From Screen to Reality: How Barzakh Reflects or Misrepresents Pakistani Society

A Look into the Plot

Barzakh is set in the beautiful mountains of Hunza, referred to as the ‘Land of Nowhere.’ The story revolves around Jafar Khanzada, played by Salman Shahid, who is determined to marry for the third time. This time, he plans to marry the ghost of his first love, Mehtab, who died 60 years ago. Jafar’s sons from his first two marriages—Shehryar (Fawad Khan), a widower with a nine-year-old son, and Saifullah (M. Fawad Khan)—are invited to the wedding on a mountain. Both sons have their issues, adding to the family drama. Sanam Saeed plays Scheherezade, the manager of Mahtab Mahal, a fancy estate with a mysterious past. The show turns the stunning Hunza Valley into a spooky, otherworldly place that lies between life and the afterlife, which is the meaning of “Barzakh.”

The Good, the Bad, and the Downright Creepy

Let’s start with the basics: Barzakh has some serious talent behind it. The performances by the cast are commendable. The cinematography is on point, and the plot tries to tread new ground. But here’s where things get tricky—this “new ground” is riddled with controversies that many believe misrepresent Pakistani society. For starters, Barzakh introduces elements that have left Pakistani viewers scratching their heads. Hints of inappropriate innuendos, and even a disturbing joke about necrophilia made by a child. The series carries an overarching dark, creepy vibe that reeks more of satanism than anything remotely Pakistani. And let’s not forget the portrayal of a homosexual character, which has sparked significant backlash. The old man, played by Salman Shahid, is far from how an ordinary grandparent acts in our society. This is not the loving, wisdom-spouting elder we are used to seeing, but a character that many find unsettlingly alien.

Cultural Reflection or Misrepresentation?

Yes, Pakistan, like any other country, has its share of customs that don’t always align perfectly with religious teachings. We have our vices and sins, and not every practice is morally upright. But Barzakh takes it a step further by showcasing queer themes under the guise of artistic expression. This has been a major bone of contention, with many arguing that it crosses the line. While art is about pushing boundaries and exploring new narratives, there’s a fine line between representation and misrepresentation. Barzakh seems to imitate Western content, but in a way that feels forced and out of place. Instead of a perfect blend, it feels like a patchy attempt at adopting themes that do not sit well with the local audience.

The Numbers Don’t Lie

The viewership stats tell their own story. The first episode pulled in 2.2 million views on YouTube, but by the third episode, the numbers plummeted to just 288,000 views. This steep decline indicates a significant disconnect with the audience. Many viewers feel that the series promotes LGBTQ content contrary to Islamic values, which has alienated a large segment of the potential audience. This drastic drop in viewership suggests that while initial curiosity was high, the controversial themes and perceived misrepresentation led many to tune out after the first episode. This trend underscores the importance of cultural sensitivity and authenticity in storytelling to maintain audience engagement.

The Backlash

Unsurprisingly, the series has faced severe public backlash. Pakistani actors participating in a series perceived as promoting queer themes have drawn significant criticism. The involvement of Indian makers has only added fuel to the fire, with fans worried about the potential decline in the quality of Pakistani dramas, echoing trends in Indian media. Some fans have even suggested that Fawad Khan’s involvement is an attempt to cater to his Indian fanbase. Meanwhile, critics defending the show have sparked further controversy, with clips circulating online, intensifying the debate.

Why Barzakh Misses the Mark

At its core, Barzakh attempts to explore complex themes of life, death, and the supernatural. The show sets itself in a visually stunning environment and builds a narrative that could have been a fascinating exploration of these themes. However, its execution leaves much to be desired. The elements that are supposed to add depth—like the ghostly love story and the otherworldly setting—end up feeling more like distractions from the show’s inability to stay rooted in the cultural and social realities of Pakistan.

The Impact of Misrepresentation

When media misrepresents a society, it doesn’t just create a disconnection with the audience; it can also perpetuate harmful stereotypes and misconceptions. Barzakh’s portrayal of a homosexual character and the incorporation of themes that many viewers find alienating do not just stray from Pakistani norms—they actively challenge them in a way that feels more provocative than thoughtful. This can lead to increased stigmatization of marginalized groups and a backlash against the very idea of exploring such themes in media.

Authenticity in Storytelling

Authenticity in storytelling means respecting the cultural context from which a story emerges. It doesn’t mean avoiding difficult or controversial topics, but it does mean handling them with sensitivity and awareness. Barzakh could have been an opportunity to thoughtfully engage with themes of life, death, and even the supernatural within a Pakistani context. Instead, it feels like an attempt to shock and provoke, rather than to tell a story that resonates with its intended audience.

Lessons for Future Productions

The controversy surrounding Barzakh serves as a cautionary tale for future productions. For Pakistani content creators, it underscores the importance of staying true to the cultural and social fabric of the country. It’s not about avoiding controversial topics, but about addressing them in a way that feels genuine and respectful. For viewers and critics, the Barzakh debate highlights the ongoing conversation about representation in media. It reminds us that while it’s important to push boundaries and explore new narratives, it’s equally crucial to do so in a way that feels authentic and grounded.

Barzakh has certainly put Pakistani content under the microscope, but not in the way many would have hoped. While it’s important to push boundaries and explore diverse narratives, it’s equally crucial to stay rooted in authenticity. Barzakh may have aimed to be groundbreaking, but in doing so, it seems to have lost touch with the very essence of the society it seeks to depict. In the end, it serves as a reminder that while imitation might be the sincerest form of flattery, it doesn’t always translate well, especially when it misses the mark so widely. This controversy serves as a pivotal moment for Pakistani media, prompting a deeper reflection on how stories are told and whose voices are represented. As audiences, we have the power to demand narratives that are both daring and respectful, pushing the envelope without tearing the fabric of our cultural identity.