A Knight of the Seven Kingdoms: a Cinderella Story

The Game of Thrones was a grand epic.

The House of the Dragon is promising to be another marvellous saga.

But this might just be the fairy tale that touches the heart with the simplicity that the soul always yearns for. In the world of fantasy, where magic and monsters prevail, the story of a simple aspirant is quite a welcome break.

A squire to a dead knight finds himself stranded with the sword of the deceased, three horses and a very uncertain future. Harbouring his cherished ambition of becoming a knight one day, Dunk, the squire, heads for a joust competition that will be hosting participating knights from near and far. But here he faces a tough challenge even before a game begins. The tournament was for knights only and Dunk was not a knight, let alone a famous one. He fabricated a claim of being a knight. But as this was not enough, he needed other knights of note to vouch for him.

Driven by hope but not so by despair, thus begins his interesting journey through the ranks of nobility, inside the tents of the lords and the commoner, traversing randomly, through the varied layers of the society, a queer journey that changed his life forever.

He is joined by the inconspicuous Egg, a lad of tender age, a character with a hint of mystery but a wish of squiring the knight in Dunk, a wish that he sticks to stubbornly, if not as a mule, at least as stubbornly as Dunk wished to be the knight of his dream.

Set about a century before the events of GoT, the story is of dreams to be conquered, friendships that are waged and courage against unforeseen odds.

Peter Claffey and Dexter Sol Ansell teams up as the most unlikely partners, Dunk and Egg respectively, in their quest for adventure, driven by passion and fuelled by hope. Created by Ira Parker and George R R Martin, the refreshing pilot season of the series is a celebration of life amid betrayals and tragic twists, which are, but orders of any day at all ages.

MobLand Melee

Fabulous, terrifying, dark and gripping!

A tale of epic madness!

A brutal saga of blood and gore!

A platter worth of guilty pleasure!

As the child of a mob lord goes missing, tension rises between two crime families and a war is imminent. Any chance of peace is thwarted by the steady undercurrent of enmity that reigns supreme between the rival parties. The inherent craze for the ultimate control adds to the thirst to avenge. Events lead to war that seems to wipe all who stands in the way!

A lie is elaborately staged..... but is seen through, a delicate truce is offered..... but is quickly broken, alliances are forged..... and wreaked, the rats inside are chased for their lives..... and carnage continues.

The creator in Ronan Bennett scripts as well with Jez Butterworth that keeps the drama supreme with loaded yet crisp dialogues. The chilling and dark tone is maintained right through the haunting melody of the opening theme by Ilan Eshkeri and Matt Bellamy.

Performing with the correct blend of craziness and character, is Pierce Brosnan as the mob boss, on the verge of senility, yet hungry for the ultimate control. Synching a notch too high, is the enticingly evil play of Helen Miren in a show of superb insentivity. Balancing the bitterness with his surprise humour, Emmet J Scanlan masks a cruel character in a brilliant show of comedy in every opportunity that arises. But, the centre stage is for Tom Hardy, with impeccable acting, confident gait and with the least predictable demeanour in all types of situations that effectively ushers a sense of foreboding and appeal, at every scene that he treads. Actually, the inherent heart of the series, the finale of the season has the character pinned in a cliffhanger event, essentially promising a required sequel that will again be much awaited with apprehension and eagerness!

The Terminal List: Dark Wolf Rises

Intense and gripping!

Deceptive and shocking!

Scary and pacy!

A tight and crisp prequel that can't be any better.

Inducted into covert operations after being ripped off from his dedicated brotherhood of Navy Seals on grounds of disciplinary actions, Benjamin 'Ben' Edwards, gradually discovers the intricately dark yet strategically concealed side of international intelligence. Working apparently surreptitiously to protect his nation in a joint effort with another espionage agency, the collaboration gets a jolt when a carefully planned operation goes haywire. Tasked with intercepting and countering threats that have the potential to destabilize the world order in terms of nuclear power, retaliations are felt a bit too immediate as well as improbably fast! Inflicting damages to the team not only in terms of casualties, but their morals are also shaken with a sense of distrust clouding the minds of Ben and several members of the unit that are left breathing. With enemies striking hard and fast and those trusted appearing to switch allegiance, the motive and the path chosen suddenly become a bit less simple than what that was promised at the start.

Will Ben be able to trace the truth out of the web of lies and deceit? Will he be able to keep the mind steady in the world where trust gives way to cause that proves dangerously personal? Can he avenge the lives that are lost or will the revelations be shaping him anew?

The viewers of the primary series might take a rough guess but might brace themselves for a twist as well, as though the series means to reveal the character of Ben but the better part of unraveling him is left for the audience to ruminate². This keeps the show enthralling and I must say that I liked the intensity that remains consistent and the gripping thrill that I personally feel, surpasses the primary immensely.

The boldly rebellious demeanour of Taylor Kitsch fascinatingly contrasted with the grimly deceptive looks of Robert Wisdom that elevated the thrill of the drama to greater heights with a solid support from Tom Hopper with his impeccable portraiture of the ruthlessly disciplined fighter.

Based on characters created by Jack Carr, this origin story, is therefore, recommended as a thrilling, if not impressively engrossing watch.

Special Ops 2: Seven days Served!

A threat to the nation, another emergency - internal and escalating and a very personal crisis in his family, Himmat Singh must handle all these three simultaneously!

When a scientist, holding the keys to all the strategic gateways, gets kidnapped and a R&AW agent killed, in different locations but around the same moment, the presence of a link between the two is quite evident to Himmat, but apprehending the criminal behind, seems a completely new ball game.

Add to this is the hunt for a fugitive banker, the man behind ruining several who believed, driving the believers now towards vengeance, caring less for further collateral damages that might follow!

Seven episodes.

Seven days to achieve his target.....

And his own problems to solve!

This can only be handled by Kay Kay Menon (as Himmat Singh) with a characteristic composure that assures but with the ruthless spontaneity of the character that frighteningly appeals. With his band of associates, both internal and foreign, Himmat Singh must fight the enemy at the gate and one outside with his own family, held at a crucial crossroad that threatens to destroy whatever preciously private he had always carefully tried to keep secured.

