Latest news with #TanManNeeloNeel
Scroll.in
26-07-2025
- Entertainment
- Scroll.in
Sultana Siddiqui: The Pakistani TV veteran making shows with cross-border appeal
For years, political hostilities between India and Pakistan have disrupted entertainment exchange, but rarely have restrictions been as sweeping as those triggered by the Pahalgam fallout. The latest wave of bans targeted Pakistani shows on YouTube, blocked streaming access to cross-border dramas on Netflix and Amazon Prime, and even temporarily disabled Instagram accounts of Pakistani actors and peace activists. The clampdown came at a time when Pakistani dramas have been enjoying immense popularity across the border, on digital and social media. They have not just built massive fan bases there, but are also engaging with radical themes that, as Indian journalist Raksha Kumar points out, are missing from Indian television dramas, due to 'superfluous' research, lack of courage or financial constraints. One standout example is a three-part mini series that aired last August on the privately owned Hum TV, produced by veteran television pioneer Sultana Siddiqui. Each installment tells a stand-alone story. Each is bound by the shared theme of how far-right radicals terrorise individuals and the communities they inhabit at large and the limitations of the state to give justice or security to the victims. The final episode of Tan Man Neelo Neel (Body and Soul Covered in Bruises), the last in the trilogy, elicited emotion for audiences in both countries. The lead characters attacked by an angry mob were their parents' only children. They were young people whose dreams were cut short. The story ends with a chilling mosaic honouring real-life victims of 'blasphemy' mob violence like Mashal Khan, a university student in Mardan in 2017 and brothers Mughees and Muneeb Butt, in Sialkot in 2010. Mob violence Many others could have been included. The list is long and includes those who were victimised on the pretext of religion even if mob violence wasn't involved. The theme resonates wherever this phenomenon has occurred. Since she launched Hum TV in 2005, Sultana Siddiqui, now in her late 70s, has used the television channel as a platform for storytelling from a progressive bent of mind, offering a nuanced portrayal of Pakistani society through deeply grounded characters. This isn't the first time her storytelling has crossed borders. Zindagi Gulzar Hai (Life is Beautiful) in 2012 was a hit in India. The series shows a picture of Pakistan different from the narrative seen in the Indian context. Its popularity, fueled by social media, created a demand for Pakistani content in the Indian market. Its lead actor Fawad Khan, went on to become a Bollywood heartthrob, but was then banned in India along with other Pakistani artists following the 2016 Uri attack. The Pakistani film Maula Jatt that he stars in was due to be released in India, but that has been stalled too. The release of a Bollywood romance he stars in, Abir Gulaal, is now also in limbo due to renewed hostilities. Countering 'foreign' serials What catalysed Sultana Siddiqui to start Hum TV channel was a desire to create relevant content rooted in Pakistan. 'My son asked, 'Are you sure this will work? Indian channels are dominating ratings.' I told him, 'Give it two days – those ratings won't last',' she recalls. 'I was scared too. But when it happened, the entire atmosphere shifted. Not just in Pakistan, but anywhere Urdu is spoken.' She wanted to counter the dominance of 'foreign' serials, particularly Indian dramas known for their sensationalist aesthetics. 'Those vibrant colored walls, the dramatic music, and women cooking without a single stain on their clothes – it all used to bother me,' she says. The series are part of a long line of Hum TV productions that have challenged social norms, like Udaari (Soaring, on child sexual abuse) and Dar Si Jaati Hai Silah (Silah Gets a Bit Scared, on domestic violence). Speaking to Sapan News at her office in Karachi, Sultana Siddiqui recalled the backlash against Udaari (2016), which state-run regulators branded 'immoral ' and threatened to shut down. 'I asked them, 'What exactly do you gain by doing this?'' she recalled. Their reply? 'You get a lot of publicity'.' Public support But Siddiqui believes it wasn't just the regulators. 'When one of my dramas performs exceptionally well, there are always two kinds of competitors – those who respond positively, and those who don't. I choose to rise above. But some out of sheer spite think, 'It's doing well, so let's bring it down,' and they write complaints.' Udaari received a record number of notices from the Pakistan Electronic Media Regulatory Authority, an indication of how much pushback such socially conscious shows can get. The subject matter, she was told, was too 'bold' to ignore. Her response: 'Look at the end – the rapist was caught and punished. The purpose of Udaari was to show that if you see your child disturbed, talk to them. Because often, it's the nearest person who abuses the child, someone they trust.' What sustained her was support from the public. 