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Three friends, Abhilash, Guri and SK, situated in Old Rajinder Nagar, navigate life as UPSC aspirants and journey through the aftermath of their struggles.

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The glass-half-full aesthetic of TVF (The Viral Fever) shows is easy to like, but it’s hard to admire. Nostalgia becomes a weapon of choice. It stages a country’s most pressing challenges – academics, peer pressure, entrepreneurship, dysfunctional familyhood, sexism, middle-class ambition – as cutesy social vignettes. Real-world stories seem to unfold in a world that’s afraid of being too real. Politics, caste and religion rarely exist here. If they do, they’re reduced to generic problems with bleeding-heart solutions. This utopian gaze often feels like cultural revisionism; Kota Factory is an example of how the makers reframe the coaching-class experience as an aspirational memory rather than a lived-in truth. But sometimes, this bubble works – like in Panchayat, Gullak, and parts of Aspirants. Because sometimes, the sugarcoating implies that the salt persists.

Panchayat and Gullak are best consumed as comic-book adaptations. The goodness is not an escape so much as a default setting. The reason Aspirants (largely) passes, though, is its narrative design. 

Season 2 continues the juxtaposition of two timelines. The past features the Old Rajindra Nagar adventures of three young UPSC hopefuls – Abhilash (Naveen Kasturia), Guri (Shivankit Singh Parihar) and SK (Abhilash Thapliyal) – hurtling towards yet another civil services exam attempt. Abhilash returns for a fifth and final crack, but he is no longer in touch with the other two; his new friend is an Arunachali woman named Deepa (Tengam Celine). The present-day portions revolve around their frayed adult dynamic six years later: Abhilash is the hotshot DM (District Magistrate) of Rampur in Uttar Pradesh, Guri is a Delhi businessman married to Abhilash’s ex-girlfriend Dhairya (Namita Dubey), SK is a professor at a coaching institute, and their former mentor Sandeep bhaiya (Sunny Hinduja) is an ALC (Assistant Labour Commissioner) who reports to Abhilash. 

In a way, these two timelines start to reflect the relationship between knowledge and application, between the ‘theory’ and ‘practical’ versions of a syllabus. The former is defined by the selfish desire to be; the latter is shaped by the selfless duty to do. The transitions aren’t always smooth, but you can sense the identity crisis of both periods – one is the past striving to be the present, while the other is the present striving to be the future. A different way to read it is that the younger parts convey the formulaic fiction that TVF is guilty of, while the adult phase conveys the post-credits consequences of those fictions.