Srivathsan Nadadhur

The Davans are an influential family in the fictional town of Bindiya, Bihar. With the family patriarch, Bada Davan, in jail, the eldest son, Chhote Davan, tries to seize control of both the empire and local politics. However, his ambitions are threatened by a new colonel, rival gangs, and internal family conflict, all while a dedicated police officer seeks to bring down their criminal enterprise. Saurabh Shukla’s role starts with a bang, but is eventually relegated to the sidelines, and his presence is wasted. Ranvir Shorey looks his part as a son desperate to snatch power in the family, though his performance could’ve benefited from more gravitas. Vineet Kumar and Govvind Namdev get past their roles like a walk in the park; they’re barely challenged.

Born to a humble farmer, Krishnama Naidu is a rebellious son with firm views on society and justice, nursing political ambitions. Rami Reddy, an MBBS student, is trying to outgrow the shadow of his father, a notorious goon. A national emergency is declared by the authoritarian PM Iravati Basu, and as Andhra Pradesh descends into chaos, a change in order seems imminent. Aadhi Pinisetty delivers a fabulous performance as KKN, showcasing his evolution as a tactful leader and as a man of many dimensions. He brings authority to Naidu’s persona while making the character relatable to the viewer. Playing Rami Reddy, an unlikely entrant in politics, Chaitanya Rao Madadi lends enthusiasm and agility to the portrayal.

An Indian spy, Adhir, is on a mission to stop Pakistan’s president, General Zia Ullah, from developing the country’s first nuclear bomb. Many years later, in 2025, he is racing against time to protect an undercover agent, Mariam a.k.a Shrishti, who unearths a dangerous secret about a Pakistani officer, Ashfaq, his past and is making a perilous escape. Naveen Kasturia holds his own as an upright spy who does what it takes to fulfil his duties. He maintains appreciable restraint with his body language, diction, lending authenticity to the portrayal. Mouni Roy’s role, Shrishti, comes with many limitations, while she does her best to rise above them. However, her character could’ve exhibited more agency with her choices, actions.

Parshi, a carefree youngster, is head over heels in love with Anitha, who just can’t seem to give her consent to marriage. Sattaiah, Anitha’s father, and his younger brother Narsing Yadav remain on good terms until they discover a share of their deceased father’s land. What connects Parshi to the land, and how far will it affect his marriage prospects? Will the warring brothers mend their ways? Mothevari Love Story isn’t a show where you expect refined performances, but the young guns and a few experienced hands do what’s necessary to sustain its momentum. Anil Geela’s underdog act and easy-going persona make him instantly relatable, while Varshini Junnuthula’s crankiness as Anitha is generally charming.

Arabia Kadali starts with an obvious disadvantage, basing its premise on incidents that have already inspired a widely watched Telugu film, Thandel (a major hit this year). It tells the story of fishermen from Andhra Pradesh arrested in Pakistan for straying into foreign waters, waiting tirelessly to return home and reunite with their loved ones, which feels like a distant dream by the day. The show, co-written by Krish Jagarlamudi (and Chintakindi Srinivas Rao), underlines the extraordinary grit and persistence of the fishermen, while a woman back home fights tooth and nail to ensure their release. The VV Surya Kumar directorial begins by casting light on the mundane realities of fishermen, their debt-ridden families, the air of hopelessness that pushes them to migrate to Gujarat for employment and the exploitation of the corporates.

Sanjay Kataria, a struggling lawyer in Ghaziabad, scrapes through his daily life with his wife and two children with great difficulty. He faces resistance from his father in letting out a room in his ancestral property for rent, and continues to bicker with his brother over monetary issues. When Sanjay’s rebellious daughter Naina suddenly goes missing on her birthday, his life comes to a standstill. Rajesh Tailang is a perfect casting choice to play the average Indian middle-class father who tries to keep the family together, come what may. He mirrors the role’s simplicity and lends warmth to the portrayal of a man hardened by situations. Sheeba Chaddha, expectedly, is fabulous, in the shoes of a wife whose life rolls along selflessly.

An upright army officer Vijay Menon, while being a caring husband to Meher, struggles to raise his son, Harman with the same compassion. When Vijay nabs two suspects in his pursuit of a terrorist, Mohsin, his son Harman is kidnapped. Torn between his motherland and blood, a conflicted Vijay is forced to make a tough choice, one that’s bound to have serious repercussions many years later. Prithviraj Sukumaran, in the shoes of Vijay Menon, is excellent as the stoic, tough father, hardened by circumstances. He infuses life and sincerity into the father-son drama with a tour de force act. The star receives ample support from Kajol, who returns to form in style with a memorable, crucial role, in what is like an antithesis to her part in Fanaa. Both the actors truly shine as performers.

Officer Rea Thomas and a former cop, Vikram Singh, investigate gruesome ritualistic killings marked by mandala symbols. The narrative connects to the 1950s, where a widowed scientist, Nandini, creates a wish-granting device upon a sinister warning from Rukmini. Ultimately, Vikram’s kidnapping for a sacrifice to revive the deity Yast forces Rea to confront her grandmother’s history to stop the deadly ritual. It feels like Vani Kapoor has built a wall around herself while playing Rea; the portrayal is too ordinary, and the character lacks a strong identity to make any impact. Gullak-fame Vaibhav Raj Gupta is decent as Vikram, but there’s nothing remarkable about the role. In an extended cameo, Shriya Pilgaonkar is the show’s most effective performer, who embraces her greys with immense conviction.