Adamas Capitulo 1 Sub Español

Even as we buy into this charm, we have to, also, be extremely sceptical of it for anything that is designed to be relatable is designed to keep discomfort at bay. It will acknowledge feminism, casteism, and queerness but it won’t incorporate it, performing this knowledge as a distant, off-hand joke. One of the criticisms of Panchayat has been that despite being set in a village, it refuses to think of caste in any substantial way, despite the ubiquity of it. That its insistence on being kind is an active project of erasure.

Middle-class protagonist

Besides, there is an attempt in such shows to carve out a middle-class protagonist, even as data journalist Rukmini S notes, anyone in urban India who spends more than Rs.8,500 would be in the top 5 per cent of the country, and that the true middle class of India is actually the poor. The “middle class”, then, becomes a hazy category that one can easily latch onto to perform relative poverty, to project a monetary limitation as a virtue.

So, in a show like Cubicles you will have the protagonist complain about his salary—a complaint that yanks every viewer onto his side, for we all burn with the conviction that we should be paid more. We see his desperation before the salary is credited and the joy dripping from his face, after. The show will focus on how much money his bank account has before any injection of money—Rs.1,105.03—by training its camera on to the number, but the salary itself is never mentioned or shown, for that would suddenly create a chasm between a cubicle in Indore and a cubicle in Mumbai.

Shows such as Panchayat and Gullak attempt to carve out a middle-class protagonist.

Similarly, in Gullak, there is a long scene of the family in this fictitious small town trying to calculate how much money it would take to renovate their house—a constant companion for any house owner—and after a drawn-out exchange where they list the things they would need, they do the calculation, see the result, decide it is too expensive, and put a temporary shutter over the idea. These shows revel in universal ploys but are afraid that with specificity—how much money exactly is too much money for this family—it would cause a sudden rupture in its relationship with us.

It is in this context that Panchayat feels like a rip in the template, for in the second season the show refuses to be coy about itself, identifying its protagonist as someone who exists and flourishes despite the distance we may feel from him. His disappointing Rs.20,000- a-month job is constantly pitted against his aspirations—of earning at least a lakh a month. His friend who returns from the US is given a Rs.1.5-crore package. His heart rankles. He feels disgusted at his job, at where he is, yearning for more, tired of being short-changed by the winds of fate in a world like Panchayat, a world without villains in the conventional sense, a world where the worst thing to happen to someone is not violence, but grief and humiliation.

Prathyush Parasuraman is a writer and critic who writes across publications, both print and online. He also authors a newsletter on culture at prathyush.Substack.Com.

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