Posted:
With a story and a pairing of popularity enough even at its most adverse to ensure majority-audience interest to never really desert it totally and to check out the start of the next track despite so many consecutively disappointing tracks, one wonders if the CVs have some aversion to showing a track of the couple triumphal together and fighting external odds.
This has become in the last nine months a rather unique couple which invariably inadvertently strive to the detriment of their own wellbeing and/or conjugal bond, simply to ensure clunky forcefeeding of tracks that end up wrapping anyway after having damaged the couple selling-point a little worse.
One can resent the outrageously clunky deteriorating situation being portrayed in the story for the past weeks and counting, since it's consistently sure to backfire in expected mass-audience reaction in every dratted track and month.
Not even a second-tier star would be asked to act as photographer for a colleague's pics with fans, nor can any wife be understood for being utterly clueless and simply refusing to be photographed in the context. Madhu is not consistently acquiescently gracious, rather - at least in the past several months - uncharacteristically only where she should not be.
Neither Madhu nor RK have ever been as clueless about each other's failings and vulnerabilities as they have been portrayed for convenience of clunky successive tracks for so many months.
So there is the husband whose wife privately assures him but publicly shows constant signs of loving the attention (assuredly understandable if they simply have her acknowledge it outright rather than keep her on the fence in the hope that majority-audience will support the heroine career at some point), the wife who knows the husband's ego but is always - uncharacteristically in track after track - more understanding and supportive of other people's feelings until the husband finally explodes (at which point majority-audience supports him and not her), and circumstances that are so clunkily manufactured that they are not empathizable to get conservative majority-audience support in the direction intended by the CVs.
Going by the record of story-action and mass-audience's support-reaction, one may presume that if they decide to keep having the 'wife more popular' theme slammed to such clunkily ludicrous extent into the audience's face, with her consistently being scapegoated with speaking up only to his detriment or ineffective to his wellbeing, the disapproval or lack of understanding for the husband is going to be eroded exponentially in the conservative majority-audience, ensuring condoning for whatever actions and reactions of his might actually be intended to inspire majority-audience sympathy for the wife.
This is an audience that has been unamenable to every track for nine months now, and ensured track-closing not by protesting or complaining but by simply not watching when a track's developments are not to their taste. It is enough crores of people that their watching or not watching can keep or end a track. Their tastes are rather contrary to niche segments, and the CVs might be advised to at least now stop in their negativity stratagems at the outset rather than having to halt only after weeks of mass-audience reaction consistently being not what the CVs or the track can continue forward with.
After nine consecutive months of failed tracks, the CVs can't financially manage any separation with its incumbent extra expense of multiple sets and more supporting characters and extras for an angle that won't get them majority-audience interest.
If there is separation, it cannot involve RK and Madhu each standing in one indoor bedroom or living-room set and having alternating self-conversation scenes for the entire episodes.
Other actors are needed, as are multiple sets and at least one outdoor set depending on Madhu's post-separation residence.
The chawl is inadvisable because it would compulsively require at least a sparse sprinkling of extras any time she is not within the house.
Also, a rather major concern is what Madhu is to be shown doing beyond separation.
There was apparently no budget backing for any scenes that would not be of interest to majority-audience, which ensured that there was no scene actually showing her solo filming unless both of the couple were on the set with the greater scene focus on RK's reactions or heroism.
So any stardom furtherance beyond separation would presumably have to be in similar hearsay - is doing a film, has done a film, did a film.
The 'heroine' focus was whittled down beyond the CVs/channel's initial grand creative plans, indicating that they were willing to fly somewhat generously at sponsors expense but not take a loss themselves in expense for scenes and characters that would not be a draw for enough crores of majority-audience to make the scenes, track and used screentime hopeful of being commensurate with budget.
Outdoor scenes were backed for Pabho-Madhu nivaaran scenes. But while those scenes failed to get majority-audience who could then alongside carry the heroine track through, Pabho's major solo scenes with Madhu were scrapped and she was kept on as a screentime filler, whereas the 'amputee choreo' left with her promised role not turning out. Again, a decision on which of the two characters majority-audience would have more interest - or at least be less averse - to seeing associated scenes of.
A consistent point in every serial on every channel for over a decade is that majority-audience never sympathizes with heroine or model career for the female lead, even if she's doing it because there's literally a knife to the throat of each of all of her loved ones.
The great majbooris and suffering here are safely predictable as not even remotely sufficient to interest enough crores of mass-audience to get budgeting for track.