'That's where we drew our strength from, to fight the case legally,' Sultana Siddiqui says. 'Sorry, but we are not followers; we create and make others follow.' She admits having to self-censor many aspects of her productions. 'Of course, you can play it safe, but if you're intelligent, you should know what your purpose is.' While Pakistani television channels today enjoy far more freedom than under military regimes, it was Pakistan's last military dictator, General Pervez Musharraf, who in fact allowed private channels to start. 'Back then we mostly adapted novels into dramas, where the mother was the epitome of goodness,' she says. 'They were slow-paced and good in their own right, but their reach and impact were limited. The subjects were limited too – you couldn't tackle issues like child abuse… You couldn't even show a couple holding hands. That's not the case now.' In contrast, films get caught in layers of bureaucracy with those in different regulatory departments 'sending mixed signals – one says yes, the other says no'. The horrific cases of mob violence in Pakistan affected Siddiqui on a personal level, she said, leading her to create the Tan Man series as a response. 'I don't have the energy anymore to keep running around, directing projects,' she admits. 'But I saw something that shattered me. I just hope some change comes from it – something that makes me feel like I've done my part. If nothing else, at least it brings some awareness.' 'When I see things like this, I know it's already time for me to bow out,' she says. 'But before I do, I want to leave behind something meaningful." Alongside Tan Man Neelo Neel, which runs for 11 episodes, the trilogy features Mann Jogi with nine episodes and Nadaan with eight. The latter tackles the controversial practice of ' Halala Nikah ' and exposes how religious doctrine is exploited for personal political gain. The second installment, Nadaan, directed by filmmaker Mehreen Jabbar (Ramchand Pakistani, 2008), examines the scourge of drug addiction. The story shows how drug addicts pose threats to people around them; they resist the opening of rehabilitation centres that might weaken their grip, hiding behind performative piety to deflect scrutiny, and ultimately incite mob violence to protect their influence and preserve the toxic ecosystems they benefit from. Cross-border drama Sultana Siddiqui has always strongly favoured the inclusion of cross-border talent in Pakistani and Indian cultural productions. She has participated in various bilateral conferences and meetings, including those organised by Aman Ki Asha (Hope for Peace), a joint platform initiated in 2010 by the two biggest media groups of India and Pakistan. At the 2018 inaugural Pakistan International Film Festival, which Sultana Siddiqui hosted in Karachi, she invited prominent Indian industry figures as guests, including the team behind the blockbuster film Baahubali. But when she informally asked one of them, a veteran writer, to create content for Pakistani audiences, he politely declined, citing 'grave risks'. Sultana Siddiqui advocates for a more equitable exchange of cultural assets between India and Pakistan. She doesn't mind Indian productions hiring Pakistani writers but 'it should be a two-way street. For every writer they take, we should get one in return – maybe even agree on a percentage.' There are other kinds of risks involved in collaboration that may derail such efforts. There have been cases of storylines from Pakistan being picked up by Indian productions but then, 'things were added according to their own wishes.' State policy has also played its part. In 2016, Pakistan banned Indian dramas on its television channels, after India's unofficial curbs on Pakistani artists. The blackout, she notes, did give a short-term boom to homegrown content, but the real game-changer has been the rise of digital streaming platforms. Not all of Hum TV's projects have been free from critique. The 2019 television series Ehd-e-Wafa, a collaboration with the military's media wing, the Inter-Services Public Relations, drew criticism for glorifying the army and depicting other professions and state institutions unfairly. Earlier ISPR-sponsored shows like Alpha Bravo Charlie (1998) and Sunehre Din (1991) focused on military life without overt political messaging. Asked whether private channels should be subject to such influence, Sultana Siddiqui stresses that collaboration should involve professionals who understand the craft. The conversation with Sultana Siddiqui took place in Urdu and the quotes provided are approximate English translations.
