Scripts in Pakistani dramas are stuffed with tropes that construct and outline storylines. We’ve got romantic pursuits, villainous characters, completely different units of fogeys and siblings and all of them assist in pushing the story ahead. Though it sounds stereotypical however a couple of clever writers know the way to make the most of these characters successfully. As an illustration, how an evil stepdad Sarwar doesn’t stick out like a sore thumb in Pyar Ke Sadqay or how an irksome sister like Miraal doesn’t spoil Sabaat for us.
Considered one of these tropes, although, which stands out in each drama is ‘the opposite girl’. Each time a hero and a heroine in a Pakistani drama begin making a romantic phantasm on display screen, there must be bother in paradise. It’s principally because of the involvement of a 3rd particular person i.e. ‘the opposite girl’. Be it a distant cousin, a neighbour, a colleague at work or a pal’s pal, there may be all the time a lady who’s head over heels in love with the protagonist, who doesn’t even look twice at her. As if ladies don’t have something productive to do. This makes one marvel why writers assume unrequited love is so fashionable amongst girls.
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Taking a touch from the most well-liked TV drama lately – Pyar Ke Sadqay – we noticed that Shanzay (Yashma Gill) was least enthusiastic about Abdullah (Bilal Abbas) when he approached her for marriage. However now when her personal marriage seems to be a catastrophe, she is eager to interrupt a house. That is by far essentially the most cheap means this trope has been utilized in a drama as a result of a minimum of it is smart within the bigger context of the plot, the place Shanzay will make Abdullah understand that his marriage with Mahjabeen (Yumna Zaidi) isn’t simply out of comfort however he’ll truly fall for her.
Sadly, this isn’t the case each time. There’s a lady in each second drama who will fortunately break a house to get what she desires. In Kashf, there may be Kashf’s sister, Zoya (Sabeena Farooq) who is continually chasing her sister’s fiancé Wajdan (Junaid Khan). Nobody is aware of why! That’s not all there may be additionally a khala ki beti, Guriya (Natalia Awais) in Ghalati who pines for Saad (Affan Waheed) regardless of figuring out that he’s now married and is struggling to deal with a relationship with the love of his life Zaira (Hira Mani). In each circumstances, the boys are least enthusiastic about these ladies.
We’ve got additionally seen Sharmeen aka Sunny’s mother (Tara Mehmood) in Ruswai who’s a widow, has a son of marriageable age and is conscious that Dr Feroze just isn’t enthusiastic about marrying her however she nonetheless schemes and plots to control her mother-in-law. Comparable is the case of Maham (Shameen Khan) who’s Haris’ neighbour in Muqaddar. She fortunately lets Haris scold, insult or ridicule her for no motive as a result of she is an consideration seeker and is just too clingy as if her life begins and finishes with Haris’ approval. Determined a lot?
Lastly, we’ve got one other part who will goal the higher half of the person of their desires. Zoya Nasir who performs Narmeen in Deewangi is that psycho cousin who not solely ruins her father’s identify and political profession however a lady’s life as properly to take revenge from her love curiosity, Sultan Durrani (Danish Taimoor). All this to tie the knot with him. Though this ends in a loveless marriage, her happiness lies in Nageen’s downfall.
Lately, we’re witnessing a considerably comparable strategy in Ishqiya the place Alishba (Mehrunisa) can not settle for that Hamza (Feroze Khan) has a spouse now. Though we all know that Hamza just isn’t even loyal to Rumi (Hania Amir), we’ve got not seen him giving any indication that he was ever enthusiastic about Alishba. Nevertheless, being the daughter of a enterprise associate, Alishba is taking issues too severely and is continually locking horns with Rumi.
Majority of those characters had been proven to create misunderstandings in married lives, ruining houses and households. Whereas some are given arcs of redemption in the direction of the conclusion, few finish their very own lives (like Sara in Humsafar). It’s time that drama writers begin introducing recent TV tropes or a minimum of align the presence of the prevailing ones in keeping with the sensibilities of the viewers as a result of ladies in 21st century are greater than mere equipment or instruments of mayhem.