of the main characters with very less screen time, yet the most important character. He’s a product of psychological experiments done to him when he was a child by the govt to turn small children into perfect soldiers, or Dr Tenma the one who believes in equality of every life yet, wants to eliminate Johan. Another interesting character called Detective Lunge, who’s addicted to his job, and avoids his family because of that. And Eva Heinemann who was initially Dr Tenma’s fiancé but later breaks up with him and blames all her failures on him, she becomes alcoholic, develops hatred towards Tenma yet helps him in several instances, even though we know the bad side of all these people but it’s made in such a way that we are compelled to empathize with them, all of them are very well studied. That’s not it, the story has several sub-plots, all of them are like a philosophical study. It explores the evil and good, human rights, free will, hatred, loneliness and many more. All this is told in a unique way. Another anime called “Paranoia Agent” focusing on Mass Hysteria with such an odd storytelling, every episode new and has different protagonist, its chaotic to watch and of course, is a brain twister. These all anime series are amazing and absolutely worth a watch. We can see the effort put in by the creators and the music composers as well.

Now, you may want to ask if anime’s are so good, then how come its banned in so many countries? Well, there’s always good and a bad side. Sure, there are a lot average and garbage anime as well. But anime’s which are good, should not be overlooked! But we should also address the bad side of it. There’s a lot of anime series with mature content in it, the real reason they get banned anime is because of the sexualization of female characters which resembles as an under 18. These anime series are not mainstream but there is a fair amount anime which features characters who has child-like characteristics and is been sexualized.

This type anime comes under their own genre. But it still falls under an offense. Some countries have been trying to control that as well, by banning only problematic anime’s or all anime series. Some people came up with the argument that since, they’re not real characters it should not matter, if they consume that type of content that does not necessarily mean that they are pedophiles. Personally, I’m not convinced with this argument. But everyone has an opinion.

Obviously, this problem should be handled and all anime shouldn’t be banned since these types of anime does not represent all anime. There are a lot of gem out there that everyone should watch or at least attempt to watch or even if it’s not a gem anime is just generally creative and fun to watch

#anime #animes #india

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sol1056 · 6 years

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neither rock nor hard place

another anon comment, edited for clarity:

DW has us between a rock & a hard place. Watch She-Ra/keep supporting them [and you’re telling them] what they did with VLD was okay, we don’t mind getting invested and a show later turning sexist homophobic fatphobic ... Or, don’t watch it and don’t support a diverse show. They'll say: fans don’t really want diverse interesting things, let’s go back to making the same crappy stories.

Oh, DreamWorks would love to think DW-or-nothing is your only choice, just as I’m sure Disney and Pixar (hell, any company) would think that’s an awesome place to be. It’s not where we’re at, though, and things are looking brighter with every new announcement from a production company or platform. Nick’s new catchphrase is “multicultural, authentic and diverse” as requirements for any new shows, and the CN partnered with Black Women Animate for a major bootcamp, and that’s seriously putting money where your mouth is.

There’s variations of diversity all over the place: Bob’s Burgers (Fox), Final Space (TBS), the Loud House (Nickelodeon), Los Casagrandes (Nickelodeon), and Harley Quinn (DC Universe). Cartoon Network has (of course) Steven Universe plus upcoming shows like Craig of the Creek, Victor and Valentino, and Infinity Train.

If you narrow it down to just Netflix, they’re going even bigger, since they’ve got a lot more room to play than traditional FCC-regulated cable. There’s independent animation for adults like Castlevania, BoJack Horsman, and Big Mouth, and more coming, like Tuca & Bertie. For kids/family, future shows include Kid Cosmic, Maya and the Three (with a Moana writer as head of story), My Father’s Dragon, Jacob and the Sea Beast, Motown Magic, The Willoughbys, even a non-verbal series from India called Mighty Little Bheem.

