SOCIAL SCIENTIST Interestingly, the surrogate 'devar* who dances with Madhuri Dixit is Mamiji's 'deviant' niece in drag. Together the two women enact a drama replete with sexual innuendoes that includes the simulation of a sex scene under the bed sheets. The arrival of the 'real' devar seems to rupture the gender-bending masquerade. But at the end of the song the film's heterocentric universe is fractured yet again, albeit temporarily, with Salman Khan appearing in drag complete with a protruding belly! My intention in writing this piece is not to posit HAHK as a progressive or oppositional text. (I have no doubts that Sooraj Barjatya will thoroughly disagree with what I have written.) My attempt is to assert the film spectator as also the author of the text. Where text and spectator collide, authorial intentions maybe subverted in order to create multiple meanings and pleasures. While 'pleasure' may not be inherently progressive or transgressive, it effectively provides insight into what makes popular culture 'popular' within its historical, material and social context. Moreover, by actively engaging with the text and reading both with and against the grain we provide resistance and opposition to authorial intentions and 'dominant' cultural meanings. Therefore when, during the monochrome title sequence, Salman Khan and Madhuri Dixit directly address the audience and ask "Hum Aapke Main Kaun"? We cannot assume that the answer is the same for all of us.