Posted:
Shals, agreed. But MEIEJ has always been unique in that it has chosen to skip festivals if there's no time in the story to show it at length. Even Diwali was skipped last year.
But Lord Ganesh is the ishtadaiv of both Madhu and RK.
So to show Him being brought in for the festival and then just ignored right until the visarjan was senseless. Madhu went to pray pre-dawn at a deserted temple, took the little idol of Bappa to her workplace... and yet she, Radha and Pabho all ignored the fact there was no special worship for Bappa after He was brought in throughout the days of His festival?!
These are three women who decorate the whole downstairs main area for every special puja, and Bappa was brought in, ignored and then got visarjan?
Aru, Shalini, agreed.
CR, MM, Meenu, that slap followed by the manaaoing seen was totally a square peg in a round hole. Rishbala is the only thing in this series which has invariably brought in TRP-audience for tracks interesting to them, but in proportionately reduced numbers for tracks disinteresting to them. And the heroine track qualifies as assuredly disinteresting to majority-audience, which was why it needed to be marketed carefully.
If Madhu was to gain (even against her wishes) by becoming heroine, then RK should have been in character and in charge the way majority-audience prefers. Instead, with the ludicrous majbooris grounding, they have a track majority-audience has no interest in, and RK completely uncharacteristic in a way that's not really enthusing viewing. And Pabho's plotting reminding of the previous antagonist, who succeeded until almost the end by the same tactic of suddenly uncharacteristic idiotic and yielding leads. The writers have tried to have it both ways with all the focus in every angle on Madhu - she arranges the film's existence in a way which (unintentionally by Madhu and intentionally by the CVs) undercuts RK's position and worth at every point, first by getting the flop-director accepted in charge, then the film's loan is approved only when either a newcomer or the producer's non-actress wife is announced as the heroine, and then gets targetted at home in an atrocious manner.
I watch episodes just for the Rishbala scenes, and yet I could feel absolutely nothing during any of the Rishbala scenes in this episode except that the writers are thinking of the audience as fools to be led jumping through hoops.
When RK spoke up for Madhu against her wishes, it didn't show as capable and effective.
Rather, it just reminded of the time when he did *not* disregard her equally bad advice of letting the flop-director be completely in charge for a film that would exist only because of RK.
He was shown accepting Madhu's opinion then, when he would be the suffering in stature by accepting her naive opinion.
But when his accepting her naive opinion would get Madhu hurt, suddenly RK is - just for that point - the way he used to be before he was butchered first for the deceased character and then for this track.
RK who can deal with things should make an appearance only when it'll help Madhu, and everywhere else that his sudden idiocy is more convenient, he should remain conveniently an ineffective idiot?
That manaaoing scene would work only if the audience forgets just why Madhu has slapped him five times in the past, and those episodes were a million times better than the current ones. So forgetting those to feel anything for this is unlikely.
Slaps in this story are not in the same league a factor as in any other serials.
A real slap for a film-shot was a ridiculous reasoning for a scene where RK coaxes her.
It would have been more in character if he truly had been furious at her foolishness in accepting such an instruction from Mehul, and slapping RK without giving him any advance clarification.
And the crew had no worry that RK might react adversely to getting slapped for real by his wife? Are these guys actually in the film-industry or frauds? A real slap is given so rarely in any of the film-industries that those become anecdotes, usually of the unpleasantly humorous sort.
And what makes this even more shoddy clunky writing is that RK is still to the outside world exactly what he has always been. His mellowing is only with Madhu.
And his ego is paramount always. When he tones it down for Madhu, it is made obvious that it is an effort on his part.
Pabho is the only person that he interacts with almost entirely non-egotistically.
Radha has qualified on less than a handful of occasions, and has within those very interactions managed to do something or the other to disappoint her son's regard.
CR, when RK has no other options, he creates options. Only for the deceased character and now for this track has RK been rendered helplessly ineffective in the face of adverse situations.
RK can do exceptional plotting to get people to see things his way. And yet he's shown helpless, and the result of that helplessness is a film which seems not at all about him and all about Mehul's story and Madhu the new heroine. It's utterly shoddy writing.
Mehul is a flop-director who - even without being banned - was unwanted for 10 years.
He came goaded by Madhu, and this film with RK was his first chance to direct again and prove himself after a decade of a reputation as a failure. He might not have got another chance.
But because the plan was to sideline RK even before his intended downfall, RK was shown helpless while Madhu put together the crew and made RK submit to the flop-director's command, and Mehul suggested woman-centric story and first saw Madhu as potential heroine so that Madhu's first new heroine-entry promo had only her and Mehul (with RK almost invisible in that promo).
We have here a director who is either so stupid or so deliberately negligently selfabsorbedly malicious that he is making a film which - in its very non-RK-centric story - has ensured that RK has lost his battle with the producers to prove a film focussed on him can be a superhit even without their backing.