Fact is, sure, DW could decide diversity doesn’t get it anything, but there’s no getting around the fact that diversity is doing a hell of a lot for everyone else. When even broadcast television is catching on, the only good business conclusion is that it’s time to get on the ball and catch the hell up.

Know what that means? You can’t rest on diversity laurels, either. The days are fast passing to It won’t be enough to have diverse characters, voice actors, and staff; you’ll have to be telling a good story, too. Like @beachdeath‘s analogy of thin gruel, creators are going to need to offer more to get us to sit at the table.

#television production #diversity #representation #animation

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ipr-studio · 3 years

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"Animated Works" : Jollity cum Chattels ?

IPRs in Animated Works

An article written by Shobha Menon in 2007 read as “IPR to give industry an animated look”. It briefly discussed upon the then prospects and growth of the Indian Animation Industry with the then emerging technologies pertaining to VFX and others for making animated movies and cartoon shows. The article concluded on propitious marginalia about the opportunities for making India a hub for animation with the help of IPRs relating to animations.

Fast-forward to the current era, the Indian Animation IP production (excluding animation services) has a year-on-year double digit growth - almost double of what it was in 2012.

The Indian animation has grown to over 100 animation character brands today, some of them being Motu Patlu, Shiva, Little Singham, Krishna, Aryan, Dabang Girls, Krish Trish and Batliboy, Jr. Gol Mall, My Bhoot Friends, icko & Super Speedo, Sab Jholmaal, Honey Bunny, Pakdam Pakdai, Rudra, Keymon Ache, Roll No 21, Super Bheem, Andy Pirki, Oye Golu, Gattu Battu, Mighty Raju, Kalari Kids, Kumbha karan, Chotti Anandi, etc.

With a technological boost like never before, Indian media, entertainment and technology companies are growing at an accelerated pace on the back of growing acceptance of our content, especially in animation, VFX, gaming and AR/ VR. The Indian animation and VFX have gained a lot of traction among the international producers and production houses. Top Indian companies have attained leadership to create content and distribute them in new markets.

However, every producer needs to strategize their approach for their respective IPs based on the strengths and weaknesses of the show they are producing. India has become a creator of IP and this has led to the realization that we need to protect our Intellectual Property. IP in the animation and gaming industry are the legal rights over creations and are protected by copyrights, trademarks for making better margins.

The following are the relevant IPRs with respect to animation industry in India :-

The most effective way of IP protection for animations would be that in the form of Copyrights. Several sections (as follows) of an animated show or movie can be copyrighted either in conjunction or separately :-

The drawings and sketches for making the animated character.

The animated character itself.

The story and/or script of the show/movie, if any.

The dialogues and songs of the show/movie, if any.

Other marketing aspects.

The Indian Copyrights Act, 1957 covers all the aspects for obtaining a strong copyright protection for the animated shows/movies, with distinct animated characters in it. Along with the statutory provisions, various judicial cases have also assisted in strengthening the Copyright protection regime for animated works. In case of DC Comics v. Towle the court opined that the ‘bat-mobile’ (the animated work) has unique qualities that gives it a different identity and provides for a special element, making it eligible for being granted with copyright. In another case of Star IndiaPvt. Ltd. v. Leo Burnett, the court opined that the animated character must have public recognition in independent life.

While copyright registration is not mandatory, given the nuances in relation to animated works, it would be prudent for filmmakers to obtain copyright registration for their key animated characters. Registration of copyright is an effective way to enforce one’s economic rights. In case of any dispute, copyright registration helps with the availability of necessary records and has evidentiary value. Proper IP Asset Management will make certain that all showings of the animated work provide global revenue to the copyright holders.

Trademarks Protection

While the copyright in a cartoon character, would eventually expire (after 60 years beyond the life of the creator) and fall into the public domain, however, the trademark does not expire after a set period of time and can live on indefinitely. The Trademark law not only protects the cartoon character, but also extends the protection to the character’s name and likeness. Animated works are precisely protected under Section 2 of the Trademarks Act, 1999 which mentions that cartoon characters, names, logos etc. are protectable as a mark.

