#agha jaan

[rania-zara]

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[badedramay]

@roobylavender replied to your post:

thank you for answering! this is super insightful and i really appreciate the point you make about intention and how despite include some repercussions of feudal traditions, addressing that niche of pakistani society as a whole was not actually the central aim of the drama (so in that aspect it’s distinct of dramas like sang-e-marmar, sang-e-mah, malaal-e-yaar, badshah begum, etc.). i definitely think that’s a valid defense to shielding it from some criticism bc like you said the more pertinent intent is to address misplaced judgments, rectification of old mistakes, the harms of parents projecting onto their children, the plights of stubbornness and inflexibility, etc. that definitely holds when, like you said, you approach ruhi’s arc as a whole, bc it’s about much more than a mere reaction to societal practice  and i like the point you bring up in the tags about faarah too! i’m less endeared to wali this go around bc some of his alpha male behavior towards her in the beginning of their relationship seriously turns me off lol but it’s true a lot of faarah’s relationship to the haveli is premised on her dynamic with agha jaan first, and that’s definitely where the show wins a lot of viewers over (including me! they were so sweet and i loved them) in any other show that tried a similar approach of “wait and see that this guy you got married to isn’t Actually so bad even though he’s trying to dictate everything you do” i think i would probably still remain super turned off bc there’s not often a character like agha jaan present to balance out that transition into accepting that maybe your judgments of your spouse and their family are not entirely solid. so aH he was here lol! such a crucial character to tie everything together truly 

(making this reply a new post rather than continuing in comments cuz I need my space with me especially when talking about Wali akjsdhakwjeahw)

Yes! exactly! I was thinking of dramas like Sang-e-Marmar and Mere Humnasheen as examples when I was making that point. In those dramas, the background of the characters is the plot. because when you remove the background the entire story falls flat on its place. the characters and their actions in those dramas they are not justified but also plausible because of the characters’ backgrounds. the same doesn’t fully apply to the characters of DeD. Aga Jaan’s family could’ve been from any non-specific feudal background and the story would still take place. the reasoning might have to be altered to fit that but on the whole, the plot progression could’ve happened in the same way as it originally did.

As for Wali...oh boyyyy yahan pe aata hai conflict. because Wali remains my most criticized AND most beloved Pakdrama hero. my history on PakDrama fandom world is witness to how much I have dragged this man for his actions (even as recently as just a few days ago!) however, regardless of how much some of his actions continue to irk me..on the whole Wali’s character journey is so fascinating and intriguing for me that I can never see him as a “red flag bad guy”. there are layers to him!! I do sometimes wonder how Wali would be perceived in today’s landscape. like i am SURE he’d be criticized a lot more than he was back in 2015. some of his actions wrt Faraa are so ruthless that I can vividly imagine some people on stantwt making it their mission to start “Cancel Wali Suhaib Khan!!!” parades.

But like I said, the beauty of DeD is how a character comes across when you take the context of their situation when they were performing a certain action. Wali’s abusive kidnapping of Faraa and the initial manhandling he did with her within the first few days of her return to the haveli..these are things added in the drama for well drama’s sake. Wali of the novel was always the picture of perfect gentleman. Wali of the drama was prideful. for six years he had witnessed his own pride be spat on by Faraa’s cold demeanor. Wali forgave the insult to his pride, where he fully lost his senses was when he witnessed his Aga Jaan, his most beloved grandfather, be reduced to a man just breathing not living because of all the hurt Faraa’s attitude had caused him for years...that was unforgivable for Wali. in a very pathetic attempt to be his defense..Wali was pushed to show his most brutal self to Faraa and confirm her worst fears about him that she had nursed for years all because there was no other way Faraa would just LISTEN to him. Wali had never tried to impose the power their nikaah gave him over Faraa except just this once. and he did that not for his own self but for his grandfather’s.

Wali is not a perfect character; good heroes seldom are (hence why drama!Wali is more beloved to me than novel!Wali) The show had already established Wali as someone who had the habit of exercising his dominance where he could. We saw it in how he would scold Zarminay when she tried to be nosy in his affairs or him reprimanding her for planning picnics. but at the end of the day that strictness was not what defined him. we saw how Zarminay confided in her brother and leaned on to him in the time of intense grief. because he was raised by Aga Jaan, he didn’t learn to put walls around his heart and was taught to have more love and respect in all the relationships he shared with anyone. THAT BEING SAID..Wali was ALSO a young man with all the hotheadedness youth brings with itself. it was his initial youthful blunder of putting himself across as a lazy, entitled brat to Faraa which made it easier for her to cement her bad opinion of him. it were his own insecurities that made him unable to empathize with Faraa when she found peace in Moiz’s company. yeah sure Wali’s guess about Moiz being a leech ended up being true but we cannot deny that Faraa’s proximity with Moiz wounded Wali’s pride as a man to the point where he started to question that maybe him assuming duties far beyond the capability of his age had rendered him into an undesirable man. Wali was also well..petty.

