O Rungreza ~ Episodes 17- 25 ~ Review

Aisa kahan hota hai … /… Yeh kaisey loag hain ... / … Sassi jaisi larkiyan kahan hoti hain … / … Qasim itna sissy type kyon hai ... / … Tipu itna annoying joker kyon hai …. /… Why is Mammo such a roti dhoti wimp … / … Is kahani mein koi bhi kirdar “normal” kyon nahin hai??

Normal.

How does one define normal in a world where nothing is normative or prescriptive?

A place where there exists no morality, no compassion, ethics ko goli maro, sharam aur haya khatam ho chuki ho, adab lihaz ka siray se koi guzar hi na ho, har koi sirf apna hi bhala dekhta aur sochta ho, aik aisi jagah jahan naik, shareef loag munh chupatey phiren aur badmash uchakay seena taan kar chaltay hon, jahan betay waledain ko sarak par laa kar khara karne ka sochtay hon, aur jawan betiyon ke baap ‘ishq farmatey na thaktey hon …. 

In as much as O Rungreza is about the here and now, for me the true genius of Saji Gul’s O Rungreza lies in its depiction of a dystopic society marked by a cataclysmic decline in values and morals.

Sassi, Qasim, Mammo, Tipu, Khayyam, Sonya, Meena – all characters dipped in colors of chaos and drawn out of dysfunction, inhabit a space where there is no place left for any other. Khayyam who turned selfishness into an art form, Sassi who pursued her ambitions to a point beyond pointlessness, Sonya swooped in on another woman’s husband, Tipu saw his parents as handy cash cows, Wajih showed no qualms in using Sassi as a convenient instrument of revenge.

Painted by the rungreza’s brush in vivid vibrant hues, these characters took immense pride in pushing boundaries of socially acceptable behavior, as rebels questioning norms. Their actions those of beings dancing to a frenzied beat, the tunes of which only they seem to hear. But is this really true? Are those beats really that silent?

Patriarchy, male honor, toxic masculinity, control and manipulation, repression, suppression, emotional mental, financial and physical abuse … These behaviours do not come out of nowhere. They do not grow in a vacuüm.

What we see with people like Khayyam, Tipu and Wajih is centuries of enabled behaviour, one that as a society we have allowed to grow to the point where it has taken on a toxic life all its own. And it is in retaliation to this kind of suppression, a response if you will, that a girl like Sassi comes to the fore.

Fragile and feminine on the outside, Sassi is cruel and hard on the inside. But should she alone be called out for her questionable choices? What about the societal setup around her that failed to provide her with positive female role models? Why aren’t we equipping our daughters to deal positively and proactively with the realities of today’s world, where life is a bit more complicated than waiting for the errant husband to eventually find his way back home.

Bearing the burden of gendered stereotypes hinders not just girls but even boys from developing healthy relationships, leading to self-confidence issues. In Qasim we see a boy-man so beholden to his aunt’s family he is never able to realize his full potential, always holding himself back in case someone in the family needed him.

Like Sassi, Qasim also knows what he does not want to become  – another Khayyam or a Tipu – but where is a gentle boy like him to go looking for a model worthy of emulation? Isn’t it a societal tragedy of epic proportions that a twit like Tipu has thousands of like-minded people whose footsteps he could follow but an honest upstanding guy like Qasim is considered a failure and a social misfit?

Preoccupied as we are these days with negativity and naysayers is there any space left in our narratives for humanity, sensitivity, empathy, compassion, kindness?

Important, thought-provoking questions such as these are what will stay with me long after O Rungreza has ended. And this to me is what good, meaningful entertainment should be: asking  audiences to think, reflect and hopefully look at the world around a little differently.

Zooming in on to the specifics, as the story winds down there is the inevitable tying up of loose ends and while I get the urge for a neatly tied package, I so wish that end had not been handled in quite so pat a manner. Karma, for one.

Karma plays a big role in bringing things to a head as Sonya and Khayyam now find themselves at the mercy of Mammo. She is no longer the once confused and abused wife, this is a new Mammo. And this is where I will say that I am disappointed by the writing, with the introduction of religion into the narrative.

The thought of Mammo being spiritually rewarded for all her worldly sufferings via Meena’s dreams is extremely problematic as it attaches godly virtue to suffering in silence in abusive relationships. Mammo gained strength over time, with Qasim’s help, Sassi’s urging and spurred on by Tipu’s asinine misdeeds – why then add religion in to an already overflowing pot?