Along with the statutory provisions, various judicial cases have also assisted in strengthening the Trademark protection regime for animated works. In case of Disney Enterprises Inc vs. Gurmeet Singh, the Delhi HC recognised mark ‘DISNEY’ as a well-known mark. In another case of Warner Bros. Entertainment Inc. vs. Harinder Kohli and Ors., Warner claimed to have secured trademark registration in India for the word mark “HARRY POTTER” and alleged infringement by the Defendant owing to Defendant’s act of naming their film “HARI PUTTAR”, which is visually and phonetically similar to their mark. The court rejected the prayer to injunct the Defendant on the ground that the trademark HARRY POTTER is different from HARI PUTTAR.

Since the animated character being represented are mostly in a three dimensional or pictorial form on goods and services, such character can be protected under the trademark law.

Animated works and cartoon characters are the most popular merchantable characters ever created thus fictional character merchandising is the use of fictional or cartoon characters in merchandising for commercial gains.

Patent Protection

A considerable and significant amount of technological equipment and expertise is used to make an animated show/movie – the camera itself as well as equipment for lighting, editing, sound and special effects. Many of these technological advancements pertaining to animated works can be protected by patents. For instance, the Dolby sound system, 3D CGI imagery using revolutionary new motion-capture techniques, etc. have all been patented. However, the patent protection can be considered more of an indirect method to protect the animated work, given that it does not cover the abstract idea itself.

With the growth of broadband, mobile technologies and emergence of digital media, the animation industry is witnessing a rapid transformation in a converging world. In this wake, IPRs and IP Asset Management is extremely important for its creators in the media and the entertainment sector, especially with respect to younger populations of India.

READ MORE AT :- http://iprstudio.com/blog/

#ipr #funlearn #patent #animation #cartoon #technolegal #trademark #copyright #invention #films #disney #shortfilms