While Kay Kay Menon is natural in his role as Himmat Singh, so is Vinay Pathak as SI Abbas Sheikh of Delhi Police, the deceptively inconspicuous investigator in the force, radiating a supreme confidence in his enviable knack of sniffing out information from the coldest of trails. Both Pathak and Menon steal the scenes, wherever present by keeping the sequences intense while lacing them with humour, whenever the slightest of opportunities warrants. Added to this, is the chemistry, on the screen, crafted with measured elegance by Gautami Kapoor (as Saroj) with Menon, which adds drama and will surely warrant deserving credit.

With a script (Neeraj Pandey, Deepak Kingrani, Benazir Ali Fida) composed crisply for the correct touch of verbal requirement in a season, based on actions and subtle expressions primarily, the suspense is heightened by the haunting melody of Advait Nemlekar that sets the thrill triggered right from the very beginning.

However, there are a few flaws! The least of them is the not-so-surprising finale of so gripping string of episodes. Thus, the directors (Neeraj Pandey, Shivam Nair) peak their achievement in yet another brilliantly designed "Wednesday" (S2E6) but the zeal is lost in the action-primed climactic cliché of "Thursday" (S2E7) with the thrill subsiding. Again, there are instances where intuition prevails over intellect. Lacking in rationale, certain sequences might feel warily unconvincing and could disappoint the critical viewer.

But the major concern is the childish way the nuclear reactors of the country are shown to be vulnerable to threats. In a country, where nuclear power is not very well accepted by the masses owing to the fact of being unaware of the fundamentals, if a popular series like this, portrays the wrong facts, this may equally add to the deterrent views! A little insightful research could have revealed that Indian nuclear reactors are inherently safe and cannot be compromised by the imaginary way envisaged and the event of a core meltdown being thematically transformed to a catastrophic blast is a famous misconception that once again proves the inadequate awareness of the established safety practices and related technicalities that entail the restraints!

Deceptive Dupahiya!

The only thing that might go against the series is if the viewers had already watched Panchayat seasons 1 and 2!

The populace that inhabits the sprightly rural India, with her simple charms and inherent ills, is portrayed yet again in a drama that unfolds the merry ride of life.

In the village of Dhadakpur, apparently famous for being the only crime-free village in Bihar, a sudden theft shakes the balance. A bike, bought as a dowry by Banwari Jha, for the marriage of his daughter, Roshni, gets stolen just eight days prior to the scheduled wedding! This not only puts the marriage at stake, but a lot of other problems crops up as well! The pride of the village being crime-free for 24 years, is threatened as do the promise of the grant of fresh water, for holding the record for just another year. Roshni's dream of settling in the city, far away from the coarsely interfering rustic ambience, is checked as does his father's wish of becoming the permanent principal of the local school, a promise that the wedding grants!

Village politics dutifully comes to play with the scheming opposition trying to expose the crime against the head, seeking to hush the theft for the sake of the record and the people! Added tot this is the lazy but smart inspector of police with a personal grievance against Banwari and the aspiring reporter, seeking for a scoop to apply for a position of a journalist, who add further hurdles to face!

So, all seems to depend on the local kleptomaniac and Roshni's reel-obsessed brother to find a solution and attempt at a replacement.

With twists, prickly and hilarious, the plot becomes increasingly enjoyable as the events unfold and characters are revealed. The simplicity of the rural province is treated with humility while the inherent woes and pains are laced with humour that gives the series a flavour that appeals. With a message, not too subtle against the social evil of dowry and the irrational stigma against the dark-complexioned, the series serves as a stark reminder of who we actually are and what we need to be!

Directed very ably as guided by Sonam Nair, all the performers acted just perfectly and none can be said to be better than the other. A display of classic acting, all who portrayed the characters, even those with a wee bit of screen presence, all marked their presence with superb professionalism! Created and scripted by Avinash Dwivedi, Chirag Garg, Salona Bains Joshi and Subh Shivdasani, the series is highly recommended for both old and young!

Primarily Paatal Lok

There is a word called 'unputdownable', for books. I don't know any equivalent term for TV shows. But if there had been any, Paatal Lok, Season 2, would fit the bill precisely!

If the Season 1 was great, the 2^nd serving will be felt tremendous! With a surprise pace and a gripping tale, the twists are just too many to be comprehensively penned. But leaving the thrill inherent, what wins the heart is the hope that survives and the honesty that satisfies!

The decapitated remains of a Naga leader in his own restroom at the Nagaland Sadan in Delhi threatens the fate of a political summit bitterly. Obvious ripples are felt in Nagaland where the political situation becomes tense. The Delhi cops are alerted and ACP Imran Ansari is assigned the case. Meanwhile, Inspector Hathiram Chaudhary of the Outer Jamuna Paar PS is on a case to find a trumpeteer of a local band party who was reported to have not come home for days at a stretch. Curiously enough, this apparently ordinary case seemed to hold a significant key to the assassination case. The point was brought to notice by Chaudhary, the man with the eidetic memory, a personal asset that came in handy more than once while both the cases proceeded. However, the authorities were initially reluctant in involving Chaudhary, a mere inspector, in the investigation of a murder, labelled to be immensely sensitive in the political regime. But ACP Ansari, the once junior to Chaudhary while in his 1^st appointment, recommended for his revered mentor and the team of two set sail to crack the case just like old times. But the latest mission seemed to be pitted against varied levels of hurdles with the atmosphere of Nagaland turning increasingly hostile, a feeling of mistrust flowing through the ranks, each of their steps being minutely surveilled upon and to top it all, a lone sniper on the loose, apparently on a killing schedule, erasing witnesses at the slightest of opportunities!

So, the stage is set, the suspense is created but what remains is the flurry of twists that creates all the difference!

