In a time when attention spans are shrinking and content is consumed at an unprecedented pace, a recent conversation on New Wave History offered a rare moment of reflection on the state of Pakistan’s cultural and intellectual life. Featuring Adeel Hashmi, the discussion moved beyond nostalgia to deliver a sobering critique of where the country’s arts and storytelling stand today.
Hashmi, modestly dismissing the label of an authority, instead positioned himself as a “mere spectator” of Pakistan’s evolving dramatic landscape. Yet his observations carried the weight of lived experience. Drawing comparisons with post-independence India, he argued that nations consciously choose where to invest their cultural energy. While others prioritised cinema, dance, and storytelling, Pakistan, he suggested, failed to nurture its artistic ecosystem with the same seriousness.
From the golden era of PTV dramas to contemporary theatre groups like Ajoka Theatre, the country has undoubtedly produced meaningful work. However, Hashmi lamented the absence of a cohesive cultural movement. Instead, what exists today are fragmented “pockets of excellence”, isolated efforts struggling to preserve a fading legacy.
Perhaps his most striking concern was generational. According to Hashmi, younger Pakistanis are increasingly disconnected from their artistic heritage, unfamiliar with classical poetry, regional traditions, and even basic cultural practices. The rise of social media, while democratising content creation, has also diluted depth, replacing thoughtful engagement with fleeting entertainment.
The conversation also challenged commonly held assumptions about censorship. Contrary to popular belief, Hashmi argued that censorship is not the primary obstacle holding Pakistani cinema back. Rather, the deeper issue lies in the lack of compelling storytelling, memorable characters, and a strong cinematic culture. “Where are the dialogues, the songs, the scenes?” he questioned, highlighting a creative vacuum that cannot be blamed on external restrictions alone.
Yet, amid the critique, there remained a sense of cautious optimism. Initiatives like the Faiz Festival were praised not as archives of history, but as living spaces for dialogue, platforms where ideas collide, disagreements coexist, and culture is celebrated in its most dynamic form.
Ultimately, the conversation returned to a simple but profound idea: storytelling matters. In a society where narratives shape perception, the responsibility lies not only with creators but also with audiences. As Hashmi emphasised, meaningful content exists, but the choice to seek it out rests with individuals.
In an age of noise, the challenge is no longer access to stories, but the will to engage with those that truly matter.