Hindi cinema's default Indian family became Punjabi at some point in the 1990s and has stayed that way.
The wedding sequence, the mustard field, the sangeet, the loud extended family, the turbaned uncle and the bhangra number are a set of conventions assembled largely by Punjabi filmmakers in Bombay and exported to an audience across India and abroad as the image of Indianness.
The reason is straightforward: a large part of the industry's founding and current families are Punjabi and the diaspora audience the industry earns most from is heavily Punjabi.
The Sikh character in Hindi cinema has generally been comic relief or a soldier, occasionally both.
The effect inside Punjab is odd. Punjabis watch a version of themselves designed for people who are not Punjabi, and the wedding conventions of Hindi cinema have fed back into how actual Punjabi weddings are conducted.
The mustard field is the clearest example. It is a crop Punjab has largely stopped growing, and it is the standard visual shorthand for Punjab in Indian film.
The Punjabi in Hindi film began as the comic relief and the loud uncle, and became by the 1990s the default family the audience is shown: the fields, the wedding, the diaspora and the sarson.
That version of Punjab is largely a Bombay invention, made for a national and an overseas market, and it has fed back into how Punjabis present themselves.
What is missing from it is everything on this site: the debt, the water, the caste structure, the emigration that is not glamorous, and most of the region's actual history.