DRAMA REVIEW

 Another Proof of the Absurdity of Pakistani Dramas...

A new drama is being aired on Hum TV titled "Wo Ziddi Si". In this show, a 15-year-old girl (Aina Asif) is shown to be romantically involved with a 35-year-old man! Are you not subtly embedding the idea in young girls' minds that romantic relationships with older men are normal, even if you're still in school? This poison is being slowly injected into the minds of young girls.

Anyway, that was just an excerpt. Let's start the post.
Time to dissect the matter.

A question for all women: Is there any woman who has never imagined herself as a character in a drama?

This is the last post on the absurdity of Pakistani dramas and a response to all those who mocked my previous post yesterday.

First and foremost, some people raised an objection, saying, "You write a drama yourself, and we’ll see what you come up with!" For those people, here’s the answer:

In a program featuring Hasina Moin and Firdous Jamal, the host asked Hasina Moin about current dramas. Hasina Moin, a legendary writer behind Unkahi, Dhoop Kinare, Uncle Urfi, and Tanhaiyaan, responded by saying, "I have stopped watching Pakistani dramas for the past two years."

This was her answer—someone who wrote the best dramas of her time. Why has someone as legendary as Hasina Moin stopped watching dramas despite being part of the industry? Would you question her credibility by saying, "You should write a drama, and then we’ll judge it"?

Sitting next to her, Firdous Jamal was asked about the scripts of today. He said, "It’s embarrassing to even mention, but the scripts we receive are not even worth reading. Yet, we are forced to act in them."

If you are true admirers of art, then tell me why greats like Anwar Masood and Mustansar Hussain Tarar, who are still alive, aren’t writing for TV anymore?

The new generation might not even remember a time when people used to finish their chores early just to sit down and watch a drama. But in today’s social media-driven world, people’s tastes have been dumbed down to the extent that they enjoy only the artificial.

You cannot imagine the poison these subpar dramas are injecting into the minds of our youth. Do you really think books, dramas, and movies don’t impact anyone? They act as slow poison that gradually seeps into minds.

What effect does it have on a ninth-grade girl when she watches glamorous love stories in these dramas? This world of unfulfilled desires, painted so beautifully on screen, is playing with the minds of your children. A girl who grows up watching such dramas, when married to an average middle-class man, will deal with mental complexities that these dramas have sown in her mind.

Do you even realize how high the divorce rate has soared in Pakistan over the past 15 years?

Look at the luxurious cars of Feroze Khan, Noman Ijaz, and Danish Taimoor in these dramas, and the fancy wardrobes of the women characters. Is this your culture? Most people have never even seen such a lifestyle in real life! What about the mockery of sacred relationships? Friendships with boys and justifying love affairs—how can this be right?

Drama makers play the "woman card." As long as a woman is shown being oppressed, the drama gets high ratings. But the moment a woman is shown as independent, the drama fails to get good ratings! How do you justify a drama like Ishq-e-La where a young man is shown working as a servant while falling in love with the homeowner's daughter?

Not to mention other plots—like a married woman having an affair with another man (Deewangi), a father-in-law making advances toward his daughter-in-law (Pyar Ke Sadqay), or a sister being infatuated with her brother-in-law (Jalan). And a girl having affairs with multiple men before marriage (Dil Ruba). While these scenarios might happen in real life, what is the point of showcasing such issues to the public? What lesson will the younger generation take from this? Our moral values are already on a ventilator, and such low-quality dramas are finishing them off.

Forty percent of Pakistan’s population lives below the poverty line, and sixty percent work in agriculture. So, for whom are these elite-class dramas made? Do the real elite even watch these dramas? These dramas serve only to ignite the desires of middle-class women, pouring gasoline on their unfulfilled dreams.

You might argue, "This or that drama is good." But look at your TV channels—50 dramas are aired in a week, and you may be able to point out one or two that are worth watching. But who is responsible for the other 48 dramas with terrible scripts?

Enough with the arguments.

BY ABIDA LUBNA 

Email:ideas.innovate7661@gmail.com