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THERE are TV shows that are ‘long running’, they appear to be eternal. With the dawn of satellite television in India, new paradigms for entertainment were set. During the DD days certain limits were prescribed for the portrayal of women characters and family conflicts. Anger was muted even in such bold serials as Aur Bhi Hain Rahein. But Zee TV’s Tara came up with a bolder and yet vulnerable version of womanhood. Moreover, illegitimate progeny and unconventional love were portrayed in a starker relief on Indian small screen than ever before. Ekta Kapoor, however, dumbed down all discourse on family and social issues. Her Balaji Productions invented ‘family situations’ and presented them after garnishing with fluff and waffle. For example, its ‘flagship’ serial Kyonki Saas Bhi Kabhi Bahu Thi, which made its debut in 2000 and is still going strong, takes us to the fantasy world of super-rich families, dolled up women and dinky men perennially engaged in resolving moronic mysteries of tangled relationships and confused offspring. It does not pretend to convey any socially relevant message nor does it claim any thematic affinity to life’s realities – the Virani family is filthy rich without any of its members, male or female, appearing to be even employed let alone engaged in business. The soap has been critiqued adversely in the media and intellectuals scoff at it. Yet it has been popular with a large number of family audiences across the country, nay, the entire South Asia. Do viewers see glimpses of their own situations in the family intrigues played out on the small screen? Then there is SAB’s comedy serial Yes Boss that has been around for more than seven years. The sitcom that has outlasted the fabled Tu Tu Main Main has a simple plot. Mohan and Meera form an odd couple – he is not so bright, short, stocky and paranoid about losing Meera to his attractive boss Vinod Verma, and she is a professional, good-looking woman who is rock-steady in her loyalty to Mohan. Verma’s juvenile attempts at stealing Meera’s affections and Mohan’s efforts to thwart him form the staple of this sitcom. To think that such a thin plot could make Yes Boss the longest running comedy! Obviously, simple can be successful too. But it is not just fiction that has captured the viewers’ eyeballs. If such legendary shows as Antakshari and Sa Re Ga Ma, or currently popular ones like Nach Balliye etc are any indication, song and dance shows have carved out a permanent niche for themselves. One of the most enduring shows belonging to this genre is Boogie Woogie. Accomplished dancer Javed Jaffri’s humour takes the sting out of the unbiased verdicts of the show’s judges. But what attracts the young audience and participants to this show is its willingness to provide a platform to all sorts of dance styles – traditional, unconventional and innovative. Another attraction is its strong sense of fair play, which gives losers a chance to try again. One of the longest-running Hindi serials is CID, which is into its second decade now. This detective serial provides what can be described as realistic thrills. Of course, crime is its main ingredient and the drama that unfolds keeps one glued to the telly. The investigations do not ‘force’ a pat solution but arrive at logical conclusions after going through a systematic process. Sideshows like turf battles and ego problems (like between ACP Pradyuman and Dr Salonkhe), mutual jealousies and a hint of romance add to the serial’s charms. Another show that seems to go on and on is Rajat Sharma’s Aap Ki Adalat. It has survived quite a few channel switches but has managed to retain loyal viewership over the years. Its provocative questions and acerbic style may have needled the guests no end but have kept the viewers in thrall. And what a star spangled guest list it has had! From Khushwant Singh to Rajesh Khanna to Rakhee Sawant, not to mention scores of ministers, social workers and bureaucrats. So, are reality shows destined to outlast soaps? The jury is still out.
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