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yessadirichards · 4 years

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Streaming titans seek passage to India for new growth SINGAPORE: Netflix and Amazon are battling a dizzying array of homegrown outfits, from Bollywood producers to broadcasters, for dominance of India's streaming market, a key target as growth in Western countries slows. As more Indians shift to viewing movies and shows online, industry revenues from streaming in the country are set to jump from $500 million in 2018 to as much as $5 billion in 2023, according to Boston Consulting Group. With many Western markets saturated and Asia's top economy China effectively closed off to foreign streamers, a nation of 1.3 billion where phone ownership is forecast to rocket makes for a tantalising prize. "India is super important, for both Netflix and Amazon," Tony Gunnarsson, a streaming analyst from consultancy Ovum, told AFP at the recent Asia TV Forum in Singapore. "Netflix... need to continue to generate new subscribers, and there is no better place than India." But the US giants face tough competition in the vast, ethnically and religiously diverse country where the streaming scene is rapidly evolving. There are dozens of subscription streaming services in India, according to Ovum, and some domestic outfits have more experience in producing content tailored for local audiences and in the country's myriad languages. A major player is Hotstar -- originally a homegrown outfit which later became part of the Disney empire -- which has attracted an army of followers in part by streaming Indian Premier League cricket matches live. Other Indian rivals include ZEE5, run by major broadcaster Zee Entertainment, and ALTBalaji, the video-streaming service of Bollywood producers Balaji Telefilms. As well as offering their services direct to consumers, streamers are bundling their content with mobile phone services in a bid to broaden their reach. - 'Golden age' -Netflix, the world's biggest subscription streaming service, has made expanding in India a priority and aims to attract 100 million subscribers in the country -- an ambitious goal given analysts estimate it will only reach about seven million this year. The company made a mark with its first Indian original "Sacred Games", a hugely popular series about a troubled police officer starring top Bollywood actors, and has a slate of new productions in the works. They plan to invest 30 billion rupees ($420 million) in Indian content in 2019 and 2020. "This is India's golden age of entertainment," Srishti Arya, Netflix India's director of international original film, told AFP. "There are so many opportunities in streaming, creators are not restricted by length, duration." Fellow US titan Amazon also has a strong foothold in India with its Prime Video service and, like Netflix, typically appeals to wealthier urbanites who want to see Western as well as Indian content. It is planning to release around one Indian original production a month over the coming year, and is ramping up its production of shows in regional Indian languages. Netflix has been lagging behind Amazon in terms of subscriber numbers but looks set to move ahead from 2021, according to Ovum. Nevertheless both will likely struggle to catch up to Hotstar, which reached 300 million active monthly users last year, although the Indian streamer works on a different model, offering some content for free and other shows only to subscribers. To compete in a crowded market, the US titans are offering their services for less than in the West -- Netflix introduced a package for India priced at only 199 rupees ($2.80) a month, which allows consumers to watch only on a phone or tablet, and Amazon Prime is 999 rupees ($14) for a year. And the scene is about to get even more competitive with the launch of the Disney+ streaming service in India next month via Hotstar. - Entertainment shake-up -The streaming boom has also shaken up India's massive entertainment industry, generating new business opportunities. Reliance Entertainment -- which produced "Sacred Games" for Netflix -- has 40 to 45 series in development for streaming platforms, including Hotstar, Amazon, and Hong Kong-based Viu, said Group CEO Shibasish Sarkar. Two years ago their business was about 90 percent making films but work for streamers "is the fastest-growing space right now", he told AFP. The industry hopes that some of the new high-quality shows can find audiences overseas beyond the Indian diaspora -- two thirds of the viewers for "Sacred Games" season one, which is in Hindi, were outside India. Another Indian show to find unexpected success overseas was "Mighty Little Bheem", a Netflix original cartoon about a baby's adventures in his village. "Indian story tellers are now going global," said Sarkar. Hopes for overseas success for foreign language productions have been boosted by South Korean black comedy "Parasite", which won a haul of Oscars this month and became the first non-English language film to scoop the gong for best picture. Some observers are optimistic that streamers in India have much space for growth, but in the long term they believe only the fittest will survive. "Markets are already at a point where there are more than enough services," said Ovum's Gunnarsson.

#yessadirichards

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pogo-india · 11 months

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youtube

Mighty Little #Bheem is here to make your mornings and afternoons giggle-filled! Tune in from Monday to Friday, 10 AM and 1:30 PM, only on POGO ! Do not miss any update on your favourite #cartoons by Subscribing to the POGO YouTube Channel, Facebook page & Instagram page YouTube - https://www.youtube.com/@PogoChannel Instagram - https://www.instagram.com/pogotvin/ Facebook - https://www.facebook.com/PogoTVIndia #mightylittlebheem #bheemcartoon #cartooncartoons #cartoonvideos #cartooncharacters #cartoonpictures #bacchonkecartoon #hindicartoon #bacchonkacartoon #cartoonsforkids #cartoonshows #pogo

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don-lichterman · 2 years

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Mighty Little Bheem FULL EPISODES 5-8 💪 Season 1 Compilation 💪 Netflix Jr

4 FULL Mighty Little Bheem cartoon episodes! Join baby Bheem (a younger Chhota Bheem), frenemy Vijay, and all the other friends we make along the way for some extraordinary adventures. Mighty Little Bheem is now streaming on Netflix! Episode 5: Mighty Hiccups Episode 6: Bheem’s Blanket Episode 7: Mighty Muscles Episode 8: A Babysitter’s Nightmare SUBSCRIBE: http://bit.ly/NetflixJrSubscribe About…

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thelifesway · 5 years

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#TheLifesWayReviews - Mighty Little Bheem - Season 1 @NetflixSA TV Series #Kids #Cartoon http://www.thelifesway.com/2019/05/thelifeswayreviews-mighty-little-bheem.html #TheLifesWay

#IFTTT #Blogger #Thelifesway

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homedevises · 5 years

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