Following the uproar caused by the controversial episode of Abb Tak’s show, Khufia, where the host, Uzma Tahir, forced entry into the home of a transvestite couple and tried to film their life, many viewers decided to display their outrage over various platforms: some expressed their anger over social media with the help of Facebook and Twitter; others wrote blogs that were published online on The Express Tribune’s blog page. However, there were some that took a different route: many viewers decided to directly appeal to the Pakistan Electronic Media Regulatory Authority (PEMRA). If one visits the official website of Pemra, there is a section under the tab ‘Complaints Call Centre’ labelled ‘View Complaints’. Upon clicking it, the website will direct the viewer to a particular page. This page will then show a list of channels and the number of complaints against them. [caption id="" align="alignnone" width="508"] Photo: Screenshot from Pemra's website[/caption] There are 27 complaints against Abb Tak on Pemra’s website, most of them expressing outrage towards the episode in question. Following are a few of the complaints:

Complaint number 33387: “The show Khufia aired on December 15, 2013, was an infringement on privacy and was against basic human rights. Such shows in which the host harasses individuals, which have nothing to do with the public good, should not be allowed. Human rights and personal freedom should be protected by the state.”  Complaint number 33351: “I am disgusted by Abb Tak and their show which violated the basic human rights of people by barging into their homes and invading their privacy. The channel has also endangered the lives of innocent people and should be severely warned from such behaviour in the future. The channel should be heavily fined for its behaviour.”

The troubled image of modern Pakistani women conjured up by Pakistani dramas is extremely distorted and single dimensional. Stories, it is said, are a subtle yet are the most influential way of documenting the social evolution of a society. The story of a woman sells but the modern media has gone one step ahead by proving that the story of a woman being abused, tortured, beaten and humiliated sells faster. The massive projection of domestic and women related violence might appear as an attempt to serve the cause but a closer look will reveal an entirely different and gross story. The disturbing image of woman being pushed, slapped, bad mouthed (mostly by close family) constantly overwhelms the TV screen. No matter how fast you switch channels, it is impossible to escape the harrowing images. Domestic violence is a highly sensitive area and must be advocated in subtle and meaningful ways. If mishandled – the way it is on our dramas – it could create an impact far more unsettling than sexually explicit content. Such disturbing content must appear with prior warnings to avoid the uneasy situation in a family living room. When children see family settings in a drama they instantly relate it to their own family and when it turns violent it certainly creates unfathomable effects of insecurity and fear in their subconscious. The sight of explicitly treated domestic violence creates embarrassing situation among the family as well. Just to quote an example, Hum Tv’s Kisay Apna Kahen shows the character Iqra cutting her wrist and soaking in blood over little skirmish in the house. [embed width="620"]http://www.dailymotion.com/video/x19tfia_kisay-apna-kahen-ost-hum-tv-drama_shortfilms[/embed] What kind of message are we sending across to the young girls especially with newspaper already filled of such news? Somewhere, this over projection is making the idea of domestic violence socially acceptable as the constant exposure can make the society immune to it and further reiterate the patriarchal system. It is lethal for an audience already overdosed on terrorism and violence. Projection of reality is one thing but the exploitation of domestic abuse to gain ratings is inhumane. Special care is being taken to make these sensational visuals part of the advertisement, which makes it even more unnerving. Geo Tv’s drama serial Bewafae’s ad shows the husband slapping and abusing his wife. The popular Turkish drama serial Feriha’s ad has the protagonist beaten by her father, brother and then by her husband. The drama has much more to it, like the ambition of a girl to do something better with her life, but these visuals are specially chosen to grab viewers’ attention. [embed width="620"]http://www.dailymotion.com/video/xznoub_bewafai-by-geo-tv-13th-may-2013-episode-1_people[/embed] The women in our contemporary dramas are objectified and the only purpose they serve is to win a man’s heart. The conflict is just one: how she could win this man and rest of the plot sails on her manoeuvres in this ordeal. It trivialises inter-woman relationship by pitting one woman against the other and that too for the sake of a man. [embed width="620"]http://www.dailymotion.com/video/x17tpyz_ary-digital-shukk-episode-7-promo-drama-30-november-2013_shortfilms[/embed] ARY’s Shukk spins the same formula by making the hero ending up with two wives and both of them are clinging to the man, unwilling to let go, as if it is impossible for them to survive on their own. ARY’s Kabhi Kabhi Pyar May starts with an independent, strong headed heroine Eshal but after being divorced by the love of her life, she tries to find refuge with another man. [embed width="620"]http://www.dailymotion.com/video/x168avo_title-song-hd-kabhi-kabhi-ost-ary-digital-drama-2013_music[/embed] There are no dilemmas, self-discovery and development of the female characters. The female leads are no more interesting, inspiring and awe worthy like they used to be; in fact, they have become repetitive, mindless, muted, predictable and flat. The degeneration reminds me of strong female leads we used to have. I remember Shahnaz of Alpha Bravo Charlie, she chose Gul Sher over his stronger friends and his death led her to a profound road of self-discovery, instead of marrying one of the other friends. Zara of Tanhaiyan, turned an entrepreneur after her parents death and took care of her sister without looking for any fancy shortcuts. The character of Nazli in Dhuwan avenges her lover’s death independently, instead of sulking in the Bechari-syndrome. [caption id="" align="alignnone" width="600"] Nazli of Dhuaan (L), Shahnaz of Alpha Bravo Charlie (C) and Zara of Tanhayan (R)[/caption] We are psyched into believing that the violence is fed to us on our demand but the reality is, like a curse, the degeneration of society has seeped into our dramas. Drama industry is cocooned into the safe zone and not ready to venture out and experiment. We are living in the exciting times of Sharmeen Obaid Chinoy, Samina Baig and Malala Yousafzai, so let them shine in our stories. Trust me, their stories will sell too.

