Written by: Hurmat Majid
Posted on: December 17, 2020 | 
Sajal Aly and Hamza Ali Abbasi in 'Alif'
The year is finally coming to a long-awaited end, and we have seen a long list of dramas grace our screens this year. While the argument repeatedly made is that TV dramas are a mode of entertainment for a wide audience in the country, a counter-argument exists that it is also the only mode of education and moral guidance. For a medium that reaches millions of viewers so easily, TV dramas have not been carrying the weight they should. That said, some progress certainly has been made by writers, directors and most of all, producers. Here’s Youlin’s breakdown of what Pakistani dramas did right and wrong this year:
There is no doubt that actors have shone bright this year and have won us over with their performances. Be it Mawra’s Anaaya in ‘Sabaat’, Sonya Hussyn’s Hoor in ‘Saraab’, Zahid Ahmed’s Shahaan in ‘Muhabbat Tujhe Alvida’, Urwa Hocane’s Guddi in ‘Mushk’, Hira Mani’s ‘Kashf’ or Imran Ashraf’s Adam in ‘Mushk’. Even in dramas that have been flawed in more ways than one, just the performances have kept the audiences from losing interest.
The year also produced brilliant performances from actors we haven’t seen on screen for a while, such as Nadia Hussain in ‘Jalan’, Atiqa Odho and Salma Hassan in ‘Pyar Kay Sadkay’ and Vaneeza Ahmed in ‘Ehd-e-Wafa’. Hamza Ali Abbasi’s role as Qalb-i-Momin in ‘Alif’, while Sajal Ali’s roles in ‘Yeh Dil Mera’ and ‘Alif’ were nothing short of dramatic brilliance.
Ahad Raza Mir and Sajal Aly in 'Yeh Dil Mera
Ahad Raza Mir’s performances in ‘Ehd-e-Wafa’ and ‘Yeh Dil Mera’ have both been grand, and it certainly shows that he has learned from the best. The same goes for Zara Tareen in her role as Zulekha in ‘Mushk’. Zahra Noor Abbas has showcased her talents so well in ‘Ehd-e-Wafa’, it makes one wonder what made her sign on to a story as weak as ‘Zebaish’.
Yumna Zaidi has been flawless as both Raaz-e-Ulfat in ‘Mushk’ and Mahjabeen in ‘Pyar Kay Sadqay’. Bilal Abbas Khan has also cemented his place in the industry with his performance in ‘Pyar Kay Sadqay’. For all its flaws, ‘Jalan’ showcased Minal Khan’s range as an actor better than any other drama ever could. Not only that, it reinforced audiences’ belief in Hajra Yamin’s skill, and established Fahad Sheikh as a newcomer on the rise.
Minal Khan and Fahad Sheikh in 'Jalan'
The year has seen dramas in which writers have chosen to break out of the rut and come up with unconventional storylines. The drama that makes it to the top of this list is ‘Alif’, which explored themes of spiritualism, mysticism and love, executing them brilliantly. The writer behind this groundbreaking drama is none other than Umera Ahmed, who previously showcased similar themes in ‘Shehr-e-Zaat’. Ahmed managed to not only convey certain messages effectively to the audience, but she was also able to do it in an extremely palatable manner.
Another one that broke the conventions of Pakistani drama-writing is ‘Mushk’, written by Imran Ashraf. The story is so much more than than marriage, divorce and the pitting of mothers and daughters-in-law against each other. Ashraf gives us a fresh perspective on how stories can be relatable, while also unique.
The Poster for Prem Gali
Then there is ‘Chalawa’, a horror TV serial that depicts a family of women haunted by ghosts of the past. Written by Shahid Nizami, the drama drifts away from convention and explores the realms of the supernatural, and audiences have high expectations from it. ‘Prem Gali’ also gets a notable mention because while the drama has some major flaws, it tackles some major social issues regarding the institution of marriage, society and the treatment of women in an effective manner.
