Pakistani TV dramas have never been more popular. From Karachi to Toronto and from Lahore to London, millions follow local serials, and successful episodes routinely garner tens of millions of YouTube views.
Yet one question continues to puzzle viewers and industry insiders: Why are Pakistani dramas almost absent from Netflix? Are they not good enough for Netflix, or does Netflix not favor Pakistan because it is more ‘inclined’ toward India?
The discussion gained momentum when director Mehreen Jabbar shared her thoughts on Pakistan’s limited presence on the platform. Her comments prompted responses from popular actor/director Shamoon Abbasi, ARY Digital CEO Salman Iqbal, director Mohsin Talat and writer/director Mohsin Ali.
Their comments suggest that the answer isn’t that simple—it involves economics, production standards, storytelling, and professionalism.
Mehreen Jabbar: The Market Comes First
Mehreen Jabbar has been active for over 30 years and has delivered some of the biggest dramas and a couple of well-made films. The recently ended Dr. Bahu was also her project, which was praised for its novel approach.
In a TV interview, she said that she believes Pakistan’s absence from Netflix is less about the quality of Pakistani storytelling and more about the economics of global streaming.
According to her, Netflix commissions content based on regional priorities and subscriber numbers. Larger streaming markets naturally receive greater investment, while Pakistan has yet to become a strategic priority.
She also points to a major difference in production models. Netflix Originals can spend months or years in development, scriptwriting, and production, while Pakistani television operates on tight schedules built around weekly broadcasts. Producing good television is only part of the equation.
Shamoon Abbasi: Raise the Standards
Actor and filmmaker Shamoon Abbasi argues that Pakistani dramas need higher technical standards to compete with Netflix Originals.
In a vlog addressing the lack of Pakistani content on Netflix, he said he believes Pakistan needs better scripts, production design, larger budgets, cinematic visuals, and stronger post-production.
His comments divided opinion, but the competition is now global. Audiences are watching Korean thrillers, Spanish crime dramas, and American prestige television alongside Indian and Turkish productions.
Mohsin Talat: “We Are Not Ready to Spend That Much”
Director Mohsin Talat is among the most prolific drama directors, having worked with nearly all the leading channels in the country. According to him, Pakistani productions are not meeting the standards expected by international platforms.
He points to picture and sound quality, production design, and overall execution, adding, “We are not ready to spend that much. We are not ready to do different things.”
For Talat, however, the problem is also creative. He believes Pakistani television has become too focused on giving audiences what they already want.
“As a media person, it’s my duty to educate my viewers… So, at least force them to think.”
He wants the industry to take greater risks while remaining proud of Pakistani television: “We are one of the best in TV. There is no doubt about that.”
Mohsin Ali: It Begins With the Script
Director Mohsin Ali believes Pakistan has also failed to present its entertainment industry professionally to the international market.
“I feel that we have neither promoted our industry on international platforms, nor are we considered,” he says.
He argues that Netflix’s major productions excel in storytelling, performances, production quality, and professionalism.
International platforms demand detailed preparation, including series bibles and production design. “They ask for a bible… And I feel that most of our work is not even up to standard.”
His experience has reinforced that belief. While his film Chupan Chupai was on Netflix for three years, he says a more recent television project was caught up in delays. For Ali, the problem is not a lack of talent but the systems needed to deliver international-quality productions.
Salman Iqbal’s Surprise Revelation
Perhaps the biggest surprise came from ARY Digital CEO Salman Iqbal.
Iqbal claimed that Netflix had approached ARY about its content, but the broadcaster chose not to proceed because the commercial terms were not economically viable.
This changes the conversation: negotiations could also include licensing rights, exclusivity, and revenue.
Pakistani broadcasters already earn advertising revenue, and successful episodes can generate millions of YouTube views. Granting exclusive rights to an international platform requires them to weigh what they gain against what they give up.
The problem may be economic as much as access.
Thinking Like Netflix
Perhaps the bigger question is whether Pakistani producers are creating the kind of content Netflix seeks. Global hits such as Money Heist, Dark, Squid Game, and Delhi Crime combined local stories with formats that could travel internationally.
These productions were also structured differently from conventional television, with shorter seasons, tighter storytelling, and narratives designed for binge-watching.
Pakistani dramas, by comparison, still follow traditional television conventions. There is usually a patriarch at the helm who isn’t always right, an evil mother-in-law who wants to rule with an iron fist, or a shady character with nothing else to do but make others’ lives hell, etc., which is the norm. As for the stories, they can stretch beyond 30 episodes because ‘the more, the merrier’ is more profitable than entertaining the audience.
There is nothing inherently wrong with this model, but TV success does not automatically translate into streaming success. Pakistan needs writers’ rooms rather than rushed scripts, shorter seasons, and genres beyond the familiar family drama. To go global, they need stories that are unmistakably Pakistani yet universally relatable.
The First Real Test
Pakistan’s first Netflix Original could be the biggest test. Based on Farhat Ishtiaq’s best-selling novel Jo Bachay Hain Sang Samait Lo, it stars Mahira Khan, Fawad Khan, Ahad Raza Mir, Sanam Saeed, Hania Aamir and Iqra Aziz.
After multiple production delays, the project is reportedly expected to premiere before the end of 2026, although Netflix has yet to announce an official release date.
When it arrives, it could demonstrate what Pakistan’s entertainment industry can deliver for a global streaming platform. If successful, it could encourage Netflix and other streamers to look more closely at Pakistan.
More Than a Netflix Problem
Ultimately, the strange case of Netflix and Pakistani dramas is not about a single streaming platform. It is about an industry at a crossroads. Pakistan has the talent, audience, and stories. What it needs is the ecosystem to bring them together.
Mehreen Jabbar points towards market economics. Shamoon Abbasi highlights production standards. Mohsin Talat believes Pakistan needs to spend more, experiment more, and challenge audiences. Mohsin Ali questions professionalism and preparation. Salman Iqbal’s comments suggest that commercial negotiations may also be part of the equation.
All of them may be right. Pakistan does not need to become Hollywood, Korea, or India. It simply needs to evolve. The world is already watching Pakistani dramas. The next challenge is to give those viewers something unforgettable. Perhaps then, the strange case of Netflix and Pakistani dramas will finally become a success story.
