In the colorful tapestry of Pakistani television, Bulbulay has held a special place since its debut in October 2009 on ARY Digital. Targeting a young audience, the show boasts a massive following, with its key character, MOMO, becoming an iconic figure. However, beneath the laughs and family dynamics lies a controversy, stirring whispers of a subtle attempt to introduce the concept of Polyandry in Pakistan through this beloved sitcom.
At the heart of the intrigue is MOMO, portrayed by the talented Hina Dilpazeer. Her character’s short-term memory quirk, forgetting her husband’s name in every episode, has sparked conspiracy theories. Some suggest that this recurring theme is a covert attempt to introduce the concept of Polyandry—a practice where a woman has multiple husbands simultaneously—in the conservative cultural landscape of Pakistan.
Reviewing the show’s trajectory, it’s evident that Bulbulay started as a breath of fresh air. The narrative, revolving around Mehmood, Momo, Nabeel, Khubsurat, and their children, delivered unique dialogues and humor, earning it high TRP and making it the longest-running television series in Pakistan. However, a closer look reveals a decline in quality over time.
The early episodes showcased quality humor, with unpredictable storylines, family dynamics, and hilarious twists. However, as seasons progressed, Bulbulay transformed into what some critics describe as a predictable and mediocre sitcom. The once-vibrant dialogues now echo with the monotony of old punchlines, and the plot has become formulaic, leading to a decline in overall standards.
Adding a layer of complexity, the show presents an interesting dynamic within the household. Both men, Nabeel and Mehmood, are portrayed as remaining in the house and disliking work, often seen engaging in household chores. Meanwhile, the women, including MOMO, have a stronger position in the household—a curious coincidence with the dynamics associated with Polyandry, where men take on more domestic roles.
As Bulbulay weaves its comedic tales, whispers of a broader agenda emerge. Allegations suggest that the show might be part of a strategy to introduce Western ideologies, particularly the normalization of the Pride agenda, into Pakistan. The rise of feminist movements and women’s emancipation efforts since 2018 sets the backdrop for these assumptions.
Crucially, it’s essential to note that there is no concrete evidence supporting the claim of Polyandry or a Western agenda being introduced through Bulbulay. These assumptions arise from the show’s subtle exploration of unconventional themes. Ascribing intentionality to these alleged influences remains speculative, highlighting the fine line between creative expression and perceived agendas.
In a revealing statement, Nabeel, one of the creators, shared the origin story of Bulbulay. The show, born in 2009, had its roots in 2006 when four friends—Nabeel, Ali Imran, Rana Rizwan, and Azmat—came together. Nabeel, aspiring to produce something unique, asked his friends for a role in a sitcom. The journey took an unexpected turn as the drama evolved into a family play, finding its groove after the wedding sequel.
Bulbulay’s journey from an innovative, humor-filled spectacle to a show embroiled in controversy mirrors the challenges of balancing tradition and modernity. Whether a deliberate move or an unintended consequence, the alleged introduction of Polyandry concepts and whispers of a Western agenda add layers to the show’s legacy.
As viewers continue to tune in, it remains to be seen whether Bulbulay will evolve further or maintain its status quo, capturing the ever-shifting essence of Pakistani television.