![]() ![]() ![]() Mithila, with its earthy and feminine tones, conceptualized itself as a city of the moon, rich in knowledge and spiritual pursuits. The huge production value helped in setting the tone of the epic immediately: Ayodhya, creatively themed as a masculine Sun City, boasted of material riches beyond imagination. When the show first aired, it brought a rare grandiose to Indian TV screens. This was a promise of treading into dangerous waters, focusing on an “imperfect” aspect of a perfect God. Siya Ke Ram- the name in itself, held a scintillating promise to explore the troubled waters of Ram’s marriage to Mithila’s Sita, a match so unfortunate, that the particular “lagn” of their marriage is still considered inauspicious in contemporary times. ![]() By re-igniting the age old debate surrounding Ram’s credentials as a husband, the show has attempted to disrupt the traditional narrative of Sita, who has served as a model for patriarchy for thousands of years. In the episode that aired on 25th October, Lord Ram, who has carried the ‘Maryada Purushottam” epithet since time immemorial, was reprimanded by his wife Sita in no uncertain terms. The TV show Siya Ke Ram on Star Plus, inching towards a sombre closure, delivered a strong statement last week. ![]()
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