A season, rivetingly directed (Avinash Arun), well surpasses the predecessor (directed by Avinash Arun and Prosit Roy) both in thrill and pace! Created by Sudip Sharma, the themes are fabulous and twists, though a few tragic, but are unprecedented. Then there is Jaideep Ahlawat as the indomitable Inspector Hathiram Chaudhary whom you'll just love from the word go! With an appearance as gruff as can be, and gait, visibly clumsy particulary while on a chase, the character will inspire awe with the determination that he showcases. Jaideep Ahlawat is simply magnificent with all the naturalness that he portrays and the naive desperation that he projects. The utter helplessness of the salaried, yet the sense of duty that prevails, the character of Hathiram couldn't be more sincerely portrayed. Gul Panag reprises her role as Renu Chaudhary but surpasses her acting with a presence that commands sympathy and respect. Ishwak Singh as ACP Imran Ansari supports ably in a major way while Nikita Grover also refreshes with her wee bit of presence as Constable Manju Verma. Infact, the season seems to be trimmed to perfection, mainly due to all the artists apparently performing, all too precisely without overdoing anything!

The series, designed to be just a thriller, actually becomes appealing not for the rush of adrenaline but for the maturity of remaining practical, while the underlying theme resonates with the dilemma of choosing the priority when protocol of the assigned job comes in conflict with the moral duty that the responsible heart desires.

Those About To Die..... And Breath

Treachery and tragedy go hand-in-hand as the Roman empire witnesses yet another struggle for power. The dynasty of the Flavians reigns but the lust for supremacy drives the nobility in the race for the curule chair of apparently unlimited power. While the ambitious hatches a coup, the cunning waits for the opportunity, and the apparent plebian gambles for a subtly ambitious strategy of ascendancy! But as the fight for power continues, the ordinary suffers the most! But these puppets of the empire are kept at bay by the games of death and bets.

The amphitheatre hosts the gladiators and the charioteers who battle for their lives and for the stakes of pleasure. The arena soakes in blood while the audience lauds the carnage! Cruelty reigns supreme while sentiments run raw! Many a hearts are killed while new hopes rise afresh. The lives of the gladiators hang precariously on the cold whims that the head of the nobility commands. The commoners bet on the lives and horses as the sports of blood appeal to the baser instincts.

But the smell of blood reeks the royalty too as the apparently noble and those who rule play deadlier games, in the arena of politics. As the race for supremacy infests the factions, conspiracies are set afoot and human lives matter little to the firmly ambitious.

As both the games spill blood, the only class that flourishes is the underworld. Gambling dens greatly prosper and the profits fuel the conspiracies. A particularly scheming owner tries his fortune to rise across the peers while a mother desperately tries protecting her wards. As they both unite in a silent pact, the collapse of many a formidable starts! Curiously enough, in the filths of the corrupts, the purest of amours also finds a place.

With a compact theme spiced with thrilling pace, the guilty pleasure of the blood sports will fade against the tragedies that matters. Created by Robert Rodat, the drama will be remembered for the twists that terrifies, the violence that chills and the tragedies that inherently disturbs! As to the acting, Sara Martins is magnificently perfect with Iwan Rheon closely following while Anthony Hopkins provides the refined touch of sickly classic aristocracy. But the series falters under less thoughtful direction (Marco Kreuzpaintner, Roland Emmerich) that could be planned way better for a subtler touch to emphasize reality.

Mercilessly Mirzapur

After going through the initial few episodes of Season 3 that forced me to assume that the season is only slightly better placed than the Season 2, suddenly episode 7 happened that changed everything. Beginning with a gripping yet not so dramatic start, the plot seemed not so thrilling. We seemed to know what could happen! We knew that Kaleen Bhaiya had survived. We knew Guddu would be ascending the throne tainted with blood. We knew that Madhuri would seek vengeance. We knew the Tyagis will thirst for the blood of Golu. We knew that there will be a power tussle between Sharad and Guddu. And we knew that the life of Ramakant Pandit will be leading haywire!

But what we didn't know was how, if at all, Guddu retains his prized possession of the throne! We didn't know if Beena is satisfied in her cleverly camouflaged nest for her son! We were having no idea of how, if at all, Guddu and Golu plan to survive the onslaught of the opposing parties, a professional hazard that often entails terrifying domino effects! We had no inkling of what fate had in store for Kaleen Bhaiya! We didn't have known what destined role does Robin play in the Pandit family. And we surely didn't know if Maqbool plans to enter the foray to quench his thirst to avenge against the family that betrayed his heart!

Strictly speaking, these form the motive force behind the season and keeps the grip on but falls short of the suspense. But I must, however, admit that the series of climactic twists leading to the startling showdown catapults the rendition way ahead of the Season 2, though not reaching the frightening benchmark that Season 1 had set. Revealing evil in the rawest, the season provides ample opportunities to bask in guilty pleasure but the frequent collaterals may keep the primitive attitude somewhat at check!

As Guddu Pandit stoops to a new low, Ali Fazal attains newer heights of superbly natural acting, precisely presenting the character through all the required shades. Ranging from the utter cruelty to inescapable despair, every emotion is effortlessly portrayed as the actor blends all too well with the character he plays. But slight disappointingly, Shweta Tripathi Sharma, my favourite, overdoes the Golu effect, very much spoiling her singularly terse appeal. Isha Talwar, on the contrary, shines in her cool charisma as she completes the transformation of the aspiring diplomat from the preceding season to the suavely strategist Madhuri. But beside these, two actors deserve special mention due to their individual skills that are greatly distinct yet equally brilliant. One of them, as most might already have guessed, is no other than Pankaj Tripathi, who wins the admiration while playing one of the vilest crime lords of all times. With a short screen presence and even shorter amount of dialogues, his mere presence heightens the sequences featuring him, augmented by his signature crisp comments and subtle yet piercing gestures. The other is Vijay Varma, who played the dual role of the Tyagi siblings in the previous season and reprises his role of the surviving brother in the latest one. He portrays one of the most complicated characters that the drama demands with perfect poise and enhances the chilling suspense of several situations with the least predictable demeanour!

