Gyaarah Gyaarah

Yug in the present timelines begins to get clearer, show mein crime cases ke saath-saath ek parallel track shuru hota hai, ki yeh connection kya hai, kyun hai, raat ke 11:11 bajey kyun hota hai, aur kaise decide hota hai gaye zamaane mein agli kahaani kahaan khulegi. Series ko in savaalon ke aadhe cliffnager-y jawaabo tak laate laate heavy-handed melodrama mein kho jaati hai woh taut tension joh pehle kuch episodes mein bakhoobi bani thi. It almost feels like do alag creative directions mein sho khinch jaata hai. Attention to detail dekhein agar Raghav Juyal ke ghar ke set mein khoobsurat hai. Dune aur 1984 ki quotes bhi likhi hai, Ambedkar ka Chhota putla bhi hai. We are told he has a background in criminal psychology. Chhat se dikhaai deta ghnta ghar reminds you of the time, aur ghar mein paaltu billi makes him an even more likeable protagonist. Soft masculinity se bharpoor yeh kirdaar khud ke liye khaana bhi banaata dikhta hai, sade huye kankaal ko dekh dar ke bhaagta bhi hai, emotions mein kari gayi galatiyon ko manta hai aur supervisor ko nazar andaaz nahi karta just because she is a woman, infact office ke sabse kaam chor aadmiyon se hi bhidta nazar aata hai, using a display of his own confidence in masculinity to highlight the insecurities of those around him. It helps that Raghav Juyal is just in absolute top form right now, even when he’s made to mumble to himself, ki iss scene mein exposition ke baadal phaad ke rakh do, there is an exteremly endearing sincerity to him that makes you want to ignore the fact one of the cases he is solving is callously called the “tie and die” case because the killer ties the victim after his kills them and no one acknowledges how absolutely horrendous this pun is.