Mumbai (Maharashtra) [India], November 14: A village housewife turns out to be the leader who does not want to get lost in the background. The story of Madam Sarpanch comes out on UltraPlay, and it hits hard and soars.

Madam Sarpanch was released on Ultra Play with a definite purpose. It is not a tear‑jerking story. Rather, it tells a candidly realistic story of power, transformation, and the dirt that generally goes unnoticed in the Indian villages. With the backdrop of local governance, the series demonstrates the image of what leadership represents when it is stacked against you but you still turn out.  

The show, led by Kishor Kadam, Devika Daftardar as Awali, Nagesh Bhosle, and Ashwini Kulkarni, takes off on the basis of daily realities, rather than joie-de-bruit. The characters are highly believable, the setting is real, and the political relationships replicate those of thousands of gram panchayats every year.  

An excerpt of Awali in his journey to the kitchen to the Panchayat, meaning the place of the elders.  

The fundamental building block of Madam is Awali. She starts off a homemaker in the rural Maharashtra who had never dreamed of having her name on a ballot. Her husband who is the experienced Sarpanch of the village, urges her to run, an aspect that has been widely practiced, compelling women to run, with men lurking in the background.  

Awali does not prefer to remain in the background. She comes out, notices, studies and ultimately becomes a leader. She deals with the unsanitary conditions of the governing process: conflicts arise, groups raise their voices, and choices are made. Awali ascends to the position with a firm belief and not glamour, and she has to fight through confusion, resistance, and even her own insecurities.  

The series is anchored by her transformation into a candidate who is reluctant to be a leader. It does not focus on melodrama and is grounded in the mere fact that leadership is not productively inherited by anyone but rather constructed year by year through challenging experiences.  

The image is relevant and necessary in a country where close to 50 per cent of all women in the rural areas who have been elected to panchayats struggle with cultural baggage.  

Ultra Media and Entertainment Group Founder and Chairman Sushilkumar Agrawal is calling the series a response to the power and endurance of the women who stand up despite all the odds. He indicates that the setting of the story is in rural India, yet the emotional heart of the story has no boundaries. Language is not superior to empowerment, dignity and self-worth.  

The show is anchored by the rural textures of director Santosh Kolhe without making it look dated. The plot progresses, the stakes remain actual, and the world is one that anyone who has ever observed village politics at close quarters can identify with.  

It is not the tourist-friendly image of India in the countryside. The real, working world, that gets up early, pushes through mud, sorts out quarrels, and yet still proceeds, is the raw one.  

Madam Sarpanch is an indication of a greater change at Ultra Play. The platform has been secretly amassing its library, combining classic books with the new digital-first books. It is based on the cinema history of India and cultivates new narratives.  

UltraPlay already has movies of the 1950s, 1960s, and an arsenal of films that can be enjoyed by watching and appreciating a solid movie instead of the noise and nonsense that most Hollywood does.  

Today, original content such as Madam Sarpanch is making the platform intensely focused on narrative-based entertainment.  

It’s a smart move. The OTT market in India is saturated with smooth, big-budget content, but the content that resonates with real-life India is cut through stuff.  

The series is more than fitting for such a strategy.  

The rural system of governance in India is thick, vibrant and misconstrued. Grampanchayats are tiny in size, but they are addressing real issues such as land issues, water shortage, education, social strife, and developmental delays.  

Once women enter these positions, it gets more difficult- but it also gets more discoveries.  

Women have also been increasing in the number of panchayats, but in states like Maharashtra, the representation is high but the difference between the representation and power is a big one.  

Madam Sarpanch brings out this contradiction without sloganeering. It demonstrates how a housewife is able to carve a niche traditionally controlled by experienced men and make it her own.  

Talent is no scarcity in India; it is just not observable. The narrative of Awali embodies such a lack of balance in an honest way.  

Madam Sarpanch does not come here to preach; she comes here to demonstrate. It is sometimes just a plain statement of truth that is more effective than any speech.  

The show is a blend of good acting, a well-grounded direction, and a story that turns its back on reality. Combined with the arsenal of stories that Ultra Play is building, it is evident that the service is preparing to become a serious storyteller. As soon as a homemaker turns into a leader, the tale is not a minor one, but rather an epic.