Posted:
Shruti, let's give credit where it's due. Channel decides promo, montage and precaps.
And tracks are pushed or vetoed by a channel and can continue at a loss for longer, so long as the channel is willing to take the financial brunt if the sponsors don't back it - and that is where the channel finally stopped short.
The promos for the heroine track all had RK bechara and how Madhu would save him. The track's main promo had 'Madhu the gem, Mehul the jauhri' and RK almost nonexistent in the promo. That was the channel's visualization for the track. But when it came to funding their vision, they have apparently proved unwilling to stake where sponsors were unwilling to support beyond minimum.
RK and Madhu on sets together with RK's actions/reaction prominent; RK filming alone on the set without Madhu; Madhu on outdoor locations for nivaarans and wifely coal-walk at the temple; RK and Madhu individually/together at the hospital and the police station - a variety of sets were available. What was not was scenes of Madhu alone without RK on the film-set or without his prominent reactions for costarring scenes with junior artists at the premier.
The main point of the paralysis was to start the solo-heroine-filming phase. But they ended up having to hurtle from a projected at least few shoots through 'weeks' to 'two days' to 'last shoot' able to do only one scene each week - first for RK reacting and leaving from Madhu's first scene after his role's termination, and second for the fire-stunt that was the film's last shoot and where RK heroically recovered from his paralysis and rescued his wife from being burnt.
Madhu walked out after miscarriage and tumultuous 'bad husband' scenes - for a stated brief visit to her mother's place which could then have been extended further -, but there was not even a brief separation possible.
For the channel which showed only RK's back for the main heroine-track promo to now put him at centre for the latest promo with no mention of his 'inexplicable' jealousy and insecurity, or his 'wife the heroine', or even 'the two superstars' - to mention nothing film- or heroine-related as promotion for the track - that marks a rather major track-shift.
Triangles don't work with this couple, but husband/wife obsessively reacting to the possibility of another person in the spouse's life works reasonably well as salvage.
If they try to backslide into characterization-butchering to ensure clunky plot -points, they may well have to choke on the TRP dividend.
Which is anyway likely to happen unless they restore RK's sense and the couple's focus on each other, instead of having them behave out of character simply so that sympathy might be garnered for yet another attempt at heroine-continuance with sponsors support.
An affair may make majority-audience not watch, but they have a far more consistent record for over a decade of not watching female lead's glamour career track as prioritized track.
And since the point of an affair or any other 'bad husband' gambits are - like the 'majboor husband' gambits - intended to get her majority-audience support for heroine-continuance, it may be safely predictable as backfiringly ineffective for its intent. It is not likely to get the needed majority-audience support for the wife who insisted on her husband taking a professionally detrimental course, then got him to step aside due to paralysis and showcase her as the mainstay in his first production, and ended up overshadowing him professionally at his expense in a film which in every drawback has ended up benefitting her, however unintentionally. The CVs have backfiringly ensured the conservative bulk of the mass-audience will be disinclined to support for Madhu's post-separation stardom even if RK has not only an affair but a multitude of other wrongs. So the pattern of every track's intended mass-reaction being contravened in intent and actual outcome remains depressingly steadfast.
On the upside, even in the episodes, they have finally halted the confusion runaround of Madhu firmly telling RK in privacy that she doesn't want to be heroine, but not sufficiently firmly stating this to anyone else. This time, Bittuji and RK both got to clearly hear her unwillingness to be further associated with her stardom.
So if Bittuji now persuades her to go and meet Steveji, Jackji or any other ji, RK will have leeway to rightly blame Bittuji rather than Madhu for stoking the mess as he should have the previous time as well.
And tracks are pushed or vetoed by a channel and can continue at a loss for longer, so long as the channel is willing to take the financial brunt if the sponsors don't back it - and that is where the channel finally stopped short.
The promos for the heroine track all had RK bechara and how Madhu would save him. The track's main promo had 'Madhu the gem, Mehul the jauhri' and RK almost nonexistent in the promo. That was the channel's visualization for the track. But when it came to funding their vision, they have apparently proved unwilling to stake where sponsors were unwilling to support beyond minimum.
RK and Madhu on sets together with RK's actions/reaction prominent; RK filming alone on the set without Madhu; Madhu on outdoor locations for nivaarans and wifely coal-walk at the temple; RK and Madhu individually/together at the hospital and the police station - a variety of sets were available. What was not was scenes of Madhu alone without RK on the film-set or without his prominent reactions for costarring scenes with junior artists at the premier.
The main point of the paralysis was to start the solo-heroine-filming phase. But they ended up having to hurtle from a projected at least few shoots through 'weeks' to 'two days' to 'last shoot' able to do only one scene each week - first for RK reacting and leaving from Madhu's first scene after his role's termination, and second for the fire-stunt that was the film's last shoot and where RK heroically recovered from his paralysis and rescued his wife from being burnt.
Madhu walked out after miscarriage and tumultuous 'bad husband' scenes - for a stated brief visit to her mother's place which could then have been extended further -, but there was not even a brief separation possible.
For the channel which showed only RK's back for the main heroine-track promo to now put him at centre for the latest promo with no mention of his 'inexplicable' jealousy and insecurity, or his 'wife the heroine', or even 'the two superstars' - to mention nothing film- or heroine-related as promotion for the track - that marks a rather major track-shift.
Triangles don't work with this couple, but husband/wife obsessively reacting to the possibility of another person in the spouse's life works reasonably well as salvage.
If they try to backslide into characterization-butchering to ensure clunky plot -points, they may well have to choke on the TRP dividend.
Which is anyway likely to happen unless they restore RK's sense and the couple's focus on each other, instead of having them behave out of character simply so that sympathy might be garnered for yet another attempt at heroine-continuance with sponsors support.
An affair may make majority-audience not watch, but they have a far more consistent record for over a decade of not watching female lead's glamour career track as prioritized track.
And since the point of an affair or any other 'bad husband' gambits are - like the 'majboor husband' gambits - intended to get her majority-audience support for heroine-continuance, it may be safely predictable as backfiringly ineffective for its intent. It is not likely to get the needed majority-audience support for the wife who insisted on her husband taking a professionally detrimental course, then got him to step aside due to paralysis and showcase her as the mainstay in his first production, and ended up overshadowing him professionally at his expense in a film which in every drawback has ended up benefitting her, however unintentionally. The CVs have backfiringly ensured the conservative bulk of the mass-audience will be disinclined to support for Madhu's post-separation stardom even if RK has not only an affair but a multitude of other wrongs. So the pattern of every track's intended mass-reaction being contravened in intent and actual outcome remains depressingly steadfast.
On the upside, even in the episodes, they have finally halted the confusion runaround of Madhu firmly telling RK in privacy that she doesn't want to be heroine, but not sufficiently firmly stating this to anyone else. This time, Bittuji and RK both got to clearly hear her unwillingness to be further associated with her stardom.
So if Bittuji now persuades her to go and meet Steveji, Jackji or any other ji, RK will have leeway to rightly blame Bittuji rather than Madhu for stoking the mess as he should have the previous time as well.
Mannat Har Khushi Paane Ki
Veer Hanuman
