The images of migrants have inundated our media lately. However, migrant representation has been largely done through the lens of ‘others’, mostly by the foreign-media, whereas the discourse on the localized version of reality is unaccounted for. This search for self-narrative led us to the analysis of photographic work of Aziz Hazara, an Afghan student of Fine Arts, who envisions migrants as equal to the ‘made-to-migrate’, ‘used’ and sometimes even ‘deformed’ toys from the flea market. The article highlights the portrayal and identity construction of migrants through the lens of an Afghan visual artist by excavating the discourse informing the analogy between the toys and the migrants along with the application of Paul Gee’s identity tool. A multimodal critical discourse analysis of the data reveals that toys ventrilocate the condition of the migrants charac

This study examines the politics of infidelity discourse in Netflix’s The Crown, using Multimodal Critical Discourse Analysis (Kress & van Leeuwen, 2006) and Judith Butler’s (1990) theory of gender performativity. It focuses on the relationship between Prince Charles and Princess Diana. This paper investigates how the interplay of verbal and visual elements with gender-performative roles helps define marital infidelity as an institutional, rather than a purely personal, failure. Findings show that Prince Charles's infidelity is discursively constructed as an act of institutional escape and masculine re-signification, in contrast to Princess Diana’s responses, including her public dancing, her audio confessions, her revenge dress, and her BBC interview, which are constructed as subversive repetitions that expose and destabilise the gendered script of the royal marriage. This study argues that The Crown uses multimodal storytelling to demonstrate that infidelity is a gendered and institutionally imposed performance rather than a moral transgression.