Over time, any skepticism that was left among family members is washed away-the family’s social status rises proof, to them, that Lalit must actually be his dead father. Following these rituals was meant, according to Lalit, to bring prosperity to the family. Lalit-as his father-goes on to devise intricate, obscure rituals for the family to follow, documenting their instructions in ink. To them, it’s miraculous Lalit has his speech back. When Lalit eventually does start speaking again, he claims he’s been possessed by his father’s spirit. Later, it’s revealed that Lalit met with an accident, suffered untreated head trauma, and stopped speaking entirely. What’s more, Bhopal Singh’s death sent his youngest son, Lalit, into a depressive spell.
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With his wife Narayani Devi now the oldest family member-and two of her three sons, daughters-in-law, and daughter, plus grandchildren, all under one roof- family drama pressure cookered. Things changed for the family after Bhopal Singh, the family’s patriarch, passed away in 2007.
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Midway through the second episode, interviews-especially those with the Bhatias’ friends and family-reveal a key plot point. Ultimately, they all arrive at the same conclusion-how well do you truly know what happens behind closed doors? Crime reporters, journalists, police personnel, and psychologists chime in.
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Neighbors and relatives remain grief-stricken and shocked as they recount pleasant memories, struggling to join the dots. Like most true crime documentaries, we’re repeatedly reminded, in some form or another-“but they seemed so normal.” All-smiles family photos and home videos are periodically interspersed with interviews to drive this point home. In other words: no one outside the family entered the Bhatia home. On the night of their deaths, more footage shows the 15-year-old grandson opening the downstairs plywood shop and taking a bundle of wire home. Combined, they signal to the viewer (patently): something was off.ĬCTV footage from the family’s lane reveals family members coming home with newly-purchased plastic stools, and the sarees and scarves which would eventually be used in their hanging.
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Through its three episodes, the series weaves together news footage (conspiracy theories and all) and subject interviews. They showed my face and all sorts of rubbish about me.” Then her voice cracked: “My children starved for three days… I was called for questioning multiple times all over the city.” “ will do anything to create sensational news,” Geeta told the documentary crew, adding, “I was harassed for no reason. Here, the series makes it a point to include the god-woman’s interview to signpost thoughtlessness on behalf of the media and law enforcement at the time. The contractor’s daughter, Geeta, a self-styled “god-woman” who met with one of the dead, was brought in for questioning. Eleven bodies-was there a numerological significance of the eleven rails of the balcony? What about eleven drain pipes on the side of the house that led to nowhere? Four of those pipes faced downward, and seven came straight out there were four male family members, and seven female. Footage from inside the crime scene was leaked on air, and surviving family members had their privacy invaded.Īt first, the obvious questions arose: Was it suicide? Murder?īut what about the strangled body? Where was the suicide note? Why had the family recently celebrated their 33-year-old granddaughter’s engagement? Why would ten people commit suicide? They weren’t in debt, and, to their friends and neighbors, they were an ideal family.Įventually, conspiracy theories trickled into coverage surrounding the case. The Indian media, which had yet to reach their present-day vulture-like status, scraped new lows. The narrow lane their house stood on remained choked with reporters and station vans. Eleven people-Grandmother to grandchild-all dead. Their deaths sought widespread media coverage. They lived in a two-story house in Burari, Delhi, in a “joint family,” a common concept in India where several generations across the family tree live under one roof. On the face of it, Netflix’s House of Secrets: The Burari Deaths is about the Bhatias, a regular Indian middle-class family. The head constable on the scene said their bodies were vertically slumped and “the formation in which they were hanging reminded of a banyan tree, like branches of the tree suspended downwards.”
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Blindfolded, mouths taped, hands and feet tied. Nine bodies were hanged from a grate below the skylight in their living room, the tenth opposite them, and the eleventh was found strangled in a nearby bedroom. The image that followed was chilling: eleven family members were dead. Panicked, he walked up the stairs to their home. On a balmy July morning in 2018, a neighbor noticed the Bhatia family’s shops still shuttered, their morning’s milk delivery unattended to, and the door to their house unlocked.