Viewers express intense disappointment as the Hum TV drama takes a highly controversial turn, relying on a second-marriage trope to tackle infertility.
The newly released episodes of the drama serial Gulbahar on Hum TV have sparked intense public outrage online, turning what promised to be a progressive family narrative into a source of widespread controversy. Written by Aliya Bukhari and directed by the acclaimed filmmaker Mehreen Jabbar, the show initially attracted a massive viewership eager to witness a mature, modern story. However, a sudden, disturbing plot twist involving a second marriage has left audiences deeply frustrated with the direction of the prime-time project.
The intense backlash primarily targets the show’s leading stars, Sanam Saeed and Emmad Irfani, who return to television with high expectations from their loyal fan bases. Sanam Saeed, widely celebrated for her career-defining, progressive roles that champion women’s empowerment, has long been a symbol of feminist storytelling in Pakistani television. Alongside her, the charismatic Emmad Irfani has built a reputation for portraying sophisticated, modern men, making their joint decision to sign onto this particular screenplay highly perplexing to their admirers.
The narrative centers on Sheheryar and Sara, a successful, deeply affectionate couple navigating the emotional struggles of infertility. Instead of addressing this sensitive issue through modern avenues like medical treatment or adoption, the script takes a regressive turn by showing Sara arranging her husband’s marriage to an orphaned teenager to secure an heir. Angry viewers immediately flooded social media to criticize this lazy, sensationalist writing, with one struggling viewer pointing out the insensitivity of adding “chaat masala” to a painful real-life struggle, while others questioned why a known feminist like Saeed would agree to promote such outdated tropes.
This sudden narrative detour highlights a growing divide between modern Pakistani audiences who crave progressive representation and production houses that continue to rely on sensationalist story arcs for television ratings. As the public backlash intensifies, many wonder if the creators will attempt to redeem the storyline in upcoming episodes or if the project will remain another missed opportunity for meaningful television. Will Pakistani dramas ever completely move past the redundant second-marriage trope to address sensitive social issues with the maturity they deserve?
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