The ‘horror’ genre through the medium of TV dramas in Pakistan is a subliminal representation of contemporary, desi popular culture in the subcontinent. Given the rise of horror televised drama series both nationally and internationally, there is an inculcation of a pan-South Asian, multi dynamic combo of drama-horror-romance genre emerging that has allowed Pakistani horror to travel well and garner a considerably loyal viewership. There is a high level of cultural proximity between the ancient fables, superstitions and exorcism existing within our socio-cultural milieu, (which have descended through dastaans common to all South Asian gharaanas/households), and the televised depictions of these in horror dramas.

This particular brand of horror has become increasingly popular (on TV) over the years and is best understood through attention to several popular and iconic supernatural series aired on Pakistani television. The ‘trauma’ that gives voice to paranormal activity may offer the new urban content consumer an alternative depiction of, and engagement with, Pakistani modernity, romance and family values, which has not necessarily been explored by international and western horror genres. What is equally intriguing is the breadth of themes which ground the plots of these dramas, which goes to say that the sheer scope of good horror in our entertainment industry is massive.

Here is some insight into the popular tropes that draw horror-hungry viewers and keep them glued to their TV screens:

Djinn mayhem and exorcism in Chalawa

Chalawa (currently on air) is proving to be a cocktail of horr-mance (horror-romance), supernatural suspense and paranormal activity. The plot revolves around a djinn that has been in the family for centuries and is both protective of the mother-daughter duo (Naveen Waqar as the widowed Mahnoor and Noor Zafar Khan as Sawera) and a young boy, who is actually a chalawa, named Sarnash. Adding to this cocktail are intriguing tidbits of voodoo magic, sorcery and spirit possession practised by the dapper and cunning exorcist, Professor Hamdani (Adnan Jaffar). This horror show had potential to be an eerie watch had there been some attention to special effects. Regardless, the whole djinn angle has people interested.

The vilifying tantric woman in Bandish

Who said women can’t practice black magic and rule the screen? Bandish (2019) was a rare horror drama with strong women characters who dominate the plot and command the story from start to finish. Despite all the supernatural pandemonium caused by the misleading Tantric Sumbul (Farah Shah) whose sole purpose is to use her black magic powers to avenge her first love’s rejection by turning Madiha (Marina Khan) and her family’s life upside down, every single woman in the play holds her ground and stays strong. A supremely refreshing change from saas-bahu-saazish sagas with some enticing cliff-hangers, supportive male characters, and commendable performances, this drama is a must watch for some terrific horror. Special shout out for the young Syeda Hoorain as Aleena, who bewitched all of us with her dark stunts as a possessed child.

The ‘witch-hunt’ in Belapur ki Dayan

A dayan is literally a female vital force, or a witch who emerges from the netherworld or hell. Dayans have been around in our subcontinent’s stories, superstitions and folklore for eons. The dayan is, according to stories, passed through generations, a hideous, unsightly spirit with an evil eye seeking revenge. Legend has it that a dayan usually has bewitching long hair as her fifth limb, backward facing feet, and scary long black nails. Belapur Ki Dayan (2018) was a spin-off on this very paranormal entity with the gorgeous Amar Khan playing the supremely terrifying dayan seeking to avenge her step-brother’s wrong doings.

The Classic Haunted House in Woh

A uniquely riveting horror series, Woh (2013) was directed by Angeline Malik and was so well received that it was renewed for a second season titled ‘Woh Dobara’ in 2014. An ode to ‘occult’ in the truest sense, this haunted house horror revolves around the stark juxtaposition of paranormal mayhem and marital bliss. A family moves to a new (haunted) home and is busy prepping for a lively wedding, joyful ceremonies and celebrations but polar opposite mystic, dark and apparitional activities ruin it all. The star of this show was definitely the dynamic Arij Fatyma as ‘Woh’ who sent shivers down our spine with her (literally and figuratively) bone-chilling performance.

Exploring the Iblis within in Lal Mai

Lal Mai (2019) was a tribute to the verses mentioned in the Holy Book (Quran) about the notorious Iblis, who was originally considered an angel but has today garnered the perception of a notorious djinn. Traditionally speaking, a Djinn, (in Arabian folklore and Islamic mythos) is a lesser ranked angel who can appear in animal and human forms and can possess whoever they want to. Lal Mai explores demonic disambiguation and is unconventional in ways more than one. Set in the mountains of Balakot, the series offers a refreshing change from the Karachi sets and locations seen ad-nauseum on television. Location plays an important character in this enthralling drama and spells spooky with capital letters. Directed by Khalid Malik, this horror series explores the unconscious relationship between human beings, God and Satan.

Incantations and evocations of horror and the horrifying have an eternal legacy ever since the inclusion of ‘the abominable’ in Quranic aesthetics or the havoc caused by unsettling ‘ghostly’ figures, such as vampires, conjured spirits, witches, demons and possessed souls.

Recent Pakistani television productions have attempted to evoke a sense of horror that has a constant and colossal presence in various South Asian milieus. Often excluded from canonical literary genres, horror is often bracketed into pulp or grey literature. These TV series draw inspiration not just from history and religion, but also from occultism, mythology, folklore, oral histories and fiction and make for an enthralling watch nonetheless.

Afreen Seher is a creative writer and a Digital Media professional with special interests in TV and pop culture. She can be reached at afreenu3@gmail.com