While the story does involve debunking insulting narratives around an otherwise honest young girl, it’s not a stretch to wonder that it might also be perpetuating age-old stereotypes associated with the Anglo-Indian community that she’s from. There sure is a neat and noble message packed for its ending, but the series doesn’t do much to question existing narratives around the community as much as it feels sorry for general forthcoming ones. This is one intersection that the makers have missed out on in terms of their politics. They get a lot of other things right, like the portrayal of the extent to which mistrust from a parent can affect a child, and how religious terminology can be used to easily vilify children.
The final image of the story is that of Vivek expressing his want for another child, a girl, to protect her and provide her all the happiness in the very society that he has come to detest the ugliness of. It might seem honorable at first thought, but for having followed his harrowing journey through the investigation, I couldn’t shake off the feeling that his idea sounded like a coping mechanism more than a ray of hope. The ominous background score adds on to this feeling. It’s a slightly scary thought when you think of it. What could happen to a child born solely to be an agent of catharsis for someone’s disappointment with society?
While the social narrative that Vadhandhi is attempting to explore is admirable, I find it lacking in craft to root for any of it. The misdirection and withholding of information are too obvious to not be thrown off by. If you tend to be impressed solely by the smarts in a barrage of twists, this is for you, but for those seeking to root for emotions, this isn’t quite the place to be looking in.