By Anil Merani: The TV show Anupamaa has sparked discussions about societal norms, gender roles, and the portrayal of women in Indian television, particularly through its lead character, Anupamaa, played by Rupali Ganguly. One bold narrative choice could have been for Anupamaa to marry Raghav, a character introduced as a complex figure with a mysterious past, portrayed by Manish Goel. However, the creators may have avoided this to cater to the sensibilities of their core audience. Let’s break this down by addressing the plot changes, Raghav’s role, and the broader question of media responsibility in challenging gender norms.
Plot Changes and Raghav’s Role
In recent episodes of Anupamaa (as of May 2025), Raghav’s introduction has brought significant drama, especially regarding his growing affection for Anupamaa. His character is layered, with a mysterious past that promises to impact Anupamaa’s relationships and life choices. The show has hinted at a potential romantic arc, with moments such as Raghav confessing his feelings for Anupamaa. Yet, she firmly rejects him, stating that her heart belongs to Anuj Kapadia, her former love interest. This rejection aligns with the narrative focus on Anupamaa’s emotional loyalty to Anuj, even after their divorce, and her reluctance to pursue a new romantic relationship.
The storyline surrounding Mahi and Aryan’s secret wedding has further complicated matters. Raghav’s support for Anupamaa during family conflicts has sparked rumors about a possible third marriage. Moti Baa’s remarks about another wedding in the family and societal gossip regarding Anupamaa’s bond with Raghav have amplified these speculations. However, Anupamaa remains steadfast in prioritizing her independence, her culinary business (Anu Ki Rasoi), and her role as a mediator in family disputes over new romantic entanglements. The creators seem to have deliberately chosen not to push Anupamaa into a third marriage, likely to maintain her image as a resilient, self-reliant woman who doesn’t need a romantic partner to define her journey—a core theme that resonates with the show’s audience.
The decision not to pursue a marriage with Raghav may reflect the creators’ caution about alienating their core audience, which primarily consists of viewers who admire Anupamaa’s journey of self-respect and independence after her divorce from Vanraj Shah. A third marriage, especially in her sixties, might be perceived as too progressive or controversial for a mainstream Indian TV audience, where traditional values often prevail in storytelling. While the show tackles progressive themes, such as divorce and women’s empowerment, it operates within the boundaries of a family drama, balancing bold choices with audience expectations.
Media’s Role in Challenging Gender Norms
The disparity in societal perceptions regarding men marrying at old ages while women face scrutiny for similar choices highlights a double standard deeply rooted in cultural norms, which media—including shows like Anupamaa—has the power to challenge. Indian television has historically reinforced patriarchal norms, often portraying women as sacrificial figures tied to family duties. Anupamaa initially broke this mold by showcasing a middle-aged housewife reclaiming her identity, divorcing her unfaithful husband, and pursuing her ambitions. However, the reluctance to depict Anupamaa falling in love for a third time in her sixties suggests a limit to how far the show is willing to push boundaries.
The media’s role in driving social change is significant, as it shapes cultural perceptions and influences public discourse. Shows like Anupamaa have the platform to normalize women’s autonomy in relationships, irrespective of age, thus challenging the notion that older women’s romantic lives should be sidelined while older men’s remarriages are more readily accepted. For instance, Balika Vadhu, another show referenced in discussions about social issues, depicted an 80-year-old woman going to school, which was seen as a bold but occasionally unrealistic narrative choice. While such stories aim to inspire, they risk feeling out of touch if not grounded in relatable contexts. Anupamaa could have taken a similar risk by allowing the character to explore a new romantic arc with Raghav, presenting it as an empowering choice rather than a scandalous one.
The media’s hesitation to fully embrace such narratives often stems from commercial pressures. Indian TV heavily relies on TRP ratings, and producers may avoid storylines that could polarize viewers accustomed to traditional portrayals of women. Nonetheless, the success of Anupamaa—which has consistently topped TRP charts—shows that audiences are open to progressive themes when presented thoughtfully. The show’s focus on Anupamaa’s self-respect and independence has already resonated with homemakers and women seeking empowerment, suggesting that a well-crafted storyline about a woman in her sixties finding love could be accepted if it aligns with her established character arc.
Shows like Anupamaa could draw inspiration from global media, where older women’s romantic lives are increasingly portrayed with nuance (e.g., Grace and Frankie).