Along similar lines, the issue of Meena’s conversion seemed out of place and uncalled for in a story as special as this one. Also, Meena’s religious turn, shown as incompatible with “modernity”, her religiosity conveyed through conservative clothing feed into very problematic stereotypes, all of which I wish the team had thought through a bit more seriously.

These stumbling blocks aside, O Rungreza has offered a lot of food for thought through its run. From writing to acting to directing to creating a distinct design for this dystopic world, every department has worked together to create a merit worthy project. Kashif Nisar’s understanding of the nuances of Saji Gul’s complex script has brought out intricacies that could’ve otherwise easily been lost. Among the actors, Nauman Ijaz has an author backed role and he does it justice. Omair Rana is  so very suave as Wajih. Sana Fakhar is effective as Sonya.

But really O Rungreza is  all about Irsa Ghazal and the three youngsters: Sajal, Bilal and Hamza. Sajal is absolutely brilliant as the young girl flailing and falling, frightened out of her wits but never losing her cool and collected exterior. Bilal is pitch perfect as the gentle Qasim. Hamza annoyed many as Tipu but for me that is  the success of the character. Tipu is neither here nor there, but his manhood is never in question the way Qasim’s is – a brilliant juxtapositioning of the two different characters by Saji Gul.

Finally, chalte chalte, Irsa Ghazal. Mammo: You had me at hello and here I am … holding on till the last goodbye…

And this then is my take on O Rungrezaab waiting on you guys. Been a long while since we discussed this one. Let’s hear it… what do you all think?

Written by SZ~

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21 replies

  1. @randomramblerblog: Welcome! Thank you for reading and sharing your input – much appreciated! Haina! So good to have a drama that satisfies both the heart and the mind.

    Ab, I hope we shall continue hearing from you – dont be a stranger 🙂

    What else are you watching these days?

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  2. SZ, what a thoughtful review this is! Kudos.

    Anyway, fair warning, looooooong comment follows!

    It’s taken me a while to identify why I’m a bit disappointed with this drama. I think it’s because it showed so much promise, as an outside-the-box effort and with characters who didn’t look they were just used to check various boxes.

    But with the story drawing to a close, much of the resolution of the plot and various character arcs has been so safe, for lack of a better word. The “other woman” is conveniently felled by illness, the cheating husband moves closer to repentance, the rebellious young daughter finds that breaking norms comes with a heavy price, the greedy prodigal son gets his comeuppance.

    Meanwhile, the two characters who were sensitive and soft but also the sort of nek-shareef log who never complained were rewarded. Qasim with a bride who thinks he hung the moon, and Mammo with apparent sainthood.

    I can’t quite decide where it all went wrong, but I suspect it was around the time the writer decided that each character’s problems could somehow be solved via marriage and/or karmic justice. (Btw, that was also what bothered me about YKS, and I’m sad we’re in a position to compare these two shows!)

    I’m especially disappointed with the treatment of Sassi and Meena. Sassi’s character has been stretched beyond credibility, IMO. You’re right to say that she’s hard on the inside, but hard people are also brittle. Their hardness allows them to sustain a direct attack, but their hardness also makes it easy to break them by changing the circumstances. They’re so hard they become inflexible. They can’t bend so they have to break. But with Sassi, we only get a little glimpse of that before she falls back on being manipulative and/or feeling sorry for herself.

    With respect to Meena, my take on the character is that she’s looking for family and affection, not for spiritual guidance or to give her life meaning or whatever. So to show her religious conversion, but also her adoption of Mammo-like modesty was a bit odd, especially as this conduct seems motivated by a desire to get closer to Mammo and Qasim and not by any real spiritual awakening. It’s a bit too Eat-Pray-Love for me, sadly.

    And now I will end this novella and stop boring you, lol.

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    • @RK: Thank you 🙂 Glad my musings made sense and resonated.

      I couldn’t agree more with you re: the projected end. The finale is yet to air but from what we’ve seen so far it is pat and easy end with a rush to pin medals on the chests of the two “noble suffering heroes” – Mammo and Qasim, and this is not befitting the stroke of brilliance on which the story began, and to be fair continued with to a large extent, faltering in the final stretch.

      I dont know if I would compare OR with YKS, that is completely apples and oranges for me, but yes I get the easy breezy resolution to problems you are pointing to, and I too am frustrated by what I called the “karmic solution” in my review ..I would’ve been really happy with Sassi staying true to who she was .. after all people rarely have that awakening with quite that frequent a frequency they seem to have in our TV dramas … but alas.

