Karachi:

Spoiler Alert and Trigger Warning!

When a beloved series is a bow away from drawing its curtains, the audience should tackle the brewing match between expectation and fear-expecting that their favorite show will end at a well-deserved highlight versus fear that it may not. The truth of this manifested after the end of Qarze Jaanthat triggered a debate online.

What began as a powerful drama with a powerful history, and a big crew fell quickly apart and became a clear example of how not to deal with sensitive issues such as sexual abuse.

For the silent

Qarze Jaan Follows many stories, some buried under the weight of domestic honor and others who are silent when they dare fly. It focuses on Nashwa’s muted life and her homebody mother after her father’s early death, an unforeseen consequence of the patriarchy. It also follows the brutal presentation of an addict, Ammar, guilty of many conscious crimes – an unfortunate, yet expected consequence of patriarchy that is allowed to thrive.

Nashwas Bursts of resistance inside the home, which belongs to her despotic uncle and grandmother with a high hand, is only a flicker in her overall fire for justice. Her relentless persecution of the law is presented in sharp contrast to her reckless cousin Ammar’s alcohol -induced lifestyle.

Referring to an “alcohol and drug-induced lifestyle” treats substance abuse as an instanture rather than the perpetrator. Even when personified, it only remains an ugly part of a much larger, more disgusting whole. The difference between the actual guilty and the lifeless accomplice is crucial – a nuance that the drama does not recognize.

Perpetrator became a victim

Before Qarze JaanAmmar is not only an addict but a product of his environment. Isolated is not a wrong approach. Nuance is the most important ingredient in making a villain scary, real enough to be considered a danger to society. The abuse cycle is vicious and tends to break the most vulnerable of its sick. That’s as it says: hurt people hurt people.

But there is a sharp difference between a serious portrayal and loses the action completely. Giving the rape a platform in a court and causing him to blow about his tragic upbringing is definitely a choice. And just to be clear it’s a poor one.

When the ending has your audience to see the perpetrator as a “winner” and someone worth crying over, it saves some room for reassessment. While Nameer Khan’s performance as Ammar deserves praise for standing out among a series of brilliant performances, it differs much to want in the way of the character’s bow.

In order for a man written to be devoid of pity in the previous episodes, comes Ammar’s remorseful confession to his abominable crimes as unjustifiable. When he breaks down many times, his father puts a veil over his crimes, he says, “maybe all parents protect their children. But I’m sorry, Dad. Your approach was wrong. Your thinking was wrong.”

At this moment, Ammar is no longer a predator responsible for a rape, murder and grief from many deprived individuals, including his own sister. Instead, he has become the voice of the drama for reason, an innocent who has broken out of the doze that caused him to commit these regrettable crimes.

Here lies the basic problem: Incorrectly placed grace. The drama will tell you that this is not a shot against redemption that Ammar will certainly put off his judgment, but not without blaming his actions on another first.

Granted, the family’s patriarch, Bakhtiar, actually carries the traits depicted strongly in Ammar. Granted, activates maintaining systemic problems until it becomes difficult to separate them from culture. But Bakhtiar is the only character that remains loyal to its arch, and therefore emphasized as one true villain in the show.

You don’t have to take my word like the law. The romanticized edits of Ammar as a misunderstood hero, a jealous man just out of booktok, and a highlighted ‘victim’ worth throwing tears over everyone speaks for themselves.

Makes it better to be better

There is nothing inherent wrong with fictional stories that are willing to take a risk. But an explanation is not a sound apology. In a world that is infected with men like Zahir Jaffer and Imran Ali, creators must exercise caution to truly do justice to the increasing number of victims and survivors exposed to sexual assault and murder.

At least, Ammar deserves no grace and absolutely no tearful speeches to reduce the severity of his offenses. Even if he earns the benefit of the doubt that his actions had been overlooked, it does not distract from the fact that he committed these crimes.

The problem is not just at the end, in this case. It is in all these scenes that are elevated with gentle background music, as Ammar takes a break from being a furious abuser to quarrel with his family members – yes, it includes the despairing nashwa that is forced into a marriage with him. As if to say, ‘Hello, do you see these traces of humanity? He is not a totally lost cause! ‘

And then there is the moment in the courtroom when Ammar knees in front of his sister have been, and her son, and a dirty apology later reassures her and us that his nephew will grow to love the uncle who killed his father. Maybe Ammar is right, given that he is killing, that Beetish’s husband, before their child could even remember his father’s face.

The truth of the case is that violence is to this extent driven by a lack of empathy to the victim. It’s not hard to imagine that the abuser has no one even after the world is aware of his crimes.

Maybe Ammar was created as a wake-up call for activate, and encouraged them to control their boys before it’s too late. But his last speech asks this question: Should it be done while releasing an adult man of his responsibility?

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