Kapoor had a realization about her health that prompted her to quit drinking. She stated, “I was not a regular drinker before the pandemic.” Now, she has not consumed alcohol for a year.

She compared her morning hangover to that of someone addicted to alcohol. “When I woke up in the morning, my body smelled of alcohol,” she said. This experience made her reflect on her relationship with drinking.

Kapoor is currently involved with an NGO that supports people struggling with alcohol addiction. She aims to help others facing similar challenges. Her journey highlights the impact of COVID-19 on mental health and substance use.

The actress emphasized that she does not consider herself an addict. “I am not saying I was a slave to alcohol or misused it,” she explained. Today, she feels that she only has a friendship with alcohol.

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Before the release of Chiraiya on March 20, 2026, the television landscape was largely devoid of narratives that tackled the sensitive issue of marital rape. Audiences had come to expect traditional storylines that often glossed over such difficult themes, leaving many social issues unaddressed.

However, with the premiere of Chiraiya, a significant shift occurred. The series, which consists of six episodes, dives deep into the harrowing experiences of its protagonist, Pooja, portrayed by Prasanna Bisht. Pooja’s character suffers marital rape at the hands of her husband, Arun, played by Siddharth Shaw. This stark portrayal marks a decisive moment in television storytelling.

The immediate impact of Chiraiya has been profound. Viewers have expressed a range of emotions, with some finding the series disturbing yet necessary. Divya Dutta, who plays Kamlesh, a character who undergoes a moral awakening and chooses to support Pooja, noted, “I went to the washroom and broke down,” highlighting the emotional weight of the series.

Experts have weighed in on the significance of such narratives. Dr. Pallavi remarked, “#Chiraiya was disturbing to watch, because it shows the reality of our society,” emphasizing the importance of confronting uncomfortable truths. Meanwhile, Sachin Kumar (Sid) stated, “A girl’s ‘no’ must be respected,” reinforcing the series’ message about consent.

The portrayal of Kamlesh assisting Pooja in contacting an NGO for support further underscores the series’ commitment to addressing real-world issues. This aspect of the narrative not only provides a glimmer of hope but also encourages viewers to consider the role of community support in such situations.

As audiences continue to engage with Chiraiya, the conversations surrounding marital rape and consent are likely to evolve. The series challenges viewers to reflect on their perceptions and the societal norms that often silence victims.

In summary, Chiraiya represents a significant departure from traditional television narratives, bringing to light the complexities of marital relationships and the urgent need for dialogue on consent and abuse. Its release marks a pivotal moment in the representation of sensitive social issues on screen.

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