Despite all that..I cannot see Wali as someone who, after his rage died down, was incapable of asking for forgiveness for his actions. YEAH I KNOW THE SHOW DIDN’T GIVE ME THAT SCENE AND I WILL FOREVER HOLD A GRUDGE AGAINST IT FOR DENYING ME THE SCENE OF WALI ON HIS KNEES BEGGING FOR FARAA’S FORGIVENESS FOR TREATING HER SO HORRIBLY but i also know that how Wali’s character was shaped up..there did come a point when he did apologize for it all. HECK! I can imagine Aga Jaan severely reprimanding Wali if he so got a whiff of HOW ACTUALLY Wali managed to bring Faraa back to haveli and refusing to talk to Wali until he SEES Wali on his knees holding his ears and awaiting Faraa’s forgiveness. which she’d give him of course. not only because she loved him but because she is at that point in her life where she wants all the past mistakes kept aside to start afresh.

Wali works because Aga Jaan works. if Aga Jaan who started as the villain of the story can have a character arc that makes him THE BEATING HEART AND SOUL of the entire story, Wali also cannot stray too far away from the circle of redemption purely because of his connection to Aga Jaan. it’s because of Aga Jaan Wali is mercifully not given the “he’s good because we say he’s good so whatever you saw and how you interpret him is wrong” treatment that so many of the current Pakistani dramas subject their protagonists to (coughmeerabcough). because we SEE Wali’s connection with Aga Jaan and we SEE how Aga Jaan’s sheer love won over Faraa and gave her the peace and acceptance that she was craving for for years..we can SEE why Faraa, by this connection, falls for Wali. not just because he’s her husband and she has no choice but to love him. i see it in a more poetic manner...’the beloved’s beloved becomes my beloved’.

[fortunetellersdilettante]

kisheim meshairim youfor gavoe weavesh ani ahia lied hadlat shlech halela em est zakok lazra, em est zakok lazra ani achebe at orot mayor ani askar, armee, ethenen vashad order leavs youfor tob, order leavs youfor tob cashar oyvim menim lied hadlat shlech ani asha youfor harhak mahmelhama em est zakok lazra, em est zakok lazra taquath mostheleschelt bachot estathaf basbalcam order leavs youfor tob, order leavs youfor tob tan le sevot lahamin shatta at otho hadavar bashavili vanny aasha at ze bashavilk, bashavilk motak, ani lo mamashika helea ani ohav youfor herba achri stolech bashavilk, bashavilk laolam lo tisno lebed ani ohav youfor herba achri stolech veherba achri sureyou inch, inch, nalam kashata nopel kemo fasal ani ahia shm order latfus youfor shim youfor al hergelian, est al hergelian vam habare shlech rika shum deber lo yemena mamney sefer le mah est tzarik mah est tzarik? ani munis buscer themid asit at otho hadavar bashavili ez hayeti does at ze bashavilk, bashavilk motak, ani lo zaz helea ani ohav youfor herba ehrich

jab jeevan aapako uchch aur shushk chhod deta hai main aaj raat aapke darvaje par aunga agar aapko madad ki jarurat hai, agar aapko madad ki jarurat hai main shahar ki battiyan band kar dunga main jhoot bolunga, dhokha dunga, main bhikh mangunga or rishwat doonga aapko achchha banane ke liye, aapko achchha banane ke liye jab dushman aapke darvaje par hon main tumhe yuddh se door le jaaunga agar aapko madad ki jarurat hai, agar aapko madad ki jarurat hai ek taar se jhulati tumhari asha main aapke dukh mein hissa lunga aapko achchha banane ke liye, aapko achchha banane ke liye mujhe vishvas karane ke karan den ki tum mere liye bhi aisa hi karoge aur main yeh tumhare liye, tumhare liye karunga baby, main aage nahi badh raha hoon tumhare jaane ke baad main tumhe lambe samay tak pyar karunga aapke liye, aapke liye aap kabhi akele nahi soyenge tumhare jaane ke baad main tumhe lambe samay tak pyar karunga aur lambe samay ke baad aap chale gaye, chale gaye, chale gaye jab aap murti ki tarah girte hain main tumhe pakadne ke liye vahan rahunga aapko apne pairon par rakho, aap apne pairon par or agar aapka kuan khali hai koi cheez mujhe nahi rokegi mujhe batao ki tumhe kya chahiye aapko kis cheez ki jarurat hai? main imandari se atmasamarpan karta hoon aapne hamesha mere liye aisa hi kiya hai toh, main ise aapke liye, aapke liye karunga baby, main aage nahi badh raha hoon main tumhe lambe samay ke baad pyar karta hoon