Imagine a scene from a typical Pakistani drama. On one side, we have a shareef (innocent) damsel in distress and a prince charming, who is too busy admiring his good looks to actually use his brains for intellectual purposes. And on the other is the mandatory villain – usually a conniving, evil best friend – who tries her best to create barriers between the couple with hopes that the guy would pick her over the damsel. Since we are all too familiar with the damsel’s fluttering eyelashes and the prince’s flirtatious smiles, let’s focus our attention towards the villain for once. As opposed to our shy, ghareloo (homely) damsel, our villain is a modern, bold, jeans-clad fashion diva who drives her own car, prefers to have a career and is not afraid to ask for her rights, instead of offering herself as a sacrificial goat. Here I feel the need to address the reverse bias that exists in our society today – girls in shalwar kameez are deemed acceptable while girls wearing western wear are automatically termed ‘fast’ and of questionable moral character. Why? Why is a girl who speaks fluent English, chooses to work and is more comfortable wearing western clothing, termed as being too forward? Why is it considered okay not to give her the same level of respect that one would give a girl dressed in shalwar kameez? Why is it automatically assumed that such girls will not make good wives and mothers and are only ‘girlfriend material’ or aren’t the ‘take- home- to- your- mother’ type? Personally, I blame our media and in particular, our over-glamorised, quality-starved dramas for the propagation of such a biased image of women. Instead of acknowledging working women for their efforts to break conventional barriers, they brand them as evil, manipulative home-wreckers. Even if the protagonist is sporadically portrayed as working in an office, it is always out of need where some evil cousin has forced her into it by taking over her estate after the tragic death of her parents or because her ‘no-good husband’ cannot find a stable job to provide for the family. But the woes of our ‘oh-so-distressed’ protagonist do not end here. Out in the corporate jungle, she is exposed to all kind of monsters who have nothing better to do than make passes at her all day because well, they didn’t take this job to actually work; they took the job to find a shareef gullible girl whom they could harass. My question is why can’t a woman, for once, be shown to be working out of personal preference rather than unfortunate circumstances? Why is her ambition always held against her while she is branded as a bad wife or mother for choosing a career? What kind of message is our media trying to give to our susceptible audience? Are they trying to say that women who choose to work outside the home do so because there is something fundamentally wrong with their brain function? After all, personal achievement, a sense of satisfaction and financial independence are all motivational factors reserved solely for men. Women, on the other hand, are shown to be more than happy in simply finding a husband, having children and making perfectly round rotis. And this, ladies and gentlemen, brings me to another point – the modern woman hates children! They hate the thought of starting a family or God forbid, living in a joint family system because of course, in place of their heart they have an ice cold block of nothing, pumping some black liquid into their veins. Unfortunately, the media war for viewership and ratings has little or no regard for the immoral values it can inoculate into the minds of our society, which is subliminally and subconsciously being lured into a world of artificiality, glamour and a disparity of the belief system. I detest the surprised looks people give me when I excuse myself for namaz (prayers) and the way they roll their eyes at me when I tell them that I don’t want to rush into marriage because I want to figure out what I will do with my life first. Because hey, which girl wouldn’t want a rishta (proposal) from a green-card bearing, dollar-earning, corporate junkie, right? Don’t get me wrong. I’m not saying that women who stay home, prefer to look after their family and dress in traditional clothing are in any way inferior to women who work outside the home. I just wish that our media would act more responsibly and portray the latter in a more positive light. While everyone was busy drooling over the damsel and prince charming in Humsafar, I felt extremely sorry for the evil best friend whose entire life revolved around the prince, who offered him her unconditional support in both, his professional and personal life. But unfortunately, she was still no match for our sharmeeli (shy) damsel in distress. Sorry girl, but maybe if you had traded in your jeans for some chooridars and your career for a roti ka baylan (rolling pin), he might have given you a second look!

Our Pakistani dramas have a good fan following in Pakistan as well as abroad. Many of my friends, visiting from different countries, make sure to add DVDs of Pakistani dramas to their shopping list, every time they visit Pakistan. Our dramas have a sensibility that the ‘saas bahu’ (mother-in-law and daughter-in-law) feud-based Indian dramas lack. I personally believe that Indian dramas have no thought or concept behind them. However, the way Pakistani women are portrayed in our dramas is also objectionable. Let me describe the types of women you come across in our dramas. 1. The middle-class girl, who has a love interest within the elite class. She works hard and is morally the best among the lot. She is a good daughter and has sound values. All these abilities will lead her to be the potential wife of her love interest. 2. The poor girl who is lucky enough to marry to a wealthy man. She has to prove herself better than her evil mother-in-law and her affluent cousin. All she needs to do is to make her marriage work by patience, alongside the awkward situations created by her in-laws. 3. The rich girl, whose parents suddenly passed away and her life is in turmoil because of her greedy relatives, including her siblings and chacha (paternal uncle) or mamu (maternal uncle). As usual, the solution to all her problems lie in marrying a guy who can support her to fight the evil that is her family. 4. The orphaned, Cinderella-type victim who is beaten by her ruthlessly evil aunt and cousins. She is chosen by a guy who happens to be a heartthrob. She will use her innocence, tears and domestic abilities to make him stay. The story will end after countless conspiracies inspired by her evil relatives and she gets her happy ending by marrying him. 5. The loving and dedicated wife who is betrayed by her husband as he is secretly married to another woman. She will cry and her kids will cry and, well, basically there will be a lot of crying. She will live a tough and unhappy life and all she does throughout is, you guessed it, cry her pretty little eyes out. She ends up winning her husband’s love in the last episode or he ends up being paralysed due to some fatal accident. Apparently, karma works when you shed some tears. 6. The rich girl who falls in love with a middle or lower class guy – your typical plot from the 60s and 70s movies. They get married and start their new life happily. But their families conspire to separate them and, in some twisted way, manage to succeed. Later, the couple realise that they cannot live without each other, since this realisation wasn’t present when they were inclined to get married and never leave each other. In the process, they get to see the true face of their families and this helps them patch up. The list goes on. Except for the types mentioned above, the women in our dramas can be largely divided into two categories – the evil ones and the good ones – and both happen to be in love with the same guy. The latter is good and pure, so she ends up winning Prince Charming’s heart, and everyone is happy that she is getting her happily ever after. The former is bad because she, in her conniving ways to win him over, will ruin his life if he chooses the good one – and for all that, the bad one will rot in hell. She is hated for being in love with the same man because she, obviously, does not have a heart or the capability to love another human being. And lastly, the evil one has a modern mind-set and dresses accordingly while the good one is conservative and is never without a dupatta. This mind-set has made us judgmental about people’s character based on their appearance. I have come across many dupatta-wearing girls, giving loath-filled stares to those women who do not carry a dupatta with themselves, and saying,

“They are dressed up this way to seek attention”.

“These dramas set high standards for who is considered a good husband. He is required to be rich, handsome, educated, successful and nice whereas all a girl needs to be is pretty. No, it does not work this way. Men have concerns as well.  You need to have a similar background, good education, a pleasant and confident personality. A woman should complement them in all their traits. They, too, want a companion, not some low-esteem subordinate”.

Some people are just more fortunate than others. That’s how this world works. This thought resonated in my mind as I read about Turia Pitt, a model-turned engineer who suffered 65% burns on her body during a bushfire in Australia. That was three years ago. Now, she is an author and an active charity fundraiser. In her own words she is, “the luckiest girl in the world.” She recently appeared on the front cover of Australian Women’s Weekly, with her resilient scars and her remarkable confidence. I wish we had more Turias in Pakistan. [caption id="" align="alignnone" width="355"] Turia Pitt on the cover of Australian Women's Weekly. Photo: Australian Women's Weekly[/caption] Turia was burnt by Mother Nature and maybe that is why she found the will to survive. Nature is never that cruel. But humans are. In Pakistan, a common acid-burn victim has a completely different story. About this, Alayna Ahmad – who has written extensively about the issues acid attack victims face in Pakistan – says,

“The victims are traumatised physically, socially and psychologically. Recovering from the trauma of an attack takes time, and even more time is needed for the victims to adjust to their disfigurements. They often become isolated and ostracised in society; the scars left by the acid go beyond just the skin.”

Born and bred in good ol’ Lahore, this Lahori munda has done us proud in many fields. His claim to fame is painting, singing, dancing and acting. With his adverts zapped nationwide on billboards and television channels, singing and dancing to his own composition, Ali Zafar goes around painting the town yellow and red. Shuffling between the neighbouring Indian film industry, local adverts and composing albums, he is a busy man, yet he was kind enough to take my call whilst driving back home from his dentist appointment. Given the lack of time and opportunities to meet him, I managed a ‘lightning round’ with him over the phone.

