Killer Soup Review: Desperately Seeking Shakespeare

Rahul Desai

The (Dis)Contents of the Plot

Evidently, Abhishek Chaubey’s series has a lot going on. The narrative chaos is part of the fable-like design and title. It raises the age-old question surrounding the excesses of ‘soup storytelling’: Are you in for the ride or the destination?

The Former is All Flavour, The Latter is All Form

Killer Soup encourages us to enjoy it through both lenses. Like Guns and Gulaabs (2023), the ride is inventive, crowded and overlong. There’s magic realism, pop culture and everything in between.

At Times

Getting lost in its greedy web is fun – like strolling through a tourist town and entering quirky bylanes without a plan. At times, it’s also like getting lost on the cold outskirts and not remembering the way back during a transport strike. 

All of Which is To Say

There are no rules. Anything goes. It’s like being hurled into a washing machine of the makers’ personal influences. 

The Writing is Anything But Tight

The tone is so willfully scattershot that it can get disorienting. Everyone wants to be the protagonist. Life stories collide for space. A few episodes in, it’s hard to recall what a character’s previous scene was, or where they stand in terms of their individual arcs.

Forget Winning

Killer Soup implies that those like Swathi and Umesh can’t even lose like they are destined to. Forget failing in life, they can’t even fail in the language of literature. Forget the destination, they can’t even afford the legacy of a ride.