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By Naman Ramachandran. Netflix launched in India in , and homegrown commissions became available from in a market that thrives on local fare. They were replaced eventually by Monika Shergill in , who joined existing director of originals Srishti Behl Arya. The same year, the Los Angeles-based Mundhra pitched her idea for an Indian dating show with a global-facing matchmaker to Netflix in the U. Over in India, Netflix — trailing behind turbocharged local streamers and global rival Amazon Prime Video — was trying to grow its customer base by trialling cheap subscriptions.
The clients, all of Indian origin, are based in India or the U. Organised Chaos fixer Ricky Saxena contacted some matchmakers over late and early to shortlist them for the show, but Taparia remained their first preference because Mundhra was already familiar with her. Throughout this process, the Netflix India office was not involved. Inevitably, criticism followed, with the show being accused of not being inclusive enough, and promoting casteism.
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Mixing documentary modes with dating show ridicule, it maintains and masks the most insidious injury arranged by marriage: caste.
For South Asians and the South Asian diaspora, Indian Matchmaking is a mirror held before us. It is reflective, sometimes painfully, of a custom.
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Five years ago, I met with a matchmaker. I went in scornful. Like many of my progressive South Asian peers, I denounced arranged marriage as offensive and regressive. But when the matchmaker recited her lengthy questionnaire, I grasped, if just for a beat, why people did things this way. Do you believe in a higher power? No idea.
I can give her…95 marks out of It is reflective, sometimes painfully, of a custom with which we are all too familiar: arranged marriages. For desis, either your parents were arranged or you know a couple that was. Some people—yep, even millennials—willingly enter into arranged marriages, as seen on the new reality show. While the show portrays arranged marriages in a positive although at times, vulnerable light, it simultaneously showcases the problems plaguing the ancient tradition—problems that Netflix account holders across America were quick to point out.
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When Indian Matchmaking aired on Netflix, the Internet immediately exploded with theories, questions and memes about its participants. The show followed Sima Taparia, a matchmaker from Mumbai, as she tried to find matches for her clients – one of them being Pradhyuman Maloo. Pradhyuman, a jewellery designer from Mumbai, has now opened up about his experience of participating in Indian Matchmaking and how the Netflix show raised questions about his sexuality in an interview with ‘ Humans of Bombay ‘.
In the interview, Pradhyuman also spoke about watching his mother navigate the the male-dominated business of jewellery, the “predetermined” storyline of the show and the mockery that the LGBTQ community has been subjected to. On the show, Pradhyuman was depicted as the South Bombay man who rejected a string of proposals and was completely at ease in the kitchen, whipping up nitrogen fox nuts and fancy drinks with ease. In his interview, he has hinted – like other contestants before him – that his character on the show was given an unfair representation.
But 80 hours of filming had been condensed into a minute, predetermined edited storyline, which ignited thousands of comments and debates across the internet. The jewellery designer adds that he saw himself trending on Twitter, where “unsolicited comments assumed I was gay or bisexual, and urged me to come out of the closet.
This, he says, angered him – but only until he tried to understand the reasoning behind their assumptions.
Indian Matchmaking is a Indian documentary television series produced by Smriti Mundhra. Indian Matchmaking was released on July 16, , on Netflix. Mundhra named the casting the biggest hurdle of the show, going through a client list of families and calling to see if they were willing to be on camera. Mundhra also noted that the series initially started with about a dozen singles but with some that “fell off” during production.
The show received mixed reviews between critics and social media users. In addition to showing ” classist ” and ” casteist ” stereotypes, the show was criticized for whitewashing the idea of arranged marriages.
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By Sajmun Sachdev August 11, But while I was celebrating what I found to be a super authentic look into the world of matchmaking, arranged marriages and Indian family dynamics, many reviewers and tweeters made me realize that I may be the only South Asian woman who was. So seeing that representation in Indian Matchmaking made me feel proud: Finally an Indian filmmaker had accomplished what we got into this industry to do: She put us on TV.
Indian Matchmaking could never be everything to everybody and still be the success it is. She is, simply, a stereotypical aunty. A divorced woman is a failure. Like the criticisms of Taparia, several people online were unhappy with the traits the participants prioritized when looking for their partners. For example, Ankita is dark-skinned; coupled with the fact she has modern viewpoints, she therefore only receives one match. Skin lightening creams are a billion-dollar business in India, Asia and Africa.
Critics, and even some of my friends, found them to be stereotypical and ugh-inducing Indian parents, their worst qualities reminding people of their own fathers and mothers. But I found their familiarity exciting, because I knew these people. I was either related to them or grew up running into them at the temple. Instead of being embarrassed, we South Asians should commend these parents for going on TV and giving us authentic representation by fully being themselves; especially considering most Indian parents I know would be too concerned about how other people would perceive them to go on TV in the first place.
And not only did these parents just go on the show, but to be fair, some of them did portray some real growth.
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Sima Taparia in a still from ‘Indian Matchmaking‘. efficiently lifts the lid on the modalities of arranged marriage in the context of South Asia.
This book is an extensive and thorough exploration of the ways in which the middle class in India select their spouse. Using the prism of matchmaking, this book critically unpacks the concept of the ‘modern’ and traces the importance of moralities and values in the making of middle class identities, by bringing to the fore intersections and dynamics of caste, class, gender, and neoliberalism. The author discusses a range of issues: romantic relationships among youth, use of online technology and of professional services like matrimonial agencies and detective agencies, encounters of love and heartbreak, impact of experiences of pain and humiliation on spouse-selection, and the involvement of family in matchmaking.
Based on this comprehensive account, she elucidates how the categories of ‘love’ and ‘arranged’ marriages fall short of explaining, in its entirety and essence, the contemporary process of spouse-selection in urban India. Though the ethnographic research has been conducted in India, this book is of relevance to social scientists studying matchmaking practices, youth cultures, modernity and the middle class in other societies, particularly in parts of Asia.
While being based on thorough scholarship, the book is written in accessible language to appeal to a larger audience. Jindal Global University, India.