Why are women oppressed and men oppressed in every play?

For a long time, Pakistani television has been showing dramas in which women are always oppressed and men are portrayed as oppressors and oppressors.

There is a drama ‘Daughters’ which is running daily on RY nowadays.

Daughters are the most popular subject of dramas today, but they are all stories of needy girls who have big dreams and unfulfilled dreams.

The society and the relationships in the home form a wall in front of them and control their lives and this controlling system is called destiny. Sometimes this system works, sometimes it goes wrong.

The drama ‘Daughters’ is being aired on ARY every day. Like the daily dramas, its story is slow.

This drama is the story of a house where no son was born. There are five or six daughters.

Aba’s sister lives in the house. The grandmothers thus form a joint family system in which there is a man, and the girls do not have a mother.

Fathers love girls, but the pressure of a social man also fills them with the strictness of a social father.

As far as the house is concerned, they give precedence to their own thoughts over the decisions of their uncles and grandmothers.

This attitude of theirs is well appreciated by young girls and women in joint family system.

At least if the father gets this much support, it is no less than Koh Noor for the daughter. They also want to marry them in a good place but they are not accepting the change of changing times, they are stuck with their traditions. Still, where they feel the need, they support innovation.

Although here her mother and sister try hard to play the role of traditional society and play the role of daughters in front of their father and often fail.

The traditions that are the eminence of a middle class family, which the middle class has made life difficult for themselves and others.

The gist of the story is that Ayeza was getting married to Danish, whom Danish himself liked while he liked his classmate.

The bride goes to meet her classmate because of his lie. He stumbles like a bird flying in the wind of emotion.

Danish was forced to marry his elder sister Fiza, whom Danish had already rejected.

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Ayra is a university going girl with a modern mindset. Boys like such girls in their teenage years. Who is walking along will be known later.

Now Danish is not ready to accept Fiza. She has gone back to Makkah, but the author has brought her back to the threshold of knowledge by forcing her to a business meeting.

Ayeza has started going to the university again and the same boy is stopping her in the university and answering questions as if it were a court.

It is a strange university, the university administration calls for such incidents, but here the story is riding on the flight of love. So it has many technical weaknesses.

Some moral weaknesses are also likely to be introduced in the next episodes which will give the story to the current drama as well as spoil the society.

Junior actors also need to focus on their craft.

Aunt John’s marriage is unsuccessful. Now, whatever a person has, he will share it, so they keep the environment of the house polluted by distributing their pain in the politics of the house.

She neither takes Sikh’s breath herself nor does she let her nieces take it.

This is a drama about domestic politics and it will be popular because as the system of domestic politics is not shaking, the system of domestic politics is also established as it is. To make life good, the system has to be pushed.

Danish’s younger brother Faris has also returned to Pakistan. He is the only person who has any sympathy for his sister-in-law who is knocking his mother out.

Overall, every play seems to have the same theme ‘Daughters are a burden’ first the parents take off. After that, the in-laws also try to take off.

A woman has to live her life by erasing her self-respect, be it Makkah or in-laws. I wish we could also make dramas where the in-laws are a good place. There is no battlefield, no woman is a lone soldier, who has to go there to fight and win, even if it costs her life.

The sufferings of daughters are highlighted because the society is masculine, otherwise sons are equally miserable and oppressed in their place. When their suffering is not understood, they become oppressive

So the issue is about society.

Half of the problems in this play are due to the deprivation of the father’s life, if he had been remarried, the poison of loneliness in him would not have been filled for the nieces.

The reason is that daughter’s place is different, sister’s place is different.

There are two or three heroes, but all are angry men, serious, detached from life, like incomplete characters in their own separate lives.

Seeing a man without life sometimes feels like maybe the woman writer sees him from her own eyes instead of getting into the role of the man.

Hey guys, men live full lives too. Even outside the house, they have a circle and problems and resources which are missing in hard dramas, so they are here too. Men’s speech is different. As the feminine is distinct but severely lacking.

Now Ayeza regrets what has happened and wants to reduce her guilt by apologizing to her brother-in-law.

On the other hand, his classmate is falling madly in love with him and is not even contacting his mother.

Danish wants to divorce Faza and his brother Faris also wants to avoid ruining another life because of one person, but his father’s position is traditional that there is no divorce in our family, so it is impossible.

The chemistry of Faza and her deurafaras is quite a match and it seems that the one who could not make a wise decision, his wife will.

Faris is the only fully male normal character, the rest is a dry forest whose coal is also damp with traditions making the play depressed.

Still, the drama is popular because we are so fed up with the stories of oppressed women that now male actors are saying in interviews that men should not be shown like this.

But why no male actor refuses to do such a role? As Feroze Khan said in his interview, ‘Don’t show men as animals in every play.’

So special women writers and channels should consider that if times are not changing then change the drama. Switch roles. Give awareness. Make the dream of a model society by creating a new society.

Is it not so that in the cycle of ratings we are dissolving poison in the society?