      And, as for Meena ..I’ve already said enough on and about her but just to add one last bit abt her track and her so-called spiritual awakening… let’s extend this argument further to compare Sonya with Meena .. both in show business both in abusive relationships being exploited by their partners … Now, if religion was indeed the road to nirvana and conversion to the “right religion” the only way for Meena’s salvation then by this logic shouldn’t belonging to the same “right” religion have saved Sonya from getting exploited? Or, did Sonya need to have traveled abroad like Meena and found another “right” religion?

      Yup, this didn’t work for me either.

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      • Yes, OR and YKS aren’t really comparable at all, except in the sense of having these neat–and not very satisfying–plot resolutions.

        I hadn’t even thought about the Sonya and Meena parallels. Let me just fangirl your brain for a bit!

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  3. Hello Hello SZ! Happy New Year. So happy you finally decided to review this drama. Loved your view and its one of the few positive ones at this point.

    RK I enjoyed reading your take too. I have also been wondering the past couple of weeks why the immense potential of this drama has not fully materialized as the story kind of stagnated throughout most of these past episodes. However I did watch episode 26 today and really loved this one after a while.

    First I think the main problem with this tale is the amount of episodes. Were the writer and director allowed to conclude this drama at 20 or 21 it would have made a whole lot of difference. Currently we are 26 episodes in and it does not seem its ending soon.

    I agree with you both that the converting to Islam thing was not needed, but I guess it was just put in to make Qasim and Meena’s wedding ideal. It could have been tackled differently. Even Sassi and her slow realization that all that glitters isn’t gold could have been more impactful.

    Currently it is still unpredictable how this story will end. I truly believe in hindsight having Meena instead of Sassi as his life partner may help Qasim rise from the shadows, but Sassi is not letting go easily. Also not sure how Qayyam’s story will end. It has been very beautifully depicted how you cannot sometimes decide who to love. Although Qayyam realizes that Mamo did everything for him he still cannot love her. And the things he does for Sonia even he could not imagine being like that. I am curious to know how you both would like this to end. Will it be possible for Qasim to love Meena despite Sassi’s constant presence? Will Mamo get the love from her children and husband? Will Sassi find peace? So many questions and no answers in sight…

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    • @Seher: Hello Hello! Happy 2018! Bhai pporay ek saal baad mili ho – jhappis pehlis tau dher saari ❤ Missed hearing from you 🙂 Hope you've been well .. .I hear even Fl's been cold this year .. stay warm my friend!

      Acha ji, so OR…

      Yes, I totally agree with the general consensus here. This trend of pushing stories past their sell- by date is killing the art of effective story telling …. I am so done with over exposition and the stretched out narratives ke bas … OR, whether one would one agrees with the general world and the characters that inhabit it, gave us a lot to chew on for twenty or so episodes. Bas that was where the story should've ended… let the characters be where they were …

      But, no .. So here we are …

      I haven't yet seen this latest ep, so cant comment on what happened, but going by what all we've seen, the problem is that these characters are so complex and complicated that the simplistic endings that the writer/team is imposing on them are not sitting well hence these require more manipulations and more twists and turns … enter a never ending dastaan -e amir hamza … I dk I think I'm done with this … when they start adding things in to justify an imposed ending rather than a character's organic arc I lose interest … My hope had been that a brilliant out of the box story would have had a brilliant out of the box ending, sadly that is not seeming like is gonna be the case here.

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  4. This is a tough drama to review. On the one hand, I commend the team for putting something different forward. I think some of the characters were initially sketched out very well but because the plot was weak the characters felt like caricatures rather than real people. A drama with good character development and an engaging plot will hold my interest. Unfortunately, this drama was only half way there for me.

    This drama and your post also made me wonder why our writers’ conception of a “strong” woman is so static — why does she always have to be conceived as bullheaded and irrational? Can’t she be sensible and strong? Sassi’s character reminded me of Anmol from Dil Lagi a little bit – both characters were described as very strong (this strength being a liability) and both seemed larger than life.

    Also, I was surprised by how much people hated Qasim’s character (was reading reviews on other sites as well). I liked Qasim’s character, other than the slap scene. I would want to see more hero characters like him. (And I would take Qasim over Hadi from Khaani any day).

    The ultimate point that determines whether a drama is good or not, for me, is whether I can unequivocally recommend it to others. And unfortunately, the recent set of dramas have been a pass for me. I can’t recommend them and am not compelled to rewatch them.

