In Pakistan, the Television Rating Point (TRP) system has sparked endless debates about its authenticity, with many questioning its effectiveness in accurately reflecting the preferences of the public. While there is no denying the widespread desire to reduce reliance on TRP as a measure of success, one must ask: Does TRP genuinely represent the content that the people want to see, or is it merely a reflection of what is being forced upon them? The issue goes beyond numbers—it’s about the content itself and whether it aligns with the values and interests of the people, or if it is being manipulated by media moguls to push an agenda.
1. TRP—A Flawed Reflection of Public Taste?
The idea of TRP as an indicator of what people are watching is fundamentally flawed. If the measure of success is simply which drama is attracting the most viewers, then Ertugrul Ghazi and Salahuddin are clear evidence of what audiences gravitate toward. These dramas, rooted in Islamic history and cultural pride, garnered immense popularity, even surpassing locally produced content. But what does that say about the current state of the Pakistani media?
The question arises: Is TRP genuinely telling us what people want to watch, or is it just telling us what’s available to them? With limited alternatives and restricted content choices, viewers are often left with no option but to watch what is presented to them. The absence of variety distorts TRP as a real reflection of audience preference—people are watching what is available, not necessarily what they desire.
2. The Real Problem: The Power Struggle Behind Censored Content
The success of foreign shows like Ertugrul Ghazi presents a significant problem for Pakistan’s media industry. It’s not just about what the public wants to watch—it’s about what the media powers want them to watch. Dramas that deviate from the mainstream, such as those featuring historical Islamic heroes, often face censorship. Why? Because such shows undermine the media’s narrative and disrupt its carefully constructed agendas.
The true reason behind the halting of shows like Ertugrul is simple: it challenges the status quo. It’s not just the content, but the way it portrays history, ethics, and values that creates unease within the media circles. The portrayal of history and heroism in such shows threatens to overshadow the fabricated, sensationalized dramas that dominate the Pakistani TV landscape today. And while the media calls these shows “inaccurate” or “distorted,” the fact remains that the public’s overwhelming interest in them reveals a much deeper desire for meaningful content.
3. The Myth of “Obscenity” in Content: Is It Really the Issue?
One of the core objections raised against dramas like Ertugrul is the claim that they distort facts. However, the real issue lies in the objection to the content’s values. It’s often labeled as obscene, yet the same criticism isn’t leveled against the vulgarity seen in many local Pakistani dramas. The modern media landscape, driven by profit, often glorifies scandalous relationships, family dysfunction, and exaggerated conflicts, all under the guise of entertainment.
So, if we’re truly concerned about the moral impact of media on society, why aren’t we questioning the ethics of the local content that promotes mindless entertainment, devoid of any substance? The real issue isn’t whether Ertugrul distorts facts—it’s whether our current media content is actively shaping a generation that values superficiality over substance.
4. What’s Missing in Pakistani Dramas? A Call for Real Representation
If the concern is about how the next generation will turn out, we must ask: What kind of role models are we showing them? The local Pakistani drama industry is replete with repetitive, formulaic content—romantic plots, family feuds, and melodrama. But what about the real stories that reflect Pakistan’s diverse experiences?
Why aren’t we seeing shows that depict the struggles of our farmers, the everyday heroes in our villages, or the unsung figures in Pakistan’s history? Where are the stories of people like Raey Ahmad Khan Kharal, who fought for freedom and justice? If the media is truly committed to reflecting reality, why isn’t it telling the stories that matter—those that are grounded in the lived experiences of the common people?
5. The Need for a New Vision: Reviving Pakistani Drama with Meaning and Purpose
The Pakistani media industry has immense potential, but it’s currently trapped in a cycle of producing content that serves the interests of a few, rather than the public. If we want to reclaim the TRP ratings and build an industry that reflects the true interests of the people, we must create content that speaks to the core of Pakistan’s identity. This means showing stories that not only entertain but also educate, inspire, and provide alternative narratives to the mainstream.
It’s time to invest in quality content that portrays our real heroes, our true history, and our diverse culture. The Pakistani drama industry must evolve to reflect the values and aspirations of a nation ready for change. Only then will we be able to break free from the chains of a TRP-driven system that limits creativity and stifles the diversity of content that audiences genuinely crave.
6. Conclusion: Challenging the Status Quo—A New Era for Pakistani Media
The time has come to challenge the way TRP is viewed and used in Pakistan’s media industry. The public’s demand for meaningful, educational, and culturally resonant content is undeniable. It’s not about taking foreign dramas as a benchmark; it’s about creating something that is authentically Pakistani—something that aligns with the values and aspirations of our people.
If the media industry is serious about regaining trust and relevance, it must break free from the constraints of TRP and offer viewers content that truly matters. Whether it’s through historical dramas, real-life stories, or content that reflects the challenges and triumphs of everyday Pakistanis, the future of our media depends on its ability to adapt to the changing needs of its audience. Only then can we create a media landscape that is not only commercially viable but also culturally and morally enriching.