Home Entertainment 'The characters are made weird so the producers feel progressive.'

‘The characters are made weird so the producers feel progressive.’

The mainstream representation of gay romance is an exception rather than the usual one in films like Elig (201 as), Ek Ladki Ko Dekha To Isa Sa Lug (2019) and Shubh Mangal Zyada Sawdhan. Starring Himika Bose and Shreya Gupta, the story revolves around two girls who match up on a dating app and decide to stay together to find out their relationship.

“The show’s agenda is to generalize gay love stories,” Gupta insisted. While she played the role of finding herself as an actor, this is Bose’s third trip to represent the community. “I played a 14-year-old girl exploring her sexuality in a short story with an unusual name,” says Bose. For his latest outing, he took inspiration from friends related to the community. “I don’t have any movie or book references to play the role, so my character is identical to the ones I’ve seen in life.”

Sulagna Chatterjee, author
Sulagna Chatterjee, author

Gupto, who started the film with the offering fur of Tamil and Varanam Ayram (2008), credited author Sulgan Chatterjee for sensitively discovering homosexual relationships. “We didn’t need to do much research personally because our author is from the LGBTQA community, and so, we knew it would be accurately represented.”

Love Stories is one of the few genres that breaks down age and language barriers, attracting a wide spectrum of audiences. While showcasing the gay couple’s romance, Chatterjee wanted viewers to accept unique love stories more. “Love Stories is not every target audience. Everyone has the bandwidth to experience love. But, since Dice Media’s audience is primarily young adults, tonality shows it.” Echoing his sentiments, Chatterjee added, “The story could work even if they were not gay characters. People were attached to a character’s emotions, and not the labels assigned to them. We were happy to see Sulag’s friends on our show. Represents a community without. “

Where international shows – including Orange, New Black, Euphoria and Gray’s Anatomy, among others – have been discussed in more depth, Indian content creators are at a critical stage in exploring these relationships on screen. Ask him if the Indian audience is on the fence despite the Supreme Court’s decision to reject homosexuality in 2018, and Chatterjee said, “A lot of writers are waiting there with potential scripts. [OTT] Platforms need to stop being demonstrative. Often, we need to dial in to make the storylines more entertaining or professional. In the two years since the proclamation of Article 7 377, how many homosexual stories have we seen? Most of the time, the characters are only made queer because it gives the creators the tag of being progressive. On other occasions, it’s gloss [someone who is both cisgender and heterosexual] People write boring stories.

How can fresh stories thrive in such a stifling set-up? The question is not whether India is ready; The real question is – how will you find it unless you make this leap of faith? “

Gupto insisted that high-time producers have stopped underestimating audience intelligence.

“I was part of the LGBTQIA ad, but it was canceled because customers think it will hit India. We don’t give our audience the right credit.”

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