Me: If ever given a chance to act for this side of the border, would you like to act in Pakistani dramas or films? If yes, who would you like your drama queen to be? Ali Zafar (AZ): For now films. The queen can be anyone as long as she doesn’t create a drama on the set. (Munda of small words eh?) Me: We have seen the funny bone in you in your last six Indian films. Will we get to see the emotional or evil side of yours? AZ: Well, all these films did have some serious and emotional quotient but yes, by and large they were comedy films. London, Paris, New York was a romantic film. However, Kill Dil is the film where you would get to see me in a completely different avatar. More serious and grey! (Okay never mind, he talks, like all Lahoris) Me: I am personally very fond of your song ‘Jhoom’. What is the inspiration behind it? AZ: I wrote the song as a medium of devotion to ‘life’ itself. It speaks about how life reflects itself in each and everything. It was written during a time I was going through a sort of reflective pensive phase in life. If you see the video of this song, you would see the depiction of drifting away from the glitz and glamour into a simpler side of life and finding happiness there. (Wah, deep!) Me: Success is public, and so is failure. Does that bother you? How do you cope with it? AZ: Failure is your best teacher. If you experience it with an open mind, you can gain a lot from it. (Tart reply, eh!) Me: What is the difference and similarity between Ali Zafar in NCA days and Ali Zafar nowadays? AZ: I was a student of arts during NCA days. I still am a student of arts in life! (Aww sweet, so young at heart) Me: When it comes to women, is IQ (Intelligence Quotient) more important or EQ (Emotional Quotient)? AZ: IQ, EQ, ZQ, YQ, all go hand in hand Me: Hahah… and what would ZQ and YQ be? AZ: The readers should employ their IQ’s to find out. (Funny bone again) Me: On a personal level, what is your daily routine like? AZ: I love spending time with my family, love intense work out sessions and eating a balanced healthy diet.

 “Meiney tujhey dekha subhah key ujalon mein Nadiya mein, naalon mein Lamho mein, saalon mein Pyaar karney waalon mein Junoon mein, jiyaalo mein Ishq key malaalon mein Zinda misalon mein Jitni tu milti jayee, utni lagi thodi thodi” (I saw you in the morning light In lakes, in drains In moments, in years In two lovers In passion, in followers In love’s guilt In life’s examples The more I get you, the less it seems)

Last night, while Pakistani men were anxiously waiting for the premier’s speech, to be aired at 8pm, the women had a completely different, and might I add ‘dramatic’, agenda to grab hold of the TV remote. Coincidentally, the prime minister’s speech took place at the same time when the series finale of Pyare Afzal – which could safely be dubbed as one of the most widely watched television serials of all time – was to be aired. On one hand, this diffused the political tension for the fans; on the other, it became a reason for family discords over the TV remote and polarised interests. The air was rife with anticipation and the channel had started a stopwatch countdown for the finale as fans and followers were placing bets on how it would end. Amid all this frenzy, women were seen praying and intending sadqas for a possible happy ending. [embed width="620"]http://www.dailymotion.com/video/x21t1uj_jane-wo-kesay-log-thay-jin-k-pyar-ko-pyar-mila-pyaray-afzal-ost-video-dailymotion_music[/embed] Unfortunately for them, the writer, Khalilur Rehman Qamar, was clever enough to know that tragic heroes are always mythologised. Some cinemas even arranged special screening for the finale, which I remember happened only once before, for the Turkish drama serial Ishq-e-Mamnoo that had become exceptionally popular back in 2012. For the local drama industry, the screening of Pyare Afzal was a first. The final episode erupted unprecedented social media response. The emotional outpour was a mix; fans were mourning the death of their hero and venerating the love saga whereas sarcastic and humorous posts were finding comic relief in the tragic ending. Resilience is the best part of being Pakistani, as we always end up finding happiness in the most unlikely of places and that’s how we refuse to bow down before the shadows of fear and chaos. There ensued a frenzy of tweets, heartbroken Facebook statuses, sad Instagram posts and other updates on different media platforms. A Facebook friend in their status mourned,

“Afzal ko kyun mara?” (Why was Afzal killed?) “Afzal died!” lamented another.

“Imran Khan say baad may baat ho gi, pehlay batao ye Afzal kaun hai?” (I will talk to Imran later; first tell me, who is this Afzal?)

Pakistani dramas are suddenly all the rage across the border yet again. Indian actors like Paresh Rawal, Kajol and Javed Jaffrey have praised them as a new channel, Zee Zindagi, is playing the best Pakistani dramas for Indian audiences who are happily lapping them up. There was always a cross-cultural exchange between India and Pakistan, but with the Pakistani film industry in the doldrums, and the Ekta Kapoor-style serials’ overwhelming popularity, it had become a one way street. Before this channel arrived, Indian fans, and indeed the entire sub-continental diaspora, used to watch Pakistani dramas over the internet just as we all once used to watch VHS copies of Bollywood movies. I had enjoyed a few Indian dramas earlier, like Kusum and Jassi Jaisa Koi Nahi, but dropped them in disgust at the unending twists and turns that never brought any change in the characters or their lives; but after hearing the collective sigh of relief heaved by huge swathes of Indian drama fans at the return of good Pakistani dramas on online drama pages and websites, I decided to check out a few of the latest Indian dramas to find out why. One of the recent hits across the border is Be intehaa which seems to be in some way inspired by Humsafar. Set in a Muslim family, where the hero, Zain, is forced to marry his “from-a-simpler-background” cousin, Aliya, on some traditional deathbed blackmail. However, the resemblance between the two dramas ends there. [embed width="620"]http://www.dailymotion.com/video/x1oxigh_promo-beintehaa-april-2014_shortfilms[/embed] While, in Humsafar, we first saw Asher walking quietly behind his father off to visit his sick aunt, in Be intehaa Zain first appears on screen shouting from a helicopter, about jumping into some stranger’s wedding so he could convince the bride that the groom was having a gay affair with him. [embed width="620"]http://www.dailymotion.com/video/xksryt_humsafar-on-hum-tv-promo-1_shortfilms[/embed] Aliya is your traditional Muslim girl, cycling down a busy main road in a bright yellow outfit leftover from a mehndi. In contrast, poor Khirad could only afford cotton and, that too, was hardly noticeable as she cooked and cleaned and tutored children with her mother to make ends meet. The way characters are unfolded in Indian and Pakistani dramas is poles apart. Similarly, another show, Kumkum Bhagya, is about two middleclass sisters in love with the same man. Sound familiar? No, stop right there! It is not their neighbour, relative or colleague but a millionaire rock star who causes the rift. Sorry Faisal from Maat, you just can’t compete with that. [embed width="620"]http://www.dailymotion.com/video/x1b4z9d_kumkum-bhagya-ekta-kapoor-new-show_shortfilms[/embed] While Saman and Aiman’s mother worried about making ends meet, these girls from Kumkum Bhagya have a mother who wakes up each morning to blow dry and pinup up her hair with a bunch of fake flowers before she makes the parathas. [embed width="620"]http://www.dailymotion.com/video/x15adyc_maat-ost-hd-title-song-hum-tv-drama-2013_music[/embed] The gap between the two ideas is huge and though it may just be a case of different styles, or it may just be that people want an alternate to the hyper sexuality and surreal wealth shown in Bollywood movies and Indian dramas, which they find in the form of our Pakistani dramas. They wish to see normal people on screen, dealing with difficult, sometimes unsolvable problems. I sometimes wonder if this new movement could allow for more collaborative work from people on both sides of the border. It would make for some fascinating viewing and perhaps more understanding. I think that there are many things that both industries can learn from each other. Here is a list of a few possible ideas: Ten things the Indian drama industry needs to know 1. A story needs a beginning, a climax and an end, otherwise it just becomes an endless cycle of repetitions 2. Simple and innocent do not mean gullible and naive. These characteristics cannot be translated on-screen as unnatural head-bobbers, fixed wide smiles and strangely dilated eyes. 3. Stop choosing your colours out of a five-year-old’s crayon box. Primary colours have a time and place; give other colours a chance. 4. Stop using plot twists based on elaborate schemes that only a criminal mastermind or Niccolo Machiavelli would use. Normal people are just not that clever. 5. Try writing nuanced characters and show their motivations. Real people are neither inherently evil nor entirely good. 6. Love is not earned; it is a gift freely given 7. Women have honour; if they are abused, maltreated or disrespected, they can speak up and ultimately leave. They do not have to spend a lifetime proving themselves worthy to some man so he can appreciate them. 8. Credit your audience with some intelligence and allow a character to make a significant move without drum-rolls playing in the background. Allow your talented actors to actually act the emotion, instead of making the director of photography do all the work. 9. You have talented writers; allow them to tell real stories about the real world around them. Drop the Disney act. 10. Enough with the forced ‘cute’ characters. Watching an Indian drama is sometimes akin to drowning in a vat of sugary syrup. It isn’t working. Sensible and normal is so much better. Ten things the Pakistani drama industry needs to know 1. Get an editor. Long, drawn out scenes where the characters sigh and give each other significant looks which the audience is left to decipher should be used with scrupulous rarity. 2. Get over the two wives formula. I mean seriously, this topic has been done to death. Contrary to our drama makers’ beliefs, watching two screeching young women fight over a middle-aged man is mind numbingly boring. 3. Suspicion is not the most common reason for divorce. There’s money, interfering in-laws and a whole lot of other factors. Try focusing on them too. 4. Get some lights: this is a special message for A&B productions, please buy some lights. Oh, and while you are at the store, some make up too. 5. Stop stretching serials till you ruin them. 22 episodes are enough for anyone. 6. Give talented young people a chance. Just because so and so has been hanging around since the age of dinosaurs and they knew your father’s cousin’s mother does not mean the audience has to put up with them. 7. The handful of incredibly talented directors is one of the biggest reasons Pakistani dramas are suddenly on the map. Nurture their creativity instead of making them compete, or undermining them and pushing them down. 8. Pay your writers better. Pakistani writers are the other reason Pakistani dramas are reaching such heights of excellence. Appreciate them for their work. Allow them to write with depth and nuance instead of demanding the same mazloom aurat and love triangle themes every other day. 9. While everyone understands the need for actors to work, it has become a joke how actors mix up lines and characters because they are on so many different sets. At least get better continuity and some software that can dub out their lines so the entire scene isn’t ruined. 10. Stay authentic. Despite all the cribbing and complaints, there is a spark of brilliance and talent in the Pakistani entertainment industry which cannot be suppressed. Let it shine bright. Both Pakistani and Indian drama industries have created amazing dramas but both still have a lot to learn. Here’s to hoping that our dramas become better and we are able to have a cultural exchange where both parties mutually share good quality content and advice.

