Critics Review:
There are few things more universally frustrating in India than trying to book a confirmed railway ticket. The moment Tatkal booking opens, a simple train journey becomes a battle against slow websites, disappearing seats, frantic clicks and agents who somehow seem to get everything before you do. Waiting Hai takes this extremely relatable frustration and turns it into a crime-comedy drama revolving around the murky world of the Tatkal railway ticket scam.
Directed by Sameer Vidwans, the seven-episode series follows RPF constable Sugam Mishra, played by Divyenndu, as he begins noticing irregularities in the ticketing system. His investigation eventually leads him towards Afroz Hamza, a technically gifted youngster played by Bhuvan Arora, who discovers that his knowledge of technology can be converted into serious money.
The premise is undoubtedly interesting. Unfortunately, the execution takes a little too long to catch up with it.
A Scam That Everyone Can Relate To
The biggest strength of Waiting Hai is its subject. Unlike elaborate financial scams or corporate frauds that require considerable explanation, the Tatkal racket is something the average Indian passenger can immediately understand.
The show smartly begins with this everyday frustration and gradually expands it into a larger criminal network. What starts as a young man’s attempt to use his technical skills eventually becomes a much bigger operation involving agents, money and manipulation of the railway booking system. There is enough material here for a gripping thriller. The problem is that the series sometimes seems more interested in its side stories than in the scam itself.
Two Men, Two Different Ways of Breaking the System
The most interesting part of Waiting Hai is actually the parallel journey of Sugam and Afroz.
Sugam enters the railway system wanting to do the right thing. He is inexperienced, eager to prove himself and constantly trying to find his place within a rigid hierarchy. Afroz, on the other hand, starts off as an ordinary youngster who discovers that his technical ability can give him an advantage. One wants to work within the system while the other learns how to manipulate it.
Their journeys are almost mirror images. Both are trying to find success, recognition and a better life, but they choose completely different routes to get there. Sugam believes in working his way up despite the limitations of the system, while Afroz sees the same limitations as opportunities waiting to be exploited.
This makes their eventual conflict more interesting than a simple cop-versus-criminal equation. Neither begins as an exaggerated hero or villain. Their choices are shaped by ambition, circumstances and the opportunities they encounter. It is a clever foundation for the story, even if the writing does not always explore this contrast as deeply as it could.
Divyenndu and Bhuvan Arora Hold Their Ground
Divyenndu is perfectly suited to Sugam. There is an inherent vulnerability to his character, which prevents the RPF constable from becoming another larger-than-life cop investigating a crime. He is earnest, sometimes confused and clearly trying to understand a system much bigger than himself.
Bhuvan Arora, meanwhile, brings an entirely different energy to Afroz. His character has the charm and confidence of someone who discovers that he possesses a skill nobody around him fully understands. As his ambitions grow, so does the scale of his operation. However, the look of his character is caricature-ish.
The two performances complement each other well. Their individual journeys give the series its emotional centre, even when the broader narrative becomes crowded with supporting characters and subplots.
Kumud Mishra adds gravitas to the ensemble, while Harshita Gaur, Vijay Maurya, Sunita Rajwar and Yashpal Sharma contribute effectively to the colourful world surrounding the central conflict.
When Comedy Doesn’t Always Land
Waiting Hai wants to be a crime drama as much as it wants to be a comedy. At its best, the humour emerges naturally from the absurdity of the situation. After all, there is something inherently funny about an entire underground ecosystem being built around something as ordinary as getting a railway ticket.
However, the tonal balance is inconsistent. Some comic situations work because they arise from the characters, while others feel inserted to lighten an otherwise serious storyline.
The series also takes its time getting to the core of the scam. The initial setup is engaging, but the momentum fluctuates once the larger network begins to take shape. Some of the supporting tracks could have been tighter, allowing more room for the central Sugam-Afroz conflict to develop.
A Story That Could Have Been Sharper
The Tatkal scam is an excellent subject for a series because it sits at the intersection of technology, corruption, desperation and everyday Indian life. Waiting Hai understands this potential but does not always exploit it fully.
There are moments when the series feels like it is about to become a genuinely gripping cat-and-mouse thriller, only to slow down again. The writing has enough wit and the performances have enough personality to keep things moving, but the narrative could have benefited from greater urgency and a more focused screenplay.
Final Verdict
Waiting Hai is ultimately a watchable crime-comedy with a wonderfully relatable premise and two actors who make the central conflict worth following. It does not completely capitalise on the fascinating world of the Tatkal scam, and its uneven pace keeps it from becoming the sharp thriller it could have been. But Sugam and Afroz’s contrasting journeys, combined with Divyenndu and Bhuvan Arora’s performances, give the series enough substance to stay engaging. For its unique subject, strong central performances and flashes of humour, the series surely deserves an applause.
Overall rating: 3/5
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