Al-Ahram Weekly
20-03-2025
- Politics
- Al-Ahram Weekly
Pakistani drama breaks silence on blasphemy killings - Screens - Arts & Culture
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Islam is the official religion in Muslim-majority Pakistan, and accusations of insulting religious sentiments can easily incite mob violence. Blasphemy is an incendiary charge, and the issue is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, told AFP. Her drama "Tan Man Neelo Neel", or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." - 'Malicious disinformation' - In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". It detailed cases of people killed, and followers and places of worship of Pakistan's minority religions, including Christians and Hindus, being attacked over false claims. "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken -- even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he told AFP. "At last, this conversation is happening on television". - 'Raise awareness' - Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear extremists who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." - 'Viral critique' - Pakistan's media industry has been wary of the topic -- and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film "Zindagi Tamasha", or "Circus of Life", was halted after the Islamist party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised -- and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence -- it was that the conversation centred on mob violence at such a large scale for the first time," he told AFP. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them". Follow us on: Facebook Instagram Whatsapp Short link:
Khaleej Times
20-03-2025
- Entertainment
- Khaleej Times
Pakistani drama breaks silence on blasphemy killings
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Blasphemy is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, said. Her drama Tan Man Neelo Neel, or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." 'Malicious disinformation' In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken — even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he said. "At last, this conversation is happening on television". 'Raise awareness' Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear radicals who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." 'Viral critique' Pakistan's media industry has been wary of the topic — and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film Zindagi Tamasha, or "Circus of Life", was halted after the radical party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised — and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence — it was that the conversation centred on mob violence at such a large scale for the first time," he said. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them".
Yahoo
20-03-2025
- Politics
- Yahoo
Pakistani drama breaks silence on blasphemy killings
An axe-wielding mob chases a terrified group; a daring Pakistani television drama has for the first time tackled the deeply sensitive issue of the dozens murdered for alleged blasphemy. Islam is the official religion in Muslim-majority Pakistan, and accusations of insulting religious sentiments can easily incite mob violence. Blasphemy is an incendiary charge, and the issue is rarely discussed by major media broadcasters due to security concerns. But producer Sultana Siddiqui challenged that with an 11-part television drama, which has earned praise since it began airing in December for handling a taboo topic with sensitivity. "This issue has not been raised before because of fear," Siddiqui, founder of the Hum Network media company, told AFP. Her drama "Tan Man Neelo Neel", or "Bruises on Body and Soul", tells the stories of people in a small Pakistani town, and has generated millions of views and widespread praise on social media. "I took the risk in a careful manner," she said. "That's why people appreciated it." - 'Malicious disinformation' - In the drama, the case of blasphemy centres around a character who falsely claims a dance performance takes place in a mosque, rather than the abandoned mansion it happened in. That storyline of false allegations is an echo of reality. Pakistan's independent Human Rights Commission, in a report last month, described the "impunity for perpetrators of hate and violence". It detailed cases of people killed, and followers and places of worship of Pakistan's minority religions, including Christians and Hindus, being attacked over false claims. "Law enforcement... have often failed to rescue blasphemy suspects from