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Opinion | How Netflix’s Indian Matchmaking scratches the glossy surface of ‘new India’

  • Through the lens of courtship and marriage, the show presents a class of Indians who easily straddle East and West, but conflates upper-caste Hindu culture with Indian culture. While laying bare regressive stereotypes, the show also offers space for rebellion

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A screenshot from the trailer for the Netflix series Indian Matchmaking. Critics claim the series portrays a narrow, West-friendly version of India that does not accurately reflect the country as a whole. Photo: Netflix

At the start of Netflix’s Indian Matchmaking , Preeti, an Indian, elaborates on her specifications for the ideal bride for her son. She should be not below 1.6 metres tall and must be “flexible”, a word which along with “adjust” and “compromise” recurs throughout the series.

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The show, which follows matchmaker Sima Taparia as she travels between India and the United States, has sparked much discussion since it premiered on July 16. Some criticise it for promoting casteism, colourism, patriarchy and heteronormativity, while others complain it presents India in a negative light.

Indian Matchmaking follows Amazon Prime’s Made in Heaven, released in 2019, which focused on a pair of wedding planners navigating the toxic mess behind the glamour of the big, fat Indian wedding. Lavish weddings – such as the celebrity-studded extravangaza of actress Priyanka Chopra and singer Nick Jonas or that of the daughter of Indian industrialist Mukesh Ambani – and the “arranged marriage” system that often facilitates them are now globally seen as markers of Indianness itself.
These media representations present “new India” to the world and also reflect how the world prefers to see India. The families Taparia interacts with showcase a brand of Indian cosmopolitanism – the “global desi” who can move seemingly seamlessly between Anglo-American and Indian cultures. These Indians are palatable to the West because they are just different enough to be interesting, but not so different that they are alienating.

The young people raised in the US are only distinguishable from their India-based counterparts by their accents. Almost all wear Western clothes, speak English, consume alcohol and meat, and love to travel. Their homes – spacious, well lit and modern with a few “ethnic” touches – could be interchangeable.

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Indianness is marked largely by shots of statues of Hindu gods in the home, by Taparia’s recourse to astrologers and horoscope matching and by generalised references to “Indian culture”. For example, Vyasar from Austin, Texas, says he loves to cook and is willing to be a stay-at-home dad, but his wife must have an “appreciation of Indian culture”.

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