asr looked fabulous. kkg was beautiful. the episode moved swiftly, and something said, this was possibly a filler. the amount of time spent on shyam chasing scorpion, then anjali cooing over shyam's imagined chot, clearly indicated there was no real story to tell right now.
in terms of plot, for it is certainly that so we can get to 170 and its annihilation, the pressure on kkg and the guptas had to be increased. and so it was that mami ji took offence at the supremely nervous waddling bua ji's little mistake and sped off in a flurry of maminess to give bua ji "jindagi bhar current". she spiked her drink and despite all the rigmarole of glasses nk set off, managed to get her opponent woozy and making mistakiyas on the floor.
and the scores took raizadas to 14 while guptas lagged behind at only 4.
two questions here.
1. the judges gave nani ji only 7 out of 10? really? these are very stringent judges and maybe should be instantly dispatched to our dance shows.
2. why did bua ji dance with mami ji if they were from opposite sides? so did they practice together? and if so when and how?
okay okay, not asking any questions. just wondering about the format of this yalgar yalgar sangeet. love the songs... now it's pardeh mein rahne do... yeah, someone sure is hidden from all here, in purdah.
khushi quoted everything, from shah rukh khan (so she was unfaithful to salman ji? bewafa?) and qaynaat to sarfaroshi ki tamanna in her melodramatic bid to instill courage and confidence in her humoungously nervous humongous aunt. but the war she was declaring was clearly against the laad governor, who was so terribly on her mind that all it took was for akash to ask a simple, "sab theek hai na?", everything all right?
next thing you know, khushi is off into a tirade about that man, "theek toh hum uss laad gov ko karenge unhe haraake," i'll fix that laad gov by beating him.
aksah is mystified. his bhai is nowhere around, yet his sis in law to be is gritting teeth, balling fist and giving it to him verbally. ah well, he assured her, all is fair in love and war. khushi kept quiet for almost thirty seconds. no, maybe ten.
"haan bilkul, hum uss laad governor se darte warte nahin hain!" yes, of course, i am not scared or anything of that laad gov, khushi yelled and waved her arms. you know who will overhear this. he is meant to. but perhaps a less predictable devise could have been found.
no matter. man looked good enough for me to forget all loopholes. shetty, as has been noted is many seventies' films, bik gaya.
arnav singh raizada was enjoying checking out the vision in maroon, but his eye was really on one and one thing only... winning. he kept the pressure up.
and though i felt her reaction was a bit too marked, it may have underscored all the turbulence in this young girl as she battles with her own attraction for a man from outside her milieu. an exciting, challenging, handsome, undeniable, unstoppable, unforgettable, most irritating man. she must beat him. she mustn't lose.
yeah, though nothing much was said between the two. this episode the tension and torque in her was palpable. something was building.
a thing that struck me, though i couldn't figure out it's meaning, was that shot of the three nand kissore. three krishnas? is there a story or reference somewhere? felt as if the writers and director wanted to say something and it was more than just bua seeing triple in an inebriated haze.
how cutely, she beamed, "bahut natkhat hou!" you're very playful... and pinched the desperate nk's cheeks. then she asked about marriage.
i fell down laughing. the writers were having too much fun with madore as in madhumati and nand kishore. ah hidden love story of ipk.
in the visible love story the man smiled meanly at the girl. oh, yes, he means to win.
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