This film is worthless in every moment of its existence.
Madhu told Pabho - before it became a matter of RK's life in peril - that she would not keep anything from RK because their keeping things from each other always led to problems.
And she decided to slap him for real during a shot without clarifying it with him in advance?
Why? Because Mehul said so? The film is happening because of RK and her. Mehul can't cross them, especially on such a thing.
She could have refused to do the slap except in pretence, and just stuck to that.
There was no sane reason why - with the sort of resonant history slaps have had for this couple - Madhu would have ever agreed to such an utter stupidity.
She didn't even slap RK when she was trying to convince him she despised him and wanted divorce. And she did that now for a damn film-shot where she could have done a pretence-slap instead, regardless of the director's preference?😕
The most worrying part (it's worrying now, it was reassuring then) is what we had discussed in the previous tracks - that clunk even in massive amounts is acceptable only if the track is interesting to mass-audience. The problem now is that this track is just as disinteresting to mass-audience and needed to be packaged to keep the conservative audience supportive. Instead they are packaging depression and then carelessly slipping in stuff that needlessly erodes Madhu's image with the conservative mass-audience. The depressing manhoosiyat prophecy escalating to the rats-biting, and on the professional front the crew are behaving as if RK is a nobody and everyone is totally focussed on Madhu. Storywise, it's senseless.
Would we be excusing it as 'just for the film' if RK had slapped Madhu for real just for a film-shot, even if he had warned her in advance?🤢
And yet that would have been more acceptable to majority-audience than the wife slapping the husband for such an outrageously pointless reason. Whether he actually knew or not, she didn't think he knew.
It was a dratted film-shot. Her life or RK's life or the film's existence were not about to be obliterated if she gave a pretence-slap instead. There was no good reason for that appallingly unnecessary slap just for some senseless nokjhok.
We have been effectively stuck between a rock and a hard place - the Pabho track is depressing and packaged in a way not to the majority-audience's tastes, and the stardom track is also uninteresting to the majority-audience and needs packaging that would appeal to them. Hoping for a miracle now, and the CVs to write sensibly again as they have not in seven months so that Pabho is dispensed with and the stardom track is rendered interesting (which is going to need an end to the previous track's repeat of conveniently idiotically helpless male lead). If the RK-characterization-butchering continues for this track the way it did for the previous track, then Rishbala scenes may seem rather hurtfully empty and an inadequate sop.
But Lord Ganesh is the ishtadaiv of both Madhu and RK.
So to show Him being brought in for the festival and then just ignored right until the visarjan was senseless. Madhu went to pray pre-dawn at a deserted temple, took the little idol of Bappa to her workplace... and yet she, Radha and Pabho all ignored the fact there was no special worship for Bappa after He was brought in throughout the days of His festival?!
These are three women who decorate the whole downstairs main area for every special puja, and Bappa was brought in, ignored and then got visarjan?
Aru, Shalini, agreed.
CR, MM, Meenu, that slap followed by the manaaoing seen was totally a square peg in a round hole. Rishbala is the only thing in this series which has invariably brought in TRP-audience for tracks interesting to them, but in proportionately reduced numbers for tracks disinteresting to them. And the heroine track qualifies as assuredly disinteresting to majority-audience, which was why it needed to be marketed carefully.
If Madhu was to gain (even against her wishes) by becoming heroine, then RK should have been in character and in charge the way majority-audience prefers. Instead, with the ludicrous majbooris grounding, they have a track majority-audience has no interest in, and RK completely uncharacteristic in a way that's not really enthusing viewing. And Pabho's plotting reminding of the previous antagonist, who succeeded until almost the end by the same tactic of suddenly uncharacteristic idiotic and yielding leads. The writers have tried to have it both ways with all the focus in every angle on Madhu - she arranges the film's existence in a way which (unintentionally by Madhu and intentionally by the CVs) undercuts RK's position and worth at every point, first by getting the flop-director accepted in charge, then the film's loan is approved only when either a newcomer or the producer's non-actress wife is announced as the heroine, and then gets targetted at home in an atrocious manner.
I watch episodes just for the Rishbala scenes, and yet I could feel absolutely nothing during any of the Rishbala scenes in this episode except that the writers are thinking of the audience as fools to be led jumping through hoops.
When RK spoke up for Madhu against her wishes, it didn't show as capable and effective.
Rather, it just reminded of the time when he did *not* disregard her equally bad advice of letting the flop-director be completely in charge for a film that would exist only because of RK.
He was shown accepting Madhu's opinion then, when he would be the suffering in stature by accepting her naive opinion.
But when his accepting her naive opinion would get Madhu hurt, suddenly RK is - just for that point - the way he used to be before he was butchered first for the deceased character and then for this track.