Dramas like ‘Ghisi Piti Muhabbat’, ‘Pyar Kay Sadqay’, ‘Ehd-e-Wafa’ and even ‘Kashf’ have successfully countered the argument that audiences only want to watch women cry on TV. None of these dramas thrive on the misery of women. Instead, they have subtle messages of complexity and acceptance, keeping audiences entertained and informed.
A Scene from 'Ghisi Piti Muhabbat’
For the number of dramas produced, very few have satisfying endings. These dramas include ‘Kashf’, ‘Alif’ and ‘Pyar Kay Sadqay’. All three of the stories were told to perfection, none of them seemed to have any loose ends or any hastily put together scenes. All of the endings were justified, and none involved forcing characters into falling in love, or reforming their characters to end the drama. More writers need to focus on their endings in the coming years.
A Scene from Ehd-e-Wafa
Negative depiction of female ambition and rivalry
Unfortunately, TV serials this year often fell into a recurring pattern of vilifying women, which is both unnecessary and also disturbing to watch. Firstly, there is a strange need to pit one woman against the other in a drama. This no longer has entertainment value, and can prove to be quite regressive to the overall development of the plot. This includes Nisha vs Misha/Areej in ‘Jalan’, Zoya vs Kashf in ‘Kashf’, Miraal vs Anaaya in ‘Sabaat’ or Namal vs Hoor in ‘Saraab’.
Secondly, an ambitious woman is more often than not depicted negatively in dramas. When men are shown striving for money or power, they are described as ambitious. But when women have similar aspirations, they are depicted negatively. Many dramas have unfortunately assumed that a woman can only gain money and power by swindling and marrying a gullible, rich man. For example, Sheena in ‘Beadab’ believes that the only solution to her woes is to marry above her status, while Nisha steals her sister’s husband for his social status and money. Even Ulfat in ‘Muhabbat Tujhe Alvida’ sells her husband to another woman in exchange for wealth. Hopefully, next year will bring better developed and realistic female characters, whose ambitions and dreams are not dependent on resorting to such wily and unscrupulous methods.
Almost all TV serial storylines depict a divorce as an act done in a fit of rage by a cruel and selfish husband to a helpless wife, like in ‘Zebaish’ and ‘Jalan’. If not, then an otherwise poor hapless husband resorts to divorce as a way to punish a cunning and vicious wife for her errant ways. 2020 has also seen a rise in the depiction of abortions, also by cunning plotting women as a means of revenge on their husbands. Not only is this concept flawed, but its also extremely dangerous, reducing serious and difficult issues to simplistic and reductionist plots of good and evil.
The Poster for Zebaish
Showing divorce or abortion as the ultimate revenge, sows a dangerous seed in the minds of audiences that it is okay to take such difficult steps in haste or anger. In a society like ours, in which divorce is considered a forbidden topic or a way to marginalize people, dramas need to help break that stigma by adding complexity and introducing more nuanced depictions of relationships.
While progress has been made in terms of removing the taboo surrounding mental health, our dramas still have not gotten it quite right. Doctors in ‘Sabaat’ for example, instead of addressing Miraal’s mental health issues in a scientific manner, suggest that marriage would be the solution to her disturbed mental state. While her issues are resolved by the end of the drama, it happens too quickly, without seeking treatment. While near-death experiences certainly can cause one to reexamine their life choices, suddenly turning into a completely different person is not credible.
In ‘Jalan’, Nisha is clearly shown as someone with serious mental health issues, but the matter is never addressed. Rather, it is suggested that her behavior is a product of the way she was raised, and therefore she has no control over it. A notable counter to such depictions is in the drama ‘Saab’, in which Sonya Hussyn plays a schizophrenic patient in a complex and sympathetic light.
To summarize, for 2021 audiences hope for better storylines, less directorial flaws and most importantly, endings that are not loosely put together. What audiences wish to see is complex and relatable storytelling that reflects the changes in societal attitudes. What should be left in the past, are the outdated martial strife sagas, love triangles and the constant rivalry amongst women.
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