But the mother-in-law's non-nuanced evil aside, isn't it troubling that women despite age, motherhood and having maintained homes are always on the verge of losing it all - always at the whim of later apologetic, yet unapologetic men? Sadly, after this they have to rely on puppeteering their sons for personal fulfillment. In an earlier episode, it is the mother-in-law who is threatened with eviction if she does not agree with her husband's decision to respect his dying sister's wish. It is she of moral purity who deserves the house rather than the manipulative mother-in-law. Underlining Khirad's dramatic eviction from the house is the fact that she did abide by these ethics and is of unblemished character. Khirad got thrown out, and in a scene that played cruelly on all women's insecurities, we are shown that what capitalist patriarchy giveth, it taketh if you can't abide by bourgeois society's moral ethics.
It is sterile, hotel-like, and it’s the woman's object of ultimate attainment. It has a swimming pool (virginal) in the background, and tasteful art. In fact, what Khirad's father taught her was the hegemonic values - where honesty is inextricably entwined with being a good wife and a submissive, self-denying woman whose moral sexuality is her ticket to livelihood. Eventually, she could have met a man less verbally challenged than Ashar and they would have actual conversations instead of old words reverberating in their heads like bipolar memories. And if not that, there could be situations around inflation and lack of opportunities. If not, then perhaps a junior analyst position at Engro where she would have adequate medical coverage for her child. Her mind that works faster than a calculator could also have landed her a PhD stipend at the University of Punjab where she could have raised her daughter modestly, but well. If Khirad's father taught her such great values, why was her marriage into an affluent family (mild protestations notwithstanding) and its inevitable accompaniments - an abusive mother-in-law, and a passive aggressive unpredictable husband - the only way to material security? She is also surprisingly silent, when all you want is for her to sit him down and feverishly explain the terrible misunderstanding the entire infuriating play is constructed on, over a cup of coffee or a glass of vodka.
Khirad on the other hand, played by the cherubic Mahira with bright makeup, and translucent skin, appears surprisingly asexual - the recipient of the man's desire, derision, and disdain - not interfering too much with the screen appeal of Ashar, with nice beauty, but insipid enough to not be threatening to female viewers. Sex is implied, and there is a chastity reminiscent of Zia-era dramas that drives people insane with tension.
He smiles infrequently and when he does, it seems as if it were a gift. Eye candy, nakedly sexual, he stares arduously at his love interest with desire that would give the Grammarian and the Aisha Bawany schoolgirl goose bumps. You could cut through the weird chemistry between Khirad and Ashar, the hero authors of romance novels would be envious of.
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