“It’s Politics”, Mehreen Jabbar on why Pakistani dramas are not on Netflix

Filmmaker Mehreen Jabbar talks about how she believes politics, not the quality of Pakistani content, is what really keeps local productions off major streaming platforms like Netflix, Prime Video, and HBO, pointing instead to commercial interests and regional dynamics that influence such decisions.

Filmmaker Mehreen Jabbar talks about how she believes politics, not the quality of Pakistani content, is what really keeps local productions off major streaming platforms like Netflix, Prime Video, and HBO, pointing instead to commercial interests and regional dynamics that influence such decisions.

Speaking on a recent talk show, Mehreen shared her perspective on why Pakistani shows have yet to break into global streaming despite the industry’s visible creative and technical growth, especially considering that not everything currently available on these platforms is exactly top-tier content either.

According to her, the answer largely comes down to business decisions tied to geography. “I think the main thing everyone knows is that it’s politics,” she said, noting that these platforms are headquartered in neighbouring countries with far larger populations and subscriber bases. She added that Pakistan’s streaming market is still developing, with many people reluctant to pay for subscriptions, which naturally pushes companies to prioritise markets that are more profitable for them. Despite this, she remains hopeful that a shift could be on the horizon, sharing that she expects a Pakistani show to land on Netflix as early as next year, something she believes could open doors for others.

The discussion also touched on a sensitive subject within local acting circles, the government’s decision to lift the tax on foreign dramas, particularly Turkish content, from Pakistani television. Many in the industry worry this could increase competition and hurt local productions. Mehreen, however, did not see it as a genuine threat. She pointed out that Turkish dramas, once hugely popular, have faded from conversation as Pakistan’s own industry has grown stronger, particularly gaining traction with diaspora and South Asian audiences over the past couple of years. She also expressed a broader belief that competition can be a good thing, pushing creators to keep improving.

When asked about criticism from writer Dr Yunus Butt, who had called out her directorial pacing, specifically how a 26-episode drama can stretch to 32 episodes, and described both her style and actor Shuja’s performance as slow, Mehreen responded calmly. She said everyone is entitled to their own opinion, whether they are a critic or a viewer, adding that she has never been one to respond to such comments directly. She emphasized that no single project could ever appeal to everyone, given how diverse audience tastes are. Having previously served on the Censor Board, she also acknowledged the difficult balancing act broadcasters face, since television reaches such a wide audience, channels must use their own judgment on what aligns with their policies, even though she personally is not in the favour of overly restrictive censorship.

Mehreen was also candid about the industry’s long-standing payment delays. She described a cycle of blame where production houses point fingers at channels, channels blame advertisers, and advertisers blame vendors and retailers, while the ones who ultimately suffer are usually the crew members, like makeup artists and electricians. She admitted that she has raised this issue repeatedly, comparing it to a broken record, and stressed that the industry lacks proper project management. She also linked the problem to weak unionization, noting that while unions technically exist, they hold little real power due to a lack of unity among members.

On a more positive note, Mehreen pushed back against the notion that Pakistani dramas are only now becoming progressive in their portrayal of women. She recalled that strong female characters were common in the plays she worked on during the 90s and 2000s, tracing this even further back to classic PTV dramas. She explained that a phase influenced by a certain style of Indian soap operas had shifted the industry’s direction for a while, but things are now circling back to Pakistan’s own storytelling roots, which have always featured powerful women.

For Mehreen, the story is not about the industry catching up. It is about returning to strengths it has always had, while waiting for the rest of the world to notice.