2010) marked a change in the production style and narrative themes by presented Indian soap operas. Through the book, Munshi establishes the role played by soap operas in catapulting cable and satellite channels into the broadcast sphere in India. Thus, Munshi provides the reader with chapters that examine the production practices of Balaji Telefilms, including interviews with producers, writers and directors. Other chapters focus on the texts themselves, offering a combination of explanation and analysis of key elements such as the costumes and make-up as well as broadcast features like the recap and precap. Munshi also dedicates two chapters to the representation and the voice of both men and women in the soap operas. Alongside explaining how the genre acted as a significant help to establish new channels, the book also explains the key differences between the soap operas made in India and those made in the USA or UK. Both books add to the growing number of publications from women of colour and bring global discussions to television studies.

中文翻译：

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书评：当代英国电视剧

2010）标志着印度肥皂剧的制作风格和叙事主题发生了变化。通过这本书，Munshi 确立了肥皂剧在将有线和卫星频道推向印度广播领域中所起的作用。因此，Munshi 为读者提供了审视 Balaji Telefilms 制作实践的章节，包括对制片人、作家和导演的采访。其他章节侧重于文本本身，对服装和化妆等关键元素以及回顾和前言等广播功能进行了解释和分析的结合。Munshi 还用两章专门介绍了肥皂剧中男女的表现和声音。除了解释该类型如何为建立新频道提供重要帮助外，这本书还解释了印度制作的肥皂剧与美国或英国制作的肥皂剧之间的主要区别。这两本书增加了越来越多的有色人种女性的出版物，并将全球讨论带入了电视研究。