Pakistan’s television industry has seen from amazing times – when classics such as Dhoop Kinarey charmed viewers all around the country as well as across the border – to the not-so-amazing times, when aunties gathered around television screens for nothing better than ‘saas-bahu’ soaps. Fortunately, the growth in television productions has recently been phenomenal, with dozens of serials airing on the ever growing number of television channels in the country. As the entertainment industry expands, its impact on society surpasses the mere purpose of entertaining. It begins to highlight social issues and influences thinking and behaviour among the population. A ton of storytelling on Pakistani television today pinpoints the plaguing issues our people continue to face, dowry being one of them. However, the realisation of road safety as an issue still remains insignificant. According to WHO,

“Seat belts reduce the risk of a fatal injury by up to 50% for front seat occupants, and up to 75% for rear seat occupants.”

So far, our dramas have revolved around the vicious circle of poverty, a miserable daughter-in-law suffering at the hands of her evil in-laws, societal customs, dowry issues, giving birth to a male child or the perfect ‘rishta’ (proposal). Indeed these are issues which need to be addressed in dramas or movies, but there are other issues that require our attention as well. With the passage of time, we, Pakistanis, have come across many complex issues segregating our society into small groups, each intolerable for the other. We have issues ranging from the Shia-Sunni to the Punjabi-Pukhtun, anti-women empowerment to pro-women empowerment, even from the pro-Malala to the anti-Malala groups. These issues are addressed in one way or the other in Urdu dramas within a specific cultural framework. But as far as Pukhtun dramas are concerned, they rarely address these issues in order to raise awareness amongst its audience. Despite the liberalisation and easy access to media, we have not witnessed any significant change in the so-called orthodox issues in Pukhtun dramas and movies, whose plot remains to be family enmity filled with killings, bloodshed and misinterpretation of women. The misconstrued notion that militancy arises from the hub of Pukhtun culture needs to be addressed. The attitude of Pukhtuns towards militancy and liberal women is also, more often than not, misinterpreted. Their dramas and movies entail songs, dancing and a hero with a gun and a blood-stained face. They are not war-mongers or hateful people and this is not what their culture is about. In actuality, they are peace-loving, patriotic and hospitable people. So why this ugly depiction of them and their culture? It may be easier said than done, but raising awareness is far from easy; it requires an effort, commitment and an initiative towards the right direction. The one person who has taken the initiative to portray the Pukhtuns and their culture in a realist light is Azeem Sajjad, writer and director of ‘Za Pakhtoon Yum’ (I am a Pukhtun). Not only has he set the wheels in the right direction, he has also set a benchmark for upcoming dramas and movies, and hopefully, it will change the repetition of exhausted plots. [embed width="620"]http://www.dailymotion.com/video/x1k2f3k_za-pakhtoon-yum-pashto-new-drama-2014-first-look-trailer_music[/embed] The drama has raised different complex issues regarding the Pukhtuns and their culture. The first and most important issue addressed in the drama is the misconception that terrorism is associated to religion and the region. The drama explores how innocent people are trapped by impostors, possessing a manipulated knowledge of Islam, for the sake of ‘protecting’ and ‘reviving’ Islam. The drama starts with the murder of a folk singer in a tribal area monopolised by a terrorist group who identify themselves as the ‘defenders’ and ‘true preachers’ of Islam. [caption id="" align="alignnone" width="540"] Photo: Za Pakhtoon Yum Facebook Page[/caption] Secondly, Sajjad has focused on the role of patriotic citizens – students, writers, singers and/or people from other professions showing how well aware they are of their responsibilities towards their country, all-the-while performing their duties in their own unique manner. In the drama, the tribal head (Bahadar Khan) raises his voice against terrorism being carried out by the group and ends up being martyred in the process. His daughter Laleen, a medical student by profession, takes it upon herself to carry forward her father’s formidable task. She observes the situation and concludes that the Taliban are nothing but a foreign agenda and do not represent Islam from anywhere. She devotes her life to creating awareness amongst the people of her tribe in order to reveal the true face of the Taliban and struggles to get rid of the impostors of Islam. In one of the scenes, she is seen educating terrorists about the true spirit of Islam whilst being in their custody. [caption id="" align="alignnone" width="539"] Photo: Za Pakhtoon Yum Facebook Page[/caption] Nowadays, the image of our police force is clouded with allegations of corruption, dishonesty and inefficiency, a vision this drama endeavours to fix in order to restore faith in our police force. SP Adam Khan, in his role, does exactly that; his duty to serve his nation is sacred to him. He loses his only child in a battle against terrorism, but his rebellious nature keeps him going until the end. [caption id="" align="alignnone" width="431"] Photo: Za Pakhtoon Yum Facebook Page[/caption] Above and beyond all the other preconceived notions people may have of a Pukhtun society, the one it tackles head-on acknowledging the importance of educating women in a Pukhtun society. It ventures into its viewers minds and undoes the knot of misconstrued ideas they may have of the way Pukhtuns treat women. Zarmina, wife of SP Khan, plays the role of a well-known columnist and plays a considerable role in the drama. [caption id="" align="alignnone" width="538"] Photo: Za Pakhtoon Yum Facebook Page[/caption] This drama exhibits the versatility present within the country and should be appreciated for trying to correct the contentious view, fueled by misconceptions, held by many about a very large population of Pakistan. It forays into the real life of a Pukhtun, his love for his country, respect for culture, language and yes, women too. It has been scripted and presented in Urdu so it can be viewed and understood by everyone and not just one ethnicity in particular. The power and influence of the media is unquestionable; why not make it a source of awareness as well as a medium for entertainment?

