In a world where wearing jeans is a criminal act and virtue is measured in soft resigned sighs, the new show “Bharam” serves up a cartoonish battle between two sisters—one rebellious and denim-clad, the other practically made of piety and halos—no nuance, no arc, just pure moral checkbox checking.
If you’ve seen this before, you’re not alone.
A tired tug-of-war between the god-fearing, traditional sister and the “bad” sister who dares to have opinions is nothing new. It’s been a staple of Pakistani storytelling since Mirat-ul-Uroos (The Bride’s Mirror), one of the earliest works of Urdu literature by Deputy Nazir Ahmad, laid the foundation for these dynamics. Masked as a social critique, it reads more as a handbook on how to keep women in their place— a charmingly archaic guide to gender roles that leaves little room for anything other than being pious, obedient, and (most importantly) in a permanent state of submission. Fast forward 150 years, and Pakistani fiction is still recycling these outdated tropes, with Bharam offering a particularly stiff and uninspired update.
You’d think modern writers like Sabeen Junaid and Maimoona Aziz, who penned Bharam, might have moved past this outdated mindset. Instead they seem to have internalized the same tired tales they have been weaned, now dressed up with TikTok trends and Instagram filters.
A binary we’ve seen before
Ramsha in Bharam (2024) is basically Akbari with a new skin. She sneaks out, lies, and throws tantrums when things don’t go her way. Where Akbari worst crimes in 1869 were quarreling with her husband and in-laws, going out without her husband’s permission, refusing to do domestic chores, sewing sloppily and asking for a house of her own, separate from the joint family home, Ramsha does the 2024 version of these things. She is not a character so much as a cautionary tale. In the very first scene, we meet her, she steals money from her mother, her dislike for her elder sister Sajal is irrational and perpetual, (conversely Sajal is shocked at every bad decision Ramsha makes despite having lived with her for 20 some years), she doesn’t seem to care about anyone or anything and has cycled through two love interests within the first 4 episodes.
In a morning show promoting the drama, the cast raved about the twists and turns that are coming. This turned out to be true regarding secret identities, hit-and-run accidents, long lost children, and convoluted love triangles where we won’t see a twist is in the black-and-white portrayal of these two sisters. The good one stays good the bad one will be bad until she hits rock bottom at which point she may change her ways or simply disappear from the narrative.
Watching Bharam is disheartening as it almost feels like this narrative of moral opposites has persisted without growth. However there has been a refreshing countertrend on television, running parallel to these “good girl vs. bad girl” storylines where we find rare gems that actually get sisterhood breaking free from the tired binary to offer more nuanced, relevant, and empathetic portrayals. Sisters don’t have to be defined by moral absolutism but can complex, relatable humans, with actual depth, flaws, and moments of growth as they navigate real-life struggles.
The following shows have proven throughout the decades that it’s possible to explore sisterly dynamics with depth and sensitivity, with sisters who don’t just throw tantrums or roll their eyes at each other.
Tanhaiyaan (1985): The timeless classic Tanhaiyan is a perfect example of flipping sisterly rivalry on its head by showing two sisters, Zara and Sanya, who shockingly like each other. Set in the 1980s when women were slowly entering the workforce, Zara stands out as a strong, competent woman holding her family together after their parents’ death, while her free-spirited younger sister, Sanya, explores love and life. Their different personalities do not create conflict like they would in Bharam and its ilk. Instead their contrasting traits complement each other and are framed as a strength. In the midst of grief, resilience, and humor two sisters navigating life’s challenges together without any catfights.
Ashiayana (1997) Fast-forward a decade to Ashiayana where the sibling relationships are messy but sincere and heartfelt. Seen through the eyes of Sapna, a wealthy but lonely, only child finds herself captivated by the strong bonds within the large family of 6 orphaned siblings she accidentally becomes a part of. As she spends time with the family she a forms a close bond with them and highlights for the audience the importance of siblings.
Sapna becomes like an older sister to middle child Narmeen who plays a pivotal role in the family, offering emotional support to her older brothers and nurturing her younger siblings. Unlike Ramsha from Bharam, who bristles even more against her ‘sister’ when she finds out Sajal’s true parentage, Narmeen is happy to expand her nuclear family to a loving found family which doesn’t focus on rivalry but on love, support, and shared responsibility.
Zindagi Gulzar Hai (2012): In Zindagi Gulzar Hai, Kashaf’s relationship with her two younger sisters far from perfect, but it’s rooted in mutual support rather than petty rivalry. Their sibling dynamics are messy and frustrating at times, yet always grounded in love. Despite their differences, particularly Kashaf’s often strained relationship with her father, the bond between the sisters is strengthened by adversity. When Kashaf’s father abandons the family because he has no sons, it’s her sisters, particularly Sidra, who become her closest confidants, offering emotional resilience and solidarity. This is a drama about family survival, where sisterhood isn’t just about sharing clothes and gossip—it’s about surviving together, even when the world is stacked against you.
In falling into the trap of portraying sisters as moral opposites—Ramsha’s rebelliousness vs. her sister Sajal’s saintliness, Bharam pales in comparison to Zindagi Gulzar Hai which is able to dive into the complexities of siblings who have conflicting priorities but are still on the same side.
Kuch Ankahi (2023) : More recently Kuch Ankahi brings a modern twist to sisterhood. By creating three distinct, fully realized sisters: Aaliya (the headstrong breadwinner), Samiya (the conventional older sister who finds strength in quietly supporting her family), and Tania (the chaotic youngest with a knack for comedic relief), this show has subverted the “good girl bad girl” trope altogether. Each sister has her own dreams and challenges, but instead of competing, they offer each other support. Aaliya’s no-nonsense practicality doesn’t crush Samiya’s romantic ideals, and Tania’s carefree attitude isn’t a source of frustration. All of them make mistakes and they are all right at different times which feels much real and relatable compared to how flat the characters in Bharam where the characters are either all good or all bad. Instead, the show offers a sharp, modern portrayal of sisterhood where the family is messy, loving, and surprisingly fun.
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Bharam may not have anything new or interesting to say about sisterhood but an alternative to this outdated moral tug-of-war, has always existed. Shows like Tanhaiyan, Ashiayana, Zindagi Gulzar Hai, and Kuch Ankahi get sisterhood right, focusing on real, complex relationships where love and support overcome endless rivalry. These dramas show that sisters can be messy, flawed, and still have each other’s backs—without turning every disagreement into a moral crisis. So, if you want to watch women who are more than just a morality tale, skip Bharam and catch one of these gems where sisterhood is as real as the chaos of life itself.
