Entertainment versus conventions: challenges of video-on-demand in Pakistan

Art has long been considered a reflection of society. One of the most popular forms of art, cinema and television have manifested the culture, conventions and mindset of different nations over the various decades of history.

In today’s technology-driven world, video-on-demand platforms are a major source of storytelling across the world. The internet has also exposed viewers to different cultures. Someone in Ireland can easily watch shows and films made in South Korea, and vice-versa.

"Video-on-demand is more popular than ever before. Audiences are accepting content from across the globe and international titles are getting due recognition. The internet and streaming have opened up a whole new dimension of entertainment and we have barely scratched the surface."
Anweshak Tejendra, video streaming platforms expert and Co-Founder of The Envoy Web, a digital entertainment journalism publication told us.

Pakistan’s entertainment industry

The industry has been producing films since the 1920s, but it was recognised in 1947, after independence. Though it had seen a decline as Islamisation was promoted, censorship laws were formed and the quality had deteriorated.

In 2007, the industry had seen a resurgence of the cinema. Since then, they have been evolving and attempting to create better content. Simultaneously, the television industry has also seen its peak.

However, unlike other countries, the world's second-largest Muslim population still lags far behind in the acceptance of video-on-demand services.

Poster of 1979 Pakistani film, Dehshat (Photo credits: Wikimedia Commons)

Poster of 1979 Pakistani film, Dehshat (Photo credits: Wikimedia Commons)

Poster of 2019 Pakistani film, Superstar (Photo credits: Hum Entertainment)

Poster of 2019 Pakistani film, Superstar (Photo credits: Hum Entertainment)

Advent and evolution of video streaming platforms

There was a time when people were restricted to watching movies and series in cinemas or on television channels or they had to buy VHS or DVDs. Gen Z is probably very confused right now.

In 2007, video streaming services were introduced to the world, through Netflix. Becoming a modern and advanced form of television, which can be controlled by the viewers. However, it was first founded in 1997, by Reed Hastings and Marc Randolph in California. It also started off as a DVD sale and rental by mail.

As time changed, Hastings and Randolph decided to experiment with an idea that changed the whole concept of entertainment being limited to time or controlled by broadcasters. In 2013, Netflix released its first original web series, House of Cards.

Joining the bandwagon, Amazon Prime Video, Hulu, Disney Plus and several other video-on-demand platforms emerged. They eventually expanded their reach to more countries.

In 2016, Hastings, while announcing Netflix now being available in 130 territories, said: “Today you are witnessing the birth of a new global Internet TV network.”

Similarly, by the end of that year Tim Leslie, Vice President of International Prime Video, released a statement saying: “We are excited to announce that starting today, fans around the world have access to Prime Video,” making the platform available in more than 200 countries.

There has been a stark rise in the number of subscribers of these platforms over the years, especially at the time of the Covid-19 pandemic. With advanced technology, streaming has become a popular medium; making mobile phones, tablets, and laptops the new televisions.

As per a survey (Fig 1.1) conducted for this article, most people have subscribed to video streaming platforms because of the variety of options and original content.

There is a vast amount of native content available in certain countries and to the world, including British shows such as The Crown, Sex Education and Black Mirror and Indian shows such as Delhi Crime, Sacred Games and Made in Heaven.

Global giants; Netflix, Amazon Prime Video and later Indian video streaming platforms; ZEE5, SonyLiv and Alt Balaji have all been made accessible in Pakistan, however, unlike several other countries, the latter’s entertainment industry has never collaborated with these new-age platforms and there is still a dearth of native content.

The neighbouring country, India, which has a population of 50.8 million Urdu speakers, Pakistan’s national language, has been able to create a digital entertainment sphere of its own, with several domestic platforms available in the country and around the globe.

Companies such as Netflix and Amazon Prime Video have had a limited liability partnership (LLP) in India since 2016 and they have been commissioning content, creating and producing original series and movies. Whereas, there are only four series and six movies, from Pakistan, available on Netflix and none on any other platforms.

Fig 1.1

The challenges of video-on-demand in Pakistan

The entertainment industry of the country has always followed society’s norms, however, as people are evolving over the years, there are still hardly any shows or movies that depict a modern society’s character who has a broader mindset.

The narratives on television and theatres mostly focus on the same set of issues and similar personalities. Also, profane language is completely forbidden.

In 2020, amid the pandemic, the first original Pakistani web series, Churails was released on an Indian video streaming platform, Zee5. It talked about existing issues such as sexism, child marriage, forced marriages, sexual abuse, racism, homosexuality and class inequalities.

The series became the talk of the town right after the trailer was released. It caused an uproar among the local audience for its bolder content and language, which led to a debate whether a Muslim majority country with stringent guidelines on entertainment would ever allow the same level of freedom given to video-on-demand platforms in other nations.

After a few months of the show being released, it was removed from the platform.

