More than a barren wasteland | Film

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instep review

In a country like Pakistan, with its fair share of problems, both visible and hidden, people often relax by watching television throughout the day. These days, it is whimsy and whimsy that has captured the nation’s fancy. Before that it was Sadaya Tumharre or Humsafar – shows that made their stars household names and new-age superstars.

With the birth of Zee Zindagi and the growing popularity of cross-border Pakistani television serials, there is a belief within the industry that Pakistani dramas are not only superior to their Indian counterparts but are actually worthy of quality entertainment. And while that may be true in terms of ratings, most of these drama serials play into stereotypes. Ask any actor worth his salt and they’ll give you one answer: reactionary television sells. It creates an audience and appeals to the masses.

Let’s assume for the sake of this piece that this is one hundred percent true. So, what is the solution? However, the answer is not binary and cannot be summed up with yes or no. The problem is very deep.

Television in Pakistan entertains in a one-dimensional way: weeping willows and tragedies that are never fully explored and are skin-deep. There are no layers. But living in a borderless digital world and exposed to content from around the world, it’s clear that television can be much more than a wasteland.

It can engage, it can challenge, it can be innovative, but for any of that to happen, you have to look at it from a different perspective, steeped in the belief that tele. Vision can educate its audience without condescension.

With these factors in mind, Instep looks at a handful of international shows that not only entertain but push the envelope in a way that educates and makes you curious about human potential.

Our story begins in the UK where the works of William Shakespeare, a literary giant like no other, have been brought to life by PBS in a series called The Hollow Crown. The first part of the series, which started in 2012, consisted of some of the Bard’s most famous plays (Richard II, Henry IV Parts 1 and 2, and Henry V) and was performed by incredible actors such as Jeremy Irons, Ben Whishaw, Tom Hiddleston. What was the anchor? , Michelle Dockery and Rory Kinnear. The series’ ongoing second season, Hollow Crown (War of the Roses), debuted earlier this year and stars Sherlock stars Benedict Cumberbatch, Andrew Scott, as well as Dame Judi Dench and Huey Buñuel.

After watching the first series, I must say that the show stays true to its source material. This means the state of the English language as it originally appears in Shakespeare’s work. Iambic pentameter has been revived and as you watch the show, you realize that the creators of the show didn’t bend the language to make it more palatable for a younger audience.

Ben Whishaw’s haunting and fantastic portrayal of King Richard is a landmark performance that will always be discussed whenever one is looking for a worthy adaptation of Shakespeare’s works.

Hollow Crown is not just a story of a monarchy, but an intelligent exploration of political power, the greed and psychology behind power, the question of identity, and the struggle for thrones. As Richard, played by Ben Whishaw, banishes his two cousins ​​after ending a duel in the opening episode, his reckless behavior and disinterested decisions as a leader make you cringe. And surprise.

Stories of great men and villains, both noble and difficult to accept as heroes, make Hollow Crown a show that deserves not just one viewing, but several to truly understand its many layers. Demands revision.

Moving away from Monarchy, our second case study is the Shonda Rhimes series, How to Get Away with Murder. While the show, like all Rhymes productions, seems as fast-paced and quick-witted as the law-enforcement series, filled with thrilling moments and a murderous group of students, it goes beyond that. Look closer and the show is actually about deeply flawed individuals who are scarred and complicated. They live in grayscale and invite you to explore it.

Take, for example, the second season of this particular series when the show’s main star, Viola Davis, whose portrayal of Professor Annalize Keating is not only memorable but also very human, continues to struggle in her professional and personal life. After that, the house went back to the south. .

During this quiet, slow-burn episode, we learn about the loss of Keating’s child and the long shadow of grief she carries around her. In a show full of shocking moments, this particular episode not only showcased Davis’ talent as an actor, but also why she is the way she is. It’s a heart-wrenching performance, one that speaks volumes about the unspeakable grief of losing a child. However, the show doesn’t involve Davis in an endless loop of trauma. It presents this subplot in a subtle way and helps us explore the motivations that drive each character.

A third example comes from the show Law & Order: Special Victims Unit, an American crime and legal procedural drama that is often credited with raising awareness of the topics it deals with.

Anchored by Mariska Hargitay, the long-running series revolves around issues of sexual violence and consent within the parameters of the show. And while it makes for tough, almost physically painful watch if you keep following through, according to a study published in the Journal of Health Communication, the show is educating many of its viewers about rape. is

In a sample of 313 college freshmen conducted by Washington State University, the study found that “exposure to law and order was associated with less acceptance of rape myths, greater intentions to seek consent for sexual activity.” , with greater intentions to refrain from unwanted sexual activity, and greater intentions to follow through on decisions about sexual consent”.

Step outside of crime procedurals and there are plenty of shows that have the potential to make you a more empathetic person. For example: the ongoing season of Grey’s Anatomy. The show is in its twelfth season which means audience fatigue may be setting in and yet the show is seeing an uptick in its ratings like never before. Why? Because the quality of stories and narrative that drives the plot is human, relatable and explores the many dimensions of the human psyche and personal evolution over time.

This season’s landmark episode occurs when the show’s main character, Meredith Gray (Ellen Pompeo), is beaten to within an inch of her life by a patient. As Meredith’s character is treated by doctors who double as her family, the voice is omitted. We learn to see the world through the eyes of Meredith and her hearing loss. The silence is deafening and effective because you think for a moment what life would be like in silence. Throughout the episode, as Meredith struggles to hear a word, we are told to never discount or minimize the importance of speaking. Speak your mind, raise your hand, make yourself heard, you have a voice, use it.

Of course, none of these shows are reprehensible, nor do they treat viewers as incomprehensible creatures. The themes they explore are central to both culture and identity. It’s clever writing that keeps up with the times but does so without prejudice. Ethnic and cultural representation should not be dismissed either. While Hollywood continues its obsession with superheroes, it’s television that’s driving home the point that being different isn’t a bad thing. Ultimately, it’s about challenging your own ideas, of what it means to be human and what it means to live in the gray.

Perhaps closer to home is Shahrukh Khan’s film, Fan, which also drives home this point very well. In the twilight of his career, Khan has acted in a film that has no item songs or any songs for that matter and does not use female actors as props (Ala Dhoom 3). It is a film that deals with the nexus of obsession and celebrity in the modern age. And although Fan has its share of flaws, the film is a bold example because it goes beyond the traditional song-and-dance routines that drive a film’s publicity and box office potential.

Finally, the argument is not that the reactionary narrative doesn’t sell. The real argument is the amount of damage caused by such materials.