Thus, Mirzapur continues to entertain, starting as early as the haunting notes of the opening score (John Stewart Eduri) appeal to the senses, but will require improvement in the narrative for retaining the madness!

Fargo Fiver!

Actually, that's a sixer for me! I watched Fargo seasons 1 to 4, then the movie and now the Season 5 of the series. Needless to say that gradually I have been addicted to the series of the genre that blends the sombre mood of crime with the darker side of comedy!

This time, a desperate housewife, trying to flee from her traumatic past to a secured present, a sheriff, trying to be and not to maintain law for his own liking of social order, a matriarch putting her foot down firmly on whatever she thinks right, a trooper searching for the saviour of a perilous night, a person trained in security trying to secure her financials and to top it all, a 500 year old mercenary with his own code of fearful conduct, collide for their own stakes at bay. With a flurry of few sequences and characters paying tribute to the original movie, the contrasting features of either delight with their deceptive novelty. Sam Spruell actually overshadows others with his eerily commanding presence while the silent expressions of Juno Temple are more than enough than her pointed dialogues. Jennifer Jason Leigh and Jon Hamm play the pivotal pieces, who keep the tension flowing with their similarly dominating countenances, yet with characteristics, starkly different!

Created by Noah Hawley, the season is certainly not the masterpiece of the series, yet the theme, based on the social evil of domestic abuse, with the rawest of sentiments, augmented by the signature notes of John Russo, is filled with all the ingredients for a savoury watch!

Politically Panchayat

Maybe, racing steadily to become one of the enticingly enjoyable series of all times, stylishly rendering the commonest of affairs, the latest of the seasons reprises the drama of life with a promise to win all hearts.

Though rural politics of the village demands the limelight this time, but the simpler appeals of the villagers inhabiting ultimately wins over. The theme weaves the layers of varied lifestyles just like a rainbow, displaying the differences within while shining as a single entity of elegance.

Carefully crafted both by the writer (Chandan Kumar) and in direction (Deepak Kumar Mishra), the series fascinates with the minutest detail being showcased with the right blend of sentiments and the creative touch of humility and humour. Starting from the casting (Atul Parab, Sahaj Bhadoria, Suryaansh Tripathi) to the makeup (Sonya Batra, Aman Sharma, Pratik Salvi), everything is just tidily perfect!

As to the acting, Neena Gupta, Jitendra Kumar, Raghubir Yadav, Chandan Ray intrepidly synchronize with their natural spontaneity while Faisal Malik shines starkly with his distinct countenance that features his sweetly sober demeanour.

But with all due compliments, the only thing that must be admitted, however, is the fact that this season that ends in a serious cliffhanger, appears to be a wee bit less crisp than the predecessors, mainly due the initial episodes that may feel to be a tad too lengthy than required and a single major theme that the entire season predominantly repeats.

Aarya Antim Vaar: the ultimate strike?

The series starts with Aarya apparently succumbing to a shot by some unknown assailant and then flashes back to the past to trace the incidents that led to the catastrophe. With the foreign mob seeking compensation for their lost loot, the police relentlessly sniffing to find a crack in her empire to take her down, a new threat emerges in the form of Nalini Sahiba, a menacing empress in the drug cartel, dreaded for hunting down her enemies till their deaths lie awaited. To complicate matters much further, the young adults among her wards rebel and revolt when her moves inadvertently wreaks their immediate dreams. Friend doubts, authorities tighten their incessant traps, enemies lurk around and time seems to run short. While moles are planted inside the camps, beliefs are shaken of the nearer allies.

What remains to be seen is whether Aarya can overcome all obstacles and regain control or will she succumb to the strikes both mental and physical! With old allies loosing faith and code of the trade causing startling twists, relations lying dormant need to be forged from the cruel past to elicit safety for the fragile present! This apparent season finale is a must watch for completeness and I stress this to be apparent finale as the climactic moment could well be a closing event but can as well be considered a cliffhanger sequence. Besides the character that Sushmita Sen plays, the only other character with perennial appeal seems Sampat, acted by Viswajeet Pradhan whose natural coarseness always brings a sense of lively thrill to the plot. So, though there are episodes where the plot seems forced, but the underlying theme that avoids indulging in the guilty pleasure of the genre should be enough for this to be critically watched.

Karmma Calling: destined to avenge!

The celebrity from the yesteryear Bollywood circle and now a giant among the corporate leaders, Indrani Kothari is nicnamed the Queen of the Billionaires by the wealthy elite. Reigning over the business world with her husband, Kaushal Kothari, from the beaches of Alibaug, she manages to instill a mixed sense of awe and severity for the Kothari clan among the minds of their acquaintances. Keeping a strict vigil over the richer sect of the social strata, she tries to keep a tight grip on her children as well. Thus, when a mysterious stranger entered her life, ripples in her balanced life was all but natural!

Little did she realise that the stranger who called herself Karma Talwar was actually Ambika Mehera, daughter of Satyajit Mehera, determined to avenge her father, wronged by the conniving Kotharis, that cost his life and respect and paved a sudden uncertain and apparently insecured future for the daughter. Targeting all who orchestrated the downfall of her father, Ambika starts to take down the culprits in her well laid traps. But danger lurks in every corner as domino effect causes unplanned accidents and threatens collateral damage.

With Ambika and Indrani fighting a psychological battle, the series actually blends drama with thrill.

Starting on a cliffhanger and winding up with a twist, the series promises a following season that should reveal what lay hidden behind the questions unanswered!

Adapting the theme with required yet simple acknowledgement from Revenge by Mike Kelley, the drama is directed by Ruchi Narain.

The pace is steady with quick resolutions but coincidences galore to keep it quite occassionally unrealistic.

Raveena Tandon is superb in her classy demeneour and Varoon Sood with his naively brawny features displays a perfect contrast. Special mention is due to Viraf Patel for his comic reliefs during his increasingly frequent significant appearances!

Bambai Meri Jaan: blood in thy hands!

There is very little to be said for a series where the particulars are so carefully designed.