2014 has given us some amazing Pakistani dramas, which have not only enthralled drama buffs but have also made an impact in representing our industry. Our dramas often present realistic plots, pertaining to our society, and this year has been no different. In fact, the content has only added more colour to our hall of fame. Therefore, it would be worthwhile to dwell upon some of the best Pakistani dramas from 2014 and relive the climaxes, the stories and the ideas that have accompanied us throughout the year. 1. Mohabbat Ab Nahi Hogi Neither were the cast member nor was the writer of this drama well known and yet it was liked by audiences. This was primarily because viewers were able to relate to the story much more than any other show. The conflicts presented among family members, especially in-laws, are close to reality. The story revolves around gender roles – the morals that a girl is expected to have and the way she should behave with her in-laws. In it, the protagonist, Fizza (Armeena Rana Khan), is seen developing a friendly relationship with her brother-in-law, who has a lively personality – which is in complete contrast to her husband’s, who is rigid and a workaholic. The drama sheds light on how society reacts towards informal and friendly relationship between a dewar (brother-in-law) and bhabhi (sister-in-law) and asks a thought-provoking question: how close is too close? 2. Mere Humdum, Mere Dost Based on a novel of the same name, Mere Humdum, Mere Dost is a love story of an aged man, Haider (Adnan Siddiqui) and a young girl, Aimen (Sanam Jung). After some unforeseen circumstances bring Aimen into Haider’s care, he teaches this frightened girl how to face the society and how to go about building her own persona. The major reason why I like this drama is because of its storyline. I like how, instead of seducing Aimen or using her vulnerability, Haider encourages her and acts as her mentor, and during this phase, they both also realise that they are falling in love. It is touching how gradually and naturally their love blooms, and kudos to the writer for developing such a subtle intimacy throughout the plot. The best scene of this drama, for me, is when Aimen tells her father – with whom she has a complicated relationship – that she loves Haider. The emotional impact of this moment was something that I am sure most viewers would’ve felt. The drama discusses how two people from the opposite gender can work together in a friendly environment without creating any controversial issues. 3. Shanakht The drama Shanakht discusses the idea that often people are unable to recognise their inner selves and that is why they go through certain phases in life where they try to understand themselves. For youngsters, this drama has a lot of semblance. The plot revolves around Quratulain (Maya Ali) who is a devoted Muslim and is often criticised for her ‘obsession’ with Islam. She falls in love with her cousin, who rejects her because she is too religious and ‘backward’. Later in life, however, he too adopts a religious path. The drama shows how religious couples can have successful marriages as well, and breaks the stereotype that portrays such people as extremists in their domestic lives. 4. Shikwa This show highlights the relation most parents have with their daughters, and how they often worry about how their daughters’ behaviour would affect them later. The popular idea that a daughter should be married off as soon as possible is discussed in the show. In a desperate attempt to free herself from her responsibility, Munazza (Isra Ghazl), a widowed mother of three, marries off her daughter Meher (Sonya Hussain) to her cousin Saqib (Wasim Abbas), despite the fact that he is much older than Meher. The plot portrays the difficulties in adjusting to life with an older man and how a compromised married life can become a curse. 5. Basher Momin Basher Momin, played by Faisal Qureshi, is a rich and powerful man, with a criminal background, who wants to control everything and everyone around him. He loves his sisters but his overbearing nature often causes problems for them as people are afraid of him. The main theme of the story is that hate only begets hate, and that only love can make people more humane. [embed width="620"]http://www.dailymotion.com/video/x1fd6tt_bashar-momin-ost-title-song-new-drama-geotv-2014-mann-moji_music#from=embediframe[/embed] 6. Mausam Mausam is based on the traditional Indian film theme of a love triangle. Love and jealousy are the main elements of the story. It follows the lives of two cousins who have contrasting personalities. Shazia (Yumna Zaidi) dreams of life with fame and wealth whereas her cousin, Saman (Hareem Farooq) is not so ambitious and takes life as it comes. They both fall for the same guy and that’s how the love triangle begins. The story follows their pursuit of love and how it turns them against each other. 7. Firaq Shot in Florida, USA, Firaq highlights the inner tussles of siblings and human beings in general. Paimaan, played by Sanam Saeed, is a Pakistani American who is often disturbed and depressed by her mother’s behaviour. She meets her brother’s psychiatrist and they both develop a relationship. After their marriage, conflicts arise and the drama portrays that it is often close relatives that make our lives miserable. 8. Main Bushra The protagonist, played by Mawra Hocane, is a girl who resists the notions a traditional society. The main theme of the story revolves around her struggle to show her father that daughters are not inferior. The drama also touches upon the impractical idea that naming your daughter by a holy name, like Bushra, will result in your next offspring being a male. 9. Laa Even though Laa’s storyline was good, it couldn’t attract many viewers. The main plot advocates that the real truth can never be hidden for long. Deceit, dignity, wealth and a respect for one’s ancestry are some of the themes touched upon by this drama. 10. Izteraab The plot is based on a man who has two wives. When his first wife is diagnosed with cancer, things begin to change. The serial focuses upon how the mentality of a person changes when they are facing a life threatening disease. A relatively new angle shown was the unconditional love that the second wife has for her husband, regardless of all the baggage he comes with. 11. Bay Emaan Mohabbat With a strong star cast, Bay Emaan Mohabbat has three over-lapping storylines, where all character cross each other’s paths at some point or another. The most interesting plot is of Dania (Saba Qamar), who has always dreamt of having a lavish life but instead gets engaged to a simple man, Naeem (Adnan Shah Tipu), who has humble means and belongs to the same background as hers. After getting married, she begins a love affair with her neighbour Babar (Agha Ali). As the name suggests, the show is based on dishonesty in relationships and its consequences. [embed width="620"]http://www.dailymotion.com/video/x1zqv71_bay-emaan-mohabbat-ep-20-20th-june-2014_lifestyle[/embed] 12. Mohabbat Subh Ka Sitara Hai The story of Mohabbat Subh Ka Sitara Hai is based on haves and have-nots. When a rich businessman, Nabeel (Mekaal Zulfiqar), marries Romaisa (Sanam Jung), her life is settled. However, after his tragic death, Nabeel’s family begins to treat her like a servant. It is when they discover that Nabeel left all his wealth to Romaisa that things take an unexpected turn. The drama tries to show that selfish people can be found in all segments of society. 13. Ranjish Hi Sahi This show highlights the struggle of a widowed mother, Yumna (Samiya Mumtaz) and her two daughters, as they strive to make ends meet. A chance meeting reunites Yumna with her long lost love, Kamal (Faisal Rehman), a man she wanted to marry in her youth. Kamal sees her financial position and her deteriorating health and decides to marry her. The storyline revolves around aspects that are part of our society but are not discussed. How financial and legal problems can result in mental stress and health issues and how a woman, without a man to support her, often faces great difficulties. 14. Pyaray Afzal Perhaps the most-watched dram serial of the year, Pyaray Afzal trended on social media and on televisions across Pakistan. Hamza Ali Abbasi gave a strong performance as Afzal, a character that will be remembered for times to come. [embed width="620"]http://www.dailymotion.com/video/x21t1uj_jane-wo-kesay-log-thay-jin-k-pyar-ko-pyar-mila-pyaray-afzal-ost-video-dailymotion_music#from=embediframe[/embed] No matter how strong the story of a drama is, it is performance of the actors that puts life into it. In my opinion, the best story this year was of the drama Shikawa. I felt like the writer had full control of the story till its end and the ending was consistent with the main theme. The best actress would definitely be Sonia Hussian, for her role as Meher in the drama Shikwa. She not only excelled in her role of a distressed girl but her performance as an old mother was also remarkable. The best actor of 2014 would, without a doubt, be Hamza Ali Abbasi as Afzal. He perfectly played the multi-faceted role of a failed lover, an ambitious cricketer, a disobeying son and a bully. In the last episode, his performance in his dying scene has been compared to the unforgettable scene in Sholay, played by Amitabh Bachchan. All these dramas made 2014 a great year for the Pakistani television industry. We look forward to bigger projects and better performances next year! ALL PHOTOs SOURCE: FACEBOOK

George Bernard Shaw said:

“Life isn’t about finding yourself, life is about creating yourself.”