    I’m hoping we have better content in the coming months. 🙂 also as a final point — I think that some of our writers are confused between what constitutes a strong minded woman and a woman with agency. If the writers cannot aptly portray the former, I wish they would just focus on the latter (I’m thinking of Khirad or Durr e Shehwar as female characters w agency).

    Sorry for the enormously long post! Thanks for sharing your review — your perspective is always refreshing to read 🙂 and also I do think that the actors did a terrific job and the cinematography was excellent – a visual treat. 🙂

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    • @Maryam: Hello! As always a very well put comment… enjoyed reading your thoughts 🙂

      First off, high five on “strong” – yes!! I don’t remember if you and I have specifically talked about this before but I know I have certainly questioned this notion on several occasions here and we’ve had several serious conversations on this issues – why does a strong women have to take on this huge lath maar persona …why does she have to “prove” herself by turning into someone she would not be other wise … what is wrong with a woman crying… why can’t “strong” woman cry?

      Similarly, agency, a woman’s own voice versus appropriating a woman’s voice, silence, strength… all these are very complicated and complex terms which are being used loosely and interchangeably as buzz words with little thought being afforded to the ver painful history that lies behind these words… much like these social issue dramas which have made an absolute mockery of social issues.

      For me Sassi was never a “strong” character as she was a reactionary to the dystopic society that surrounded her and I was expecting a lot more from here but she never really realized that potential , for me at least. similarly Qasim and Mammo.. I had hopes from these three that they would somehow explode and break free off the boxes society had created for them but its still about love and shadi and mera piya ghar aaya type situation …sigh!

      We are so on the same page its not even funny … the other day someone asked for my personal must see dramas from the past three years and I had nothing …

      The upcoming lot is much more of the same .. there is some diff stuff with Amrita Pritam’s Pinjar being adapted as Ghughi – Im hoping to review that – but this new found trend of not just 26+ eps but now 30+ and 40+ eps … .Allah Ma’afi De …

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  5. A brilliant review and thoought provoking as well.. so i was late in commenting right away tou thought to comment after watching 26th epi.. and i am absouletly clueless as what they want to show us more, why the story is going on and how wil they tie up…

    Sassi over heard Wajih k she is his puppet and she realized what kind of man he is and she was having bad feeling recalling how she used to run behind them but this epi again showed how she was over the moon when wajih was staring and praising her.. it seemed she loves his attention then why to show her heart to heart talk with sonya.. looks like story is going in circles.. I love how the characters are sketch but dragging has ruined the uniqueness of this serial..

    I am sure i missed that episode where meena accepting Islam because of security reasons and mamoo being rewarded spiritually.. and this all is so senseless.. utter rubbish..

    Sonya got paralysed as a punishment for loving a married man.. and a way to show this how it ends or this what super star can become at the end. Why why..this seriously drained the excitement factor from drama..

    Tipu going back to mamoo and she again helping him.. why to show same thing when it seemed a closure to tipu n mamoo relationship.. and we have to enjoy qasim and meena love story now.. :/

    For once wouldn’t it had been good if they end the drama way back

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    • @Rehmat: I havent yet watched this latest ep, but I think now I’ll just wait till the finale and then catch up … Im just so done with these never ending serials. Kiya yaar! Apne hi serials se sabaq seekh lein … itni lambi tau ek shaadi nahin chalti jtni yahan ek serial chalti hai!

      Ab be prepared 40 and 50 ep serials starting from this year!!!

      Like

    • Is Sassi meant to be “strong” or just rebellious? It seems to me that female characters are typically only in two boxes: your heroine who suffers in silence (but always with dignity), or your heroine who questions authority loudly and often, sometimes to the point of being rude and callous. But there’s hardly ever a female character who is rebelling, but with a sort of quiet confidence that doesn’t require constant brushing off of authority, decorum, etc.

      It strikes me that, on the whole, our desi society doesn’t ascribe a great deal of value to quiet confidence, to contentment. Take Qasim, for example. Audiences didn’t really respond in a positive to the character because they found him meek, I guess. But actually, Qasim is a great example of someone who is secure in who he is, and therefore sees no need to change himself in order to impress Sassi, or Khayyam or really anyone. Because he’s self-assured and content with his own lot, he doesn’t need to be aggressive. (He obviously can be that way when he chooses, as we’ve seen in a few instances).

      Of course, even the writer seems confused about what Qasim is, what with Sassi complimenting him on his newfound post-shaadi mardangi in the most recent episode.

