In line with this, this article aims to explore the thematic parallels between the protagonist-narrators, Masuji Ono, an artist of An Artist of the Floating World (1986) [AFW onwards], Mr Stevens, a butler, of The Remains of the Day (1989) [ROD onwards] and the post-2014 anchors of primetime debates carried out in English by Indian media, characterised as “lapdog” or “Godi” (lapdog) media, The question that arises is: How does one compare two different forms of media, novels set in Japan and England, and prime time debates in India? The possibility of the comparison may be determined when comparing the themes of the novels and the “debates” in “godi” media. The thematic comparison aligns with Ishiguro’s above claim that what he depicts in his novels is what he considers universal and common to us all irrespective of any marker of identity and difference. The other factor has to do with the idea that we are comparing the role of professionals, for instance, artists and butlers and the “godi” media anchors in the way they play their part. The commonplace idea of professionalism is that they would carry out their duties as unbiasedly as possible, which is not what happens both in the novels and the primetime debates in question. In addressing what he calls Narendra Modi’s “dramatic promises”, James Manor (2019) reports that when his promises do not materialise, compliant media outlets, or what Bardhan (2019) calls “ fawning media” describe them as inaugural speeches of new initiatives to which he responds (2019, p. 176; 2019, p. 120). A discussion of these compliant and fawning media outlets forms the basis for the paper’s argument, by explaining how these influential people, the professionals, in our case, are unable to provide independent and objective analysis, as their profession requires, but instead act as propagators of majoritarianism and fake news, as well as gatekeepers of information, thereby undermining democracy.