Brilliant direction (Shujaat Saudagar), outstanding acting (Kay Kay Menon, Kritika Kamra, Nivedita Bhattacharya, Jitin Gulati, Nihar Gite, Sumeet Vyas), fitting costume design that matches the decades depicted (Bibi Zeeba Miraie), crisp storyline (S Hussain Zaidi), impeccable cinematography (John Schmidt)!

Spanning several decades from the sixties through the seventies, the series traces the shift of power in the Mumbai underworld when a rookie, the son of a policeman, challenged the clout established by the brain of Haji, the intelligence of Mudaliar and the muscle of the Pathans. Beginning his career in the black market with occasional cons and duping customers with his sleight of hand techniques, Dara Ismail Qadri soon rose to infamy in the smuggling business, thanks to his industrious efforts, his daring gang of friends as well as dedicated siblings, a few twists of fate and his ever increasing ambition for power that ushers wealth. But, alas, the rise to glory was not without pain! Not only did he breed enemies, but he also lost the dear ones in the process! Battling all the odds as they came, the steadily rising don had, however, his own fierce ways of dealing with the crises. To the utter dismay of his father, Ismail Qadri - once an honest cop whom fate forced to serve the corrupts - the Qadri clan seemed to be devoured by the Devil. The authorities also tried to take advantage but was miserably trapped in their own game. Terror was redefined while mercy seemed to vanish. Massacres followed revenge as the D gang challenged the mafia veterans.

Based on true events of the underworld, Shujaat Saudagar directs this fast paced crime drama that unfolds a dark history of power struggle, soaked in blood, while reeking of betrayals. Fictionalizing several true incidents with alterations wherever necessary, the series rides on the thorough research of Hussain Zaidi to depict the mob bosses that ruled Bombay for decades. As to the acting, all played their characters precisely but Kay Kay Menon is superb. His portraiture of the principled policeman and when fate chose, the unwilling accomplice to crime deserves applause. The agony of the despairing father, the plight of the helpless, the desperation for the family he headed, the courage of the honest heart and the uncompromising hate towards evil - could never have been better depicted than what he did with a masterful act that deserves nothing short of a countless applause. Kritika Kamra acts as his stubborn daughter with a deceptive trait to surprise when needed. Nivedita Bhattacharya compliments him well with the demeneour of the lady torn between the the choice of standing by the person she respects and the others she loves. Jitin Gulati as the older Saadiq Qadri and Nihar Gite as his younger version, both deserves no less praise in depicting the sibling, elder to Dara but being less astute, standing tall when situation demanded, respecting the leadership of the deserving while quietly grieving at being the apparently lesser favoured individual right from his very tender age. Sumeet Vyas also highlights his short appearance as the ruthlessly calculative assassin with a contrasting sense of black humour. The bell botts generation is aptly sketched by the costume design of Bibi Zeeba while the feature of the sixties is agreeably captured in sepia tones by John Schmidt.

This gripping series is a thrilling watch that showcases, albeit fictitiously, the rise of a new generation of mafia in the city of India that the world is destined to bear for several decades to come.

Aakhri Sach: the ultimate terror!

Based on true events, the series tries to search for the terrifying truth behind the apparently eerie deaths of all the members of a humble household. With thorough research, the season searches for the ultimate truth behind the apparently bizarre tragedy. Spanning for a gripping length of six episodes, the series delves into the psychology of the individuals to find the rationale behind the incomparably horrific incident.

The neighbourhood of Rajawat family in Delhi suddenly turned to be the focus of the entire country on the fateful morning when the inhabitants were all discovered dead, the only individual living being their chained pet dog. Of the eleven member household, ten were found hanging to death in the courtyard, while the lone eleventh, the eldest, was located strewn dead in her bedroom.

A family, who was reported to have no significant problem with the neighbours, with a business that was gradually prospering and one of their younger members being recently engaged to be married, seemed to be the most improbable candidate for such a catastrophic fate. Police investigations to gather evidence against the primary suspects of the fiancé and the local crime syndicates were drawing blanks till a startling find turned the tides with curiously grim facts. A visit to the ancestral home in the village from where the Rajawats hailed and the discovery of a bundle of regularly maintained logbooks completely changed the course of enquiry. A psychological autopsy seemed to be the demand of the case that required a critical probe to the psyche of the family. The dreadful mystery was not only to be solved but the answers to several baffling questions needed to be firmly established!

Written by Saurav Dey and Ritu Shri and directed by Robbie Grewal, the chillingly compact drama patiently crafts a fiction that retains a true theme. Abhishek Banerjee is not only fascinating as always, but he surely played one of his remarkably critical roles to date with his politely dominating countenance to portray a central character, which remained central to the theme as well. Tamanna Bhatia, with her measured gaits, added the right amount of seriousness to the series while Rahul Bagga supporting the act ably with the added appeal of his signature baritone.

The thrilling drama is worth watching that probes, albeit through fictitiously reconstructed events, a frightening mystery with twists, which had challenged the regular intellect!

City of Dreams.... and trials!

The Gaikwads are back in business. But with hearts grieving for their irreparable losses, the beginning had not been so easy! Rumours prevailed, scandals reigned and the oppositions exploited while media played their own trial games. Recuperating from her severest of losses, as Poornima Gaikwad tries taking the responsibilities of the state she was elected to minister, she also patches up with her father, the bitterest enemy that she had ever needed to fight. But threats were lurking both near and outside her locale. A political party set to destroy her father, a rich media to do the evil reckoning, a dangerous enemy of old set to avenge their loss with the life of Poornima, can she hold the leashes and save her state and her self? With Wasim Khan as her ever trusted friend, Poornima must keep her wits at bay as even though the enemies strike from outside, the internal ills too seek justice. Alliances are negotiated and trusts seem fragile as comrades fall apart while scheming opportunists unite. While the oppositions play the scandal game and arranged for coup, can the disgraced Gaikwads regain their glory and might or is there bigger challenge ahead?

Interesting revelations await for those who see as terrifying surprises will be there in store to shake the faith. Gaining momentum gradually from the rather gloomy start, the sensationally climactic 30 minutes will be a thematic reminder of The Godfather awakenings where desperation plays the pivot and revenge hammers in the needed justice.

