Not everything is perfect. Nor should it be. There are flaws and cracks and smudges in every work of art but if there is heart in it..people flow with a story, a song, a character. In the last few weeks, following stories about displacement and corrupt governance has alienated me from films and television but I do make time for what was..was..a watershed moment in realistic story telling on television.

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I scramble still for the remote for my  9:30 pm encounter with a bunch of well loved characters on Colors but what I see fills me with incredulity. Really?  What is the game plan of the makers of a show that needed no gimmicks for most part of its first season? So when they were arm twisted to give up the first season of Na Bole Tum Na Maine Kuch Kaha, and  fan outrage followed, were they asked to bring back the second season with some provisos? That they must kill the soul of the story and bring in more beefcake, make the deep silences noisy, not try to stray too off the beaten track and sideline the rare for the common? That they must make the show a little less deep and a lot more accessible to those who watch mind numbing fare from the Ekta Kapoor soap factory?
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A hero that was built up intentionally or not as the counterpoint to the Johnny Bravos of Indian television is suddenly not enough to fight the TRP battle so a vacuous hero must be introduced and stripped to the waist and bathed in the camera’s gaze? A love story that thousands fell in love with is not enough so many other listless, soul-less ones must be added? Are the channel heads interfering with the narrative because it is hard to believe that the core team that imagined Season 1 can be this hell bent upon destroying everything the story stood for. Simplicity. Lack of melodrama. Realistic characters. Great dialogue. Tangible emotion. Everything is contrived in this season except for the two lead actors who still infuse life breath in unbelievable situations that go all over the place like ping pong balls,
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Do the makers know the audience they are catering to? Were no lessons learnt from the first season when a honest to goodness narrative was ruined by interventions that  not just broke the spine of the story but hurt the goodwill invested in the show and lowered the TRPs beyond redemption?
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One of the earliest overseas bloggers who wrote about the show, a dear  pragmatic soul  once commented on fan reactions  pouring in after the cancellation of Season 1, “At the end of the day, it’s just a show and no one should love a show that much.” I saw her point but also tried to understand why we fall in love with certain stories, books, songs and get emotional about them. Maybe because we look for purity, conclusions, completions, inviolable emotions beyond the life that never answers all the questions, never clears away all the doubts. In an unpredictable world, we look for reassurance, we look for characters who are heroic in their messiness, who make us feel for them, who transport us to a different reality and uplift us. Certain episodes of Season 1 did all that and this season had its moments but there is something vitally missing in the present track. Something as old fashioned as well-intentioned integrity.
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Why else would the makers sideline the primary track for a “younger” cast that has no depth either of characterisation  or of talent? These are cardboard characters created to fill up the absence of real thought, invested ideas and soul. Yes, that indefinable thing that so overflowed out of Mohan Bhatnagar’s interactions with a single mother of two and her children, especially a little girl  who said more with one guileless smile than her older version can with a stream of cuss words and fake hysteria.
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When two actors give their all to a story that was tailored around them, how do they feel when not only the core integrity of their characters is compromised but  they are made peripheral to the scheme of things? Like I said before, who are the makers trying to please? Sure, there are moments that stop you in your tracks and make you remember why you loved  Season 1 so much. Like the gestured argument when Mohan and Megha part. Or the father and adopted daughter scenes. Or the scenes when Mohan bleeds pain and longing from his eyes when he sees his wife after 12 years. But I still do not get why the story had to become so convoluted.Why the old narrative could not be continued with closer to life conflicts?
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I do not know how long will I stick to a narrative that no longer strikes any chord though I wish the actors, the ones, we rooted for, find the respect they deserve if not here then in other workspaces. In the season of love, sad that one of the most transcendent love stories on TV has dwindled into a fleeting flashback. And has degenerated from emotion to sensation.
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 Reema Moudgil has been writing on art, theatre, cinema, music, gender issues, architecture and more in leading newspapers and magazines since 1994.  Her first novel Perfect Eight ((http://www.flipkart.com/perfect-eight-9380032870/p/itmdf87fpkhszfkb?pid=9789380032870&_l=A0vO9n9FWsBsMJKAKw47rw–&_r=dyRavyz2qKxOF7Yuc )won her an award from the Public Relations Council of India in association with Bangalore University. She also edited Chicken Soup for Indian Woman’s Soul and runs  unboxedwriters.com.  She has exhibited her paintings in Bangalore and New York,  taught media studies to post graduates and hosts a daily ghazal show Andaz-e-Bayan on Radio Falak (WorldSpace).