During a recent interview, Yasir Nawaz and Nida Yasir, well-known personalities in the Pakistani entertainment industry, engaged in a conversation about the repetitive nature of storylines commonly seen in television dramas, which continue to captivate audiences both locally and globally. They discussed the immense popularity of the Turkish drama Dirilis Ertuğrul among Pakistani viewers as an example.
When asked about his willingness to experiment with new subjects as a director, Yasir acknowledged that television audiences worldwide tend to be drawn towards similar storylines. He pointed out how even in Dirilis Ertuğrul, a historical epic, there were elements of romance, familial relationships, and intrigue.
“Globally, the television audience watches the same thing,” said Yasir. “Even if you see [Dirilis Ertuğrul], it would show wars less – I would sit with Nida and watch – there is romance, the mother-in-law, the daughter-in-law, the scheming. If you watch [Dirilis Ertuğrul], the drama is [made according to] what women want.”
Nida added to the discussion, noting that if Dirilis Ertuğrul focused solely on wars and battles, it wouldn’t have achieved the massive success it did. She highlighted the show’s incorporation of content that appealed to the general public, emphasizing the importance of catering to viewers’ interests for a drama’s popularity. “If it was just wars, it would not have been a hit,” said Nida, with Yasir concurring. “They put in content that the general public wants to see.”
Yasir further expressed that each medium, whether it be drama, film, theatre, or radio, has its own language and audience. He stressed that dramas are crafted based on specific themes, and the key lies in executing them effectively. “Drama has its own language, film has its own language, theatre has its own, radio has a different one. Each audience has its own language. Drama is made per a theme – having it be well made is a talent,” explained Yasir.
He cited his previous works like Chup Raho, which tackled sensitive topics like rape, and how he and writer Samira Fazal added their artistic vision and execution to make the show distinct. Yasir also mentioned Shukk, another drama that followed a similar pattern. “I made Chup Raho with Sajal. What was the topic? Brother-in-law, rape – common topic. But Samira and I made it our own. The way we shot it. Okay, leave Chup Raho – Take Shukk. Shukk was the same,” stated Yasir.
The discussion shed light on the enduring popularity of certain drama themes while acknowledging the significance of presenting the stories in a compelling and unique manner. As audiences continue to engage with television dramas, the question of whether creators will take risks and explore new subjects or maintain the familiarity that resonates with viewers for years remains a subject of interest.
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