By Shaima Gourh
Pakistani television has long been celebrated for its ability to mirror society, but in recent years, audiences have increasingly demanded stories that go beyond entertainment and address uncomfortable realities. Two recent drama serials,
Pamaal and Case No. 9, have emerged as powerful examples of this shift. While differing in genre and narrative style, both dramas converge on one central purpose: exposing real-life struggles and advocating for women’s empowerment, independence, and the courage to raise one’s voice against injustice.
At first glance, Pamaal and Case No. 9
appear to exist in entirely different worlds. Pamaal is rooted in emotional and domestic spaces, unfolding within households and intimate relationships. Case No. 9, meanwhile, adopts a darker, investigative tone, navigating crime scenes, courtrooms, and institutional corridors of power. Yet beneath these surface differences lies a shared realism that resonates deeply with viewers.
Pamaal focuses on emotional dependency, manipulation, and the silent sacrifices women are often expected to make in the name of love and family. The drama illustrates how affection, when intertwined with control and imbalance, can slowly dismantle a woman’s confidence, ambitions, and identity.
What makes Pamaal particularly impactful is its familiarity; many viewers recognize these dynamics from their own lives or those of women around them. The drama does not rely on exaggerated villains or dramatic twists but instead presents a painfully believable portrayal of how emotional exploitation can be normalized within society.
In contrast, Case No. 9 draws viewers into the complex realities of crime and justice. Centered on a single case, the drama explores how truth is often obscured by fear, power, and social pressure. It presents multiple perspectives; victims, investigators, perpetrators, and bystanders; forcing audiences to confront the uncomfortable reality that silence and compromise frequently enable injustice. Rather than glorifying crime or heroism, Case No. 9 adopts a grounded, almost
documentary-like approach, reminding viewers that real-life justice is rarely straightforward.
What makes both dramas must-watch television is their relevance to contemporary social conversations. Pamaal speaks directly to women who are conditioned to prioritize relationships over self-worth, highlighting the emotional cost of dependence. It challenges the deeply ingrained belief that patience and sacrifice are virtues regardless of the personal toll they take.
Through its characters, the drama raises an important question: at what point does love become self-destruction?
Case No. 9, on the other hand, addresses a broader societal responsibility. It questions the effectiveness of systems meant to protect citizens and exposes the moral dilemmas faced by individuals working within them. The drama underscores how justice often depends not just on laws, but on the courage of individuals willing to stand against wrongdoing; even when doing so comes at personal risk.
A defining strength of both serials is their honest portrayal of real-life situations without romanticizing suffering. In Pamaal, emotional abuse is shown not as dramatic spectacle, but as a gradual erosion of self-esteem. In Case No. 9, crime is depicted as chaotic, distressing, and morally complex, stripping away any illusion of glamour. This realism
allows viewers to engage critically rather than passively consume the narrative.
Perhaps the most powerful common thread between the two dramas is their message on
women’s independence. Both serials emphasize that empowerment begins with financial
stability, self-awareness, and confidence. Pamaal highlights how economic dependence often traps women in unhealthy
relationships, limiting their ability to make choices or leave harmful situations.
The drama subtly reinforces the importance of education, career growth, and self- reliance as tools of liberation.
Similarly, Case No. 9 presents women who refuse to remain silent in the face of injustice.
Whether as victims, professionals, or witnesses, female characters are shown asserting their agency, challenging authority, and demanding accountability. Their strength lies not in perfection, but in resilience and moral clarity. The drama reinforces a crucial lesson: raising one’s voice against the wrong is not rebellion, but responsibility.
Both dramas also encourage society at large to reflect on its role. Pamaal questions how
families and communities often dismiss emotional abuse as “normal,” while Case No. 9 confronts the collective silence that allows injustice to persist. In doing so, they shift the
narrative from individual suffering to social accountability.
In an era where television content often prioritizes escapism, Pamaal and Case No. 9 stand out for their courage to tell uncomfortable truths. They entertain, but more importantly, they educate and provoke dialogue. By portraying real-life struggles with sensitivity and depth, both dramas remind viewers that awareness is the first step toward change.
Ultimately, Pamaal and Case No. 9 represent a meaningful evolution in Pakistani
television; one where stories do not shy away from reality, and women are portrayed not as silent sufferers, but as individuals capable of strength, independence, and voice.
For audiences seeking content that reflects society while challenging it to do better, these two dramas are not just worth
watching; they are necessary.
