What do you wish to see in an ITV

What are the things which you want to see in ITV

• A female lead who is not sarvagun sampanna bahu
• A male lead who is actually not another 'angry young man'
• Dating before marriage between couples
• A love story which starts normally 'strangers-> acquaintance ->friends->lovers->marriage' and not the 'enimies-turned-lovers' or 'love-at-first-sight'
• A FL who is not going to solve every single family members problem.
• FL wearing casual t shirt and jeans after marriage
• A normal relation between M-I-L and D-I-L
• Have relatable problems like work-life balance, financial stability, mid-life crisis, home loan, EMI, school admissions, etc.
• ML to not be super rich and not have a dysfunctional joint family.
• A FL who is not a good cook (Yes, point 1 covers this but still.. all the FL no matter how much of a modern woman they are, they can cook like Master chefs)
• While we are still talking about kitchen, all woman to tie hair in the kitchen while cooking.
• If you don't want all the dadajis and sasurjis to talk between the "fight", then don't make them mute spectators. Take them out of the picture completely. Give them reason to be out. Send them to office.
• The FL and ML consummate their relationship in a 'normal' room(preferably their bedroom) under 'normal' circumstances. Not every single married couple get stuck in heavy rain with a car which conveniently would not run only for them to take refuge in some random 'chopda(hut)' and get in the 'mood'.
• A holi celebration without "bang ki goli"

I am sure there are many more.. Let's discuss

I mostly watch Marathi daily dramas, so I've seen some of the diversity that you would like.

On Hoṇāra Sūna Mī Hyā Gharacī, Nāndā Saukhya Bhare, and Tujhyāta Jīva Raṅgalā, the male leads were all mild-mannered gentlemen. The lead couples on all of these shows progressed from strangers to acquaintances to friends to romantic interests (although Indraneel on Nāndā Saukhya Bhare was flirting at first sight), and they had pre-planned one-on-one social time ("dates," if you will) before marriage. Even the wrestler who clung to his celibacy took his lady friend out in the middle of the night to watch fireflies, and when some louts harassed his wife, he reasoned with them before beating them up.

On Jīva Zhālā Yeḍāpisā, the male lead Shiva was an angry young man, but also a proficient cook, while the female lead Siddhi was incompetent in the kitchen. Shiva made pohe at the request of his college-age sister who didn't know how. When Siddhi had to cook for the family unexpectedly, Shiva taught her to make capātī. Later, Shiva cooked a full dinner for Siddhi and her mother.

On Nāndā Saukhya Bhare, hair was tied in the kitchen! A lock of Svanandi's hair came loose while she was rolling dough, and Indraneel had to tuck it into place for her.

On Sundarā Manāmadhe Bharalī, which I currently watch, Abhimanyu has a mortgage, which his wife Latika had to cover when his boss wasn't paying him.

Latika's mother-in-law Indumati was supportive of her almost all the time. Indumati always wanted Latika for her daughter-in-law, ever since Latika was a child. When Hema complained that she had to do housework while Latika was at her job, Indumati asked, "Don't I share the housework?" Indumati was proud of Latika's modelling shoot and self-defense training. When Latika helped Abhimanyu to run away from the hospital, Indumati slapped her and got scolded by Latika's father. Much later, when Latika's father took her home because he thought Abhimanyu didn't want her, Indumati was ready to apologize publicly and kept pleading for Latika's honourable return. Only after Latika sent a divorce notice to Abhimanyu, wanting to be just friends because he didn't fit her ideal of a husband, when Abhimanyu's father had a heart attack while Hema was ranting about it, Indumati gave Latika an ultimatum that she could set foot in the house as Abhimanyu's wife, or not at all.

On Hoṇāra Sūna Mī Hyā Gharacī, Shree was raised by six women, and so there were no mute men to watch the conflict. Jahnavi's father and step-mother did more fighting. On Tujhyāta Jīva Raṅgalā, Anjali's father-in-law was often absent doing his job as Education Minister, and I suspect that the fighting between Anjali's father and mother was foreplay. On Nāndā Saukhya Bhare and Sundarā Manāmadhe Bharalī, the fathers get into fights at least as much as the mothers.

Consummation is typically not shown on these shows. Jahnavi used to meet Shree in his hotel room secretly, and he left marks. Indraneel and Svanandi left their bedroom time to our imagination. Anjali convinced Ranavijay to share a bed so that they could "grow closer" over time, and we never knew more. Shiva and Siddhi got all of their friends involved in their first night, which blurred discreetly as she rolled on top of him. In a later scene, they got into bed together eagerly. Latika and Abhimanyu tried to kiss in their bedroom a few times, and finally we saw her smiling as she watered plants in the morning.

