Firaaq Episode 11 & 12


Since, I’m all caught up with the last three episodes, I can work my way back in this review. Like Sadqay Tumhare, I’ll break two episodes in one and a separate review for the latest instalment. Now that the organizational formalities are over, let’s get to the topic at hand.

What just happened?



Firaaq Episode 10


Lo dekh lo aapna ghar. Koi nahi aaya. Na chor, na billi ka baccha.

The prodigal son returns! It seems we’ve now transitioned to reconciliation, to some form of closure.

Ten weeks in, Firaaq doesn’t cease to surprise me. Let me begin by reiterating, I have no problems with the acting (all of the actors are beyond reproach even the younger ones, moreover, I’ve been very open and accepting of the newcomer, Cybil Chaudhary, despite popular opinions), nor do I have any concerns about direction (Aabis Raza is on top of his game, perhaps, even better than Ehteshamuddin for Sadqay Tumharay), at the same time I’ve been floored once too often by the exceptional cinematography, crisp editing, and excellent use of background score (maybe a bit too much at places), so, I wonder like you what it is that’s off?


Firaaq Episode 8 & 9


Till the week before last Firaaq was on a high not because of the chemistry between our lead couple, no, nor was it due to the compelling plot twists (or lack thereof) rather it was because of Uzma Gillani and Syed Mazhar Ali. I’ve had my eye on both the elder actors from day one and they certainly didn’t disappoint whether it was the ill-fated jhaddoMaa-jee’s very many confrontations, or Haider’s stolen moments with Tabassum. Is it any wonder, then, that the one episode they fail to appear is the one episode that fails to elicit a response?

Chalo, momentarily brushing aside their absence, what the… what just happened?! Suspicion, disease (HIV no less!), and dhoka kahan say aa gaye? Usually firaaq between me (as for many of us) and a drama series arises mid-way but this journey was just too good to be true. Yes, yes, I know there is more to come, and I’m not complaining about pace or narrative, what I have an issue with is the choices – adultery, disease, and lack of trust. Here, let me elaborate.

First things first, are all the male leads in Pakistani dramas blind? Aap-janab aandhay ho kya? Seriously… seriously?! Well since we’re here, we might as well go down the road of insecurity, suspicion, and mistrust. I’ll start with Imroze solely because he’s the character that frustrates me the most. For a psychologist he seems rather bad at his job (not that we were in any doubts about that, just ask Sara), but basing his entire misplaced sense of shukk on two things: overhearing a conversation between Roomi and Shams and putting two and two together in his pretty little head. Any man who doubts his wife’s fidelity especially by having an affair with the likes of Roomi or Khizer (yes, Ashar I’ m looking at you!) is beyond me. Painter, single by choice, in his early 30s, good looking, charming… HELLO!?

Do the f****** math! Really, Imroze, really?!

As if love, lust, and dhoka weren’t enough to shake things up we’re now bombarded by a mystery illness. A bleeding nose, sudden bruises, tiredness, and a loss of appetite (for whatever reasons!) sends our resident doctor (with a Ph.D. mind you) on a scare about HIV. What in heavens name is Mustafa Afridi smoking because I really want him to share it with Samira Fazal of Shukk fame and Zanjabeel Asim of Bashar Momin fame. Janab, sorry to say this is in very bad taste. First, throwing every scientific and rational bone out of his body Imroze is all of a sudden doctor extraordinaire – he can himself without waiting for the tests to come back. Fear, I get, it makes us think, do, and act in ways we normally would not. Given Imroze’s current shukki situation, I can understand why he’s paranoid, but seriously with that voiceover as he looks into a mirror.

Mujhe bhi batayein kya nazar aaya, Imroze miyan, HIV kay ilawa…

I get they need a reason for Imroze to be the dark horse, I get that sickness coupled with doubt propels the narrative, but what I don’t get is why this? I don’t see the point, I don’t see the reason, and I don’t get it except as a means of schooling the audience. How many times do we hear the dreaded HIV word on primetime television…? Yeah, you guessed, NADA! I wonder, whatever happened to decency? Whatever happened to common sense? More importantly, whatever happened to good taste (to put it simply)?