Nagesh Kukunoor directs the enigmatic political drama, which is compelling to watch, not only due to its necessarily inherent guilty pleasure, but instead for its contrasting attempt to shift focus partly towards the risky maneuvers of honest politics. Priya Bapat effortlessly continues playing her part as the unwavering and strategic Poornima Gaikwad with superb elegance, humbly supported by Eijaz Khan and Atul Kulkarni, reprising their roles with their fascinatingly deceptive simplicity that augments their characteristically natural smartness. As each season closes and a new one begins, the only thing that remains constant is the signature opening score by Tapas Relia, a melody that is pleasing to the ears yet haunting to the soil, one of my favourites in the series, composed as if to align the mind for the thrill to behold!

Cracking mysteries with The Mentalist

The acute interpreter of human behaviour and gestures will keep you engrossed in this thrilling drama by the risks he takes, the traps he sets and the antics he plays. Just completed watching the thrill laced adventure, which, on the one hand, has mystery as the central element, while on the other, has a fair share of drama as well. Essentially a police procedural, but as the name suggests, the theme is focussed on the single investigator. Once, a con artist, the alleged psychic with a keen insight into behaviours, turned into a consultant to the authorities in nabbing the scariest of criminals, solving the strangest of crimes, while secretly harbouring his chief agenda of avenging the murder of his wife and daughter.

Created by Bruno Heller, the seven part series is a study of human psychology that reveals the various shades of human emotions in the grimmest of circumstances. Simon Baker plays the sauve protagonist with keen observational power in Patrick Jane who is kind on the one hand, while opportunistic in the other, but alway maintaining a principle of striking the bad while defending his own, though at times, his actions will raise serious doubts as to his courage. Complimenting him with a predictable yet assured stance is Robin Tunney as Teresa Lisbon, introduced very early as the boss of Jane, balancing her colleagues with a smiling face and a professional astuteness. The natural interrogator in Kimbal Cho is trimmed to perfection by the impassive Tim Kang. The cheerful Owain Yeoman as the optimistic Wayne Rigsby and the naive countenance of Amanda Righetti as the sweetly sentimental Grace Van Pelt, who were regular in the initial few seasons but appeared intermittently as the show gradually converged, complimented the serious tone by their spontaneous romance, blended quite happily with the correct measure of humour.

The investigative methods are really thrilling to watch but the protagonist possessing the mental ability that stretches the limits of imagination, keeps reality at bay and though the suspense and mystery are retained but it is intense drama that ultimately entertains.

Homestay Murders: খুনির সাথে, খুনের মাঝে, একই বাড়িতে

গল্পটা কিন্তু মন্দ না! খুন আছে, রহস্য আছে, চুরিও আছে, আর গোয়েন্দা তো আছেই! তবে মুশকিলটা হলো অন্য জায়গায়। গল্পটাতে দেখানো হয়েছে কোনো এক পাহাড়ী নির্জন পরিবেশে এক পান্থশালায় খুন হয়। জনবসতি থেকে অনেকটা উপরে অবস্থিত জায়গাটায় প্রাকৃতিক দুর্যোগ ঘটলে জনসংযোগ প্রায় বিচ্ছিন্ন হয়ে যায়। তো খুন এরকম জায়গায় হলে, স্বাভাবিকভাবেই পান্থশালার লোকজনেরা নিজেদের মধ্যেই কাউকে খুনি সন্দেহ করবে! তৈরি হবে অবিশ্বাস, আশঙ্কা ও ভয়ের বাতাবরণ! গোয়েন্দা ও আততায়ীর মুখোশ পড়া চেহারাগুলোর আড়ালে শুরু হবে লুকিয়ে না থাকা মানুষগুলোর মধ্যে এক রুদ্ধশ্বাস লুকোচুরি খেলা জেতার পরীক্ষা। তার সাথে তো আছেই অতীত ও বর্তমানের ধূসর অধ্যায়ের আরো কিছু ইঙ্গিতবাহী ঘটনার চমক। তো এতটা দেখে আমার মাউসট্র্যাপ নাটকটা মনে পড়াটাই বোধহয় উচিত! মিল তো একটা অবশ্যই আছে! কিন্তু সমস্যাটা সেখানে নয়। বিশ্বের বিখ্যাত কোনো গল্প অবলম্বন করাই যায়। অনেক পরিচালক নিজেদের মতো করে বিভিন্ন সময় ও স্থানোপযোগী করে কাহিনীর রুপান্তর করেছেন। ভবিষ্যতেও এমনটা হওয়া খুব স্বাভাবিক! ব্যাপারটা প্লটের সর্বকালের সেরাদের মধ্যে থাকার লক্ষণ! তাই তা নিয়ে কোনো নালিশ নেই কারুর কাছে। কিন্তু, তা বলে গতিটা হবে এত নিস্তেজ? এত সাদামাটা করে প্লটের বুনন হবে? আটকে থাকা নিরুপায় নির্দোষ মানুষগুলোর দমবন্ধ অবস্থাটা কোনোভাবেই ফুটে উঠবে না সম্যকভাবে? এত সরলীকিকরণ করতে হবে জায়গায় জায়গায় কোনোরকম ভাবনাচিন্তা ছাড়াই? গল্পের মধ্যে এত অসম্পূর্ণতা থাকে কি করে? সময়ের হিসেব তো গোঁজামিলে ভরপুর মনে হল! অর্জুন চক্রবর্তী অভিনয়টা ঠিক রাখার অনেক চেষ্টা করলেও, বাকিদের চালচলন কিরকম যেন দায়সারা গোছের! সোহিনী সরকার তো দাঁত দিয়ে ক্রমাগত নখ খেয়ে কিরকম ঘুমের ঘোরে যেন চিবিয়ে চিবিয়ে সংলাপ আওড়ে চললেন। বোধহয় সাজানোটা খুব পরিপাটি করার দিকেই শুধু মন দেওয়ায়, মানে সায়ন্তন ঘোষালের হাতে পরিচালনা থাকলে যে ছিমছাম উপহারটা পাওনা হয়, দরকারী জটিলতাগুলো কিন্তু পরিচালক এড়িয়ে গিয়ে গোলমাল করে ফেলেছেন জায়গায় জায়গায়।