“Inn sab main aik cheez common hai, majobori. Kisi ki majboori hai behter zindagi, tou kisi ki majboori hai inkey khawb” (All these people have one thing in common – their compulsion. For some it is the compulsion of making their lives better and for other their compulsion are their dreams.)

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There are rumours flying around of production beginning on an Indian version of Game of Thrones (GoT). We let India sneak ahead in the nuclear arms race but we seem to be far ahead of them in the television dramas race. However, this could be a game-changer – to ensure we maintain our advantage we must make our own version of GoT before India! To make the job easier for all prospective producers, I have taken the liberty of casting the Pakistani Game of Thrones. 1. Mahira Khan as Daenerys Targaryen Our latest export to Bollywood is really the only option to play the mother of dragons. We can even pretend Humsafar was a prequel to GoT giving Khaleesi the perfect bechari aurat storyline to justify her wrath. We can also cast Sheheryar Munawar Siddiqui as Khal Drogo to give her company in season one. 2. Fawad Khan as Jon Snow This clearly does not need a description. I can only imagine how long the audition line would be for the role of Ygritte. And no Sonam Kapoor, you can't play Ygritte. 3. The late Maqsood Hassan as Tyrion Lannister He was the only actor in Pakistan who could have done justice to the role of Tyrion Lannister so I am using this space to honour the legacy of the veteran who devoted his life to the stage. 4. Ali Zafar as Jamie Lannister Ali Zafar definitely has the looks to pull off the Kingslayer. 5. Aamina Sheikh as Cersei Lannister We just need to pull out the blonde dye, and censor all the Jamie-Cersei scenes from the series. 6. Nadeem Baig as Tywin Lannister The legend of the film industry completes the Lannister family. 7. Inzamamul Haq as Robert Baratheon The boys played well in the war. He definitely has the beard. 8. Shaan Shahid as Stannis Baratheon Just like Igloo King cone, there can only be one “true” king here too. 9. Osman Khalid Butt as Renly Baratheon Because, why not? 10. Ali Azmat as Lord Varys They might as well be twins. 11. Javed Sheikh as Ned Stark He is the guy you call whenever you need one of these roles so why change that now. 12. Humayun Saeed as Rob Stark Only if he puts his own money into the production – for once people might be celebrating the Red Wedding. 13. Syra Shehroz as Arya Stark She does look like she could be 13. 14. Humaima Malick as Sansa Stark Just a humble request to the Pakistani producers, don't see this as a cue to put an item number in the Pakistani GoT. The girls can act too you know. 15. Bilawal Bhutto as Bran Stark I mean if someone gets to be carried on the back of somebody solely based on their family legacy... 16. Nasir Jamshed as Hodor He is out of employment after the World Cup, so he may need to raise his intellect to match it with Hodor's though. 17. Hamza Ali Abbasi as Joffrey Baratheon A young guy who thinks he is the king and it is his job to police the behaviour of everyone. Hamza Ali Abbasi is perfect! 18. Aamir Liaquat as Peter Baelish Is there a more hated character in The Seven Kingdoms? 19. Imran Khan as Jorah Mormont Forever friend zoned by the prime ministership. 20. Zubaida Aapa as Melisandre Magic is basically the Zubaida Aapa ke totkay (home remedies) of Westeros.

Hello Pakistani filmmakers and television producers, my friends and I exist in this country too! There are two types of Karachi girls shown in Pakistani dramas and films – she’s either “bholi bhali” ,“seedhi saadhi”, “masoom” larki or a complete “chundaal” aurat out to snatch your “bhola bhala”, “seedha saadha”,“masoom” man! One of the reasons why I can’t watch anything “Pakistani” these days is because I can’t see a representation of women like myself on TV. I yawned when people fawned over Khirad – I was pissed off that a smart woman like Mahira Khan would take on a role so submissive and meek. I watched it till the end hoping that she would kick Asher’s mummy-obsessed (albeit very cute) bum! Sadly, she took him back and everyone worldwide clap-clapped! I couldn’t relate to Humaima Malik or Iman Ali’s characters in Bol. I couldn’t relate to Subeeka Imam’s rich daddy’s girl character or Zhalay’s courtesan character in Jalaibee. I can’t see myself in the singers, morning show hosts, designers, models or actresses on TV! Now, why am I cribbing about not finding a role model on TV? Because there are tons of urban women like myself roaming around in Karachi. Sadly, filmmakers and drama producers consider us too boring to really showcase our stories in dramas or films. We don’t fit the stereotype! We are neither slutty savitris nor sati savitris (Thanks Osman Khalid Butt for that expression)! We’re opinionated, we’re tenacious, and we’re not wrapped up in a chaddar! At the same time, we don’t look or dress like the models on TV. We don’t take shit from others and can gulp down silly men like a paratha roll! Some of us have chosen to go the traditional route and marry, some of us haven’t! We’re young, we’re fun, and our stories would be a much-needed departure from the typical characters seen on TV. If you go back to the memorable days of Tanhaiyaan and Ankahi, Marina Khan and Shehnaz Shaikh played normal urban women in the 80s. I can relate to them more than anyone on TV right now. Have our female characters in film and television regressed along with the nation’s regression? Marina and Shehnaz did not look like models, they didn’t dress in designer clothing, they weren’t stereotypically masoom or chaaalak, but they made us laugh, they made us cry, they were strong, they were brave and their stories were interesting. They were relatable! I, for one, don’t want to open my television and hear another woman moan about her saas (mother-in-law) or miyan (husband), hatch plans against her bahu (daughter-in-law), or overact! Filmmakers and producers, can we please bring back the urban Pakistani girl on television? This post originally appeared here. 

Her eyes were ablaze with determination and professionalism while she was all set to perform her heroic duties. The picture, in true sense of the words, spoke a thousand words. Shazia Perveen is the first female fire fighter of Pakistan and her unique choice of profession is going to change things for the women of Pakistan for better and for good. “The mighty girl” is inspirational and symbolic in many ways and a silver lining of hope in the grim situation. This unusual choice of occupation would help in pushing predefined cultural boundaries for women and help them enter into a new realm of conversation. Women can only be heard and bring about the real change if they become part of the professions where the decisions are made and actual action occurs. When I was young, only two professions were considered “respectable” and appropriate for girls, i.e. teaching and becoming a doctor. Those who couldn’t find these two occupations interesting enough were deemed incapable of any competence, thus easily dispatched to household responsibilities. There were neatly organised sections of society where one gender cannot easily wander off into the section reserved for the other. The society started accommodating and understanding the fluidity of roles when we started seeing brave women like Shazia at unexpected places. Back then, a woman driving a car was quiet a feast for the eyes of every passer-by but when we kept seeing more and more women drivers, the society finally became accepting and tolerant towards them and now has come the time when we could let a woman driver pass by without gawking at her. The real change started during the Pervez Musharraf era, when the Pakistani Army started taking women in areas other than medical. A specific number of seats were reserved for women in every department which made the influx of women into the work force easy and possible. It was the time when we started encountering women at banks, call centres, the police departments and other ‘real’ working places. This change worked wonders for the Pakistani women and helped them in becoming financially independent and socially aware. With the appearance of women in the public sector, we became used to their existence and contribution beyond the char dewari (the four walls). They became a part of the social narrative. Now they could tell their own story and work towards a better future. When I was reading the news piece about Shazia, something she said struck a chord within me. She said,

“It is believed that women are only able to start fires, whereas I have disproved this old adage and now I extinguish fires.”

