{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/4d641cbd-af7c-4475-81e8-c6a118bde4ee/f50d3a2d-fe3d-4df6-a671-41b61a20614a?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"The Economist Asks: Mira Nair","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/62e286a934d4d9db97874249/62e286c27ca7a10012e4446e.jpg?height=200","description":"<p>Adapting <a href=\"https://www.economist.com/prospero/2020/07/28/a-concise-brilliant-adaptation-of-a-suitable-boy?utm_campaign=economist-asks&amp;utm_medium=podcast&amp;utm_source=third-party-host&amp;utm_content=show-notes\" rel=\"noopener noreferrer\" target=\"_blank\">“A Suitable Boy”, Vikram Seth’s epic novel</a> about marriage, politics and social upheaval in newly independent India, for the small screen was a labour of love for its director. Mira Nair talks to Anne McElvoy about why she worked with a white writer on this Indian classic, the eternal fascination of the matchmaker and the yoga pose that gets her in the right frame of mind.</p><p><br></p><p>Please subscribe to <em>The Economist </em>for full access to print, digital and audio editions: <a href=\"http://www.economist.com/podcastoffer\" rel=\"noopener noreferrer\" target=\"_blank\">www.economist.com/podcastoffer</a></p>","author_name":"The Economist"}