Faysal Quraishi Backs Pakistani Dramas, Opposes Foreign Tax Cuts

Pakistani television actor Faysal Quraishi has reignited debate over the future of the country’s entertainment industry by opposing tax relief for imported television content. Speaking during the Fahad’s Den podcast, the veteran performer argued that Pakistani dramas are capable of competing with major international streaming productions but still need policy protection at home.

Quraishi’s comments followed the federal government’s decision to withdraw advance taxes on payments for foreign television plays and advertisements. He clarified that his objection was not directed at imports generally, but specifically at measures that could make foreign dramas cheaper and easier for local broadcasters to acquire.

The actor warned that television channels may begin replacing locally produced programmes with dubbed international shows if importing content becomes financially more attractive. He said every broadcasting slot supports a broad network of actors, writers, directors, technicians, production crews and other workers, meaning the loss of even a few slots could affect hundreds of livelihoods.

Referring to the arrival of Turkish dramas on Pakistani television more than a decade ago, Quraishi said the local industry had already experienced the consequences of imported productions occupying prime-time schedules. He maintained that younger performers would be especially vulnerable because they depend on television exposure to build careers and secure future opportunities.

Quraishi also questioned why entertainment should be denied the protection routinely extended to other domestic industries. In his view, tariffs and import restrictions are often justified as tools for supporting local manufacturing and employment, and the same principle should be considered when policies affect television and film production.

Another concern raised during the discussion was the growing use of artificial intelligence in dubbing. Quraishi said modern tools can reproduce an actor’s voice in Urdu and synchronise dialogue with lip movements, sharply reducing the time and cost required to prepare foreign shows for Pakistani audiences. This technological shift, he suggested, could make imported programmes an even stronger commercial alternative for broadcasters.

Despite seeking protection for local productions, Quraishi expressed confidence in the international appeal of Pakistani dramas. He argued that free-to-air serials made with comparatively modest budgets frequently attract large audiences and compete for attention with programmes available on Netflix, Amazon Prime and other global streaming services.

He contrasted Pakistan’s production budgets with the significantly larger sums spent by neighbouring entertainment industries. According to the actor, Pakistani programmes are expected to compete against projects with far greater financial resources, yet they continue to gain viewers across borders and create recognition for local stars among international audiences.

The debate carries wider implications for Pakistan’s creative economy, which supports thousands of direct and indirect jobs while also promoting the country’s language, fashion, music and cultural identity. Easier access to foreign programming may offer viewers more variety, but industry representatives fear that uncontrolled imports could weaken local investment and reduce opportunities for emerging talent.

Attention will now turn to whether the government reviews the concerns raised by actors, producers and industry organisations. The long-term challenge will be to balance consumer choice and international competition with policies that encourage Pakistani broadcasters to continue financing original dramas and building a sustainable domestic production sector.