“Amongst the 600 people there, I was the only woman who completed the training.” she said triumphantly.

You often second guess yourself with superficial ghost shows, and I don’t blame you. It’s true. There are very few soulful TV shows out there that have touched millions and Ghost Whisperer is that one exception. [embed width="620"]http://www.dailymotion.com/video/xqr8wy_ghost-whisperer-season-3_shortfilms[/embed] Although the series ended its run in 2010 with five seasons, the show has really moved me as a viewer. I caught sight of this gem a few weeks ago on Google, and I’m inclined to say, I have no regrets! I wanted to give supernatural-ghost-spirit kind of shows a chance and Ghost Whisperer was my first preference. The minute you think about ghostly spirits, you form this clichéd image in your head, perhaps a bloody Mary figure in the mirror or the oh-so-predictable ghost-victim scenes. That is what I thought when I first heard about this show. The title itself said so much, but in the end, the show proved me wrong. It goes way beyond the stereotypical beliefs we often perpetuate about ghosts and spirits. The show stars the Golden Globe Award nominee Jennifer Love Hewitt, who by the way, is a great actress in my humble opinion. She stars as Melinda Gordon, a newlywed woman who has the ability to communicate with earthbound spirits; those who have certain things to accomplish before crossing over to the other side of the world. [caption id="" align="alignnone" width="500"] Photo: IMDb[/caption] There were many episodes of the show that were heartwarming considering that the show’s protagonist, Melinda, could not only communicate but also empathise with the dead. Some of the episodes would certainly remind you of your loved ones who were once a part of your life, that is one dense aspect portrayed in Ghost Whisperer and many TV shows are yet to take inspiration from it. The show generated a huge fan base throughout its five-year run on television (2005-2010). I, for one, would strongly recommend this show as it has more drama than horror. Initially, I assumed Ghost Whisperer would be about supernatural phenomenon but it is more than that. [caption id="" align="alignnone" width="500"] Photo: IMDb[/caption] It explores the world of the dead and allows us to relate to them in some ways. We can re-imagine our lives and think for a second, what it would feel like to be dead and still be a part of the world. [caption id="" align="alignnone" width="500"] Photo: IMDb[/caption] Moreover, the series has also depicted a strong husband-wife relationship that is not restricted to compromise but love, understanding, and hope. Sadly, all these important features are hardly shown on television, especially in Pakistani dramas where the center of attention is a hopeless marriage or divorce. Aren’t these the things we shouldn’t be showing to the audience? It only motivates them to commit these kinds of horrors, thanks to our dramas. [caption id="" align="alignnone" width="500"] Photo: IMDb[/caption] In this regard, American TV shows are better off, at least the writers have the courtesy of portraying happily married couples for once. All in all, Ghost Whisperer might not be the best show, but it is certainly decent and worth your time. So go ahead and download/purchase the first season of Ghost Whisperer.

The drama industry in Pakistan has grown exponentially and is a very valuable export of ours. These dramas have turned Fawad Khan and Mahira Khan into household names. For Pakistanis living abroad, they serve as a potent link to life back home and provide a much needed break from reality. However, there is still room for improvement. One particular thing that really irks me is the propensity to show violence against women on screen. There have been numerous incidents where a young member of my own family might be playing with a toy and they are suddenly transfixed to the TV screen, because they can hear loud screaming and women being pushed around like cattle. I have to think quickly and change the channel to avoid any permanent emotional damage being done to them. Just like smoking on screen includes a cautionary proviso in small print underneath the screen that it’s dangerous for health, some of these dramas should come with a warning that the drama may be violent. If not that, they should at least cutback on the inherently distressing scenes being shown so brazenly. Just by way of example, there is one drama in which a woman is continuously harangued and vilified by her husband. He uses derogatory language against her all the time and even violence. She is pushed around, thrown onto a bed and treated just one step short of a trash can. What’s worse is that the wife quietly tolerates the abuse being meted out against her for the sake of her daughter. https://www.youtube.com/watch?v=fMYglyBwWYI These images are not healthy. They are not helpful for women who are facing this reality every single day. This was just one example; there are many other dramas where women are either being violently abused, beaten and/or constantly faint upon facing extreme external pressure. Are our women so fragile and devoid of reason that they have to be shown like this? Why is fainting considered to be a way of dealing with our emotions?  Is this what actually happens in real life? I understand that the purpose behind such dramas is to mimic and exaggerate public life, but there is something very disturbing with the manner in which it is being shown on TV. These dramas try to harness drama, in every sense of the word, to exaggerate circumstances and make them entertaining for viewers. Not that I’m deriding the purpose behind how ‘dramatic’ these shows are, because that is their appeal. However, why is it always at a cost to gender? It’s as if there is no more creativity left in our television industry and they have to repeat similar narratives – the cheating husband, the domesticated wife, the loveless marriage. I, for one, wish these dramas would showcase stronger female role models; the kind that would not condone abuse at all, the kind that are not afraid to fight back. It is not at all acceptable to portray women as frail and deserving of such treatment because it allows violence to become acceptable and reinforces gender roles. Take a look at American television for instance. Scandal features an extremely strong and empowered woman in the realm of politics. People come to her to get their problems fixed. Friends is an amusing story of a group of friends who try to tackle everyday problems, while staying connected to one another. The three main female characters have never had to faint or endure any form of abuse. Tyrant features a royal middle-eastern family trying to combat a country that is plagued with terrorism and corruption. The women in this show are strong, powerful, and independent. Even Game of Thrones, set in a completely fictional world, where noble families fight for power – features women being just as involved in the fight for power. The mention of these television series by no means tries to compare the west with Pakistan. Despite how diverse these shows are from one another, they have all been successful at some point, if not always, even in our country, without having to succumb to projecting women as weak figures or being subjected to domestic abuse. A show’s success doesn’t demand women at the forefront all the time. But, it doesn’t mean that they need to be victims of abuse either. What we need is a strong script, an explosive cast and an excellent storyline to keep us glued to the screen. Instead, it’s all about women falling to the ground or being screamed and shouted at, or damsels in distress that need to be rescued by a rich man in his Corolla. There is still much work to be done to improve on our dramas and if they are being outsourced to foreign countries, then they need to start radically depicting our women as human instead of fodder for abuse.