      Does anyone have a sense for where the story is headed? I thought it was over almost four episodes ago!

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      • @RK: Well, you can read Sassi as and how you want to I guess this being a creative work hence open to interpretation and all that jazz … for myself I can say that I dont see her as strong at all .. but more of a personality shaped in terms of the negative other (in this case Mammo), which is really not a positive healthy way of being at all …now how can such a person attain a typical “happy ending” is beyond me but this is TV land and i have zero expectations ..

        I agree that in the recent few years – 5 or so – the two binaries you have pointed out have been the only ones made available for mainstream drama heroines . and this why Pehchan is still my go to for a good sensible story telling the recent lot of dramas ..

        This is really sad and at the same time interesting because this regression is inversely proportional to the number of women empowered behind the screens .. three channels – HUM, Urdu 1 and APlus have women running the show, at least as far as their Entertainment Divisions are concerned. More women are heading production companies, more women directors, writers, and of course more actors etc … I have written so much about all this earlier that I feel like a broken record … but yeah.. I get the TRP tyrant and all that but I cannot understand this blanket blindness when it comes to seeing the damage this kind of reckless representation is doing to the society at large ..

        Sorry for the tangent … Back to OR .. and Qasim. .

        I will have to disagree with you on Qasim.. From how i read him, I dont think he was content or confident at all. Let me clarify though, he was not confident in himself, but he was confident enough in his love that he could let Sassi go free .. because for him that was the apogee of love .. to have enough love in his heart that he could love enough for both of them. That kind of Sufi love aside, his was not a confident person in real world terms at all .. he wants more for himself and make more for himself but his sense of obligation is so strong that he keeps holding back and then hates himself for dong so .. and had Meena’s character been given more meat, a season 2/spin off with Qasim and Meena on their own now, I think that would’ve added a very interesting dimension as we would’ve seen Qasim finally coming into his own and who knows what he wouldve become .. maybe someone very different? Maybe someone with a ton of anger issues? Or someone with abandonment issues? Meena wanted a family, but with Qasim and all his issues she mightve just bitten off more than she could chew … and then socho, if Mammo came to live with them? Sassi a huge star, living on her own …Chalo ji, plot line for Season 2 taiyar ….

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  6. Brilliant review . I can’t understand what is going on these days .Either we have shuki savatri khamosh heroine or someone like me na mano logic,yes I m talking about sassi ,suhana .What happened to logic ,samjdari, knowing ur right and most importantly parents respect . Sorry for long post

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    • @SJ: Sigh! Ab what to say, except ke yes… I see a definite pattern to this … this is not random ke baithe baithe jo aurat Zia ke zamane mein chaar mardon ke saath shana ba shaana confidence ke saath confidence ke saath kaam kar sakti thi .. a single woman could live alone, have a career and make public her fondness for a man without having her character called into question (I’m referring to Dhoop Kinare) how is it that ffwd 30 years later, when we are living in a so-called democratic society, where women have supposedly more opportunities and are actually doing more behind the camera, if we talk abt the entertainment industry specifically, that our drama heroine is now a joke.

      Lets take a close look at the recent lot of dramas .. YKS, Baaghi, OR, Teri Raza even DeD…. they all had the bad guys, but look at the good guys … all knights in shining armor .. itney acchey ke bas … .shehryar in Baaghi is such an angel he doesnt care at all abt Kanwal’s past or present.. Imtiaz in Teri Raza no matter how stupid Suhana is he still bails her out every single time … O Rungreza, he is same with Sassi .. he is blind to Sassi’s faults he forgives her everything similarly he never questions Meena abt her past … YKS Zubiya is only able to go beyond her past when Asfi “forgives” her …Ab our drama heroine is not just a mazloom girl she is also in need of being rescued by a “prince” a true gentleman, a perfect hero ….and if you notice this man is not the kind who has to evolve hes just there – perfect from day dot … its our heroine who has to grow … not for herself but for the sake of the hero, to prove herself a worthy match as the heroine. And even then she is made to wait till the very end till he forgives her/accepts her that she is considered complete. So evden though our dramas claim to be women centric or women oriented they are actually all written from the male perspective .. what a man wants and desires from a woman .. earlier it was all about men and their brutal treatment of women and now its swung 180 degrees and its men showing us how gentle they are, how much they put up with .. welcome the new age liberal hero ..