তবে একটা ব্যাপারে কিন্তু এই সিরিজটা দেখা, থুড়ি, শোনাটা সার্থক। সিরিজটার অসামান্য সুর, ধ্বনি ও তাদের সংযোগ মন ভরিয়ে দেবে। শিবাশীষ ব্যানার্জ্জীর ওপেনিং স্কোর থেকে অয়ন ভটচাজের দুরন্ত মিক্সিং, সাথে সায়ন বাইরি, তারপর সম্রাট রায় একটা পর্বে এবং সৌরভ বোসের সম্পাদনার সুরের বিভাগে কোনো গলদ নেই। তাই আমার খারাপ নেটওয়ার্কে সিরিজটা আরো অসহ্য দেখতে লাগলেও, শুনতে আদৌ মন্দ লাগেনি তার সুরের জোরালো ঝংকার!

এটা কি রাজনীতি হল?

রাজনীতি দেখলাম।

শুরুতেই এক মহিলার গাড়ি অ্যাক্সিডেণ্টে আপাদমস্তক ক্ষতবিক্ষত অবস্থায় হাসপাতালে শয্যা। প্রাণে বাঁচলেও স্মৃতি তার সাময়িকভাবে লোপ পায়। তবে পুরোপুরি লোপ পায় বলাটা ঠিক নয় - মাঝে মধ্যে মোবাইলের মিসড কলের মতো জানান দিয়ে যায় তার উপস্থিতি। তো সেই প্রায় বিস্মৃত ঘটনার কিছু কিছু ঝলক মনে পড়িয়ে দেয় মহিলাকে যে যেদিন দুর্ঘটনা ঘটেছিল, তখন ড্রাইভারের জায়গায় আরেকজন বসেছিল। কিন্তু চেনা পরিচিতদের সাথে এই ব্যাপারে আলোচনা হলে তারা বলেই চলে যে গাড়িতে সাথে শুধু ড্রাইভার ছিল। ব্যাপারটা বেশ সন্দেহজনক ঠেকে মেয়েটির কাছে। তার উপর তার মোবাইলে কোথাকার কোন জালি অনির্বাণের মেসেজ আসতেই থাকে যা তার সন্দেহকে আরো জোরদার করে। এরপর সত্যটাকে বার করতে চলে গুছিয়ে প্রয়াস।

তো এই পর্যন্ত পড়ে যদি পরীক্ষার প্রশ্ন আসে সিরিজটির নামকরণের যথার্থতা নিয়ে, তখন এর মধ্যে যে রাজনীতি কোথায় ঢুকল, সেটা বোঝাই দায় হবে। মানলাম, নায়িকার পিতা রাজনীতিক, গোটা পরিবার, অধিকাংশ পরিচিতজন রাজনীতির সমুদ্রে স্নান করে, কিন্তু যেখানে ঘটনাটা আসলে একটি রহস্যের, সেখানে অকারণ জলঘোলা করাটা কি আদৌ দরকার? কাহিনীতে জোর করে রাজনীতির বান ডাকিয়ে একটা ঠিকঠাক রহস্য গল্পকে কিরকম বেকার করে দিলো।

অবশ্য পুরোটা দেখে সাতকাণ্ড রামায়ণ পড়ে রাবণ কার খুড়তুতো বোন জাতীয় প্রশ্ন উঠবে না কারণ সাত পর্বের সপ্তম পর্বে রাজনীতির পঙ্কিল রূপটা অবশেষে প্রকাশ পাবে, কিন্তু তবুও বলবো কাহিনীটি আদপে রহস্যের, তাকে কোনোভাবেই পলিটিকাল ড্রামা বলাটা ঠিক নয়। পরের সিজনে যদি রাজনীতিকে মুখ্য করে দেখানো হয়, তখন না হয় বলব বুঝলে। ততদিন পর্যন্ত, বলতে বাধ্য হচ্ছি, নামকরণ অসার্থক।

অভিনয় প্রসঙ্গে প্রথমেই বলি কৌশিক গাঙ্গুলির কথা। ভদ্রলোক পরিচালনা নিয়ে ছিলেন, বেশ ছিলেন, অভিনয়ের দিকটা অন্যদের উপর ছাড়লেই ঠিক করতেন বোধহয়। অপরদিকে দিতিপ্রিয়া রায় ও অর্জুন চক্রবর্তী প্রচুর চেষ্টা করেছেন কিছু করার, প্রথমজন তো বটেই, কিন্তু রহস্য ও রাজনীতির গোলমালে পুরোটাই যেন গুলিয়ে চমকগুলোকে মৃদু করে দিয়েছে। মধ্যিখান থেকে কনীনিকা বন্দ্যোপাধ্যায় মানানসই চরিত্র পেয়ে চমৎকার ছাপ রেখে দিলেন পরিমিত অভিনয়ের।

জমজমাট প্লটের প্রচুর উপকরণ ছিল, শুধু লক্ষ্যটা স্থির না হওয়াতে রান্নাটা মনের মতো হলো না। তাই সৌরভ মুখোপাধ্যায়কে অনুরোধ করব, পরের সিজন থেকে নামটা যদি খেয়াল রেখে পরিচালনা করা হয়, তাহলে খুশি হবো।

Dahaad: the stifled cry for justice

Sonakshi Sinha and Vijay Verma locked horns in this nerve wreaking manhunt for the serial killer who is sly as a fox with an obsession like a maniac.

Luring innocent girls into his honeytrap of false hope, Anand Swarnakar picked his preys, choosing mainly those who were emotionally estranged from their families besides being socially compromised. Fulfilling his lustful desires, he kills his unsuspecting victims in ways that forces the authorities to certify these as suicides. This psychopath concocts a plan so cunning that investigator that thinks different is also baffled by the locked-room nature of the suspected murders. Leading a dual life of a respectable teacher and the responsible husband and father, the unchallenged Anand continued his killing spree silently yet regularly.

