Thrilling, but predictable

An unusual disappearance, grief that takes a psychotic turn, and a web of secrets: Shaque: Trust No One has all of this and begins with the abduction of a baby girl, Apeksha, from a hospital shortly after birth. For almost a decade, her grief-stricken mother, Anvita Dutt, played by Parineeti Chopra, is consumed by the search for her daughter. Amid her unwavering obsession—which others perceive as bordering on psychosis—she continues to celebrate Apeksha’s birthday every year. But things take an unsettling turn when the kidnapper begins sending her images of Apeksha. Spread across seven episodes of 30-40 minutes each, the series is not a dense watch. It is a convenient, fast-paced thriller that moves briskly, even if it does not always probe its material deeply.

The misty, mysterious setting of Shimla hills provides the perfect backdrop for the story. The atmosphere grows darker as the narrative expands beyond a conventional police case. An occult and black-magic thread on the outskirts of town, which eventually finds its way into the Dutt household, adds another layer of mystery. But the device is pushed too far with the cop’s habit of consulting Tarot cards, making the arc feel awkward and forced.

The characters exist in shades of grey. Chopra eases into her role as Anvita, though not immediately. Her initial reaction to discovering that her daughter is missing feels superficial, but her performance gathers momentum as the series progresses. Anup Soni is particularly effective as the good cop who stays on the case alongside Anvita for nearly a decade, although his Punjabi accent occasionally feels awkward. Even more compelling is Jennifer Winget’s Sakshi, another major character, whose arc moves through several shades of feeling: from initial passivity to suspicion, disgust and, eventually, understanding.

There is a lot going on in the plot—an extramarital affair, drugging, murder and illegal surrogacy—and some of it stretches credulity. More importantly, much of it contributes little to Anvita’s search for Apeksha. The illegal surrogacy track, in particular, feels like a missed opportunity. It could have been woven more meaningfully into Apeksha’s story to offer a larger commentary on motherhood, exploitation and the commodification of parenthood.

At its heart, the series attempts to examine the many forms that maternal instinct can take, not just through Anvita but also through Sakshi and Anvita’s mother-in-law, Madhu (Soni Razdan). Yet their psychology is never explored deeply enough to make Shaque the psychological-crime thriller it seems to aspire for. Most disappointing, however, is the way the series gives away its climax far too early—almost by the fourth episode. The answer is not concealed so much as placed plainly in front of the viewer. You keep hoping there is another layer or revelation waiting to emerge, but there isn’t.

The show undoubtedly begins with an intriguing premise and sustains a certain momentum, but its mystery remains underdeveloped. What could have been a layered psychological thriller ultimately settles for a predictable resolution, leaving little surprise—and even less sense of closure.

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