I was so busy last few days because I was working on my thesis
WHY YRKKH IS THE CLASSIC SHOW INDIA HAS EVER PRODUCED
ACKNOWLEDGEMENT
Dedicated to my dear friends who have been the support group that loved the show and its characters with their whole heart. To you, bakwaspolice, Intoxicator, india_tv, austen-eliot, chaichaichai, aishapl013
CONTENTS
Chapter 1 - Why Yrkkh Is The Classic Show India Has Ever Produced - page 1
Chapter 2 - The Theory Of Toilet Paper; An Attempt At Derridean Deconstruction - Page 2
Chapter 3 - Surveillance and Punishment; A Foucauldian Analysis - Page 3
Chapter 4 - Aarohi; The Machiavellian Princess- Page 5
Chapter 5 - Gender Box and Performitivity; An In-depth Analysis of Gender Roles in YRKKH - Page 11
Chapter 6 - Theatrics And Dance With The Self; The Curtain Finally Fell Or Has it? - Page 16
Chapter 7 - Jadi Butiyan And Nature; A Study Of YRKKH Through An Environmental Lens - Page 19
Chapter 1
WHY YRKKH IS THE CLASSIC SHOW INDIA HAS EVER PRODUCED
It was by accident I came across this show after season 3 began with a new set of characters. I was attracted to it because of Harshad Chopda and expected the show to make some sense in the midst of hundreds of other cheesy over the top dramatic shows. I was in for a shock. The show turned out to be one of the best with deeper meanings and relevance for decolonisation, power relations and its engagement with masculine sensitivity.
Since some of us are so blinded by our education which is still influenced by our erstwhile colonial masters and western discourse of feminism, we failed to understand what it actually stood for. As Spivak pointed out, I tried to understand the show from an oriental perspective rather than through a western academic lens. Through out the discussion we always focused on Abhimanyu's actions. Isn't that our inherent bias? We knowingly did not give Akshara any agency when she is the subject. Why was her voice not important to us? Why didn't we give her the agency and responsibility for the miserable life she was leading and blamed it all on Abhimanyu? Is this our way of suppressing the subaltern voice? (Akshu is the subaltern here, in case you have a doubt)
Now, discussing about the power relations of the structure. The show clearly demonstrates the fate of the proletariat, waiting outside the Gopi mask festival for some grains which the bourgeois capitalist enterprises have kept away from them. Here they are still stuck in the false consciousness and have not developed to start the proletarian revolution as Marx would suggest. But how will they transform into a class for itself from the state of a class in itself? The answer is Akshara. Akshara is the organic intellectual that Gramsci talks about who will help the proletariat gain the true ideology to fight the cultural and structural hegemony of the bourgeois.
Engaging with masculine sensibility is where Abhimanyu comes in. He is not the toxic alpha male who we see in Indian movies and shows. He cries. The general masculine idea of "boys don't cry" and its shackles that trap men into channeling their emotions into aggressiveness in terms of violence against women and other genders have been shatterd by the show. Abhimanyu is the post modern man.
Right now, this is it. With the show going on if people would like to read I will write more chapters.
Current Affairs
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