Adil is married 15 years, has two daughters, and a wife who epitomizes all that is perfect in a Kuwaiti wife: looks, motherly affection, devotion to husband’s family, and an amount of love that is not weathered by circumstances. The Adil meets Sahar. And Adil falls in love with Sahar. Sahar, pregnant and abandoned by a man who married her but never authenticated the papers (thus leaving her with a possible bastard child), and lacking in motherly affection (her mother is more attentive and caring for the mentally challenged daughter of her old employer than to her own daughter), finds herself, in the midst of this roller coaster, naturally clinging to a stranger’s affection, and loves Adil back.
So far not a bad plot line, in spite of the absurdly annoying acting of almost all characters, and in spite of the lack of insight into the human nature that results in this exchange of love, and in spite of the perfect goodness of Dalal (Adils’ wife) and the perfect evil of Faika (Huda Hussain, another story, another family).
But today the plot thickens. Now Adil’s brother Adnan (a pilot who has two daughters from two separate ex-wives, one of which international) discovers his brother’s infidelity. And Adnan, who up to this moment was portrayed as the drunk playboy who was almost willing to give up his daughters, is now attempting to steer Adil back to the path of righteousness by … can you guess? Trying to win Sahar’s heart in a challenge he put for his brother: If I don’t win Sahar within a week, I will personally facilitate your marriage to her. His certainty is bewildering. What is it saying about Sahar? That her love is fake and she can easily be won by any man? Or is it showing us viewers that Sahar is indeed a woman in distress, and as such, has been vultured upon by Adil who, finding himself in need of love, grabs at the easiest prey?
Pardon me, dear readers. I find myself drawn, in Ramadan, to the essential duty of viewing at lease one badly-written, worse-acted Kuwaiti show.