So the wife here will get no mass-sympathy for post-separation since any evidence of her stardom and popularity unexpectedly (shoddy writing by CVs left it expected and predictable weeks in advance to ensure majority-audience aversion) exceeding her husband's is a constant reminder that her husband's money and her own insistences ensured a film that did not fulfil the purpose for which it was intended, with both his wife and manager uncharacteristically shown conveniently not remembering the actual purpose for the film having been backfiringly disproven.
Dialogues specifically extolling a character or the character's good points or suffering are generally a failure in trying to steer mass-audience support, as proven in nine consecutive months. They do not support or sympathize according to CVs convenience of which character mass-support is needed for to ensure a track-continuance.
And while majority-audience has generally no qualms about female leads suffering and/or disrespected for months, that however unfairly does not hold true for male leads, even less so depending on the male lead's popularity. The manner of disrespect has to be modified with breaks in between, and other sundry such ploys to not chafe the largest and most sought segment of audience who have no problems with a woman either suffering or giving speeches, but expect her to not actually be participant or cordial spectator to her husband being disrespected.
Majority-audience's most effective weapon is simply not watching - for the next few days or the next few weeks. Either option is enough to ensure the track is modified weekly, and if that does not suffice to regain lapsed mass-viewership, then the track is scuttled.
The CVs repeatedly try stratagems that are guaranteed weeks in advance as sure of gaining no sympathetic increase in mass-viewership willing to watch the tracks in adequate numbers to permit those tracks to continue.
In the process, they show situations that uncharacteristic at the very base becoming exponentially worse, in the hope that it will get them support and budgeting for the next point.
When that doesn't happen, the track ends up having to do somersaults through the week so that it can be altered or wrapped the next week.
While they trundled ahead at speed like a juggernaut and kept ratcheting up the ludicrous majbooris to the point where RK would no longer be 'filming', they were brought up short at the point where any solo-heroine-filming scenes would have to budgeted by either the PH or the channel without backing from sponsors from a track that has over a decade of assurance of inadequate interest from majority-audience.
Again, for the convenient miscarriage ploy for separation, the husband who dreamt of having kids with his beloved wife became suddenly insistent on abortion, then changed his mind discomfitingly, then blamed the wife for killing the child when she had miscarriage, then almost slapped her.
All of those appalling stratagems gained them not even a day of separation, with Madhu having insisted on risking her unborn child in the fire-stunt rather than prioritizing its wellbeing over the film. (Yes, one may argue that her fire-stunt gave RK impetus to recover from paralysis. But by that parameter, everything RK has endured throughout this track has had only the CVs singular transparent aim of Madhu becoming heroine and gaining professional ascendancy over him at his expense.)
And the very extent of the idiotic majbooris having demonstrated the extent the story conveniently has RK suffer for his wife to thereby conveniently gain career, Madhu heading away from her husband immediately raises the spectre of her pursuing that gained career.
Not even after the unwedding was it affordable to keep this extremely popular couple - which sells the very series - apart for more than a few episodes.
So the need to have them in the same frame is even more so now, after months of viewership almost halved by tracks engineered contrary to mass-audience tastes.
But now, with the 'wife overshadowing husband' theme making their working together even more of an averse draw for majority-audience than the entire 'film' track just gotten through, their being seen in the same frame via shared work context is an option even less assuring of massive viewership than the prior 'filming' which even at its best did not gain even close to the required viewership for the track to continue.
So their working together is not an option for adequate shared screentime to sell the episodes and series.
Which leaves the option of their residentially cohabiting, which keeps the sets to minimum requirement and also the option of scenes not actually mentioning the 'wife overshadowing husband' point with the hope that the scenes might thereby motivate viewership for at least the angles that are not years of consistent disinterest to mass-audience.
A separation would be doable if it were to be minus any mention of Madhu as heroine, but rather as wife either pining or fighting for her conjugal relationship.
But 'suffering as wife, followed by separation, followed by heroine-continuance' is as transparently ineffective a gambit as the majbooris which led to the career-benefit of someone other than the majboor person.
Such a track can assuredly be tried if the CVs are willing to risk their own money on it.
Sponsors have been part of the channels workings from the get-go, even more so perhaps after globalization. That is a lot of years to have a reasonable comprehension of every channel's viewership-reach, and every track's expected crores of viewership being enough or not enough crores of people.
So if sponsors feel that a track has even the possibility of getting enough crores of viewership, they will reasonably generously back the track at least long enough to see if the possibility pans out.
On the other hand, if they decide not to back a track beyond minimum or at all from the very outset, that is an assurance to the CVs/channel that such a track is unlikely to recoup its screentime's financial value, and if they decide to stake their own money on it without sponsors backing, they are somewhat sure to choke on the financial demerit.
