{"id":4309,"date":"2016-05-20T22:58:14","date_gmt":"2016-05-20T17:28:14","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4309"},"modified":"2026-07-17T21:01:20","modified_gmt":"2026-07-17T15:31:20","slug":"made-in-heaven-review-zoya-akhtar-reema-kagti-indian-weddings","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4309","title":{"rendered":"Made in Heaven Review: The Zoya Akhtar Show Exposes the Regressiveness of Urban India"},"content":{"rendered":"\n

I<\/span>t\u2019s impossible to not derive wicked pleasure out of the fact that <\/p>Made in Heaven<\/span><\/i>, a biting critique of the farce that is the big fat Indian wedding, is written by three unmarried women filmmakers. I wouldn\u2019t be surprised to find out that the web series was in fact inspired by the frustration that the writers felt about being endlessly quizzed about \u201csettling down\u201d \u2013 nosy Indian aunties could certainly do with an irresistible comeback. <\/span>\n\nCreated by <\/span>Zoya Akhtar<\/span><\/a> and Reema Kagti, and written by Akhtar, Kagti, and Alankrita Shrivastava, the nine-episode long <\/span>Made in Heaven <\/span><\/i>operates in the extended <\/span>Dil Dhadakne Do <\/span><\/i>meets <\/span>Zindagi Na Milegi Dobara<\/span><\/i> universe. The show is concerned as much with presenting a snapshot of the affluent in South Delhi as it is with examining how the display of wealth consumes urban India at large. After all, the business of weddings \u2013 like cricket and Bollywood \u2013 provides a perfect microcosm of modern India, stuck between projecting progressiveness and concealing social regressiveness. <\/span>\n\nAt the centre are the tribulations of the eponymous <\/span>Delhi<\/span><\/a>-based boutique wedding-planning start-up, <\/span>Made in Heaven, <\/span><\/i>run by best friends, Tara (Sobhita Dhulipala) and Karan (Arjun Mathur). Every episode follows the duo plan a different wedding \u2013 doubling up as therapists, mediators, kidnap-artists, and genies. It\u2019s juxtaposed with the heady circumstances of their lonely personal lives: Tara\u2019s industrialist husband (Jim Sarbh) is cheating on her with her best friend Faiza (Kalki Koechlin) and Karan\u2019s sexual identity has to put up a fight against Indian morality. It\u2019s these complexities that make watching the outsiders \u2013 Tara is a middle-class girl married into wealth and Karan is an openly gay man who can\u2019t legally get married in the country \u2013 sell the happiest day of every Indian family\u2019s life, such a riveting affair.<\/span>\n\nMoreover, <\/span>Made in Heaven <\/span><\/i>dissects the increasingly transactional nature of Indian weddings: More than one wedding in the show is manufactured to serve a business or a political merger. Some weddings, on the other hand, throw light on how its very structure is built to exploit women: In the fourth episode, an educated family of government servants perform their modesty by insisting on having a \u201csmall wedding\u201d for their son. But soon reveal their narrow-mindness by blackmailing the bride\u2019s family to cough up a ludicrous amount of dowry. In another, an upper-class privileged \u201cmaanglik\u201d woman marries a tree to please her in-laws. And the show itself, opens with a wedding where the groom\u2019s affluent family disregards the bride\u2019s privacy by hiring a wedding detective to find out about a past abortion. <\/span>\n\n\"Made\n

\n

In an era of Sacred Games<\/em>, Made in Heaven<\/em> achieves something very distinctive: It is proof that intelligent shows can also be accessible and bingeable.<\/p>\n

