For decades, Pakistani television dramas largely revolved around family, relationships, and domestic conflicts. Stories of social injustice, sexual violence, or abuse were often sidelined, deemed too controversial for prime-time audiences. Yet, in recent years, a shift has emerged. Dramas such as Udaari, Dil Na Umeed To Nahi, Ankahi Sachaiyan, Kabuli Pulao, and now Case No. 9 are confronting subjects that once would have been considered taboo. In particular, Case No. 9 focusing on the legal process itself, bringing the realities of the courtroom and the law into sharper view.
Airing on GEO TV, Case No. 9 stars Saba Qamar as Sehar Moazam, a rape survivor fighting to hold a powerful man, Kamran, accountable. In the latest episode, Kamran’s lies are exposed live on air by his wife, Kiran, through CCTV footage – a dramatic turning point that left viewers both shocked and engaged.
Director Wajahat Hussain, speaking to The Express Tribune, said the drama was never meant to entertain alone. “When your intention is good, paths begin to open. The intention of the cast was to talk about this issue and create awareness. The happiness lies in the fact that the message we wanted to convey has reached the public.” Hussain added that the team maintained moral and emotional boundaries while filming. “We practiced self-censorship because imagining such a character and building an emotional connection was very difficult for us.”
Actor Junaid Khan, who plays Rohit in the drama, described the role of dramas in social education: “Such dramas give society an opportunity to learn. Women should know how important these issues are and what steps they need to take at the right time.” He reflected on his own lack of knowledge regarding legal consequences: “I myself didn’t know what the punishment for a rape case is. Many people are unaware of what factors in the law can lead to a perpetrator being punished.”
The Human Rights Commission of Pakistan reports that 4,175 rape cases and 733 gang-rape cases were recorded in 2024 alone. The passage of the Anti-Rape Act 2023 requires courts to complete hearings within four months, yet public awareness remains limited. Actor Faisal Qureshi stressed the drama’s relevance to real life: “Many girls face harassment in offices. We didn’t create a new story; we showed what is already happening in society.” He noted that the show also offers guidance for young people: “It is important to know how to avoid such situations and, if they do occur, which paths should be taken.”
The drama’s courtroom structure, designed for authenticity, has also attracted praise. Rushna Khan, wife of the writer Shahzeb Khanzada, reflected on the uniqueness of the project in a podcast with Mubashir Hashmi: “Its set was specially designed. It was a courtroom drama, and almost all the actors were saying that they were working in such a drama for the first time. More dramas like this should be made.”
Yet responses remain divided. Some viewers see these dramas as essential conversations, while others argue they challenge traditional family values. Regardless, what is clear is that Pakistani television is no longer merely a space for escapism, but a platform to engage with pressing social issues. Dialogues like Sehar’s, ‘agar society mera sath nahi de sakti tu kam az kam mujh pr mazeed zulm na kare’ (If society cannot stand with me, at least don’t let them oppress me any further) — bring the voices of victims into mainstream discourse, underscoring both the urgency and sensitivity of the subject matter.
As audiences await the concluding episode on Thursday, the question remains whether Sehar Moazam will succeed in bringing Kamran to justice, and whether television itself can continue to sustain these difficult but necessary conversations. Latest News, Breaking News & Top News Stories | The Express TribuneQaisar KamranRead More