For these two reasons alone, I find the last two episodes utterly and thoroughly lacking not because of acting, editing, or direction but because of FLAWED plot points. Where and how did shukk come into the picture? What about disease, how does that factor in? I guess all will be revealed in time…

If Imroze, Paiman, and Roomi are a perfect example of what not to do in a drama again, then, for the love Allah, Shams is finally reconciling his differences – with Sara, with Haider, with Maa-jee. And high time too! His brief meeting with Haider in the midst of suburban Americana (those plaza malls be everywhere!) led to a fruitful meeting with his Abba marhoom’s gori. What I fail to understand (yet again) is how come Tabassum looks old enough to be the sautan’s daughter? Again, a lack of logical conclusions. Regardless, that’s one battle won and Shams can move on as can Haider and Maa-jee. Seeing him make his way to his childhood home was a welcome relief. A well-shot sequence with cuts back and forth with the walk in the park, I loved this brief distraction from suspicion and (if haven’t said this enough already) disease.

Sara seems to be AWOL but I think she’s playing the angry wife for the time being. Also, from the sounds of it most people are happy at this absence (too bad it didn’t take the series where they wanted it to go). I, for one, miss Cybil’s calming, composed, and somewhat rational presence (notwithstanding the brief jhooti harkats). When are you coming back, Ms. Chaudhary?

As always the elderly couple steal the show but I’ll spare you my gushing this week instead I’ll concentrate on things that need a urgent rehaul to bring things back on track. First, lose the disease angle. HIV is not a joke and certainly not one that needs to be used as a plot point. Imroze could be suffering from high BP, heart disease, cancer, what have you, why this particular ailment. And I’ll tell you why I’m up in arms about it. Not because I think Muslims don’t get AIDS (really with that reasoning?!), I actually see no reason for Imroze to even suspect that unless like Paiman’s infamous Abbaji he’s hiding something. AIDS/HIV is a threatening disease that can have consequences on a person that many amongst us cannot even imagine, to make it a cheap plot point when people are actually suffering from stigma is (in my opinion) shameful.

Imagine seeing a plot line that makes light of issues like rape, violence, terrorism, and that list is endless, how would that feel? We are a society constantly besieged with dark and menacing social issues, does portraying a happily married man having doubts about his wife’s fidelity help? What purpose does him doubting his health really serve -for the narrative, for the series, for HUM TV, and for us the audience (it does lead to a series of ignorant and despicable comments)?

For a series that remains on point in terms of direction, editing, acting, cinematography, and background score, I am amazed at the turn of events. Moreover, these two episodes could have easily been tightened into one big hiccup, so we could all move on. Alas…

I hope this isn’t my last review (I doubt!), if it is, I wish you all a pleasant viewing journey.

Till next week,

Rab Rakha

RB (Tweet me!)

Firaaq Episode 7


Mein azad hoona chahati hoon.

Azaadi. Khudmukhtari. Freedom. Independence. A few weeks ago, I suggested that Firaaq was about freedom, and ghooma, phira kar baat wahin aa gayee hai. Even though the narrative clearly singles out Paiman, as she is the lead protagonist, in this elusive search, I would venture that every character is in search for freedom. Maa-jee from the demons of her past, unka mazi; Sara from her mistake of soliciting Imroze’s advise; and Shams from his fear, his insecurity, of what a child might do to him.

I left off last week fawning over Uzma Gillani and Syed Mazhar Ali, so this week I’ll pick up exactly there. It is clear to anyone who might regularly watch Firaaq, that both the older actors have performed their roles par excellence. Haider’s emotional state at the thought of losing the woman he is in love with despite her very obvious flaws had me break out in a tear or two (shhh, it’s a secret!). His tears, his gestures, his words, waqai Haider saab aap shaitaan hain ya koi farishtaa? Every week Haider and Tabassum give us a peek into a relationship that’s not perfect but still qayam. In a day and age where divorce, separation, egos, and azaadi are notions that govern even the simplest of minds, seeing these two stick it out together, if only out of some warped sense of commitment, makes me smile.

As Haider sheds a tear on behalf of a woman he’s unable to understand yet still cares for, as Maa-jee comes to one difficult realization after another and acknowledges him for the person he is, the man he is, now this is what I wanted to see on my television screen all year. I want to cry with Tabassum, I want to feel her pain, her longing, I want to travel with her as she transitions from a bitter, lonely, and angry woman to a loving, caring, and forgiving mother she can, and I hope she will be. Every dialogue that these two share is rendered to perfection. Again, thank you Uzma sahiba and Syed saab for you excellent performances!

