Mubashar Nadeem
“Tan Man Neel o Neel,” a recent Pakistani drama, has delivered a stark and unforgettable message, proving that television can be more than mere entertainment. In its final, dialogue-free moments, the show presents a gut-wrenching visual climax, juxtaposing the protagonists’ desperate flight from a raging mob with real-life footage of mob violence victims. This powerful sequence, underscored by a haunting soundtrack, transcends the typical drama format, becoming a searing social commentary. It’s a potent reminder of the immense power media holds, not just to entertain, but to reflect, challenge, and ultimately, shape society.
This drama serves as a critical lens through which we can examine the broader role of media, particularly cinema and television, in our lives. These mediums don’t exist in a vacuum; they are intrinsically linked to the societies they represent. They are influenced by cultural norms, political climates, and prevailing ideologies, and in turn, they actively contribute to shaping these very elements. The agenda-setting theory, a cornerstone of media studies, posits that media outlets don’t necessarily dictate what people think, but rather what they think about. By consistently highlighting certain narratives while marginalizing others, media can significantly influence public perception, reinforce existing biases, and even sway political discourse.
This influence is not confined to academic circles. It’s a reality witnessed globally. Hollywood, for instance, has a long history of constructing narratives that solidify particular ideologies. War films, from the classic “Rambo” to the more recent “American Sniper,” often portray the United States as the perpetual savior, its enemies as inherently barbaric and oppressive, and war as a necessary and heroic endeavor. Over time, these narratives seep into the collective consciousness, shaping public opinion, justifying foreign policies, and reinforcing nationalist rhetoric. Consequently, discussions surrounding global policing, military interventions, and international conflicts are often framed through this cinematic lens, highlighting the deep-seated impact of media on real-world perceptions and actions.
Similarly, Bollywood plays a significant role in fostering nationalism and perpetuating stereotypes. In India, the film industry frequently glorifies war and aggression, often demonizing neighboring Pakistan and the Muslim community. The formula is predictable: the Indian hero is portrayed as brave, patriotic, and morally righteous, while the enemy, conveniently Pakistani or Muslim, is depicted as deceitful, cruel, and a threat to national security. Military action is not only justified but celebrated. These narratives are not accidental; they are meticulously crafted to reinforce political agendas and embed themselves in the public consciousness. The enthusiastic cheers that erupt when a Bollywood superstar delivers a punchline like “Unke ghar ghus ke maarein ge” (“We will invade their homes and destroy them”) underscore the profound influence of such rhetoric on real-world perceptions and attitudes.
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The danger of this influence is real. Personal anecdotes illustrate this point. The fact that some individuals base their entire understanding of a nation like Pakistan on a fictional television series like “Homeland” highlights the critical truth: fictional narratives can significantly shape real-world beliefs. This underscores the responsibility that media creators bear in shaping public perception.
Furthermore, while certain narratives are amplified, others are actively silenced. The removal of Palestinian-made films and documentaries from streaming platforms like Netflix is not merely a business decision; it’s a form of erasure. It sends a clear message that some stories are deemed worthy of being told, while others are deemed unworthy. This is why the recognition of documentaries like “No Other Land,” which chronicles the struggles of Palestinians under occupation, at prestigious events like the Oscars is so significant. It represents an act of defiance against an industry that often turns a blind eye to marginalized narratives.
In Pakistan, television remains the most widely consumed form of media, reaching households across all social and economic strata. It wields immense power to influence the thoughts and opinions of millions. Therefore, the content it presents carries significant weight. When dramas consistently normalize domestic violence, infidelity, manipulation, and toxic relationships, the result is a culture that becomes desensitized to these issues. It’s not about establishing a direct cause-and-effect relationship; watching a drama won’t instantly turn someone into an abuser. However, repeated exposure to these behaviors normalizes them, embedding them in cultural norms and shaping perceptions of what is acceptable and desirable.
“Tan Man Neel o Neel” breaks this mold. Unlike the plethora of dramas focused on domestic disputes and petty family feuds, it dared to address a pressing social issue: mob violence. Instead of glorifying violence or sensationalizing tragedy, it presented it in its raw, horrifying, and dehumanizing reality. It forced audiences to confront uncomfortable truths about the ease with which violence can spread, the collective hysteria that leads to brutal injustice, and the dehumanization of victims. This is the power of television at its best—to challenge, unsettle, and demand reflection. It stands as a pivotal moment in Pakistani television history, reminding us of the true potential of storytelling as a tool for social change and public responsibility.
Media creators bear a tremendous responsibility. Their work doesn’t simply vanish when the credits roll; it lingers, stays with audiences, and shapes their worldview. Therefore, dramas like “Tan Man Neel o Neel” are essential. They disrupt the cycle of passive storytelling and encourage audiences to think critically and reflect on the world around them.
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The power of media is undeniable. It can be used to expose injustices, challenge harmful stereotypes, and encourage reflection and dialogue. Alternatively, it can be misused to reinforce dangerous biases, normalize violence and oppression, and erase stories that deserve to be heard. “Tan Man Neel o Neel” chose the former path, the path of responsibility, truth, and impact. It deserves recognition not just as a TV drama, but as a statement. It serves as a potent reminder that what we watch is never just entertainment; it’s a reflection of the world we inhabit and, in many ways, a blueprint for the world we are creating. The choice lies with media creators: to use their power for good or to perpetuate harmful narratives.