It is finally always the CVs/channel's call whether they are willing to bear the financial brunt for their own ideas, if sponsors are not willing to endure the loss for their creative splurging.
This has become in the last nine months a rather unique couple which invariably inadvertently strive to the detriment of their own wellbeing and/or conjugal bond, simply to ensure clunky forcefeeding of tracks that end up wrapping anyway after having damaged the couple selling-point a little worse.
One can resent the outrageously clunky deteriorating situation being portrayed in the story for the past weeks and counting, since it's consistently sure to backfire in expected mass-audience reaction in every dratted track and month.
Not even a second-tier star would be asked to act as photographer for a colleague's pics with fans, nor can any wife be understood for being utterly clueless and simply refusing to be photographed in the context. Madhu is not consistently acquiescently gracious, rather - at least in the past several months - uncharacteristically only where she should not be.
Neither Madhu nor RK have ever been as clueless about each other's failings and vulnerabilities as they have been portrayed for convenience of clunky successive tracks for so many months.
So there is the husband whose wife privately assures him but publicly shows constant signs of loving the attention (assuredly understandable if they simply have her acknowledge it outright rather than keep her on the fence in the hope that majority-audience will support the heroine career at some point), the wife who knows the husband's ego but is always - uncharacteristically in track after track - more understanding and supportive of other people's feelings until the husband finally explodes (at which point majority-audience supports him and not her), and circumstances that are so clunkily manufactured that they are not empathizable to get conservative majority-audience support in the direction intended by the CVs.
Going by the record of story-action and mass-audience's support-reaction, one may presume that if they decide to keep having the 'wife more popular' theme slammed to such clunkily ludicrous extent into the audience's face, with her consistently being scapegoated with speaking up only to his detriment or ineffective to his wellbeing, the disapproval or lack of understanding for the husband is going to be eroded exponentially in the conservative majority-audience, ensuring condoning for whatever actions and reactions of his might actually be intended to inspire majority-audience sympathy for the wife.
This is an audience that has been unamenable to every track for nine months now, and ensured track-closing not by protesting or complaining but by simply not watching when a track's developments are not to their taste. It is enough crores of people that their watching or not watching can keep or end a track. Their tastes are rather contrary to niche segments, and the CVs might be advised to at least now stop in their negativity stratagems at the outset rather than having to halt only after weeks of mass-audience reaction consistently being not what the CVs or the track can continue forward with.
After nine consecutive months of failed tracks, the CVs can't financially manage any separation with its incumbent extra expense of multiple sets and more supporting characters and extras for an angle that won't get them majority-audience interest.
If there is separation, it cannot involve RK and Madhu each standing in one indoor bedroom or living-room set and having alternating self-conversation scenes for the entire episodes.
Other actors are needed, as are multiple sets and at least one outdoor set depending on Madhu's post-separation residence.
The chawl is inadvisable because it would compulsively require at least a sparse sprinkling of extras any time she is not within the house.
Also, a rather major concern is what Madhu is to be shown doing beyond separation.
There was apparently no budget backing for any scenes that would not be of interest to majority-audience, which ensured that there was no scene actually showing her solo filming unless both of the couple were on the set with the greater scene focus on RK's reactions or heroism.
So any stardom furtherance beyond separation would presumably have to be in similar hearsay - is doing a film, has done a film, did a film.
The 'heroine' focus was whittled down beyond the CVs/channel's initial grand creative plans, indicating that they were willing to fly somewhat generously at sponsors expense but not take a loss themselves in expense for scenes and characters that would not be a draw for enough crores of majority-audience to make the scenes, track and used screentime hopeful of being commensurate with budget.
Outdoor scenes were backed for Pabho-Madhu nivaaran scenes. But while those scenes failed to get majority-audience who could then alongside carry the heroine track through, Pabho's major solo scenes with Madhu were scrapped and she was kept on as a screentime filler, whereas the 'amputee choreo' left with her promised role not turning out. Again, a decision on which of the two characters majority-audience would have more interest - or at least be less averse - to seeing associated scenes of.
A consistent point in every serial on every channel for over a decade is that majority-audience never sympathizes with heroine or model career for the female lead, even if she's doing it because there's literally a knife to the throat of each of all of her loved ones.
The great majbooris and suffering here are safely predictable as not even remotely sufficient to interest enough crores of mass-audience to get budgeting for track.
So the wife here will get no mass-sympathy for post-separation since any evidence of her stardom and popularity unexpectedly (shoddy writing by CVs left it expected and predictable weeks in advance to ensure majority-audience aversion) exceeding her husband's is a constant reminder that her husband's money and her own insistences ensured a film that did not fulfil the purpose for which it was intended, with both his wife and manager uncharacteristically shown conveniently not remembering the actual purpose for the film having been backfiringly disproven.