The thought of Maa-jee passing away, and I can only say this in Punjabi, tussi tay meray trrah kad ditta. The one character I hope (no, pray!) that they don’t kill off at least not till they’ve arrived at some form of closure is Maa-jee. Her life has been incomplete in so many ways that I want her character to have some semblance of peace, some modicum of sakoonLekin iss ghar mein (in fact, zindagi meinhai koi sakoon? Is this offer of peace, this offer of re-conciliation, a step towards that ever-elusive thing called peace of mind. Indeed, like Haider, I can’t help but say: “Maine hameeshan tumhe samajhnay ki bahut koshish kari hai lekin aaj tak samajh mein aa nahi saki.

Maa-jee ek kaisi paheli hain?

These realizations – of who you love, what you care for, and what did all this anger achieve – came at the cost of great confrontation and with it even greater ruptures. Paiman left not only Maa-jee and Haider, but also Shams and Sara. For her, all I have this week is a song, I hope you’ll see that azaadi (freedom) isn’t necessarily the same as khudmukhtari (liberty):

The other rupture that threatens to escalate is between Shams and Sara. Shams’ stubbornness, his inner sense of mardaani, cannot handle being challenged by not one but two women, his sister and his wife, both of whom have left him. One because she doesn’t want to be controlled, the other because she is tired of being ignored. Like Maa-jee, Shams is left to face his own demons and as Sara says, to find himself. Junaid Khan’s Shams is perfect every week. His acting never disappoints (truly!) but it never really gives one that oomph factor. Nonetheless, I enjoy seeing him on screen especially with Sara, those two are meant to fight! Cybil, I believe gets a lot of flak for her accent, for her delivery, for her acting skills, etc., etc. but I like her as Sara. She’s not timid, she’s not submissive, and she speaks her mind, which is what Sara’s character needs. For what it’s worth, Ms. Chaudhary, I think you’re fine, and with time you’ll be more comfortable in front of the camera. Haters gonna hate, right?!

With all this action ensuing, I can’t help but think that Rumi is at times used as a prop. As a person to seek advise, as a person to shout at it, as someone to fill in the scenes – what is his storyline?

Yet again a well-scripted, tightly knit, and well-edited episode with compelling dialogues and good direction. Firaaq, khawateen-o-hazraat, is a must watch!

Till next week,

Rab Rakha

RB (Tweet me!)

Firaaq Episode 6


Faida…? Mujhe to hameeshan nuksaan hua hai.

Shohar ko doosri aurat lay gayee.

Betay ko nafrat lay gayee.

Aur beti, beti ko betay lay gaya.

What do you call regret when it constantly surrounds you? What do you call loss which is recurring? What do you call the pain that permeates every inch of your being – physical and mental? For the few last weeks, I’ve been trying to make sense of Firaaq’s underlying themes. It was quickly clear that Firaaq was about relationships, moments, and freedom, but it is also equally if not more so about confrontation.

Maa-jee and Shams, Shams and Sara, Paiman and Sara, Shams and Paiman; it’s as though iss family ka har shaqs is at loggerheads with the other. If a few can’t get over the past, then, some are afraid of what the future might hold. Stuck somewhere between the past and the future, they refuse to live for the present. With the exception of Paiman and Haider, none of the other individuals of this truly “psychotic” family is willing or even trying for that matter to embrace the here and now – not Maa-jee, not Shams, not Sara, which is why I think it’s easy to relate with Paiman.

What is surprising, though, that the moment she leaves her mother’s house Paiman has the world at her feet –  a handsome suitor, another handsome mentor (for lack of better word), a forgiving mother, confidence (and copious amounts of it), not to mention inner strength. Now, I’ve always imagined Paiman to be strong, I mean the weak willed can’t survive a mother like Tabassum, but the velocity with which her change is portrayed makes it a bit unbelievable. Perhaps, gradual progression would have eased the viewer in as well as the narrative to flow better. All of sudden we’re bombarded with Paiman confronting Sara’s harkats and Shams dhamkiyan.

Sara’s unwillingness to confront her demons is evident in her elaborate and perhaps even byzantine intrigues. Why is she so scared? What secrets lie buried here? If Sara is a case-study in cray-cray (and mohabbat is also form of pagalpaan khas kar ki for a person like Shams), then, Rumi, her champion and BFF is the sanest voice around. Did you ever think Khizer from Humsafar could be capable of unbiased and reasonable advise? I confess, I did, I’ve always known Noor Hassan to be a good actor and with his recent forays into difficult roles like Shanakht, Garr Maan Rahe Jaye, and Firaaq, I can see his versatility.

