Never have I ever...been this delighted to watch a new, young celebrity-in-the-making

Maitreyi Ramakrishnan, not Mindy Kaling, drew me to watch the new teen Netflix series. And Maitreyi Ramakrishnan's charm, not Mindy Kaling's star, kept me glued to it. I am delighted that a seemingly down-to-earth, middle-class, Sri Lankan Tamil Canadian kid from Toronto is here to live out a Hollywood dream. It is easy to see why Maitreyi won the role over 15,000 other contenders -- she has a natural charm, is lively, spunky, and still disarmingly untouched by her own (healthy) ambition and early success. I love watching how Toronto celebrates her and am impressed by how well (how naturally) and lightly she wears her teen icon status. Her Tamil parents have raised her well, is all I can think.

I found the Devi character quite annoying -- I know, I am supposed to remember being a teen myself and also cut some slack given that Devi is experiencing a traumatic loss. Except for the loss of her father, Devi's story line is predictable: high achieving AND good looking South Asian kid with a physician parent; has an affinity for a high-achieving, well-off Jewish kid despite herself and their early rivalry, despite her attraction to a good-looking, non-stereotypically sensitive athlete. Come on! But the show, we are told, is based on Mindy Kaling's life. Kaling is lucky (alright, more than lucky, quite thorough actually) that she searched the world and found Maitreyi to play Devi for her and Poorna Jagannathan to play the mother. I certainly credit the full cast for my interest rather than the story and dialog itself.

The last episode of the first season, minus the drama, was my favorite episode of them all -- Nalini was more than a caricatured Indian American mother, an educated, liberal Indian woman. The trio of the women in the family reminded me of what I want for myself and my daughters -- relying on one another even when we each are different in our own ways.


Here are my kids' thoughts in their own words, uncensored, unedited:


I appreciate the effort that Never Have I Ever took to incorporate so much diversity; most of both the major and minor characters are minorities, especially Asian Americans. I also value the show’s decision to make Devi and her family be Tamil because I feel like the average American automatically associates an Indian person as a person who speaks Hindi. I liked that they show Devi’s family members speaking Tamil and eating Tamil food with their hands.

The show is entertaining, funny, and lively, while at the same time demonstrating the pain that people face. Although on the outside Devi often comes across as outgoing and comical, she is still going through a lot mentally and emotionally, what with the grief she faces from her father’s recent death, the shame she feels from having to be in a wheelchair even though she overcame her leg paralysis, and the struggles of trying to be popular and well-liked at school that she experiences. In a way, Ben, her academic rival, is much the same way going through internal pain though coming across as content. He always shows off to Devi and appears to be so proud of his academic success but in reality he is extremely lonely, always feels abandoned by his parents, and doesn’t have true friends to connect with (for the most part of the show). With these two dynamic characters, Never Have I Ever exposes the stigma of mental health problems that is especially common in high school.

-- Lekha Durai, May 24, 2020


I thought that Never Have I Ever was a pretty good show. It was entertaining and kept me really hooked while watching it, which is what a good show should do for viewers. It was also so cool to see Indian American representation in American media. I’m so used to watching shows like this, with a similar storyline, with a primarily white cast, so the diversity in the show was nice. It was really cool to see someone that looks like me represented on American television. Having said that, I do feel like the show had a few flaws. First of all, the dialogue was often poorly written. Some lines in the show were so cringey that they would never be spoken in real life. I think the script writers intended for these lines to be funny, but they just weren’t. 

Devi’s mom’s character confused me quite a bit throughout the show. She was supposed to come across as a typical, strict Indian mother, but she often had no reaction to things Devi and Kamala did. For example, she didn’t care when Devi stayed at Ben’s house. She didn’t know Ben or his parents very well, but she just let her daughter stay there all by herself for a week. Secondly, she had almost no reaction when she saw Kamala’s boyfriend in Kamala’s room the day they were meeting her potential husband. She even adds, nonchalantly, that she’d known about him all along. I’m excited for season two of this show to come out, but I hope that the script writers use the constructive criticism people have expressed about the show in the next season’s script.

-- Divya Durai, May 22, 2020


Never Have I Ever is a Netflix teen series created and written by Mindy Kaling. Narrated by John McEnroe, the show is from the perspective of the protagonist, Devi Vishwakumar (Maitreyi Ramakrishnan), a fifteen-year-old Indian-American girl. The plot highlights Devi’s struggles, which reflect those of many immigrant children. As a Tamil-Canadian living in America, I respect the historical significance of Kaling’s show. However, I would not recommend it; it is poorly written and unrealistic, and also has an unclear plot and mood.

Mindy Kaling is known for her writing; she has written for The Office and many books. However, Kaling did a poor job with writing Never Have I Ever— the dialogue is not authentic. If you watch the show, you’ll notice that the actors do an amazing job to make the dialogue seem authentic. But, many sentences—written by Kaling—still do not sound right. This is partly because Kaling tries too hard to put humor where it is not needed.

As an Indian-Canadian student in the U.S., I could not relate to Kaling’s depiction of high school. She centered the show’s high school on having different cliques that stereotype each other. That depiction is true to an extent, but far too many teen shows and movies have used and exaggerated it. Kaling’s depiction of high school may be true to her experiences as a teenager, but they do not hold for Gen-Z students like myself.