Mgbe ndụ na-ahapụ gị elu na akọrọ Aga m anọ n'ọnụ ụzọ gị n'abalị a. Ọ bụrụ na ịchọrọ enyemaka, ọ bụrụ na ịchọrọ enyemaka. M ga-emechi ìhè obodo ahụ. M ga-agha ụgha, aghụghọ, m ga-arịọ arịrịọ na iri ngo Iji mee ka ị dị mma, iji mee ka ị dị mma. Mgbe ndị iro nọ n'ọnụ ụzọ gị Aga m eburu gị ụzọ site n'agha. Ọ bụrụ na ịchọrọ enyemaka, ọ bụrụ na ịchọrọ enyemaka. Olileanya gị dangling site a eriri M ga-ekere òkè n'ahụhụ gị. Iji mee ka ị dị mma, iji mee ka ị dị mma. Nye m ihe mere m ga-eji kwere Na ị ga-eme otu ihe ahụ maka m. Aga m eme ya maka gị. Nwa m, anaghị m aga n'ihu. M hụrụ gị n'anya ogologo oge mgbe ị na-apụ. Maka gị, maka gị Ọ dịghị mgbe ị ga-ehi ụra naanị gị. M hụrụ gị n'anya ogologo oge mgbe ị na-apụ. Na ogologo oge mgbe ị pụsịrị, pụọ, pụọ Mgbe ị na-ada ka ihe oyiyi I'll Be Here To Catch You Na-etinye gị n'ụkwụ gị, ị na-agbanye ụkwụ gị. Ma ọ bụrụ na olulu mmiri gị bụ ihe efu Ọ dịghị ihe ga-egbochi m. Gwa m ihe ị chọrọ. Gịnị ka ị chọrọ? M na-enyefe onwe m n'eziokwu Ị na-emere m otu ihe ahụ mgbe niile. Aga m eme ya maka gị. Nwa, m na-adịghị movin 'on M hụrụ gị n'anya ogologo oge mgbe ị

Þegar lífið skilur þig eftir hátt og þurrt Ég verð hjá þér í kvöld Ef þú þarft hjálp, ef þú þarft hjálp Ég mun slökkva borgarljósin Ég mun ljúga, svindla, ég mun betla og múta Til að gera þig heilbrigðan, til að gera þig heilbrigðan Þegar óvinir eru við dyrnar hjá þér Ég skal bera þig frá stríði Ef þú þarft hjálp, ef þú þarft hjálp Von þín dinglar í streng Ég mun taka þátt í þjáningum þínum Til að gera þig heilbrigðan, til að gera þig heilbrigðan Gefðu mér ástæður til að trúa Að þú myndir gera það sama fyrir mig Og ég myndi gera það fyrir þig, fyrir þig Elskan, ég held ekki áfram Ég mun elska þig löngu eftir að þú ert farinn Fyrir þig, fyrir þig Þú munt aldrei sofa einn Ég mun elska þig löngu eftir að þú ert farinn Og löngu eftir að þú ert farinn, farinn, farinn Þegar þú fellur eins og stytta Ég ætla að vera þarna til að ná þér Settu þig á fætur, þú á fætur Og ef brunnurinn þinn er tómur Ekkert mun hindra mig Segðu mér hvað þú þarft Hvað þarftu? Ég gefst heiðarlega upp Þú hefur alltaf gert það sama fyrir mig Svo ég myndi gera það fyrir þig, fyrir þig Elskan, ég er ekki að hreyfa mig Ég mun elska þig löngu á eftir þér

