To address the caste and sexual identity accusations that drive Omkara's plot, this article reads two Othellos around each other: Shakespeare's 17th-century play and Vishal Bhardwaj's 21st-century film. This work illustrates how casteism, a phenomenon reinforced by colonial India and so representing the neo-colonial (as opposed to post-colonial) reality of the subcontinent, coupled with ingrained misogyny and ableism, combine to bring about the catastrophe of Dolly and Omkara. This work is an intentional exercise in the kind of transtemporal and transcultural thought that literary criticism should encourage. It does this by bringing several seemingly unrelated texts together and committing to an intersectional examination of embodiment.