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Armaan gladly took on the savior role and more than once, Riddhima was portrayed as the damsel in distress. The ‘opposites attract’ wisdom is enduring in its appeal - who doesn’t like an enemies-turned-friends-turned-lovers story arc? Of course, theirs wasn’t a perfect relationship it was aspirational, unrealistic, even toxic. Riddhima Gupta, whose love saga took center stage, anchored every plotline. The time was also just right for the audience to be receptive of the show: digital streaming and OTT platforms felt a little distant in their reach, propping these younger shows like DMG and its neighbor Miley Jab Hum Tum towards a mixed audience there was no adult vs. But many continued to watch it nonetheless DMG represented an innocuous act of rebellion that made for good ‘exposure’ then. Many who lived through the DMG era recall how they had to stealthily watch the show because their parents found the content too dishonorable. What was so scandalous, you ask? The show was one of the first in modern Indian television to flesh out relationships and sexual intimacy on-screen it helped water down expectations of sexual purity that many Indian families are still eager to engage with. Since the show ended in 2010, critics have chimed in to add that it didn’t set the best example for a younger audience, who accounted for the majority of viewers. Health care might not have witnessed the most nuanced, tactful portrayal - but talking about rural India’s limited access to medicine and lack of awareness around women’s hygiene on television was a small win in itself. The show also did a decent job of touching upon social topics particularly controversial at the time: storylines weaved in stigma around HIV-AIDs, class barriers, and adoption. These were relatable people talking about money issues, being forced to get married, dealing with conservative family ideals.

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Doctors and nurses, in weary scrubs and lab coats, socially inept in their ways sleep-deprived, overworked, slugging through morbid corridors and corners - it inspired love, desire, and sex like nothing else.įeminist TV Soaps Are Finally Finding a Foothold With Mass AudienceĪnd to be fair, there was a touch of sincerity to the show: it depicted the competition and animus between young professionals who work odd hours at the fictitious Sanjivini Hospital. Not only that, it was one of the earliest representations that humanized medical staff: they were ‘people’ with elaborate and even complicated love lives, and their relationships took a lot of time and energy just like it would take for you or me. But, DMG, much like its predecessor Sanjivini, which aired between 2002 to 2005, was supposed to be a medical ‘drama.’ Sanjivini’s success was a good example to prove that anchoring the show around personal lives, rather than focusing on the nuts and bolts of health systems, was a better cinematic formula. Yes, the show put more emphasis on the love and lives of doctors, sometimes at the expense of an accurate depiction of hospitals and health systems key to its functioning looking back, many now found this portrayal to be lazy, insensitive, and even hurtful to the medical community.

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What was once popular and appealing is now a tad cringe, redundant, and boorish in its cinematic ways.īut, there’s wisdom in not letting go of this television series just yet. Nostalgia around DMG is similar to what one feels about that embarrassing family member, whom you nod and smile warily at but would prefer the distance to familiarity any day. In hindsight, people agree that it wasn’t the best television - far from it, as the show ended up perpetuating suspect ideas about modern love, women, and healthcare systems. The love stories were problematic in ways more than one sexism, casual and intended, reigned. Character arcs were grievously forgotten midway some characters were recast more than we would like. As was typical of soap operas, there was melodrama, unconvincing plotlines, mediocre acting, and stale dialogues. Dill Mill Gayye was packaged as a love story through and through - with lies, grief, betrayal, and family histories as complicated as patient charts.

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The year was 2007, when Star One debuted a medical drama that was more drama and less medicine.

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In Can’t Let Go, we revisit the nostalgia around our favorite pop culture moments that haven’t aged well.















Dil mil gaye