RK who can deal with things should make an appearance only when it'll help Madhu, and everywhere else that his sudden idiocy is more convenient, he should remain conveniently an ineffective idiot?
That manaaoing scene would work only if the audience forgets just why Madhu has slapped him five times in the past, and those episodes were a million times better than the current ones. So forgetting those to feel anything for this is unlikely.
Slaps in this story are not in the same league a factor as in any other serials.
A real slap for a film-shot was a ridiculous reasoning for a scene where RK coaxes her.
It would have been more in character if he truly had been furious at her foolishness in accepting such an instruction from Mehul, and slapping RK without giving him any advance clarification.
And the crew had no worry that RK might react adversely to getting slapped for real by his wife? Are these guys actually in the film-industry or frauds? A real slap is given so rarely in any of the film-industries that those become anecdotes, usually of the unpleasantly humorous sort.
And what makes this even more shoddy clunky writing is that RK is still to the outside world exactly what he has always been. His mellowing is only with Madhu.
And his ego is paramount always. When he tones it down for Madhu, it is made obvious that it is an effort on his part.
Pabho is the only person that he interacts with almost entirely non-egotistically.
Radha has qualified on less than a handful of occasions, and has within those very interactions managed to do something or the other to disappoint her son's regard.
CR, when RK has no other options, he creates options. Only for the deceased character and now for this track has RK been rendered helplessly ineffective in the face of adverse situations.
RK can do exceptional plotting to get people to see things his way. And yet he's shown helpless, and the result of that helplessness is a film which seems not at all about him and all about Mehul's story and Madhu the new heroine. It's utterly shoddy writing.
Mehul is a flop-director who - even without being banned - was unwanted for 10 years.
He came goaded by Madhu, and this film with RK was his first chance to direct again and prove himself after a decade of a reputation as a failure. He might not have got another chance.
But because the plan was to sideline RK even before his intended downfall, RK was shown helpless while Madhu put together the crew and made RK submit to the flop-director's command, and Mehul suggested woman-centric story and first saw Madhu as potential heroine so that Madhu's first new heroine-entry promo had only her and Mehul (with RK almost invisible in that promo).
We have here a director who is either so stupid or so deliberately negligently selfabsorbedly malicious that he is making a film which - in its very non-RK-centric story - has ensured that RK has lost his battle with the producers to prove a film focussed on him can be a superhit even without their backing.
This film is worthless in every moment of its existence.
Madhu told Pabho - before it became a matter of RK's life in peril - that she would not keep anything from RK because their keeping things from each other always led to problems.
And she decided to slap him for real during a shot without clarifying it with him in advance?
Why? Because Mehul said so? The film is happening because of RK and her. Mehul can't cross them, especially on such a thing.
She could have refused to do the slap except in pretence, and just stuck to that.
There was no sane reason why - with the sort of resonant history slaps have had for this couple - Madhu would have ever agreed to such an utter stupidity.
She didn't even slap RK when she was trying to convince him she despised him and wanted divorce. And she did that now for a damn film-shot where she could have done a pretence-slap instead, regardless of the director's preference?😕
The most worrying part (it's worrying now, it was reassuring then) is what we had discussed in the previous tracks - that clunk even in massive amounts is acceptable only if the track is interesting to mass-audience. The problem now is that this track is just as disinteresting to mass-audience and needed to be packaged to keep the conservative audience supportive. Instead they are packaging depression and then carelessly slipping in stuff that needlessly erodes Madhu's image with the conservative mass-audience. The depressing manhoosiyat prophecy escalating to the rats-biting, and on the professional front the crew are behaving as if RK is a nobody and everyone is totally focussed on Madhu. Storywise, it's senseless.
Would we be excusing it as 'just for the film' if RK had slapped Madhu for real just for a film-shot, even if he had warned her in advance?🤢
And yet that would have been more acceptable to majority-audience than the wife slapping the husband for such an outrageously pointless reason. Whether he actually knew or not, she didn't think he knew.
It was a dratted film-shot. Her life or RK's life or the film's existence were not about to be obliterated if she gave a pretence-slap instead. There was no good reason for that appallingly unnecessary slap just for some senseless nokjhok.
We have been effectively stuck between a rock and a hard place - the Pabho track is depressing and packaged in a way not to the majority-audience's tastes, and the stardom track is also uninteresting to the majority-audience and needs packaging that would appeal to them. Hoping for a miracle now, and the CVs to write sensibly again as they have not in seven months so that Pabho is dispensed with and the stardom track is rendered interesting (which is going to need an end to the previous track's repeat of conveniently idiotically helpless male lead). If the RK-characterization-butchering continues for this track the way it did for the previous track, then Rishbala scenes may seem rather hurtfully empty and an inadequate sop.
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