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Bas Tera Saath Ho Delivers Powerful Moments But Did the Fine Print Need Edits?

Team FUCHSIA by Team FUCHSIA
June 23, 2026
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Bas Tera Saath Ho moves to the next phase of storytelling as Ansa and Anas get married. Audiences now await the next big moment in the Mursaleen household – How Ansa’s dynamics play out with the rest of Anas’ family and also, will Anas finally take the leap from silent spectator to becoming more vocal and less reactionary in his interactions, especially with Shereen and Shayan. Here are the high points of the episode and what could have been better.

Bas Tera Saath Ho - First Episodes, First Review
Bas Tera Saath Ho starring Sana Javed and Farhan Saeed

We absolutely loved these moments. What about you?

  • Ansa’s father appearing in her imagination, giving her courage and explaining the importance of marriage, was such a touching scene.
  • Ansa and Anas saying “Qabool Hai” while looking into each other’s eyes was a beautiful moment in itself.
  • Anas giving Ansa her khussa was another heartwarming and humble gesture that won our hearts.

Even the usually upset Dada was adorable when he said, “Iss ne us bachhi ke liye itna kuch kiya aur us ne isko kamre se nikal diya.” (He did so much for that girl, and she threw him out of the room.)

But although Bas Tera Saath Ho delivered some wholseome messages about the sanctity of nikah, with previous episodes also quietly playing the quranic recitation that poignantly marked the moment between Ansa and Anas, subsequently, Anas proposing to Ansa in the most heartfelt way possible, one must address the dialogues in last night’s episode.

Something was amiss

When Ansa’s father likened single or unmarried men and women to a “khotta sikka” – the words didn’t seem fitting. So let’s rewind a bit.

The moment


When Ansa has to say “Qabool Hai” and she instantly feels her father’s presence by her side was yet another beautifully captured directorial win in the drama when, every time Ansa is at a crossroads, troubled, feeling lost or in need of answers, her father appears beside her, handing out profound truths, wisdom and sanity in her otherwise messy world. But this time, although the portrayal was once again moving, his argument to convince her to say yes to the nikah needed to address the trust and confidence she placed in herself and in Anas – because only by trusting a man who stood by her side when the whole world, even her brother, abandoned her, was enough for her to say yes.

But instead, the dialogues took a disappointing U-Turn.

One does not have to promote marriage by undermining those who choose not to, or who are not married by choice or by circumstances. The narrative might have attempted to promote the spiritual power of the nikah ceremony – a sacred bond between two people, but by choosing to employ the term “khotta Sikka” – literal translation – a good for nothing individual – for those who choose to stay single (apparently), seemed unfitting. As a society, conversations on marriage – forced marriages, the right of men and women to choose how they want to lead their life and not be judged for it, not to expect marriage to be a measure of success, not marginalize or judge those who are single – have addressed these deeply rooted societal biases. Hence it is expected that drama dialogues will take into account conversations that address the heart of the debate, and promote a more wholseome, inclusive perspective.

Our heroes have taken the leap of faith thanks to writers who read the room (and shift in society, ahem look around you), and turned towards stepping into a kitchen, making chai (not an alien deed anymore), and even going all out to prep meals, tend to their dad duties and accept working women as life partners. Our heroines have taken on career roles that show them as active members of the working world, but our drama dialogues might still need to step up, perhaps even examined under the microscope to dust off the cobwebs that have occupied our scripts (and even lauded in another day and age) over a lifetime – the ones we perhaps cannot be blamed for holding back, because, a lifetime of conditioning takes another lifetime to overcome.

Here’s hoping for more progressive dialogues that match the progressive storyline in Pakistani dramas.
Do you agree? If you would like to add to the debate, so drop us a comment below!

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