Throughout history, women have often been viewed as the weaker and inferior members of society, facing obstacles in expressing their desires and remain silent. Although desire knows no boundaries, yet social shackles constrain the expression of female sexuality. Whileas men are provided the freedom to wander, their desires unrestrained, loud and unregretful, women are expected to confine their passions within the walls of monogamy. Carolyn Dinshaw records in the context that such patriarchal mindsets and norms enjoined woman to keep silent restricting her voice and agency.
But what of the woman who hungers for more? Whose cravings cannot be satiated by the familiarity of home? Must she suppress her longing, forced to surrender to the dictates of convention? Or can she, like her male counterpart, explore the vast expanse of her desires, unencumbered by the weight of judgment?
The Netflix series, a trailblazing narrative, ‘Tribhuvan Mishra CA Topper’ dares to pose this question, exhibiting a world where women, too, can partake in the pleasures of paid intimacy; venturing into the uncharted territories of women’s desires, choices, and empowerment although the main protagonist, Tribhuvan Mishra (CA Topper) is an honest chartered accountant who because of financial crisis opts for male prostitution. A revolution is unfolded, casting aside the expectations and societal norms and embracing the uninhibited essence of femininity. Here the female desire is freed to roam, feels powerful, and bangs two-facedness of the society where rules are created to suppress desires of one gender giving authority to the other.
Theorist, Michel Foucault, notes, “Power is not just held by individuals, but by systems, which shape our understanding of ourselves and our desires.” The patriarchal system, in particular, has long dictated the terms of women’s sexuality with discrimination. Why should men alone be permitted the autonomy to appease their desires, be it through surreptitious affairs or paid services? Is it not time to crush the hypocrisy that surrounds female sexuality, to recognize that women, too, possess the capacity for rampant passion?
H. Rowley and E. Grosch in their essay titled ‘Psychoanalysis and Feminism’ argues, “femininity is defined as the lack (of a phallus). The woman does not have the phallus for which she has to remain subjugated and fragile, as phallus is a symbol of power. A man’s body, oft-celebrated for its prowess, is anticipated to be the sole arbitrator of desire, while a woman body’s cravings are downgraded to the shadows, hushed by the weight of dominance and it furies a silent tussle.
At its core, the saga poses a poignant question: what happens when women refuse to be silenced, reclaim their agency, demand their desires be heard unleashing their deepest longings and desires upon the world? The answer lies in the multifaceted characters that inhabit this world, each embodying a distinct facet of femininity. It reminds the lines of writer, bell hooks, who fervently asserts, “The moment we choose to love ourselves, we begin to heal.”
The male-dominated society, a bastion of patriarchal power, perpetuates the notion that female sexuality is a weakness, a vulnerability to be exploited and controlled. The narrative shatters this facade, laying bare the duplicity of men who feign sympathy while secretly reveling in their dominance. A gangster Raja Bhaiya’s reaction to his wife Bindi’s revelation is a testament to this hypocrisy – his sympathy transforms into scorn, labeling her “doubly looted” for daring to claim agency over her desires.
Raja Bhaiya’s words cut deep like a double-edged sword, revealing the insidious nature of patriarchal society when he says, “Usko paisa bhi di aur sex… arre humko to dono taraf se chaut lag gya izzat bhi gyi packet bhi” (She paid for sex… and we’re the ones who got looted, losing both our reputation and money). This statement encapsulates the duplicity of men who cry foul when women assert their agency. They bemoan the loss of izzat (reputation) and packet (money), while ignoring the fact that women are merely exercising their right to choose, paying for their happiness, and exhibiting what men have been showcasing from ages, power and dominance.
In this twisted narrative, women are shamed for seeking pleasure, while men are absolved of their own transgressions. The double standard is glaring – men can indulge in paid sex without repercussions, but women are “doubly looted” for doing the same.
But why this relentless pursuit of control? Why are women denied the autonomy to seek pleasure, to pay for it if they so choose? The answer lies in the deeply ingrained belief that women are inferior, their desires secondary to the whims of men.
Another character, a male service-provider, Desi Ghoda’s “debit-credit theory” illuminates the absurdity of this mentality – a client is a client, regardless of gender, religion, caste, or color. Satisfaction and happiness are the only currencies that matter, yet society refuses to accept this simple truth when it comes to women.
A wise and witty matriarch, Mando Bua laments the absence of paid intimacy services during her youth, when her craving for physical connection went unfulfilled after her husband’s passing. Her words hang in the air like a challenge, a poignant reminder of the sacrifices women have made in the name of societal expectations. She says when she comes to know about such services taken by women, “Humare samay me kyu na thi ye service… Bina baat k tadapti reh gyi tere baap k Jane k baad” (Why wasn’t this service available in our time… I suffered in silence after your father’s passing).
A lifetime of unfulfilled desire, of suppressed longing, of quiet desperation. Mando Bua’s story is a proof to the countless women who have been denied the right to express their sexuality, to seek pleasure on their own terms.
In a society that worships at the altar of patriarchy, women’s desires are forced to wither away like an unwatered garden. But Mando Bua’s words give voice to the voiceless, a clarion call for the liberation of women’s sexuality. Other woman characters also assert and make bold choices. Shobha keeps a gun, symbolizing her newfound strength and autonomy. Ashoklata secretly keeps an affair and finally leaves her husband when she comes to know about his profession as male prostitute making her choice loud and clear. They all make decisions that defy convention, forging paths that were previously unimaginable.
Tilottama Shome as Bindi and Manav Kaul as Tribhuvan deliver outstanding performances bringing depth and nuance to their characters. They masterfully capture the complexities of their roles, imbuing them with a sense of authenticity and vulnerability. Tilottama Shome, in particular, shines as she portrays a woman reclaiming her agency and desire; navigates the realm of paid sex services, engaging with male prostitutes on their own terms.
Not only in reel life but in real life also, in the veil of ‘love’, a clandestine culture thrives in the society, where macho men weave webs of deceit, ensnaring multiple women in their grasp. These self-proclaimed ‘lovers’ cum sex-service providers peddle affection, soliciting gifts and favors from their paramours, cloaking their true intentions beneath a façade of ardor.
This modern manifestation of male prostitution masquerades as romance, exploiting the vulnerabilities of women seeking connection. The transactional nature of these relationships remains shrouded, as women, aware of the unspoken arrangement, offer tributes in various forms, veiling the true essence of the exchange.
In this prevalent ‘bhabhi’ culture, the lines between love and lust blur, as men capitalize on the desires of women, reducing intimacy to a commodity. The silence of societal norms perpetuates this charade, allowing the farce to continue, unchecked. Yet, amidst the shadows, the truth whispers – a tale of desires bought and sold, of hearts commodified, and of love reduced to a mere transaction.
‘Tribhuvan Mishra CA Topper’ is more than a web series – it carries a message for the liberation of women’s desires whether they are in burqa, skirt, jeans, shorts or saree. It’s a celebration of the unapologetic, the unconventional, and the unbridled. Though the Institute of Chartered Accountants of India (ICAI) wanted a stay on the release of this series claiming that the show defames Chartered Accountants (CAs) but Justice Navin Chawla from The Delhi High Court after watching the trailer of the series and recognizing the show’s thoughtful examination of complex societal issues, refused to bow to the argument and championed its release.
Through its liberated lens of such sagas, we can witness the unfolding of a revolution of a world where women’s agency would be honored, and they will be able to seek happiness and pleasure without fear of judgment, their desires will be celebrated, not suppressed.
(Dr. Shalini Yadav is a Professor, Writer and Columnist hailing from Jaipur, Rajasthan.)