Let me add a few too.

1. Working females actually going to work. Some shows have working females who never go to work
2. Male members of the family doing household works and don't term it as "help"
3. People falling ill realistically.
4. Extension to previous point, showing diseases like cancer realistically. Cancer treatment literally takes at latest a couple of years but on TV it is cured with only one operation without any side effects.
5. Children/teens actually studying. They show kids topping their class even after getting involved with 100s celebration and stressful situations.
6. Having guests staying over for months altogether. While the situation is not exactly false, certain people do visit and stay over known people, treating them as free hotels, they usually don't last long, few weeks at the most. Only long term guests are young adults who are studying and can't afford separate accomodation, they too move out after completing their studies.

This is a never ending list, I will leave the list here so others can add too.

I didn't understand your number 6. Do you want to see shorter visits, or months-long visits?

About your number 1: On Hoṇāra Sūna Mī Hyā Gharacī, the female lead was always at work at the bank. On Sundarā Manāmadhe Bharalī, the female lead also works at a bank regularly. On Nāndā Saukhya Bhare, at first, the female lead was shown teaching mathematics, and later we were told that she was going to work or coming home from work, but we didn't see her at work. On Tujhyāta Jīva Raṅgalā, the female lead was a schoolteacher, she was often seen in the classroom or at school events, and two of her colleagues and several of her students were supporting characters.

Bringing in your number 5: On Jīva Zhālā Yeḍāpisā, the female lead loved languages and won first place in a French exam (despite finding out the night before that her husband regretted almost kissing her because their marriage was nothing but politics for him), but she never got a job until she won an election in the final episode. The male lead ran a hotel, but he was never seen going to work.

About your number 3: It's borderline offensive to me when TV characters are hospitalized and they are full of energy, playing tricks to get out. Example: Raghav on Mehandī Hai Racanevālī needed four units of blood, but he found time to convince the doctor to play an amnesia trick on his wife. Sharada was paralyzed and just lay in bed without any therapy until she managed to roll and drag herself across the floor to throw a vase. Even worse, Pallavi was shot and bleeding out in the rain, and yet Raghav drove her home - not to a hospital - without applying pressure to the wound, and all of the equipment required for critical care was set up at home within fifteen minutes!

Originally posted by: BrhannadaArmour

I didn't understand your number 6. Do you want to see shorter visits, or months-long visits?

About your number 1: On Hoṇāra Sūna Mī Hyā Gharacī, the female lead was always at work at the bank. On Sundarā Manāmadhe Bharalī, the female lead also works at a bank regularly. On Nāndā Saukhya Bhare, at first, the female lead was shown teaching mathematics, and later we were told that she was going to work or coming home from work, but we didn't see her at work. On Tujhyāta Jīva Raṅgalā, the female lead was a schoolteacher, she was often seen in the classroom or at school events, and two of her colleagues and several of her students were supporting characters.

Bringing in your number 5: On Jīva Zhālā Yeḍāpisā, the female lead loved languages and won first place in a French exam (despite finding out the night before that her husband regretted almost kissing her because their marriage was nothing but politics for him), but she never got a job until she won an election in the final episode. The male lead ran a hotel, but he was never seen going to work.

About your number 3: It's borderline offensive to me when TV characters are hospitalized and they are full of energy, playing tricks to get out. Example: Raghav on Mehandī Hai Racanevālī needed four units of blood, but he found time to convince the doctor to play an amnesia trick on his wife. Sharada was paralyzed and just lay in bed without any therapy until she managed to roll and drag herself across the floor to throw a vase. Even worse, Pallavi was shot and bleeding out in the rain, and yet Raghav drove her home - not to a hospital - without applying pressure to the wound, and all of the equipment required for critical care was set up at home within fifteen minutes!

On number 6, I mean that the guests should leave after their work is done. On ITV they keep sticking around and adding complications to leads life.

1. Do not celebrate every single festival

2. Do not show rich, educated working women as snob, ill mannered

3. For a change show a rich FL and a middle class ML

4. No more forced marriages

5. No more flying sindoor

6. Not fully clothed in morning after consummation 😂

I would like to start by saying Indian Tv has a lot of talent and would go global if we had better stories that were not so volatile to trp or channel's demands.

the story should be realistic

no unnecessary dragging

no forced marriages

there should be grey characters not villains, most people are not completely bad in real life

the story should have a beginning, middle and end not drag unnecessarily

they can wear what they want not heavy decked Indian clothes

I want to see Indian tv shows based on novels, novellas and short stories. There are many engaging books and they are written by Indian authors. I don't want to see dramatic effects and cliche scenes. Loud background music shouldn't be used in the shows. A thriller should really need to be thrilling and a supernatural drama should show good VFX. I also want to watch unconventional love stories. Most of shows need to consist of maximum 30 episodes (40 or 45 minutes long episode). I prefer watching short and interesting shows.