In Never Have I Ever, Devi struggles through the love-hate relationship she has with her immigrant mother. But she also has to figure how to handle her feelings for her crush, Paxton. She also stumbles in being there for her friends—Fabiola, who needs support as she realizes that she is gay, and Eleanor, who struggles in her relationship with her mother. But that’s not all—Devi’s cousin, Kamala, has to choose between her boyfriend and her family’s chosen groom. Also, Devi’s friend, Ben, has to find his way out of loneliness. And if that’s not enough, Devi’s mother Nalini, who misses her late husband, is reminded of memories of him. Clearly, Kaling did not create a clear plot that solves a main conflict. There is nothing wrong with a complicated plot, but it must be executed smoothly for a good story. And Kaling failed to center all of these unrelated conflicts into one central idea. And in the midst of all of these serious conflicts, Kaling tries to insert humor where it doesn’t fit. Humor is totally fine, but in Never Have I Ever, it creates an unsettled mood. Too often while watching the show, I wasn’t sure whether to feel sadness, anger, or humor. All of these unclear conflicts and moods produce an unclear purpose. After watching all of the episodes, I do not have a good answer to why Kaling created this show other than it gives cultural representation and makes money.

Never Have I Ever gives much deserved representation to minorities like myself, and it highlights many problems that many teenagers go through, from trying to fit in and be liked to trying to come out about your sexuality. But Kaling did not produce these ideas into a good show. The dialogue was written poorly; the plot, mood, and purpose was unclear; and the depiction of high school was unrealistic. The show is probably popular due to Kaling’s name and its historical significance, but it does not live up to valid expectations.

-- Rahul Durai, May 24, 2020

Madhuri Shekhar's 'A Nice Indian Boy.'

Here is the best thing I can say about how good the play 'A Nice Indian Boy' was: that I went to see it twice. 

The first time, on Valentine's Day, on my own, because it was rated PG-13 and because we have no friends or babysitters here yet that we can request taking care of our kids while we take some time on our own -- like a normal, parental couple would. So Melvin's Valentine's Day gift for me was to drop me off at Victory Gardens, take the kids for a treat in a nearby bakery and pick me up again after the show.  So pushing the guilt aside, I grabbed a 'Mumbai mule' from the lovely bar downstairs at Victory Gardens and headed up to the show -- telling myself that I love live theatre and it keeps me sane and connected in my isolated 'all work and no play' (pun intended) world.

It was quickly obvious that the play's PG-13 rating does not apply to Melvin's or my values and sensibilities and that this could have been a family outing for us. Adding to my regret was the fact that another extended family in the audience had brought along some kids -- and at least two appeared to be of my girls' ages (pre-teens). Two more appeared to be in their teens. I texted to my family during intermission that we are coming back again. Together.  Melvin's response was 'huh?' 

So we went back again yesterday-- February 15th.  I gave a crash course to my kids on DDLJ (which is referred to quite a bit in some scenes), Mumbai's cosmopolitan Marathis, Ganesha, Indian stereotypes, parental magnanimity, sibling rivalry, sibling love and support, liberal values, first generation immigrant parents' idiosyncracies, second generation's insularity, first generation's expectations of second generation's behaviors towards them. And finally, the elephant in the room and it is what you think (if you clicked on the link above) but it is also not what you think.  It is not even Ganesha who as a deity has a huge presence in the play.  It is the Indian's expectations about who is a true or a good, natural-born Indian and this little-discussed -- perhaps light-hearted but perhaps not -- reverse "discrimination". I also told them not to be shy about a very explicit kissing scene, putting it in context thus: "I allow you to watch Western movies where men kill men with one fast-drawn gun. If you are allowed to watch that, you can see this without any doubt."  I warned them that on a couple occasions they will hear some swear words -- but nothing that they haven't already heard on their school grounds or from my mouth when I am really mad about something. (Yes, so I said it out loud and publicly. Now flog me.)  Whether the crash course helped or not, I cannot be sure; whether the kids followed every dialog or understood every issue, of that too I cannot be sure (my kids' ages range from 8 to 12). But of this I am sure: that the big-picture impact of this beautiful, sensitive, witty, clever play will only make them more self-assured Indian American children and better human beings overall. That the play emphasizes the triumph of love and mutual respect for all -- whether separated by race, community or sexual orientation -- and by all -- whether by parents or progeny; brown or white -- is what they would ultimately remember. Of that I am sure. 

The California-based playwright Madhuri Shekhar (Chennai roots) appears to be talented and extremely insightful. All the actors were amazing -- but Alka Nayyar and Kamal Hans, even more so. Perhaps, they were just a tad older and much more experienced as actors, but they commanded the stage, even more so than the actors who played the younger characters (Kaiser Ahmed, Riley McIlveen, Suzan Faycurry).  

If you have a chance to see this Rasaka Theatre production, please do so.  Or better still, perform this play in your local community.  It is a lovely, lovely play.  

Director, Anna Bahow, on the play and the playwright: 'A Nice Indian Boy' is a romantic comedy with familiar tropes -- that are anything but familiar when immigrant assimilation collides with the adoption of a foreign heritage. The play challenges our traditioal concepts of ethnicity ad marriage. Shekhar has such respect for her characters and the humor is generous to all.  
          

Catherine Clarke's art therapy

If you are a local, you've got to go see Catherine Clarke's creations in the name of art therapy at Harper College. If you are a skeptic about cathartic art having class, grace and simplicity, you've got to fly into this Chicago suburb before November 3rd of 2014.  Interestingly, my favorites are different from the ones mentioned in this write-up.  And even Clarke's written descriptions to each of her creations have a stand-alone power to move an intersection of your heart and mind that you never knew existed.   

My favorites are the ones about 'these days are numbered' and 'the artist's cafe'.  And a few more. 

For the article in a local newspaper, click here.