Main Manto Nahi Hoon: Hype without Substance

Few dramas arrive with as much hype as Main Manto Nahi Hoon. A prime-time slot, Humayun Saeed and Sajal Aly headlining, Sanam Saeed in the supporting cast, and the ever-controversial Khalil-ur-Rehman Qamar penning the script. Add the branding of a national television network, and you’d expect a cultural moment. Instead, what we get is a muddled story that mistakes controversy for complexity and reverts to old, tired tropes that Pakistani television should have left behind years ago.

At its core, the drama follows Mehmal (Sajal Aly), the daughter of a warring gangster family. She is privileged yet cloistered, with limited exposure to ordinary men, which leaves her guarded around male peers but oddly unguarded with authority figures. Enter her professor, Manto (Humayun Saeed), whose name shamelessly borrows from one of South Asia’s greatest literary rebels. Circumstances, manipulations, and misplaced authority figures draw Mehmal into an increasingly blurred dynamic with her teacher — a storyline that has become the drama’s most contentious talking point.

The Teacher-Student Dynamic

On paper, the teacher-student “love angle” raises concerns, given the blurred lines between power dynamics and emotional manipulation. On screen, it feels unsettling and contrived, creating an uncomfortable atmosphere for viewers. Mehmal’s phuppo (played with relish) and her teacher, Ms. Maria (Sanam Saeed), push Mehmal into Manto’s orbit. Mehmal is never given space to explore her feelings independently; she is constantly being told she is “blushing” or being dragged into Manto’s affairs as if she is an adult mediator, not a student. Instead of drawing clear boundaries, both women push her further toward entanglement.

Meanwhile, Manto himself is portrayed as a passive figure, a man who follows rather than takes responsibility. He knows attending a student’s engagement is wrong, but still does it. His character's passivity, combined with the lack of clear boundaries, creates a situation built on manipulation rather than genuine romantic development.

Addressing Sensitive Content

One particularly troubling moment occurs when Mehmal jokes about her professor’s personal life, which can be seen as reinforcing outdated stereotypes. The body image discussion in this context feels out of place, given the growing conversations about body positivity and mental health awareness. While it’s important for media to reflect societal realities, it should be done in a way that promotes inclusivity and avoids reinforcing negative stereotypes.

Weak Characters, Wasted Potential

For all its hype, the drama’s characters are underdeveloped. Mehmal’s story feels flat, Manto is underwhelming, and even strong actors like Sajal Aly and Humayun Saeed cannot shine. Sanam Saeed’s Ms. Maria is underused, and the love angle seems driven more by external influences than natural progression. Interestingly, the supporting cast — including Mehmal’s parents and phuppo — perform better, but they can’t carry the story alone.

The dialogues, which are typically a highlight in Khalil-ur-Rehman Qamar’s work, are sometimes impactful but lose their effectiveness due to the lack of narrative movement.

Patriarchy Dressed Up as Female Agency

Perhaps the most insidious element of Main Manto Nahi Hoon is the way it portrays female agency within a patriarchal context. Mehmal’s character seems spirited, yet every step of her journey is controlled or manipulated by those around her. Strong women in this drama are not celebrated but constrained. Instead of showing empowerment, their actions ultimately serve to reinforce the existing system.

This mirrors a recurring pattern in Khalil-ur-Rehman Qamar’s work: fiery women whose seeming independence ultimately sustains patriarchal order. The narrative suggests that society is not broken but that individual women, particularly those who challenge tradition, are at fault.

Manto’s Legacy

The most glaring misstep is the appropriation of Saadat Hasan Manto’s name. Manto was a writer known for his radical critique of society, exposing the injustices of his time. To attach his name to a character who flirts with boundaries without ever challenging the status quo diminishes his legacy. While Main Manto Nahi Hoon borrows Manto’s rebellious aura, it fails to capture his spirit of resistance.

Conclusion

With its budget, cast, and hype, Main Manto Nahi Hoon had the potential to be groundbreaking television. Unfortunately, it falls short, offering controversy without depth and a narrative that mistakes manipulation for romance. In 2025, Pakistani audiences deserve more than recycled tropes and body-shaming humor. We deserve dramas that are not only reflective of our society but also inspire progress and inclusivity.