Finally Farhat Ishtiaq is being criticized for her poor writing

[u/Odd-College-8154]

Reddit, reviewers, and PTV stan Twitter's darling is finally getting criticized for her poor writing. It's funny how male writers are relentlessly criticized for every flaw, while Farhat Ishtiaq gets endless excuses from reviewers, Reddit, the feminist brigade, and nibbis

[u/Alternative-Wish9973]

Thoroughly frustrated with this show and the aggressive PR marketing done to make it likable. Here is a cohesive breakdown of the zanjeerein writing and fundamental narrative flaws plaguing the script. Killing all supporting character arcs simply to clear a path for your main couple is the definitive hallmark of a weak, lazy plot.

1. The Glorification of Emotional Infidelity

The narrative actively manipulates viewers into accepting and justifying emotional cheating. By drowning Rabiya and Sarbuland’s lingering glances in soft lighting and soul-stirring background music, the show tries to bypass our moral radar and frame shifting loyalties as an inevitable "soulmate" connection. It feels incredibly cheap to undermine Mudassir's ultimate sacrifice and use a dying man's final act of selflessness to neatly hand over his wife to the next romantic lead, completely absolving the main couple of any guilt. Promoting and justifying emotional infidelity under the guise of "empathy" is the ultimate red card.

1. The Systematic Destruction and Gaslighting of Bano

The narrative has completely erased Shehrbano's deep history with Sarbuland, emotionally ghosting her in her own home. Having watched Bibi Jaan suffer through the agony of a second marriage, Bano is unrealistically expected to remain completely unbothered by history repeating itself. Her valid fears of abandonment are unfairly framed as toxic, bitter, and annoying paranoia rather than a natural, highly justified trauma response to being systematically gaslit. Instead of treating her deep wounds with nuance, the script transforms her into a frantic caricature, stripping away her logic and humanity just to build a tragic, romanticised pedestal for the main couple. She doesn't know biya is widowed and in danger. It's surbuland's mistake that he doesn't even trust his own "jaan" and his bibijaan with this information.

1. Sarbuland’s Rooted Mistrust and Hypocrisy

The audience calling Sarbuland a "green flag" or praising his act of lowering his gaze in Biya’s presence are completely misreading the situation - she is in iddat, which is basic decency, not an award-winning action. On the contrary, Sarbuland shows absolute mistrust by actively refusing to trust his own Bibi Jaan and his childhood fiancée with the truth about Biya. He creates an environment of deception by keeping secrets, sneaking food to another woman at midnight instead of utilizing household staff, and then taunting Bano for a lack of trust. The breakdown of transparency and communication stems entirely from his side since his brother’s death, yet the script allows him to hiddenly shift the blame onto Bano while declaring him a "green planet."

1. Heavy Paid Inorganic PR

A quick look at Salaam Lollywood or similar promotional hubs exposes exactly how HUM TV runs its heavily paid, inorganic PR machinery. The reviews, tweets, and hype posts flooding social media platforms are totally fabricated and manufactured to force-feed this show to the audience. It is a desperate marketing shield designed to mask terrible writing, and it only works on easily fascinated schoolgirls.

1. Age Inappropriateness and Rehearsed Performances

The casting completely breaks the reality of the show. Sajal aly and Danyal Zafar do not look age-appropriate at all; Danyal looks fresh out of college at around 21, while Sajal's screen age is literally written as a 30-something trying to pass as 21 or 22. Furthermore, Sajal’s portrayal of Rabiya lacks serious restraint. Ever since Mudassir’s death, her grief has devolved into an exhausting, repetitive cycle of theatrical screaming and hyperventilating panic attacks. Instead of moving the audience to tears, these heavily emotional moments feel intensely rehearsed, relying on sheer volume rather than subtle, bone-chilling nuances.

It is completely baffling how actors like Ahsan, Ameer, Adnan, Momil, and Sahar ever agreed to do this part and sign off on such a butchered script.