Asim Abbasi, the director of the series expressed his discontent over the controversy:

How strange for #Churails to be lauded internationally, and now be shut down in its country of origin. In the very country where hundreds of artists came together to create something that could initiate dialogue and open doors for new narratives. (1)
— Asim Abbasi (@IllicitusProduc) October 7, 2020

Artistic freedom squashed because it is wrongly perceived by some as a moral threat. Predictable, and yet, still disappointing. For this is not just my loss. This is a loss for women and marginalised communities that this show meant to re-represent. (2)
— Asim Abbasi (@IllicitusProduc) October 7, 2020

This is a loss for all actors, writers, directors and technicians across Pakistan, who were hoping for digital/OTT to be their saviour. And it's a home-run for all the misogynists who have once again proven that they are the only voice that matters. (3)
— Asim Abbasi (@IllicitusProduc) October 7, 2020

However, following much criticism, the web series was restored.

The Government’s move

Pakistan’s Federal Minister of Science and Technology, Fawad Chaudhry announced that the country was planning to launch its first native video streaming platform and it will be regulated by Pakistan Electronic Media Regulatory Authority (PEMRA). It is a regulatory body for television, print, mass media culture and digital media.

We at @MinistryofST are all set to launch Pakistan’s first OTT Tv (Pak version of #Netflix) Technology part is complete have asked PEMRA to prepare a guideline on content and we will be all set to launch in PPP mode, it ll be just another humble contribution..
— Ch Fawad Hussain (@fawadchaudhry) October 23, 2020

However, the decision was criticised by several people.

As much as I like this idea, don't you think an online subscription based service should be free from the crutches of PEMRA? Because the doesn't necessarily need the same level of censorship as TV. This would allow our industry to be more creative and original
— Glorified Mazdoor (@naaninclusive) October 23, 2020

if pemra is going to prepare guidelines for OTT Tv then it is not going to be anywhere near what netflix provides
— I M A N (@imanless) October 23, 2020

Also, a renowned Pakistani actor, Osman Khalid Butt criticised PEMRA's past actions:

Can someone - literally anyone else prepare this content guideline.
Let's not forget PEMRA issued a show-cause notice to Udaari over 'immoral content' because it was highlighting child abuse. https://t.co/S6ZfuOJkUr
— Osman Khalid Butt (@aClockworkObi) October 23, 2020

The rise of native video streaming platforms

Tapmad, a video-on-demand platform emerged in 2016, though it only offered existing content from television and theatres.

A well-known actress from Pakistan, Mahira Khan has announced her first venture into production for a web series, Baarwan Khiladi on Tapmad. It will be the first original web series backed by renowned actors, shown on a native video streaming platform.

One of the actors in the series, Shahveer Jafry has warned the viewers, through a podcast on his YouTube channel, to be ready for “abusive language” in the show.

Content Director at Tapmad, Layon Lobo told me:

"The answer depends on one's own perception of the content that is produced. I personally think that freedom of speech is there but producers should be able to draw a line when they produce content that should not hurt or malign any religion, culture or any type of feelings."

Another platform was announced by the end of 2020, UrduFlix, which has been creating original content, however with a lower production cost.

In an interview with me, UrduFlix CEO Syed Farhan Gauhar spoke about the challenges of creating video-on-demand content in Pakistan.

What are your views about Pakistan finally creating original content for video streaming platforms?

My views have always been optimistic regarding original content created for video streaming platforms, as I believe the time has come where viewers should watch what's real and relatable. The content could be joyous, dark or reality-based.

Do you think there are any challenges, if so then how can the entertainment industry overcome them?

Challenges always stand in the way when your vision is not clear. The only challenge I feel I have been facing is the viewers' acceptance of reality-based content, bitter truths or social injustice prevailing in our society. The media industry can overcome such hurdles when it shows (on-screen) what it truly believes in.

Do you think video streaming content should be censored?

I don't think video streaming content should be censored. If the scene demands certain 'obscenity', it should be carried out with appropriate viewer discretion.

Photo Source: UrduFlix Instagram

The viewers’ perspective

According to another survey for this article, 80% of people said that there should not be any censorship on video streaming content.

Moreover, 93.3% of people said that there should be a different regulatory body for video-on-demand platforms.

Expert opinion

An entertainment industry expert and the Founder of Galaxy Lollywood, a leading publication in Pakistan, Momin Ali Munshi to me about the prospect of a full-fledged video-on-demand industry in the country.

He further added, "We don't have as many actors, writers or producers. Compared to a country like India, which has a much-evolved industry, we lack big budgets. Also, for video streaming platforms to be sustainable, we need paying subscribers, which is also a challenge in Pakistan."

On the point of censorship, Munshi said that there shouldn't be any stringent restrictions. There needs to be freedom for storytelling and creativity should be allowed to flow. Video-on-demand platforms should be able to tell the stories that we haven't been able to on television.

"Censorship defeats the purpose of having video-on-demand platforms."

I asked some avid streaming viewers if they would pay to subscribe to a native platform:

Conclusion

Pakistan's video-on-demand industry is at an initial stage. There are numerous hurdles to overcome before reaching a global standard. According to Tejendra, it is not all doom and gloom.

As society evolves over time, there are changes seen, though a lot of people are still unable to draw a line between their own religious views and storytelling for entertainment.

If the restrictions end up limiting video-on-demand content and it becomes similar to television and theatres, then there might not be enough incentive for paid subscriptions.

The coming few years could 'make or break' the entertainment industry of Pakistan.