vigilante violence," the commission said. "A careful examination of various blasphemy allegations shows that these are invariably based on fabrications, malicious disinformation and fake news." Siddiqui said she was motivated by a 2017 case in the city of Mardan when a mob beat 23-year-old journalism student Mashal Khan to death after accusing him of posting blasphemous content online. "I couldn't sleep after hearing Mashal's mother say that 'not a single bone in his body was left unbroken -- even his finger bones were fractured'," she said. "I kept wondering: How brutally must they have beaten him?" Mohammad Iqbal, the murdered student's father, said that the producer had chosen the "right topic" and had "honoured his son". "We, those most affected, have rarely spoken about it publicly," he told AFP. "At last, this conversation is happening on television". - 'Raise awareness' - Siddiqui said she had long wanted to address the issue and had been carefully collaborating with fellow directors and writers to address the subject matter appropriately. "I, too, fear extremists who might not like me and could harm me," she said. "However, I believe we should address these issues with them in a respectful manner." Siddiqui said it was her "duty to educate people" and "raise awareness about crucial social issues" that impact society. Pakistani dramas boast a massive viewership and their popularity serves as a powerful vehicle for social change. A Gallup survey conducted in October 2023 suggested that two-fifths of the country watch dramas. "We should have spoken about such issues much earlier," said Mustafa Afridi, the writer of the show. "If we had, perhaps we wouldn't be in this situation today, perhaps our children wouldn't be dying." - 'Viral critique' - Pakistan's media industry has been wary of the topic -- and fallen foul in the past of accusations of creating blasphemous content. The release of the 2019 award-winning film "Zindagi Tamasha", or "Circus of Life", was halted after the Islamist party Tehreek-e-Labaik Pakistan (TLP) objected to its portrayal of a cleric they deemed "blasphemous". In 2020, a music video shot at Lahore's Wazir Khan mosque sparked furious protests after singer Bilal Saeed was filmed dancing with actor Saba Qamar. Police filed a case against them, and they apologised -- and were eventually acquitted two years later. Arafat Mazhar, the director of the Alliance Against Blasphemy Politics group, said Siddiqui's show had "sparked a viral critique of blasphemy-related mob violence". He called the reaction "unprecedented". "It wasn't just that people were watching a drama about mob violence -- it was that the conversation centred on mob violence at such a large scale for the first time," he told AFP. "The battle against blasphemy violence is not just about speaking out against mob killings. It is about challenging the structures that create and sustain them". zz/pjm/sco
Express Tribune
22-02-2025
- Entertainment
- Express Tribune
8 Pakistani Dramas That Delivered Endings We Can't Forget
Pakistani dramas have always had a way of pulling viewers into their world, but let's be honest—nothing sticks with an audience quite like a powerful ending. Whether it's a tearjerker that leaves you emotional for days or a satisfying conclusion that ties everything together, a great finale can turn a good drama into an unforgettable one. In the past few years, we've seen a shift in storytelling, with dramas tackling social issues, exploring nuanced characters, and giving us narratives that feel fresh and engaging. And when done right, a well-crafted ending can elevate a drama beyond just entertainment—it can spark conversations, leave a lasting impact, and even redefine expectations for future shows. Here are eight Pakistani dramas that absolutely nailed their endings. 1. Khaie Writer: Saqlain Abbas | Director: Syed Wajahat Hussain | Cast: Faysal Qureshi, Dur-e-Fishan Saleem Taking a bold step away from traditional family sagas, Khaie delivered a gripping tale of tribal rivalry, honor, and generational revenge. It was violent, unpredictable, and different from anything we had seen on our screens in a while. The finale was chilling. Zamda, played by Dur-e-Fishan Saleem, executed Chinar Khan as per tribal tradition. But instead of continuing the endless cycle of violence, he made a groundbreaking decision—to raise Chinar's young son with love and education rather than vengeance. This powerful ending flipped the script on revenge-based narratives, making Khaie stand out as one of the most impactful dramas of recent times. 