Image Credit: Amazon Prime Video<\/p>\n<\/figcaption>\n<\/figure>\n\nBut it\u2019s <\/span>Made in Heaven\u2019s<\/span><\/i> brilliant fifth episode \u2013 directed by Prashant Nair (<\/span>Delhi in a Day<\/span><\/i>) \u2013 that offers the strongest critique: A Ludhiana woman\u2019s wedding to an already-divorced, impotent NRI man is heartbreakingly used as a device to suggest how so many women rely on marriage to set them free, when all it does is shackle them to life imprisonment. It\u2019s admirable how the running thread in all of them points to how none of the weddings \u2013 irrespective of how woke or lavish they might be \u2013 offer women a cause for celebration. After all, how can women not end up as victims in a cultural tradition that expects them to pay men to spend the rest of their lives with them? It\u2019s fitting then, that the show\u2019s happiest wedding occurs where one would least expect it: An inter-faith marriage of the daughter of a lower-class Muslim clerk with a middle-class Hindu man.<\/span>\n\nThe only downside of the show is that some of the weddings feel like they\u2019re included only to make a point. For instance, a sexual assault incident at a royal wedding and a fleeting revelation about honour killing hardly inform the larger narrative. It’s made even jarring by a voiceover that at times feels too force-fed. But even that is offset by <\/span>Made in Heaven\u2019s<\/span><\/i> fascinating deep-dive into the inner lives of its two leads: Never has an Hindi show utilised flashbacks so efficiently to inform the motivations of its characters. Tara\u2019s guilty conscience is sensitively dug out as is Karan\u2019s childhood tragedy: A flashback scene that shows him outing and bullying his childhood lover, delicately articulates the thin line between protecting oneself and hiding oneself. <\/span>Made in Heaven<\/span><\/i> gains from insisting on not viewing anyone apart from the Indian society as the villain: Adil\u2019s philandering ways aren\u2019t outrightly judged and Faiza isn\u2019t reduced to a textbook home-breaker. Even Karan\u2019s mother, who refuses to accept his \u201cdisease\u201d years later, is treated with empathy, a rare feat for a mainstream Hindi web show. <\/span>\n\nThe full extent of <\/span>Made in Heaven\u2019s<\/span><\/i> sensitivity and accomplishment, however, lies in how it approaches the responsibility of having a gay lead. In the show, Karan\u2019s sexual identity isn\u2019t used just as a vapid statement (unlike the hyped lesbian romance in <\/span>Ek Ladki Ko Dekha Toh Aisa Laga<\/span><\/i>). Instead <\/span>Made in Heaven<\/span><\/i> is determined in exploring homosexuality as an Indian identity. <\/span>It\u2019s possibly the first post-377 offering that doesn\u2019t shy away from critiquing the state-sponsored alienation that victimised the Indian gay population for decades: A sub-plot involving a closeted married landlord (a tender Vinay Pathak) hits too close to the bone. As does the show openly addressing Section 377 and its consequences on gay men. But it doesn\u2019t just stop at that. <\/span>\n\n

Like every other Zoya Akhtar project, Made in Heaven<\/em> is essentially an inevitable masterclass in crafting an unforgettable ensemble<\/blockquote>\n\nMade in Heaven<\/span><\/i> is possibly the only Indian show that represents intimacy between two gay men in a way that normalises the essence of <\/span>homosexual<\/span><\/a> desire: A penultimate scene of two childhood lovers \u2013 one Hindu and the other Muslim \u2013 sharing a bathtub post-sex is filmed with a never-seen-before romantic gentleness. And the gay characters populating the show are shown flirting, kissing, and having plenty of sex \u2013 like it is a way of their lives. It\u2019s laudable how <\/span>Made in Heaven<\/span><\/i> refuses to exploit Karan\u2019s gayness as the other: Like Fawad Khan in <\/span>Kapoor and Sons<\/span><\/i><\/a>, Mathur isn\u2019t made to play Karan as a typical \u201cgay man\u201d and the actor (who played a gay man in Onir’s <\/span>I Am<\/span><\/i>) brings an internal anxiety to the character that makes it engrossing.<\/span>\n\nLike every other Zoya Akhtar project, <\/span>Made in Heaven<\/span><\/i> is essentially a masterclass in crafting an unforgettable ensemble: The show features some electric cameos (Deepti Naval, Lalit Behl, Vijay Raaz, Vikrant Massey) and the casting of every character enlivens its premise: Take for instance, Shivani Raghuvanshi (<\/span>Titli<\/span><\/i>) who essays the beguiling Jass and lends the show its moral compass. But more than anything, in an era of<\/span> Sacred Games<\/span><\/i>, <\/span>Made in Heaven<\/span><\/i> achieves something very distinctive: It’s proof that intelligent shows can also be accessible and bingeable.<\/span>\n\nMade in Heaven is streaming on Amazon Prime Video<\/em>\n\n\u00a0\n","protected":false},"excerpt":{"rendered":"

Zoya Akhtar and Reema Kagti\u2019s Made in Heaven dissects the transactional nature of Indian weddings and critiques the concealed social regressiveness of urban India. It\u2019s also a rare show that explores homosexuality as an Indian identity instead of reducing it to an empty statement.<\/p>\n","protected":false},"author":103,"featured_media":4312,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[7743,7744,5503],"class_list":["post-4309","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-made-in-heaven-review","tag-reema-kagti","tag-zoya-akhtar"],"yoast_head":"\nMade in Heaven Review: The Zoya Akhtar Show Exposes the Regressiveness of Urban India<\/title>\n<meta name=\"description\" content=\"Zoya Akhtar and Reema Kagti\u2019s Made in Heaven dissects the transactional nature of Indian weddings and critiques the concealed social regressiveness of urban India. 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