With one confrontation and another conversation down, I wonder, like Paiman, “Har koi ek doosray say kyun chup raha hai?

Chupta-chupatay we reach the climax and what a climax it was. Shams and Paiman was just the beginning, the best was yet to come. I’ve said this before that I find Shams’ motives were iffy. Why is he all of a sudden the good baday bhaiya? Why now? He could have gone back for Paiman ages ago, yet, he never did. Shams is as much Tabsassum’s son as she is his mother – they’re both controlling creatures! And good on Paiman to burst his bubble and walk out. Kudos! Sanam Saeed is in her element here, in a role she does very, very well. I’m wondering if there’s more I’ll see from her or is it just full stop at “angry young woman” for now.

Seeing her walk out as Sara pleads was where the last six episodes have been building up to, but those that walk out must at some point at walk in, and this is why I’m a little concerned for Paiman. As Sara rightly noted, do she really want to go against her family and be without their support?This is where I see Rumi’s character fitting in, as Paiman’s support system, but I might be completely wrong! Jatay-jatay Paiman gives baday bhai a lesson or two in appreciating those that love them lest they walk out too. Someone has Sara’s back, it seems.

Paiman leaving was but significant event, the other was Maa-jee’s realization that Shams has lost her daughter.

Week after week Uzma Gillani continues to grow from strength to strength. Her and Syed Mazhar Ali are the two reasons that bring me back every Saturday. Uzma sahiba, aap ka naam maine pehli baar Aangan Tehra ki ek kisht mein dekha tha jab Shakeel saab kay character Mehboob Ahmed ki saas apni beti, Jahanara Begum (jo Bushra Ansari ka character tha), ko kehti hain: “Mein Uzma Gillani, Rohi Bano adakara nahi hoon jo award ki umeed rakhoon.” Waqai aaj samajh gaya ki aap har award kay kabil hi nahi balki deserving bhi hain. Aap ko HUM TV award day na day iss na cheez nay aap ki adakari ko dekha, pehchana, aur bahut appreciate kara! Aapka bahut, bahut shukriya for playing this character. Dil say aap ko salaam, maan gaye.

Every time Maa-jee is on screen with Shams, it is literally fire. These are both similar personalities – stubborn to the core, unwilling to forgive or forget – that clash on matters fundamental – principles, aasool. Aaj bhanda phoor kar hi diya Maa-jee, and why should she live with the guilt? Why should she live with the anger? Whatever overarching story arch the marhoom Aabaji has to play, I’m glad to see that Maa-jee is willing to make amends, to look beyond her anger, and is not scared to confront the truth.

Often times with confrontation comes regret and I wonder if that’s what we’re in store for.

Until next week,

Rab Rakha

This is RB signing off. (Tweet me!)

P.S. An excellent episode in terms of pacing. If the direction was crisp, the editing crisper, and the writing well Subha’Allah.

Firaaq Episode 5


Ittela dainay aayee hoo ya ijazaat lainay?

Before I venture any further, I have one burning question: Maa-jee ka dialogue kaun likhta hai? Jo bhi likhta hai, janab, bahut khoob. BAHUT KHOOB!

If last week was a hiccup, then, this week Firaaq comes back on surer footing. Finally, we know that Rumi is not in cahoots with Sara, that Sara is manipulating Paiman and Shams, that there is a deep, dark secret to Maa-jee’s bitterness, and that Shams is not free of blame. These different plot lines are finally resolved and back on track. Even though I find the story tends to favour Paiman, this week I was happy to see more of Sara, Shams, and Maa-jee. Aapki tarhan mein bhi yahi sooch raha hoon ki Rumi ka kya role? Khair…

I started on Sara’s side, so it only makes sense to clarify why I gave her the benefit of the doubt, hoping against hope, contradicting every naysayer that she would not be the manipulating bhabhi. Alas, all my hopes were scattered down a drain when it dawned on me that Sara was playing “Tell-tale Tallulah”! Woh kya hai? Sara’s antics of kahani bunoo-ing from one person to another make sense at one level; she doesn’t want Shams to find out about her relationship the Imroze. Okay, understood. But why the shenanigans? Couldn’t a simple, “Paiman, mein tumse ek bast karma chahati hoon” suffice? At another, perhaps, deeper level, I wonder, if there’s more to Imroze and Sara than meets the eye.