      So all the qualities that you bring up all not necessary .. because those would be for her personal growth, here the point is only to mold her into a pretty accessory a perfect complement to the prefect hero’s .. I dont know if this makes any sense but after watching all these bubble brained girls I do wonder what their larger goals in life are .. turn to any channel, and all they talk abt is shaadi and mangni and kab hogi aur kis se hogi … even our supposedly educated working heroines … I am from Pakistan, I have family and friends of all ages and yes, all this is important and our lives revolve around families but not like this … life is so much more than this…

      Much as I love love stories and family- centric stories Im sort of finding myself very very bored by the unimaginative boxed-in approach to the art of story telling .. what about you all … please do chime in with your view points .. lets hear from everybody .. what kinds of stories would you all like to see .. no wrong right answers … just would be good to hear diff viewpoints .. and silent readers .. come on!!

      Liked by 1 person

      • Wow, that was quite the treatise, SZ! 🙂

        But all of this absolutely needed to be said (even if you’ve already said it before).

        I’m just going to offer two observations here. First, at least to me, part of the problem seems to be that dramas these days are almost entirely focused on the home. That’s fine because I think it’s an accurate reflection of desi society. We are, overall, a very family- and home-oriented culture. But it’s also strange that dramas focus so sharply on just marital/romantic relationships within the household. It’s not every drama, of course, but the few dramas that try to focus on relationships between parents and children, or between siblings, etc., stand out at least partly because they are exceptions to the rule.

        We all have families and home lives, of course, but there’s literally nothing in my life that could be the basis of an interesting drama, and that’s true for the vast majority of people. To keep dramas focused on just family and home lives means that writers are deliberately limiting the types of stories they can tell.

        For example, work place dramas are practically unknown now, right? It’s the rare show where the heroine even works outside the home, and when she does, her personal life is given much more attention than her work life. Even in ZGH and YKS, Kashaf and Zubiya are successful professionals, but we see them outside of work more often than at work, and the audience is primed for the romance, not for workplace interactions.

        Second (and SZ, we’ve discussed this before), I think the length of each drama is a problem too. If each show has to be 30+ episodes long, but there’s only typically enough story for maybe 10 episodes, the writer and director are forced to add a lot of repetitive and monotonous filler that is neither meaningful nor helps move the story forward.

        I just recently finished watching a Korean series called Argon. (It’s on Netflix, so catch it if you can). It’s just eight episodes long, but that felt like the perfect length. The story is set in the workplace (a tv studio), but family storylines are explored too. They’re mostly in the background and used to round out the main characters rather than being the entire focus of the show. Also, it was really refreshing to have a show where the characters aren’t all getting paired off, and indeed, where romance doesn’t get much attention at all, and the show is still eminently watchable and interesting.

        They say there are only seven stories in the world, but it would be nice if the folks who write and produce dramas tried the other six stories too, lol.

        Liked by 1 person

        • @RK: Yes! Please.. let’s start telling those other 6 stories too!

          Thank you though for wading though the incoherence above, I should’ve been a bit more organized with my thoughts rather than this stream of consciousness kind of outpouring .. maybe should write up a post type a thing ..

          And bhai baqi sab log kahan hain? no comments – accchi ya buri koi baat nahin?

          Liked by 1 person

      • I would lovr to see something related with professions.. doctors lawyers teachers.. some kind where even my brain enjoys instead of being hibernate.. bus just ghar se bahar niklain..
        @RK have put it so apt.. loved her n your comments

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      • @SZ

        Can I just say how much I agree with you? This trend btw is quite new, maybe a decade or so old.

        A few years ago there were quite a few dramas about independent women which did not revolve around shadi. But then again that was when Indian dramas & star plus had peak popularity in Pakistan…

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        • @AKA: Lovely to hear from another like-minded friend – thanks for sharing your thoughts.

          I agree with you that the “Star Plus” effect was a huge contributing factor and it took a huge deal to lure audiences back to Pakistani dramas and many compromises were made in this regard, the zoom-ins, echos, the loud booming music and other things .. but that battle was fought and won quite decisively after Humsafar, if I have to pinpoint a specific period in time .. and that was the inflection point where I think the industry made the deal with the devil and sold its creative soul to the corporates and that was that and mazloom aurat was here to stay … I honestly dont know where and how this trend is ever going to go away, and why should it go anywhere.. where is the will to make this crying woman go away?? Please do watch this video that I have shared below .. makes for a very interesting/thought provoking watch…

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  7. Dear All:

    Here’s a discussion right from the horse’s mouth as it were, discussing exactly this stuff as it were .. please do watch and share your thoughts ..

    Like

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