Okay. So this is my first post on the main forum in literally months that is not a story. And I'm going to start off with a demand. I am going to ask that we all stop assuming CVs hate characters they've spent 2.5 years creating. I'm going to ask that we assume Gul knows that they have three audiences. One is the TRP ladies, counting how many tolas of gold Pinky wears as she gives Anika hell. But there are two secondary audiences. Us, the rabid fans, sure. But please don't forget-- there is an international audience, LATER.
IPKKND, Geet, Ek Hazar and Rangrasiya are top shows that have found huge overseas audiences. Dubbed in local languages, after their full run in India. Good plot/writing is there, so these are telecast in countries as far flung as Poland and Palestine. In Arabic, Afrikaan, Dutch, you name it. This secondary market for Gul's shows is ten times more profitable than SP. The catch is, the full story of the serial is known to these new audiences, before they are telecast. A story that is rubbish would not get leased. And Gul ..she is one of the first Indian serial makers to lease out her stories in dubbed forms. Giving Ishqbaaz a disjointed storyline that's laughable will affect sales. An example--- Humsafars does not have an international market at all, and Qubool Hai runs just its first 3 seasons overseas (before the idiotic witch/vampire crap.)
What I'm taking like, 200 words to say is-- the ML and the Farak theme is not lazy writing. Not yet. It cannot be Shivika are giving these intense, angtsty performances because the NafratBaazes MIGHT be watching like bats hanging on a tree. That would make our ML/FL nuts. Literally. Needs treatment, over-hysterical sufferers of some disorder. Crazies who say/do intense stuff to each other for no reason level nuts. No, right?
But then why this level of pain, of loss? For weeks, we have worried about these two. With both knowing the memory loss is a lie, Tia is being played, the farak dialogue, their longing, the intensity of their pain don't make sense. They are not yanking our chain here for TRP bait. SHIVAAY is worried about these two. Every action speaks to his fear-- his desperate holding of her, his tears, his rage, his rejection of her thanks. He tried to leave with her at one point, giving her amnesia as an excuse to just walk away from it all. The only way that makes sense is if he was afraid of losing her, if they stayed. Literally. And, in a weak moment, he decided.. hell with it... and tried to RUN. And don't forget. A woman who has never betrayed her man-- she betrayed him on this. Brought him back to their main plan, accelerated it, with the wedding. And his escape was lost. The Tia wedding was never his plan, it was hers.
Anika right now has a frozen face in every intimate scene. Stoic acceptance of pain, of Pinky's insults, of Shivaay being lost, already. Her stiff, almost robotic shutting down, her words to Dadi, to him--all say she's ALREADY lost him. That she is barely holding on, until she can run..alone.
And this is our SSO-- a man who is losing it. Who's frenzied need to make her react to him, to cry, to scream ..anything... is as obvious as his pain, his desperation. Those actions MEAN something more than TRP bait. And ladies-- it means they are communicating in code. She is telling him, she is still leaving, no matter what, once the plan is done. And he is losing his mind, unable to stop it.
What is going on here, is a play within a play. Someone on the CV list has studied Shakespeare, because this is "Doubling." A writing technique that the Bard perfected in like, 1603, when he used this in Hamlet. The idea is-- the principal players of the play (the leads) are actually acting twice--once for you, the audience. And again, for themselves. There is "a play within a play." Where the performers are doing one thing on the surface, but their dialogues / actions are actually for both the play, and for each other.
Code.
That secret level stuff makes sense only after the climax scene, where these hidden motives, hidden meanings of the main actors emerge. And there is a SECONDARY reveal. The first layer of action/dialogue of the main play is enough for the TRP audience, who get their answers (TIA BAD! SHIVAAY GENIUS! BABY GOT CORRECT WALA DADDY!) and change the channel. And the real audience (US) go AHHH!!!!! and re-watch obsessively, to see the clues we missed. And there are clues, by God.
Here is my proof. Go back to any Shivika scene since the ShiTia Wedding portion. Feb 14th onwards. See JUST the Shivika scenes. Load em up, and watch, one after the other. And hear what they are saying to each other. In every scene, public or private. There is double meaning in every line. A meaning that only makes sense if she is offering goodbyes, and he is rejecting it. She wants to leave on good terms. He wants her to HURT. To break, like he's breaking. See the scenes for yourself, because, not ONCE did I find anything to contradict my theory.
I would say, this happened a while ago-- when he went to find her with Rudra, after the Hospital scene. She refused to come back due to Pinky, and next scene---she's home. What we didn't see (but should) is-- she has come back, to do the ML, spy on Tia, all of it. On one condition. She will help him, this final time, and leave. And this time, he won't stop her, he will let her walk away. And he? This is why Shivaay is breaking apart, trying so desperately to force her now. Because he knows, he's let the unthinkable happen. He's already said... Okay.
Anupamaa
Health and Fitness