But one of these cases suddenly got the attention of the stubborn sub-inspector, Anjali of the Mandawa police station, whose determination seemed to equal the murderous obsession of Anand and then began the chase to hunt for suspects with barest of evidences to start with and the fate of many lives hanging at the balance.

The series with the murderer revealed very early was nonetheless gripping, thanks to the fantastic direction of the director duo of Ruchika Oberoi and Reema Kagti who weaved the murder mystery into the peaking tension and kept the audience guessing of the outcome till the most opportune moment. Added to this is the fabulous performance by Sonakshi Sinha in the role of the police officer hailing from the local Rajasthani family, with a grit to bring justice to the deserved, while tirelessly fighting the social ills of class and gender distinctions that is served free in this nation of varied notions. With a dialect perfected to blend in with the role, her entire performance was superbly natural and critically awesome. Equally awesome is Vijay Verma in his role of the crooked psychopath. His composed mannerism hiding the methodical sadist inside will be sure to bring shivers down the spine as with each appearance his demeneaor becomes increasingly chilling. Supporting with another significant performance, Gulshan Devaiah portrays the local police chief with a responsible attitude and a rational sense of justice. Devaiah is perfect and his mannerism is so realistic that scenes of him handling his juniors, his family and kids on various occasions, will bring to fore the true versatility of the actor and the class of officers he represents while earning reverence for the character he plays. Sohum Shah is the other noteworthy supporting cast among others who will stand apart for the accurate act of the insecured individual, demoted in his professional life and left to choose between ambition, camaraderie and responsibilities at every turn of his existence. Pitching in with perfection, the opening score by Tarana Marwah and Gaurav Raina sets the haunting tone of suspense to resonate right from the very beginning.

Thus, the series that starts with mysterious murders and is essentially a psychological thriller is a must watch not only for the deceptive suspense but also for the subtle message that the story reminds of - the horrific plight of women subjected to the deceits of society and the evil curse of irrational norms.

'ডাকঘর' একঘর

গ্রাম: হাগদা

পোস্টমাস্টার: দামোদর দাস

গুজব: ডাকঘরটি ভূতুড়ে

বিশেষ দ্রষ্টব্য: বাথরুমে সাপ, পোস্টবাক্সে পাখির বাসা আর গাছের তলায় মোবাইলের সিগন্যাল!

তো এরকম উদ্ভট পরিস্থিতি যেখানে সেখানে মৃত পোস্টমাস্টারের জায়গায় তার ছেলে চাকরিতে বহাল হলে, গ্রামের বাইরে থেকে আসা অচেনা যুবকটিকে সহজ সরল লোকজনেরা যে ভূতের ছানা জাতীয় সম্বোধন করে আপন করে নিতে চাইবে, এটা আর কি এমন বড় ব্যাপার হল? এসব ব্যাপারে মাথা ঘামালে কি দামোদর এক বছর ধরে জমা থাকা চিঠিগুলো বিলি করতে পারবে? নাকি পারবে তার বড়বেলার কষ্টটাকে ভুলে ফেলতে? সে কি শুধু এখানে চাকরি করতেই এসেছে? নাকি এসেছে হারানো কিছু ফিরে পাওয়ার অদম্য তাড়নায়!জানতে হলে তো উপায় একটাই, হইচই খুলে বসে পড়ুন এখনই ও গা ভাসান সিরিজটির সাত পর্বের সাতরঙা আবেগের জোয়ারে। জানলার আটকে থাকা পাল্লা খুলে হাতে চলে আসুক, কোয়ার্টারে মানুষ থাকবে না ছাগলের জন্য রাখা হবে - তাই নিয়ে চলুক তর্ক, সম্বর্ধনার চেয়ার ভেঙে পড়ুক সম্বর্ধিত ব্যক্তিসমেত হুড়মুড়িয়ে, যমজ ভাই সরকারি চাকরি করুক অন্য ভাইয়ের নামে প্রক্সি দিয়ে, যা খুশি হোক, আপনি শুধু তারিয়ে তারিয়ে উপভোগ করুন মুহুর্তগুলো গুছিয়ে!

পদ্মনাভ দাশগুপ্তের কলমে ও সুহোত্র মুখোপাধ্যায়ের অভিনয়ের জাদুতে পুষ্ট এই কাহিনী দেখে কোন দর্শক বলে দেখি যে বাঙলা ধারাবাহিক জাতে ওঠে নি?

অবশ্য, আমি বলেছিলাম প্রথমদিকটা দেখে এবং পুরোটা দেখে কথাটা পাল্টে ফেলে বলছি যে এরকম সিরিজ আরো হোক। কিছু অতি সরলীকরণের জায়গাগুলো অন্যভাবে চিন্তা করে যদি আরো বাস্তবসম্মতভাবে পরিবেশন করা হয় তবে এই সিরিজগুলি হয়ে উঠবে আরো পরিণত এবং এরকম সাধারন ঘটনা দিয়ে গড়া গল্প যত বেশি করে শুধু চিন্তাভাবনা ও পরিবেশনের গুণে অসাধারন হয়ে উঠবে, তবেই, আমার ধারনা, বাঙলা সিরিজ বিশ্বজনীন হয়ে উঠবে।

সিরিজটির পরিচালক হিসেবে কাকে ধন্যবাদ জানাবো ঠিক বুঝতে পারছি না, পড়েছি যে কিছু জটিলতা আছে। তবে অভিষেক সাহা ও অভ্রজিৎ সেন - দুজনের থেকেই এমন আরো অনেক ধারাবাহিকের প্রত্যাশা রইল। এরপর আসি চিত্রগ্রহণে, সেটাও অনবদ্য আর সেখানেও জটিলতা। তাই মৃন্ময় নন্দী ও শান, দুজনকেই ধন্যবাদ জানালাম।