Replies in green.

MOTHERHOOD wrote:

1. Do not celebrate every single festival

And when a festival is celebrated, show it as a quiet family gathering, not with professional dancers, someone being murdered, marriage breakup being announced to the whole town etc.

2. Do not show rich, educated working women as snob, ill mannered

Some Marathi shows portray rich husbands and mothers-in-law saying that you can't do any housework, you should go out for nothing but beauty parlour, shopping, and parties! Even if the mother-in-law is active in charity work, no one talks about getting the daughter-in-law involved. Who knows what the writers have against rich people! It's boring and distasteful to watch.

Ill-mannered snobs exist in all socioeconomic classes and can be written for drama, but whatever personalities the writers give to their characters should make sense. On Hoṇāra Sūna Mī Hyā Gharacī, the character of Kala was lower-middle-class with a seventh-class education, and still snobbish towards her daughter-in-law on account of dialect and housekeeping. Kala was greedy, a mean stepmother and a mercurial mother, treacherous, querulously lazy, a vindictive neighbour, abrasively loud ... and yet I always felt sorry for her while she was making trouble, because life had disappointed her, she was rebelling, and the tiny victories that she thought would make her happy were just out of her reach. Asha Shelar portrayed the character brilliantly.

On Nāndā Saukhya Bhare, Lalita was a snobbish and privately ill-mannered character who was no longer rich but pretended to be. She wasn't a stereotype of rich women. She was a comedic villain and occasionally we got hints that she came from a social climber family.

On Tujhyāta Jīva Raṅgalā, the rich spoiled brat character of Nandita bragged from day one about her father the MLA and what he could do for her. When her father finally appeared on the show, we found out that he couldn't stand her.

On Jīva Zhālā Yeḍāpisā, the character of Mangal was semi-literate and gauche, and still snobbish towards her post-graduate linguist daughter-in-law and her parents. Mangal came from poverty and would have stayed there if her son hadn't won favour with a politician and made some money. Her bad manners and snobbery came from resentment that her son had been forced to marry a woman who wanted to harm him.

3. For a change show a rich FL and a middle class ML

Yes, let's see a middle-class male lead adjusting to a partner who is used to more! Can it be done without assuming that a good girl wants nothing more than what her husband has, and taking help from her parents makes her a bad girl? Let's see uxorilocal marriages, young couples living apart from their families, long-distance marriages ...

Realistic leads, first!!!

Not a female lead who can never go wrong. Who doesn't like to be a mahaan and does not consider her life's entire purpose is to solve everyone's problems around her.

A nice, kind, realistic male lead for a change, who is far from being an angry man, who is kind, and someone respects everyone around him, especially his wife, girlfriend and gets respected back similarly.

Parents who raise kids normally. Mother and father characters who never slap their kids. A normal family with maximum four or five members, no extended family like kaka kaki, Maama maami, Bua Fufa, Daada dhaadi, sometimes Naana and Naanis.

Show regular issues between leads and not a necessary love triangle. Definitely never bring a vamp between the leads to separate them even after they get married.

Show a normal life of people in regular clothes with minimal jewelry. Like earrings and chain maybe.

Show Rich people also being normal and not with super peculiar attitudes. Rich people don't always have umpteen maids and drivers. Even if they did they definitely can't be that thick or arrogant who can not even remember their driver's or Servant's names,(Refer BALH2 Ram Kapoor and his family, this is simply outrageous🤬).

Show normal weddings that gets over within one or two days. Definitely no bride swap, Groom swap nonsense. 🤬 Have their faces open for godsakes and get them married knowingly.

Next, Show a normal family life where a married couple consummate their marriage sooner, and not take years. Want the leads to have normal pregnancy, not surrogacy. Want their babies to stay with them from the start. No baby kidnapping or baby swapping nonsense.

Above all, show in law's having regular relationship. No Patriarch or Matriarch authority who rules over a family like a Monarch would rule over an empire like historical era.

Show kids being raised normally. And not too much talkative behaving way above their age or a very dull silent kid who suffers from some depression.

The list can go on and on. But wrote as much as I could come up with at the moment.