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Pakistani dramas have long served as a source of entertainment. They are characterized by powerful storytelling and moral lessons. Traditionally, they are also characterized by moralistic values. In the past few years much of this programming has changed in style and content presented, which some viewers find disheartening.
One such recent instance is the new drama “Bismal” with the talented actor Nauman Ejaz. His performance is excellent as are many of the other actors surrounding him, but the story has evoked concern and criticism by those watching.
In this story, “Bismal,” a middle-class woman falls in love with a married man and ends up destroying his household. This same theme has become more popularized in past years in other programs, where the middle-class woman in essence is a homewrecker, and she does this out of pure selfishness.
This notion is not only isolated to the drama of “Bismal,” but in other dramas, specifically “Mere Paas Tum Ho,” “Jannat Se Nadi,” and “Hasrat,” show the middle-class woman as the villain that destroys families. Readers can only view the repetitiveness of these stories and their portrayals of societal problems and wonder at any messages or impacts to society as a whole.
It is important to understand that while these situations may occur, they are not isolated or representative of the entire middle-class. The middle-class is one that has strong values, principles, and moral responsibilities. The middle-class is what balances the elite and the impoverished.
More important than all of this is while middle-class women are shown to be the ones that destroy family relationships, and this entertainment program benefits greatly by reinforcing behaviours rather than explaining the different complexities of relationships, and considering anything that he necessary the man had the responsibility. The man is shown to, in most cases, be the victim of circumstance.
This scenario only generalizes the context of relationships and men’s perceived absolution of responsibility, and is racist in cognitive history to appropriate a moral construct women. This is an oversimplification that is harmful to families and women.
In instances where a marriage has dissolved due to infidelity, the ‘other woman’ ultimately becomes the scapegoat. The man involved is -and forever will be- part of the problem; however, that nuance is nearly always lost in the world’s eyes. Dramas always paint the picture of women being culpable, regardless of their role in or outside of marriage, whether they are the first wife or the second wife.
And, as if that deterioration could get worse, many dramas are romanticizing negative behavior. For example, we see teenage school girls keeping secrets from their parents about having to meet up with their boyfriends, as if these weren’t acts of betrayal. The innocence of ‘feelings’ initially justifies those actions, and the next thing you know we are condemning the actions. It confuses everyone–especially young people–what the right thing is to do to prevent them from doing something wrong.
The heydays of Pakistani television, particularly in the PTV era, exposed these themes in a way that resulted in a moral lesson and ultimately left a positive imprint upon society. About many lessons through the use of “Visual Aid” rather than textbook, drama showed and demonstrated values that would never really follow through the textbook. Today, it seems that we have diverted from educating and inspiring viewers to sensationalism and controversy.
In summation, I’d urge drama makers and writers to rethink the stories they want to tell. Instead of sharing harmful stereotypes and negative portrayals, aim to inspire and educate while relaying complex stories that draw parallels from your diverse viewers’ realities. Focus on what matters other than sensationalism, and recognize the origin of honorific storytelling that was once part of the social tapestry of Pakistani dramas.