Dialogues specifically extolling a character or the character's good points or suffering are generally a failure in trying to steer mass-audience support, as proven in nine consecutive months. They do not support or sympathize according to CVs convenience of which character mass-support is needed for to ensure a track-continuance.
And while majority-audience has generally no qualms about female leads suffering and/or disrespected for months, that however unfairly does not hold true for male leads, even less so depending on the male lead's popularity. The manner of disrespect has to be modified with breaks in between, and other sundry such ploys to not chafe the largest and most sought segment of audience who have no problems with a woman either suffering or giving speeches, but expect her to not actually be participant or cordial spectator to her husband being disrespected.
Majority-audience's most effective weapon is simply not watching - for the next few days or the next few weeks. Either option is enough to ensure the track is modified weekly, and if that does not suffice to regain lapsed mass-viewership, then the track is scuttled.
The CVs repeatedly try stratagems that are guaranteed weeks in advance as sure of gaining no sympathetic increase in mass-viewership willing to watch the tracks in adequate numbers to permit those tracks to continue.
In the process, they show situations that uncharacteristic at the very base becoming exponentially worse, in the hope that it will get them support and budgeting for the next point.
When that doesn't happen, the track ends up having to do somersaults through the week so that it can be altered or wrapped the next week.
While they trundled ahead at speed like a juggernaut and kept ratcheting up the ludicrous majbooris to the point where RK would no longer be 'filming', they were brought up short at the point where any solo-heroine-filming scenes would have to budgeted by either the PH or the channel without backing from sponsors from a track that has over a decade of assurance of inadequate interest from majority-audience.
Again, for the convenient miscarriage ploy for separation, the husband who dreamt of having kids with his beloved wife became suddenly insistent on abortion, then changed his mind discomfitingly, then blamed the wife for killing the child when she had miscarriage, then almost slapped her.
All of those appalling stratagems gained them not even a day of separation, with Madhu having insisted on risking her unborn child in the fire-stunt rather than prioritizing its wellbeing over the film. (Yes, one may argue that her fire-stunt gave RK impetus to recover from paralysis. But by that parameter, everything RK has endured throughout this track has had only the CVs singular transparent aim of Madhu becoming heroine and gaining professional ascendancy over him at his expense.)
And the very extent of the idiotic majbooris having demonstrated the extent the story conveniently has RK suffer for his wife to thereby conveniently gain career, Madhu heading away from her husband immediately raises the spectre of her pursuing that gained career.
Not even after the unwedding was it affordable to keep this extremely popular couple - which sells the very series - apart for more than a few episodes.
So the need to have them in the same frame is even more so now, after months of viewership almost halved by tracks engineered contrary to mass-audience tastes.
But now, with the 'wife overshadowing husband' theme making their working together even more of an averse draw for majority-audience than the entire 'film' track just gotten through, their being seen in the same frame via shared work context is an option even less assuring of massive viewership than the prior 'filming' which even at its best did not gain even close to the required viewership for the track to continue.
So their working together is not an option for adequate shared screentime to sell the episodes and series.
Which leaves the option of their residentially cohabiting, which keeps the sets to minimum requirement and also the option of scenes not actually mentioning the 'wife overshadowing husband' point with the hope that the scenes might thereby motivate viewership for at least the angles that are not years of consistent disinterest to mass-audience.
A separation would be doable if it were to be minus any mention of Madhu as heroine, but rather as wife either pining or fighting for her conjugal relationship.
But 'suffering as wife, followed by separation, followed by heroine-continuance' is as transparently ineffective a gambit as the majbooris which led to the career-benefit of someone other than the majboor person.
Such a track can assuredly be tried if the CVs are willing to risk their own money on it.
Sponsors have been part of the channels workings from the get-go, even more so perhaps after globalization. That is a lot of years to have a reasonable comprehension of every channel's viewership-reach, and every track's expected crores of viewership being enough or not enough crores of people.
So if sponsors feel that a track has even the possibility of getting enough crores of viewership, they will reasonably generously back the track at least long enough to see if the possibility pans out.
On the other hand, if they decide not to back a track beyond minimum or at all from the very outset, that is an assurance to the CVs/channel that such a track is unlikely to recoup its screentime's financial value, and if they decide to stake their own money on it without sponsors backing, they are somewhat sure to choke on the financial demerit.
It is finally always the CVs/channel's call whether they are willing to bear the financial brunt for their own ideas, if sponsors are not willing to endure the loss for their creative splurging.
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