Kota Factory Season 2

On 30 August 2021, Netflix announced that the series would be renewed for a second season, which was released on 24 September 2021.[4] On 26 September 2021, Raghav Subbu confirmed that the third season was in the works.[5]

Kota Factory Season 2

Kota Factory was shot in colour and graded into monochrome later during post production (black-and-white). The shooting was kickstarted in January 2019 and ended within 30 days.[16] After the announcement of the series' second season being renewed, the makers started their works of writing in July 2019.[17] The team initially planned to shoot the series in March 2020, but the shooting was delayed indefinitely due to the COVID-19 pandemic lockdown in India. The makers later started the shooting process in September 2020, and was filmed across two to three months in and around Madhya Pradesh. The crew shot the series under the supervision of a special team designated as in order to observe the crew members abiding the COVID-19 protocol. In January 2021, the makers announced that the shooting of the series had been wrapped.[citation needed]

The first season's soundtrack is composed by Karthik Rao and Simran Hora, and was produced by Ankur Tewari. It features twelve original compositions with two songs "The Gentleman" sung and written by Simran Hora and "Main Bola Hey!" sung by Abhishek Yadav, Manish Chandwani and Karthik Rao. The soundtrack album was released on 23 May 2019, through media streaming platforms and in YouTube through the official channel of TVF, where the songs are independently released without launching a separate jukebox format.[18][19] In addition to the original soundtrack, Kota Factory also features two songs composed by Ankur Tewari, Karsh Kale and his rock band The Ghalat Family, whereas the songs were written by Ankur Tewari.[20][21] The songs were released as a part of the additional soundtrack released on 3 June 2019.[22][23].mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ulmargin:0;padding:0.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist limargin:0;display:inline.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul uldisplay:inline.mw-parser-output .hlist .mw-empty-lidisplay:none.mw-parser-output .hlist dt::aftercontent:": ".mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::aftercontent:" ";font-weight:bold.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::aftercontent:none.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::beforecontent:" (";font-weight:normal.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::aftercontent:")";font-weight:normal.mw-parser-output .hlist olcounter-reset:listitem.mw-parser-output .hlist ol>licounter-increment:listitem.mw-parser-output .hlist ol>li::beforecontent:" "counter(listitem)"\a0 ".mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::beforecontent:" ("counter(listitem)"\a0 "

The second season's soundtrack is also composed by Karthik Rao and Simran Hora. It features nine original compositions with two songs "Tere Jaisa" sung by Vaibhav Bundhoo and Kamakshi Khanna and "Umbilical" sung by Jazim Sharma and written by Alok Ranjan Srivastava. The soundtrack album was released on 24 September 2021.

Kota Factory sponsored with Unacademy in order to promote the series, based on its storyline.[2] In December 2018, TVF released the official teaser through its YouTube channel which received wide response from audiences.[25] Later, the official trailer of the first season was unveiled on 28 March 2019.[26] The series consisting of five episodes was released simultaneously through TVF Play and YouTube from 16 April 2019, with each episode being aired per week. The series finale premiered on 14 May 2019.

After the second season being renewed Netflix acquired the distribution rights of the series;[27] an official announcement regarding Season 2 was made on 3 March 2021, where Netflix released several other original contents in their 2021 slate.[28] This marked TVF's second collaboration with the platform after Yeh Meri Family.[29] On 30 August 2021, Netflix announced that the second season of the series will premiere on 24 September 2021.

Part of the reason is many of these creative enterprises are supported by business groups who have interests in the education sector. The surrogate advertising that had become an irritant inAspirants and the first season ofKota Factory is thankfully minimised here. Though the focus is still on Jeetu Bhaiyya, we also get to see other teachers in shades that are not necessarily black.

However, like the idea of angry young men, the syllabus of studious young men also demands constant upgradation. In its second season, the Factory falls into a pattern, which is not always a good thing for a creative enterprise.

Maybe it was because the show focused too much on developing character arc of its two main protagonists - Vaibhav and Jeetu bhaiya - and forgot about everyone else, especially the three females who received little to no attention even after proving their acting abilities and doing more than justice to their characters in the first season.

Or perhaps the professional critics are too harsh in thinking that the students in Kota factory are all living pathetic lives and are victims who need to be saved from the intensity of this level of preparation. I am sure they will be surprised if they talk to those who studied in Kota even after years whether they regret the decision and the answer in most cases would be a resounding no. Maybe it was about time that we also glorified studying hard for a change rather than the usual romanticisation by Bollywood of those who quit their jobs to travel the world and follow their passion.

But after watching Season 2, I'm not sure about the show's intellectual integrity anymore. I still like the way it's made: the black-and-white palette, the wryly detailed production design, the aerial camera angles framing Kota's factory-and-maze landscape, the playful score, the young actors themselves. But enough time has elapsed between the two seasons for neutrals such as myself to recognize that everything about the TVF Middle-Indian Aspirant universe is in fact a calibrated formula. (Not to mention the release of Hostel Daze and Aspirants, web shows so fiercely exclusive about their ecosystems that it felt like I needed a secret password to have an opinion on it).

The gimmick of naming every episode (Control System, Repair & Maintenance, Packaging) to evoke a factory setup is alright. Until you realize that, in the minds of male creators who've been through the technical coldness of the engineering system, everything assumes the grammar of an equation that needs to be solved. Including women and gender inclusivity. For example, Ahsaas Channa's crowd-pleasing Shivangi is actually a female version of a quintessentially male character. The translation is literal: the crude boy is now the bindaas girl. She is an academic concept rather than an actual person. Ditto for Vartika, Vaibhav's crush, who's just as passive as Ratan's romantic interest from Jo Jeeta Wohi Sikandar. Remember her voice? Precisely. The coyness was cute in 1992, but it's an alpha-male fantasy in 2021. Then there's a new character introduced midway through the season: a woman who seems like she's going to be crucial until she's treated like a dispensable idea. She spends most of her screen time watching and admiring Jeetu Bhaiya, living in the background of every frame, smiling passively, almost as though the writers were merely content with her existence.

Maybe she might have a role to play in subsequent seasons, but here it's more than a loose thread. It's a full-blooded copout, one that sticks out like a sore thumb in a crowd of new-age themes. There's also an entire episode dedicated to the importance of hard-working sons taking their mothers for granted. The notion is not explored but endorsed. I'm not saying the writing should be reeking of noble messages and political correctness, and I can say it's true that Indian homemakers are largely pigeonholed as either mothers or wives. But this 'authenticity' of chauvinistic engineering hopefuls often errs on the side of tone-deaf arrogance. Jeetu Bhaiya sugarcoating it as a medicinal tonic is hardly the subversive anti-speech it promises to be.

Kota Factory is a 2019-2021 Indian comedy-drama web television series created by Saurabh Khanna and Arunabh Kumar. The first season aired on TVFPlay and YouTube from 16th April to 14th May 2019, then the series was renewed for a second season, which is set to release on Netflix on 24th September 2021. The series stars Mayur More, Jitendra Kumar, Ranjan Raj, Alam Khan, Revathi Pillai, Urvi Singh, and Ahsaas Channa. 041b061a72