ndian Matchmaking is a guilty pleasure for many loyal Netflix subscribers. As the name suggests, the matchmaking series brings a rollercoaster ride of sometimes vomit-inducing regressive statements and the glitz and glam of a big, fat Indian wedding. Season 2 brings the desi Lady Danbury on yet another expedition for her elite clientele ordering a custom-made partner with distinct qualities. Produced by Smriti Mundhra, Indian Matchmaking is the desi version of First Dates with more spice and drama. The show’s opening dialogue paves the way for new viewers to deduce the nature of the show when Sima Taparia, the godfather of potential suitors, suggests that “marriage is a big industry in India.” It’s an ‘industry’ whose chief priority is to turn the clients into a walking credit card, and find a perfect match.

While the show gives nostalgic vibes of a desi wedding and butterflies in the stomach watching a couple cosy up, there is an obvious lack of chemistry between the pairs. The representation of South Asian culture is mortifyingly botched and heavily relies on the materialistic. Of course, there are two sides to every story; the show has made a little effort towards inclusivity (the only factor that saved it from the cancel culture) by bringing forth the progress made by South Asian communities regarding matrimonial affairs. The freedom given to the new generation and the plethora of suitors are highly motivating. The stereotypical suppression of the ‘brown culture’ is crushed. Despite the good, Indian Matchmaking is still a concoction of blatant sexism and elitism with unsolicited opinions as the garnish on the top.

While the second season of the show has made some small attempts to course-correct after critics accused the first of being problematic, Sima Taparia continues to criticise women who know what they want. Although she has held back on harsh remarks to portray a better image of herself, she is still rooted in regressive ideologies that have led to and support fascistic tendencies and the concomitant violent cultural transformation in India. With headstrong women who know what they want to financially stable men ready to bring everything to the table, the show has a positive undertone for individuals believing a marriage is about bearing and raising children. Taparia asks her clients to adjust rather than compromise and suggests that they should not be superficial. Despite the fact that the non-fictional characters are looking for a partner, their stuck-up personalities and never-ending list of traits may put off many people. At some point, it feels more like ordering off a menu than seeking help from a matchmaker. As if this wasn’t enough, Indian Matchmaking has picked an exclusive community with a very specific caste, creed and religion. Disappointing the diverse communities, the show entertains only the elite Hindu clientele, leaving out a myriad of other cultures and faiths.

While the second season of the show has made some attempts to course-correct after critics accused the first season of being problematic, Sima Taparia continues to criticise women who know what they want.

For the uninitiated: the show features Sima Taparia, a top notch matchmaker hailing from India who is the cupid for many of her successful clients. She embarks on a journey to find custom-made robots with human feelings and certain qualities which her clients love to call “a partner.” Retained from Season 1, Aparna, Nadia and Pradhyuman are up for courtship with new faces including Anjali, Viral, Arshneel, Shital and Vinesh. They set out on an expedition to establish that a marriage is more than an economic institution. From messy breakups to self-love, and a multi-million rupee wedding in the end, Indian Matchmaking does manage to give it all.

The viewers may find some characters too picky or stuck-up but none can be blamed, since finding compatibility is akin to finding a needle in a haystack. The show can be seen as progressive as well as regressive. We have certainly come a long way from finding suitors since Portia’s father in The Merchant of Venice devised his scheme to strictly desi parents finally allowing their children to choose whoever they want to end up with.

In terms of conventions, Indian Matchmaking is a red flag – left, right and centre - not only for its ostracisation of other equally diverse cultures but also for the material and quite misogynistic remarks coming from an experienced woman. The cultures and traditions introduced by the West and promoted in South Asia are a prime example of what is wrong with a ‘brown’ society. This Mundhra production could have done better in terms of convincing participating individuals with on-screen therapy coming from Taparia herself as she is the matrimonial mogul and influences her clients. Not only does Sima somewhat lack enthusiasm-induced conversation, she also gives unsolicited opinions on Nick Jonas and Priyanka Chopra’s age gap – a highly discouraging discourse with Nadia that ends with her concluding that the age factor changes the dynamics of a relationship.

Overall, it is generic show. Indian Matchmaking should bring more flavours and flexibility to future seasons if it wants to be a success.

The author has a    background in English literature. She can be reached at   xo.noorfatima@gmail.com