​An unfiltered take on Pamaal

Pamaal has been the talk of the town ever since it aired on our TV screens. The drama, starring Saba Qamar and Usman Mukhtar, managed to highlight some deep-rooted issues in our society, including those of toxic marriages.

We had been following this drama and had a lot to say about it. Thus, my colleague Laiba and I sat down to unpack why it has sparked such intense reactions online. From its promising start to its increasingly troubling character arcs, our discussion is a no-sugarcoated analysis of what the drama gets right — and where it seriously falters.

At its core, Pamaal begins as the story of Malika, an ambitious, creative woman shaped by loss and circumstance. Having grown up in her uncle’s house after her father’s death, she dreams of independence and a sense of purpose. Enter Raza — a seemingly charming, sensitive man whose dramatic “love at first sight” moment quickly becomes the foundation of a relationship many initially found romantic. But as the story progresses, that charm gives way to control, possessiveness, and emotional manipulation.

One of the key points we discuss is how Raza’s character arc shifts from flawed-but-likeable to deeply problematic. His anger, dominance, and need for constant validation are repeatedly framed as love, a portrayal that felt disturbingly familiar to many viewers. While social media initially praised the drama for its “relatability,” that same relatability became uncomfortable as toxic behavior was increasingly normalized — both within the narrative and by audiences justifying it with, “This happens in real life.”

“The conversations in different Facebook groups, at that point, were like Why is Malika being so ungrateful? ” Laiba pointed out.

“This is so normalized that women say their husbands are more toxic than this, which isn’t any better,” Saneela added.

We also talk about Anas (aka Anni), the ever-supportive childhood friend, whose sweetness borders on self-erasure, and Malika’s mother — a character that sparked strong reactions. While writer Zanjabeel Asim has acknowledged that some part of the drama was inspired by her real-life experiences, we question whether repeating generational toxicity without critique truly serves the story in today’s context.

As Malika moves into Raza’s family home, conflicts with her sister-in-law, pressure from her mother, and Raza’s constant policing of her choices strip her of agency piece by piece. Even moments that should signal growth are twisted into narratives of ingratitude. Our video isn’t about declaring Pamaal entirely good or bad. It’s about questioning why certain behaviours are excused, why women characters are endlessly burdened, and why audiences are still asked to sympathise with control disguised as concern.

Watch till the end of the video as we predict how Pamaal might conclude.