The representation of women in Pakistani dramas has undergone a series of changes. They’ve evolved from being portrayed as gullible and vulnerable to taking on roles that are courageous and unapologetic. However, despite this evolution, the Pakistani drama female protagonist to date, has still covered a wide spectrum of roles, often without providing a true reflection of real-life issues.
Creators, writers, and actors wield immense influence through their storytelling. They have the power to shape public perception and contribute to constructive conversations. With this influence comes a tremendous ethical responsibility. By continuing to rely on the tired formula of fake harassment allegations, creators undermine their potential to drive change and promote understanding.
In the race for ratings and viewership, the pressure is on to deliver gripping content. But when the pursuit of high ratings becomes the driving force, we must ask ourselves: what are we willing to sacrifice for those coveted numbers? Are sensationalized stories worth undermining ethical storytelling?
It’s imperative for drama makers and actors to recognize their responsibility in this context. Considering the ongoing discourse on gender-based violence in Pakistan, they should take ownership for thoughtlessly presenting women making false accusations of assault. This type of portrayal seems to cater solely to a morbid sense of entertainment. It’s time for them to consider the potential consequences of their storytelling.
1. Mein
Mubashira uses the now, very much age-old page in the fake harassment rulebook often used by Pakistani dramas, so much so, that we bet savvy drama viewers almost saw it coming (but wished deep down in their hearts that they would be wrong). In a signature Mubashira fit of rage, she lets off steam at her driver, and to our happy surprise, the driver decides to halt the car mid-drive, quit his job, and proceed to hand over the keys.
But by this moment, Mubashira, who will not be defeated by a mere driver (do takkay ka aadmi that she refers later to him), is fortuitously visited by the police, yes what a chance encounter on the streets of late night Karachi, and plays her “perfect” trump card – note, we’re being sarcastic here – “Oh, he was harassing me”, she volunteers without missing a beat. Who’s to say anything now, as the poor man is taken away by a very efficient police force?
Needless to say, it was an easy save for the writer who really didn’t need to pick his creativity much to come up with an easy win for Mubashira. Regardless of the fact that the allegation was turned over soon after in the same episode, the fact that we had to suffer through yet another one of these is a testament to lazy and irresponsible scriptwriting.
2. Jannat Say Aagay
In the drama “Jannat Say Agay,” there’s a scene where Jannat confronts Tabbussum about delivering groceries to her home, which the driver had complained to Jannat about. In response, Tabbussum alleges that the driver harasses her, attempting to make Jannat believe that she is innocent. Unfortunately, it seems the writers fell back on the same old formula once again.
While they may have aimed to depict Tabbussum as manipulative, one can’t help but wonder why they chose to tread on such a sensitive issue. It’s clear that there could have been more creative ways to achieve the same character development without resorting to this tired and potentially harmful narrative trope.
3. Mujhe Pyar Hua Tha
Faha blackmails Saad, by threatening to expose private pictures of his wife and her former lover unless he goes to her house. Once he arrives, she drugs him with spiked coffee, causing him to lose consciousness. Subsequently, she calls the police and manipulates the situation to make it seem like she was sexually assaulted, leading to Saad’s arrest.
This whole scenario was not just infuriating, but it was also completely unnecessary for the script. The lazy plot twist involving false accusations of attempted rape and the contrived manipulation of events added nothing of value to the story. It felt like a cheap attempt to generate drama at the expense of a serious issue like sexual harassment. This disappointment was on a whole new level, especially when it involved respected and talented individuals. After investing weeks in this drama and forming emotional connections with the characters, it felt incredibly unfair to fans and viewers to turn it into a melodramatic trope.
4. Dobara
“Dobara,” a drama that initially ticked all the right boxes for attempting to normalize age differences in marriage, specifically a man marrying an older woman – a concept that is looked down upon in our society, fell prey to the same plot twist. “Dobara” took a promising start, and fans rejoiced as a Pakistani drama was finally using a new concept and sent out a great message. But then, somewhere down the line, the drama fell off the rails.
In the series, Hadiqa Kiani’s character, Mehru, embarks on a journey to rediscover herself after her husband’s death. She follows her heart and ends up marrying Mahir, portrayed by Bilal Abbas Khan, a man much younger but equally intellectually matched.
However, we witness Mehrunnisa’s sister-in-law, Durdana, plotting against Mahir to break Mehru’s trust in him. To achieve this, she suggests that Sehar, Mehru’s daughter-in-law, falsely accuses Mahir of sexual harassment.
While “Dobara” is boldly challenging stereotypes, could Sehar’s character have been an opportunity to present an exemplary woman? Imagine a character who advocates for women’s empowerment, believes in freedom and supports the global #MeToo movement, which condemns harassment regardless of gender. Is this not something the audience yearns to witness?
5. Laapata
In the drama “Laapata,” Ayeza Khan, also known as Geeti, portrays the profound impact of social media. In a particular scene, she finds herself at a shop where the shopkeeper requests payment for the items she has purchased. However, she hesitates to pay, and when the shopkeeper insists, she uses her social media influence to threaten him, implying that he is harassing her.
Why It Needs To Stop
Did you know that a staggering 32 percent of women in Pakistan have endured physical violence? And here’s another startling fact: 40 percent of ever-married women in the country have faced spousal abuse at some point in their lives. But that’s not the whole story. Shockingly, one in two Pakistani women who have experienced violence never sought help or confided in anyone about the abuse they endured. These numbers reveal only the tip of the iceberg when it comes to the extent of this issue. (Source: UNFPA)
In a time when women are enduring unimaginable horrors, such as harassment, rape, choked to death in their own homes, and beheaded or burnt alive, it’s crucial to ask why stories that undermine their experiences find a place on national television. In our country believing survivors when they share their stories is already an uphill battle. They are frequently met with disbelief, character smearing, relentless questioning, and the unfortunate label of being liars. Creating characters that dismiss the experiences of abuse victims is not just insensitive, but morally reprehensible.
It perpetuates the damaging notion that women fabricate accusations and normalize false accounts. Such storytelling discredits the very real experiences of victims. This approach effectively empowers predators and endorses media representation, often through well-known artists, permitting harassers and others to openly diminish the voices of women.
Pakistani dramas, as a cherished and influential medium, have the power to entertain, educate, and inspire. They can challenge stereotypes, empower survivors, and encourage meaningful conversations. The time has come to reflect on the choices made in storytelling.
Normalizing the use of fake harassment allegations may have been an old formula, but it’s one that should be left in the past!