Amikor az élet magasan és szárazon hagy Ma este az ajtódban leszek Ha segítségre van szüksége, ha segítségre van szüksége Lekapcsolom a városi lámpákat Hazudok, csalok, könyörögök és megvesztegetek Hogy jól legyél, hogy jól legyél Amikor ellenségek vannak az ajtód előtt Elviszlek a háborúból Ha segítségre van szüksége, ha segítségre van szüksége A reményed egy zsinóron lóg Osztozni fogok szenvedésedben Hogy jól legyél, hogy jól legyél Adj okot arra, hogy higgyek Hogy te is ugyanezt tennéd velem És én megtenném érted, érted Bébi, nem lépek tovább Szeretni foglak még jóval azután is, hogy elmentél Neked, neked Soha nem fogsz egyedül aludni Szeretni foglak még jóval azután is, hogy elmentél És jóval azután, hogy elmentél, elmentél, elmentél Amikor leesel, mint egy szobor Ott leszek, hogy elkapjalak Tegyél a lábadra, te a lábadra És ha a kút üres Semmi sem akadályoz meg Mondja el, mire van szüksége Mire van szüksége? Őszintén megadom magam Mindig ugyanezt tetted értem Szóval, megtenném érted, érted Bébi, nem mozdulok tovább Sokáig szeretni foglak utánad

Thaum lub neej yoojyim koj siab thiab qhuav Kuv mam li muab ntawm koj lub qhov rooj hmo no Yog koj xav tau kev pab, yog hais tias koj xav tau kev pab Kuv mam li sib txuas lub nroog teeb Kuv mam li pw, khib, kuv yuav beg thiab bribe Kom koj zoo, kom koj zoo Thaum cov yeeb ncuab nyob ntawm koj lub qhov rooj Kuv mam li nqa koj txoj kev los ntawm tsov rog Yog koj xav tau kev pab, yog hais tias koj xav tau kev pab Koj vam tias dangling los ntawm ib txoj hlua Kuv mam li muab rau koj nyob Kom koj zoo, kom koj zoo Muab kuv vim li cas los ntseeg tau tias Uas koj yuav ua ib yam rau kuv Thiab kuv yuav ua rau koj, rau koj Tus me nyuam, kuv yuav tsis tsiv mus nyob Kuv mam hlub koj ntev tom qab koj nyob nraum ncaim Rau koj, rau koj Koj yuav tsis pw ib leeg kheej Kuv mam hlub koj ntev tom qab koj nyob nraum ncaim Thiab ntev tom qab koj nyob nraum ncaim, ncaim, ncaim Thaum koj poob zoo li ib tug pej thuam Kuv yuav gon' yuav muaj mus ntes koj Muab koj txhais taw, koj nyob ntawm koj txhais taw Thiab yog hais tias koj zoo tas Tsis yog ib yam uas yuav tiv thaiv kuv Qhia rau kuv seb koj xav tau dab tsi Koj xav tau dab tsi? Kuv surrender honestly Koj yeej ib txwm ua tib yam rau kuv Yog li, kuv yuav ua rau koj, rau koj Tus me nyuam, kuv yuav tsis nyuam qhuav txav los' rau Kuv mam hlub koj ntev tom qab koj

जब जीवन आपको उच्च और शुष्क छोड़ देता है मैं आज रात आपके दरवाजे पर आऊंगा अगर आपको मदद की ज़रूरत है, अगर आपको मदद की ज़रूरत है मैं शहर की बत्तियाँ बंद कर दूँगा मैं झूठ बोलूंगा, धोखा दूंगा, मैं भीख मांगूंगा और रिश्वत दूंगा आपको अच्छा बनाने के लिए, आपको अच्छा बनाने के लिए जब दुश्मन आपके दरवाजे पर हों मैं तुम्हें युद्ध से दूर ले जाऊंगा अगर आपको मदद की ज़रूरत है, अगर आपको मदद की ज़रूरत है एक तार से झूलती तुम्हारी आशा मैं आपके दुख में हिस्सा लूंगा आपको अच्छा बनाने के लिए, आपको अच्छा बनाने के लिए मुझे विश्वास करने के कारण दें कि तुम मेरे लिए भी ऐसा ही करोगे और मैं यह तुम्हारे लिए, तुम्हारे लिए करूँगा बेबी, मैं आगे नहीं बढ़ रहा हूँ तुम्हारे जाने के बाद मैं तुम्हें लंबे समय तक प्यार करूंगा आपके लिए, आपके लिए आप कभी अकेले नहीं सोएंगे तुम्हारे जाने के बाद मैं तुम्हें लंबे समय तक प्यार करूंगा और लंबे समय के बाद आप चले गए, चले गए, चले गए जब आप मूर्ति की तरह गिरते हैं मैं तुम्हें पकड़ने के लिए वहां रहूंगा आपको अपने पैरों पर रखो, आप अपने पैरों पर और अगर आपका कुआं खाली है कोई चीज मुझे नहीं रोकेगी। मुझे बताओ कि तुम्हें क्या चाहिए आपको किस चीज की जरूरत है? मैं ईमानदारी से आत्मसमर्पण करता हूं आपने हमेशा मेरे लिए ऐसा ही किया है तो, मैं इसे आपके लिए, आपके लिए करूंगा बेबी, मैं आगे नहीं बढ़ रहा हूँ मैं तुम्हें लंबे समय के बाद प्यार करता हूँ