Cybil’s presence and confidence as Sara pulls this role through every week. She needs to work on her accent among other things, but I can see her doing well in a role that demands a strong female character. As for Sara, well, for a character that started out being likeable, in fact, I thought hers was the most genuine character out of the lot, the sudden twisting of the plot makes me wonder who’s really looking out for Paiman. Kaun?

Is it Rumi? For he seemed to be all hands at cleaning up Sara’s mess. He even went as far as confronting her by going: “Mein Shams ko phone karoon?“. Kudos, Noor Hassan, seeing you play a character that might be selfless is indeed refreshing. After Humsafar’s Khizer and Garr Maan Reh Jaye’s Farrukh, I can see why you’d want to spice things up a bit. Let’s hope I didn’t jinx it!

What about Imroze?  I still think he’s too quick, too fast, and too smooth, which makes the present fun and games but the future might not be. Not surprisingly, of all the people to parkho Imroze and do it well was Maa-jee. Uzma, Uzma, Uzma, aap nay parda par aag laga di. Not only can you hold down the entire show by yourself, even your chemistry with Syed Mazhar Ali is simply perfect. His shy and subservient Haider plays off beautifully with your controlling and decisive Tabassum! Add to this mix a discredited daughter and her beau and we have fireworks!

Could it get any better than this:

Paagaloon ka daktar dhoonda hai tumnay. Good. Shams ka bhi ilaaj karwa daina issay.

Yeh jo pasand ki shaadiyan hoti hain na, yeh aksar nakaam hoti hain.

Farmabardaari bol rahee hai. Jin mardon ki farmabardaari bolnay lagay samjho woh dhokho dain gay. Aur ek baat aur farmabardaari bolti nahi nazar aati hai jo mujhe yahan nazar nahi aa rahee.

Even if I tried, I couldn’t do justice to Maa-jee, her anger, and how Imroze had to live through it. What we did find out from that rather awkward meeting is that there’s a reason to Maa-jee’s craziness. Let’s hope we hear, and I would say see, more of it! Don’t you all want to see the gore aurat? I DO! If she’s half as pretty as Imroze’s clients…

All in all a decent episode, I predict more fireworks next week. As the plot thickens, I bid you adieu.

Till next week,

Rab Rakha

RB (Tweet me!)

Firaaq Episode 4

The review originally appeared here.


Lakeeron mein kismet ka haal chupa hota hai jo siraf dekhnay walay ko nazar aata hai… Yahan dekhnay walay bahut hain, dikhanay walay bahut kaam, or should I say wali.

As far as episodes go and I’d even say stories, this is Firaaq’s first hiccup. Notwithstanding progression of narrative, I’m surprised that no sooner is Paiman out from her captivity that everyone around her wants to see her settled. Arrey let her live her life, please and thanks! Imroze, who I have considerable doubts about, is head over heels in mohabbat with Paiman. Rumi is as confused (something Noor Hassan is very good at portraying) as ever. Sara is matchmaking (and to think I actually liked Sara). Shams is gloating (to Maa-jee, who else?!). Really?! What happened to consistency? To logical conclusions? To (dare I say it) sanity? Is this the end of a good series? All we can get from you now is three “good” episodes, Hum TV?

Having said that, I think the reason behind such quick revelations – one after the other – is (as I’ve said before) because Firaaq is a story of consequences and not actions. The quick narrative here allows Aabis Raza and Mustafa Afridi to dwell on what happens after these revelations. Mohabbat kay baad kya? Shaadi kay baad kya? Maa-je ka kya? Aur sabsay bada sawaal Paiman ka kya? It is these questions that (I believe) form the bulk of our story and I’m certain we will come back to them.

So essential is Paiman in this narrative that all plot lines emerge, revolve, and merge from, around, and into her. Is it any wonder, then, that everyone seems to be mandara-ooing around her?