There are expats and then there are people like me, returnees. I’m going to take a literary liberty – without meaning to offend any intellectuals – and call myself an ‘inpat’. I think people like me deserve a special made-up name. Mine is a story like many others. I went to London 25 years ago to study and it took me that long to return. Not because I was particularly dumb and took 25 years to finish my education, but because the rat race rollercoaster of life took over. To cut a long story short, after 13 years in London and 12 years in Dubai, my husband’s work has brought us full circle. And I am now writing this piece, on a hot sunny morning in Karachi, sitting in my study with the good ole split whirring away in the background. It’s been a whirlwind five months since we’ve been back in Pakistan. I get asked all the time how the move has been and whether we are settling in well. People generally ask quite perfunctorily, mostly expecting a whiny response – and many are surprised when I reply that it’s been amazing. These last few months have been a journey like no other. Logistically, a move is a move, whether it’s to London, Singapore or Karachi. Some moves are more challenging than others, but none are easy. Each place has its own idiosyncrasies, joys and frustrations. So from that perspective it certainly wasn’t a move free of ‘give me a break’ kind of moments. If people want the logistical details, they can get that and more by reading my blog ‘Returning to the Motherland’. For me personally, from an emotional perspective, coming back to Pakistan has been wonderful so far. Maybe deep down I was ready to return, even if it’s not a ‘forever’ move – although if anyone had asked me a year ago when we intended to move back to Pakistan, the answer would have been a ‘who knows’. It’s difficult to put the feeling into words, it’s as if all those years my husband and I were busy working and raising a family was, in farming speak, like being out in the fields. And now we are home. The busy noisy roads, the hustle and bustle in the markets, the people on the streets – everyday struggles on such a basic level, but it’s so real. It’s messy. It’s busy. And it makes me feel alive. Is Pakistan still the same 25 years later? Of course not; I would be horrified if it was. Is it better? Yes, in many ways. Is there room for improvement? Absolutely. It’s certainly not utopia but its real and its home in more ways than one. Speaking about utopia, just recently I found out that in line with its vision for 2021, Dubai has appointed a ‘Minister of Happiness’. If that’s what societies do once the infrastructure etc. is sorted, then I can’t wait to see who the equivalent incumbent in Pakistan will be! Can someone be tasked with helping others find happiness? Definitely a great subject for another article. Coming back to the current topic, law and order, infrastructure, education and health services are always going to be areas for improvement. But looking at these purely from a ‘user’s’ perspective, I can’t complain much based on my experience so far. Yes, there are many things that need improving and it can be frustrating when you get pulled and pushed in different directions until you finally dig out what you need, but that’s true of most places in the world. Contrary to the global view of security in Karachi, after the clamp down by the army and the rangers in the recent past, there hasn’t been a single moment since returning when I’ve felt unsafe on the roads or in the house. Our children feel safe and secure, whether at school, at home or out with friends. The schools are certainly more structured and better organised than they were when I was a child in Pakistan – not that my convent education wasn’t good enough! The couple of times we’ve needed to see a doctor or a dentist it’s been quick, clean and very professional, so I haven’t yet had any ‘quack-like’ experiences my friends sometimes refer to. I agree that traffic is chaotic and traffic signals are generally treated like decoration pieces and maybe that’s because time is money, even more so here than in the west. But then, look at the Italians. They drive like maniacs too and we just smile graciously and call it a cute quirk! It’s nothing we can’t fix if the right people decided enough is enough. All it takes is for the traffic police to be a bit more vigilant – just look at the roads and the traffic system in Dubai – with those road fines and penalties, no one dares mess about. The only ones who do get away sometimes are the local Emiratis but then, don’t we all get away with quite a bit on the roads here too? Grocery shopping is a breeze. So much great stuff is made locally and a lot is imported for the palate that requires it. Fruit and vegetables are so organically fresh – and free of hormones and preservatives – that if you don’t use them in a couple of days they start to rot. I do sometimes wish we had more restaurants to choose from, but Karachi is certainly better endowed – from a ‘variety of cuisines’ perspective – than most other cities in Pakistan. It’s lovely to see art galleries sprouting up like nurseries used to in the old days. There are musical events, festivals, theatre and plays. Quite a lot to do for those artistically inclined. The malls are havens for the masses – just as the ones in Dubai are – and so much of everyday street shopping is available here. Our own designers are amazing – so many in demand globally. Some of our fashion events are on par with the rest of the world, at least the pricing certainly is! Television dramas and music are miles ahead of where they used to be. In fact some of the best entertainment can be those debates on the news channels when everyone shouts to be heard; if you’ve got a nice supply of headache pills at hand. In a nutshell, Karachi might be a bit more disorganised and haphazard than places like London and Dubai, but it’s already home, in a comfortable kind of way. The motiya sellers are out, Ramazan is in full swing, the mangoes are here and so is the summer. Oh, what a wonderful world!

In the recent episode of Sanam, we once again see the story relying on harmful stereotypes. This time Sanam vilifies the children of single parents: We see Sara’s child being abrasive and aggressive after seeing her mother speaking to an old friend (Harib). Not only is this a harmful generalisation, it’s also a false one. There are many children who are probably worse off at the hands of a family that is ‘together’ but very abusive. At the same time see Aan’s mother (Hina Khawaja Bayat) lying to prospective in-laws of Aan, stating that they used to live in Dubai and had a very educated family – when in reality they belonged to a small and modest neighbourhood and their family profession was butchery. What’s interesting and disappointing at the same time is how Sara’s child has been slandered as a ‘bad’ kid but Aan’s mother taking out her sandal and hitting her grown daughter is considered comical and laughable (Harib’s character sits, munches, and laughs as this whole scene plays on). The second most annoying part about this play is fast becoming Maya Ali’s character who often offers completely unsolicited advice and extremely lame jokes and self-righteous diatribes. It’s fast turning into yet another messy plot like Mann Mayal, and Maya Ali has simply rehashed Mannu’s madness into just a ‘lighter’ colour. Falling into the same trap as Mann Mayal, Sanam also seems to be following a similar route where the pretty faces, pretty scenery, and delicious cinematography are inviting, but the message it holds is harmful and reprehensible.

Whatever you say about our parliamentarians, you have to admit they have a sense of humour. I’m referring to the recent claim by the learned MNA Tahira Aurangzeb about how gas shortage is the reason for the increasing divorce rate in the country – she is the mother of Ms Maryum Aurangzeb, our minister of state for information, who said that our ministers and senators cannot survive on Rs60,000 a month. The learned female lawmaker wasn’t sure of our divorce statistics two or three years back, when there was no shortage of gas, compared to how many cases there are today to prove her claim. But of course doing the required homework is considered a great sin among those who sit in that august house. Almost all our assembly members are prone to making wild statements without a shred of proof. A look at what Imran Khan, Abid Sher Ali and others say every now and then about their opponents prove my claim. I wonder how gas shortage can make a man lose his head and pronounce those three words which every Muslim woman dreads to hear. Why don’t long electricity breakdowns have the same effect on him? According to Tahira Aurangzeb, when every Pakistani man returns home every evening, he needs to fill his stomach to the brim. But when he finds out that his wife was unable to cook any food owing to shortage of gas, he bursts into a rage and divorces his poor wife. I assume that he then remarries immediately or goes to his second wife (if he has one), and the whole scenario is repeated. So the number of divorces should be astronomically high, at least in those families the lady parliamentarian is acquainted with. I tried to gather some information on divorce statistics in the country over the past few years, but even though I found many articles on the subject, I could not find any concrete figures, as apparently the government does not register such data. So I thought about how many divorces have occurred in my own immediately family – paternal and maternal descendants and ancestors. Since 1856, there have been four divorces in my immediate family of nearly a 100 members (10 of whom are no longer alive) in a span of 80 years. The last divorce in the family took place 11 years ago, when there was plenty of gas to go around. While digging deeper, I asked other people to find out if they have observed a rise in divorces among their communities.

“Out of the question,” said one of my employees from the rural areas, “We’re not cowards, if my wife ever asked me to divorce her, I would assume she has a boyfriend, and would immediately kill her.” “Not in my family or relatives, but I have heard that divorce is very common in those families where the women are allowed to work,” said one of the many illiterate men I come across on a daily basis. “Of course there have to be a lot of broken marriages in our society. It’s caused by allowing women to watch too many TV dramas and going to movies. I smashed my TV set many years ago, so there have been no divorces in my family”, said an aged neighbour.