כשהחיים משאירים אותך גבוה ויבש אני אהיה ליד הדלת שלך הלילה אם אתה זקוק לעזרה, אם אתה זקוק לעזרה אני אכבה את אורות העיר אני אשקר, ארמה, אתחנן ואשחד כדי לעשות אותך טוב, כדי לעשות אותך טוב כאשר אויבים נמצאים ליד הדלת שלך אני אשא אותך הרחק מהמלחמה אם אתה זקוק לעזרה, אם אתה זקוק לעזרה תקוותך משתלשלת בחוט אשתתף בסבלכם כדי לעשות אותך טוב, כדי לעשות אותך טוב תן לי סיבות להאמין שתעשה את אותו הדבר בשבילי ואני אעשה את זה בשבילך, בשבילך מותק, אני לא ממשיכה הלאה אני אוהב אותך הרבה אחרי שתלך בשבילך, בשבילך לעולם לא תישנו לבד אני אוהב אותך הרבה אחרי שתלך והרבה אחרי שאתה אינך, אינך, נעלם כשאתה נופל כמו פסל אני אהיה שם כדי לתפוס אותך שים אותך על הרגליים, אתה על הרגליים ואם הבאר שלך ריקה שום דבר לא ימנע ממני ספר לי מה אתה צריך מה אתה צריך? אני נכנע ביושר תמיד עשית את אותו הדבר בשבילי אז הייתי עושה את זה בשבילך, בשבילך מותק, אני לא זז הלאה אני אוהב אותך הרבה אחריך

Idan rai ya bar ka, sai ka yi ƙẽƙasasshiya. Zan kasance a ƙofarku yau da dare. Idan kana bukatar taimako, idan kana bukatar taimako Zan rufe hasken birni Zan yi ƙarya, in yi ƙarya, in roƙi kuma in yi ƙarya Don ka sami lafiya, don ka sami lafiya Sa'ad da maƙiyanka suke ƙofarku Zan ɗauke ka daga yaƙi Idan kana bukatar taimako, idan kana bukatar taimako Begenka yana ɗauke da ƙarfe Zan raba tare da wahalarku. Don ka sami lafiya, don ka sami lafiya Ka ba ni dalilai na gaskata Don haka za ku yi haka a gare ni. Kuma zan yi maka hakan, dominka Ba zan ci gaba da yin hakan ba. Zan ƙaunace ka da daɗewa bayan ka tafi A gare ka, a gare ka Ba za ka taɓa barci kaɗai ba Zan ƙaunace ka da daɗewa bayan ka tafi Kuma da daɗewa bayan ka tafi, ka tafi, ka tafi Sa'ad da ka faɗi kamar siffar Na yi tafiya zuwa wurin don in kama ka Ka sa ƙafafunka a kan ƙafafunka Kuma idan ra'ayinka bai yi amfani da shi ba. Babu wani abu da zai hana ni. Ka gaya mini abin da kake bukata Menene kake bukata? Ina miƙa kai da gaske Ka yi hakan a koyaushe dominna Saboda haka, zan yi maka hakan, dominka "Yã ƙaramin ɗãna, ba ni mai ƙẽwaẽwa." Zan ƙaunace ka da daɗewa bayan ka

[xlnc1]

Meri Jaan - A Heartbreaking Love Story Part II

Meri Jaan – A Heartbreaking Love Story Part II A Heartbreaking Love StoryLove Story that will change lives.Staring: Hiba Bukhari and Agha Ali

[lover-of-ar-rahmaan]

💔

Will I ever be good enough, O' Beloved, O' Qiblah of my Heart, O' Mahdi..?

I pray to God every night... in the darkness of the Night..

Words cant Express my Heart-ache..

-sigh-

Please Please Please...

Come back.. Come back.. O the Candle of my Dark Dark Night 💔

I miss You...