Let’s start with Imroze, a qualified psychologist or psychiatrist or jo bhi woh hai, who’s fallen head over heels in love with our damsel in distress. Sadaf, my fellow reviewer, rightly brought up that perhaps, men need a victim, that they need someone to save. Is that why Imroze likes Paiman? From my point of view (nukta-e-nazar) and in my experience men, especially those settled in life at least professionally, prefer a partner that can complement them. As much as I see Paiman has been sheltered, and rather forcefully at that, from the world, seeing these two together as a couple is beyond me. How? Why? Moreover, no one falls in love in three episodes, this is not a Bollywood film! Hum TV get your act straight. Khirad and Ashar didn’t fall in love until mid-series. Similarly, Kashaf and Zaroon couldn’t stand each other before they were married and perhaps even after. To phir Paiman ko itni jaldi mohabbat kaisay ho gayee? Does she even know what mohabbat is? How do we know this charming doctor is not out to get into her shalwar only?

Which brings me to the whole “Do you trust me?” situation. Paiman, sweety, meri baat par gaur karojab koi mard kisi khatoon ko yeh lawaz kehta hai uskay do hi matlab hotay haipehlaki woh aap ko dhooka dainay wala haiaur doosraki woh aap ko dhoka day chukka hai. Of course, this is in relation to a particular kind of situation, i.e., between two lovers (or in this case would-be-lovers). Baaton mein yaad aaya, Paiman Bibiaap ek qafas say nikal kar doosray qafas mein jaanay kay liye betaab kyun haiZara mujhe yeh samjhayeen?

This love game (I wish it was the Lady Gaga kind!) is yet to mark its third shikaarHumara awaara and nikaara painter, Rumi, is being pushed to see similarities between Paiman and himself by Bhabhi Sara. Inasmuch as I find Sara to be hesitant about Imroze and his relationship with Paiman for her own reasons, I cannot help but think she’s on to something. Both Shams and Sara have known Rumi for a long time, they all get along rather well, Rumi and Paiman share similar interests, he’s immature enough to balance out her reserved and cautious ways, so, yes, I think Sara is right to suggest that these two should seriously think about the other. Noor Hassan’s Rumi is an easy pill to swallow, his portrayal of carefree, no nakhara type of guy who’s concerned how he’ll manage to balance Paiman is wholly genuine. The fact that he’s unconvinced even the second time around makes me think he just might have more depth than I previously thought.

Whether Hassan’s Rumi can provide Paiman what she needs is another story altogether. After spending an eternity with Maa-jee, Rumi will be a gentle breeze who’ll draw Paiman out from her shell in ways Imroze never will, but the sad thing is Paiman will never trust the painter as she does the shrink. So, for once, I’m going to agree with Maa-jee: “Pagaloon ka daktar” indeed. Mohib Mirza looks the part of a young professional (even with that rather odd shoe situation). He’s confident, sauve, dapper, and sophisticated, adding a dimension to Imroze that no other actor could have. It doesn’t hurt that he looks good with Sanam Saeed, and boy these two do look good together. His Imroze is (for the time being) the centre of attention.

As is evident, there is a certain hesitation around Imroze from all quarters – Shams because he’s another man interested in his baby sister, Rumi because they’re friends, Maa-jee… well Maa-jee hates everyone, and Sara for her own secretive reason. Its his profession that brought these individuals together and maybe it’ll be the reason that breaks them up too.

Breaking up, though, brings me to Sara. If anyone is going to feel the repercussions of this relationship it is Sara. When I first reviewed Firaaq, I hated Cybil’s accent, but as they say things grown on you and I’ve realized her accent isn’t half as bad as Kanza’s in Numm. Not to mention she can act! Cybil’s Sara is always well put together, she seems and comes across as mature, and balances out Shams very well, which is why I think she wants Rumi to settle down with Paiman. Cybil’s acting is not perfect but it isn’t bad either. Accents, voice work, diction these are things time, experience, and classes can take care of, screen presence, maturity, the ability to fit a role are things that one can’t buy as easily. Imagine if Meera was playing Paiman?

Oh the horror!

Horror brings me to Maa-jee. And boy was I disappointed to see just a snippet of her. What did I say last week: The only person who genuinely cares for Paiman is Haider and this week Shams made it very clear that his reasons were far from philanthropic. A beautifully shot scene which captures the essence of a rather fraught meeting (kudos DoP!) where Shams’ intentions are rendered visible. My only concern is what will happen when Paiman falls? Who will pick her up? Kaun? Haider? Rumi? Shams? Maa-jee? Sara? Imroze? Kaun?

Here’s hoping this is just one hiccup in a smooth meal.

Until next week,

Rab Rakha

RB (Tweet me!)