2. Kabhi Main Kabhi Tum Writer: Farhat Ishtiaq | Director: Badar Mehmood | Cast: Fahad Mustafa, Hania Aamir When a drama is so massive that its final episode gets a cinema release, you know it's a cultural phenomenon. Kabhi Main Kabhi Tum was one of the biggest TV hits of the year, and its ending was everything fans had hoped for. Fahad Mustafa's emotional performance and Hania Aamir's incredible portrayal of Sharjeena had audiences hooked from day one. The moment their characters embraced in the finale, tears flowed in cinemas and homes alike. The final episode was pure magic—an emotionally charged, beautifully shot conclusion that made sure this drama will be remembered for years to come. 3. Noor Jahan Writer: Zanjabeel Asim Shah | Director: Musaddeq Malik | Cast: Saba Hameed, Kubra Khan No one saw Noor Jahan coming. What started as a seemingly ordinary saas-bahu drama quickly turned into a power play filled with layered emotions, mind games, and generational trauma. Saba Hameed's Noor Jahan became one of the most iconic characters in recent Pakistani drama history, and Kubra Khan's Noor Bano held her own against her. The final scene—where an unspoken understanding passed between the two—was a masterclass in storytelling. It was subtle yet powerful, proving that sometimes, a glance can say more than words ever could. 4. Tan Man Neelo Neel Writer: Mustafa Afridi | Director: Saife Hassan | Cast: Sehar Khan, Shuja Asad This 11-episode mini-series packed a punch, tackling dark themes like mob violence, murder, and even male rape—all while keeping a light, engaging tone throughout most of its run. But nothing could have prepared audiences for its ending. The final 10 minutes delivered one of the most unforgettable moments in recent TV history. The gut-wrenching depiction of mob violence, false blasphemy accusations, and the destruction of innocent lives left viewers stunned. Social media erupted with praise, calling the show's creators brave for shedding light on such a critical issue. 5. Mann Jogi Writer: Zafar Mairaj | Director: Kashif Nisar | Cast: Bilal Abbas Khan, Gohar Rasheed, Sabeena Farooq A drama that tackled the complexities of wrongful Halala and mob justice, Mann Jogi was part of a trilogy exploring mob violence in Pakistan. Its finale stood out because of its hopeful message—showing how the intervention of religious scholars could protect people from unjust punishment. In a world where misinformation often fuels dangerous consequences, this drama dared to imagine a different path. 6. Zard Patton Ka Bunn Writer: Mustafa Afridi | Director: Saife Hassan | Cast: Sajal Aly, Hamza Sohail At its heart, Zard Patton Ka Bunn was about resilience. Covering themes like women's education, rural healthcare, and child labor, it told the story of Maimoona, played brilliantly by Sajal Aly. The final scene was nothing short of inspiring. Watching Maimoona proudly don her graduation cap and thank the supportive men in her life—her father, husband, and nephew—was a beautiful moment of triumph. It was an emotional, well-earned conclusion that made audiences fall in love with the show all over again. 7. Jaan-e-Jahan Writer: Rida Bilal | Director: Qasim Ali Mureed | Cast: Hamza Ali Abbasi, Ayeza Khan For Pyare Afzal fans, this one was personal. Hamza Ali Abbasi and Ayeza Khan had already given us one unforgettable on-screen love story, only for it to end in heartbreak. But with Jaan-e-Jahan, they finally got the happy ending they deserved. The show itself was a strong performer, but its ending was the cherry on top. The moment Hamza and Ayeza's characters found their way back to each other, fans sighed in relief. This wasn't just a well-executed finale—it was long-awaited redemption. 8. Nadaan Writer: Saji Gul | Director: Mehreen Jabbar | Cast: Ahmed Ali Akbar, Ramsha Khan Exploring themes of drug abuse, social decay, and mob mentality, Nadaan was a gripping watch from start to finish. But it was the final episode that left the strongest impression. The show highlighted the importance of proper policing and law enforcement in preventing mob violence. The ending wasn't just emotional—it was a call to action, making audiences question the structures that enable injustice. With stellar performances and thought-provoking storytelling, Nadaan delivered a finale that still lingers in the minds of viewers. A drama can have stellar performances and an engaging plot, but if the ending falls flat, it risks being forgotten. These shows proved that a well-executed finale can turn a great story into an unforgettable one. Which of these endings stayed with you the most? Let's talk about it!
