The idea of ‘popular’, though problematic, passes through and acts upon our everyday lived reality in the most undisguised manner. Our position as spectators within a certain socio-economic construction shapes the primetime telereality and consequently is reshaped by it. It is within this framework that I want to place the shifting internal rubrics of the ‘Indian’ family both in terms of the visible ‘reality’ and its narrativized form in the popular primetime media. However, these two ‘real’s (in the sense I use them here) are interconnected by the advent that marks the free flowing of capital across national boundaries, to which we have stylistically given the name ‘globalization’.

Among many other devices of popularizing a cultural product, identifying the dominant ‘taste’ of the intended audience is perhaps the most important. Dominance of the market over the production of cultural goods depends on its power to control this ‘taste’ and use it in direct relation to the mode of production. Thus every cultural good, metaphorically speaking, becomes a ‘constitutive taste’, to quote Pierre Bourdieu. So, although it may seem ironic enough that narratives glorifying the traditional ‘Hindu’ middle-class joint family structure began to rule the television screen at a time when in most urban areas it was constantly being challenged by the rising concept of nuclear-families, the reason behind its immense popularity in the middle-class household becomes clear if we bear in mind the intricate procedure of constituting this ‘taste’.

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