I miss You...

I miss You...

So much...

So much...

So much...

💔

[silentbelieverah]

لأن كلام القواميس مات

Because the words of dictories have died

لأن كلام المكاتيب مات

Because the words of writers have died

لأن كلام الروايات مات

Because the words of novels have died

أريد اكتشاف طريقة عشق

I want to discover a way to love you

أحبك فيها .. بلا كلمات

Without words

- Nizār Qabbānī

[yoramkelmer]

Posters of classical muslim socials

[shiamemes]

Visual discription of butterflies in the stomach 🦋

[badedramay]

Diyar e dil still feels like coming home 🤍

Always.

[cinemaminidiso]

Urdu poetry was an integral part of cinema. Two of the earliest lyrical poets in the Hindi Cinema were- Kidar Sharma who wrote lyrics for cult classics such as Devdas, Chitralekha, Dil Hi Toh Hai, Hamari Yaad Aayegi and others and Dina Nath Madok who was a poet by profession, wrote lyric for films such as Tansen. They were followed by superstar poets such as Sahir Ludhainvi, Kaifi Azmi, and Shakeel Badayuni and as a result the songs written by these mega poets became classics and are still very relevant. To name a few- Aage Bhi Jaane na Tu, Kisi pathar ki Murat se and Waqt ne kiya kya haseen sitam. 

Emergence of parallel cinema in 70s and 80s introduced strong independent voices such as Gulzar, Shyam Benegal, Saeed Mirza, the famous Urdu poet Majrooh Sultanpuri and other poets. They were joined by other independent singers, lyricists like Ghulam Ali, Jagjit Singh and Salma Agha. 

Lately a lot of scholars claim that with the advent of globalisation, western music paved its way into the Hindi cinema with Urdu shayari losing its significance. No doubt this argument holds some value but with stalwarts like Gulzar, Javed Akhtar, Piyush Mishra around, they continue to render their service to language, writing compositions that are not very far from what was written in the 70s but also at the same time resonating it with the current generation. There is also a bunch of new talented lyricist and singersIrshad Kamil, Amitabh Bhattacharya, Swanand Kirkire ensuring that Urdu poetry doesn’t lose its audience in these times of remixes and remakes. 

Bazm-e-Adab (The Urdu Literary Society)

[aiiaiiiyo]

Jewish dervishes Agha-Jaan Darvish and his brother, patriarchs of the Darvish family. Tehran, Iran, c.1922. The two Jewish dervishes pictured here in this rare photograph are among the very few who had successfully been integrated into the order without converting to Islam. Check this blog!

[xlnc1]

Meri Jaan - A Heartbreaking Love Story Part I

Meri Jaan – A Heartbreaking Love Story Part I A Heartbreaking Love StoryLove Story that will change lives.Staring: Hiba Bukhari and Agha Ali

[lover-of-ar-rahmaan]

💔

The first time I actually felt like I had a true father figure in my.life was when I met you...

and that's why I miss you so much and the tears flow Oceans in your remembrance..

And tbh, I hate saying this. It shouldn't have to be said. However, many times it feels like I love you way more than my own father.

And tbh, that sucks.

It sucks that I can go to you and not my own Biological father.

It sucks

It sucks

It sucks

Sigh...

💔

[tellywoodtrash]

Hey TT! How are you doing? What were your favourite moments from Diyar-e-Dil? Also have you watched Dushman e Jaan, recently started on ARY? (last week I think.) Thanks!

Oh man, it’s been so long since I watched DeD so I don’t remember a lot. Obviously a lot of Wali and Farah moments; like the part where Wali is staring at her pic on the laptop, the car shopping scene, him confessing his love for her at her hospital. I think I like about every scene of theirs other than the kidnapping one. Obviously I love the climax confession, they’re such soft happy babies in that scene. But my absolute favt. scene in the show is probably one that’s not as special to others; it’s the scene where Agha Jaan takes Wali to task for not eating the halwa Farah made specially for him. It always makes me laugh so giddily, the way he has that mischievous smile when he says “Arre mera mann nahi kiya halwa khaane ko! Zabardasti hai kya?”

Dushman e Jaan looks to have awesome strong female lead, but then I looked at the promos and the latest episode and........ Well, that’s that. So not really my cup of tea.

[erumbleeds]

yeh samajh liya hai maine ke tu jaan-e-zindagi hai yahi ik kh’taa meri hai ya sazaa dey ya jazaa Dey

- agha hashr kashmiri