With their gripping plots and multi-layered character arcs, Pakistani dramas are making a dramatic return in 2025, bringing back the emotional depth and incisive storytelling that made them popular television shows. Aina Asif, who plays both lead roles, does a remarkable job of bringing the story of twin sisters who are separated by fate and shaped by misunderstandings to life in Judwaa, one of the most intriguing of the top contenders. She sets a high standard for younger actors attempting to break into serious roles with her particularly inventive dual performance.
Sanam Saeed’s pivotal performance in Zindagi Gulzar Hai, in which a single woman bore the emotional burden of a generational shift, is remarkably similar to Aina’s work in Judwaa. Despite maintaining its roots in familial tragedy, Judwaa offers surprisingly inexpensive high-end entertainment, particularly on digital platforms like YouTube and ARY Zap, thanks to its contemporary graphics and well-paced script.
Do Kinaray, on the other hand, feels like a tribute to traditional romance because of its poetic imagery and sparse dialogue. Its eerie OST and emotionally aloof protagonists, who somehow make longing feel real, significantly enhance the drama. The sea serves as both a setting and a metaphor, evoking the atmospheric direction of earlier works of art such as Dhoop Kinare. It is a cult favorite among younger audiences who are interested in relationships that go beyond clichés because of its straightforward plot and striking cinematic aesthetics.
Top 10 Trending Drama Series in Pakistan 2025
| Drama Title | Lead Actors | Genre | Director | Network/Platform | IMDb Link |
|---|---|---|---|---|---|
| Humraaz | Ayeza Khan, Feroze Khan, Zahid Ahmed | Crime Thriller | Farooq Rind | ARY Digital | Humraaz – IMDb |
| Shair | Sarah Khan, Danish Taimoor | Family/Drama | Not Confirmed | Hum TV | Shair – IMDb |
| Daiyan | Mehwish Hayat, Ahsan Khan, Hira Mani | Supernatural Drama | Siraj ul Haq | Geo Entertainment | Dayan – IMDb |
| Case No. 9 | Saba Qamar, Junaid Khan, Faysal Quraishi | Suspense Thriller | Not Confirmed | ARY/Zee5 | Case No. 9 – IMDb |
| Sanwal Yaar Piya | Feroze Khan, Ahmed Ali Akbar, Durefishan Saleem | Romance/Drama | Hashim Nadeem | Hum TV | Sanwal Yaar Piya – IMDb |
| Main Manto Nahi Hoon | Humayun Saeed, Sajal Aly, Sanam Saeed | Political Drama | Not Confirmed | ARY/Hum TV | Main Manto Nahi Hoon – IMDb |
| Na Chhura Sakoge Daman | Farhan Saeed, Kinza Hashmi | Rom-Com | Not Confirmed | Green Entertainment | Na Chhura Sakoge Daman – IMDb |
| Rakshi Sweets | Sehar Khan, Khushhal Khan | Comedy/Drama | Not Confirmed | Geo/Green | Rakshi Sweets – IMDb |
| Shandur | Fawad Khan, Sanam Saeed, Mikaal Zulfiqar | Historical/Romance | Asim Raza | Netflix | Shandur – IMDb |
| Jo Bachay Hain Sang Samait Lo | Hamza Ali Abbasi, Mahira Khan, Tooba Siddiqui | Literary Romance | Mehreen Jabbar | Netflix | Jo Bachay Hain – IMDb |
Another noteworthy series is Mohra. Alizay Shah’s character sets out on a planned course of retaliation against the wealthy Hamdani family following a tragic family event. The fact that this series incorporates incisive commentary on class conflict without becoming moralistic is especially advantageous. Alizay’s transformation from victim to vindictive strategist gives a compelling dimension, and her portrayal feels realistic. Under the direction of younger voices, the production team has accomplished something very evident: a revenge drama that challenges the need for cruelty rather than glorifying it.
Dayan ventures into the realm of the paranormal with Mehwish Hayat and Ahsan Khan in an unexpectedly harmonious blend of mystery and emotional resolution. This show stands out for its incredibly successful use of urban legend folklore to heighten the tension. Horror stories have become more popular in the last ten years, but Dayan elevates the genre by emphasizing trauma rather than fear. Through her psychological development, viewers are able to observe reflections of societal trauma as the character Nihaal transitions from naive to fearless.
Ayeza Khan and Feroze Khan give a performance characterized by mistrust and personal tragedy in Humraaz, perhaps the most talked-about crime drama this year. The show uses psychological drama to create a gripping journey that is based in emotional gray areas. The narrative asks questions rather than merely telling the story. The moral conundrums that viewers are left with are remarkably resilient: can love withstand suspicion? Does forgiveness have a higher value than justice? These are more than just plot points; they reflect conversations that are becoming more and more typical in contemporary homes.
Due in part to its intricate plot involving a reclusive businessman and a collapsing domestic façade, the breakout hit Naqaab has gained digital traction much more quickly. Ghana Ali and Humayoun Ashraf give performances that highlight the contrast between one’s private identity and one’s public persona. Naqaab strikes a deep chord with audiences navigating relational uncertainties and feels especially relevant in light of the growing awareness of mental health issues and the speed at which digital surveillance is occurring.
In terms of romance, Mann Mast Malang and Aas Paas provide the kind of sentimental narrative that Pakistani television has long been known for. Redeemer arcs, old lovers, and family conflicts all coexist harmoniously. But Mann Mast Malang’s clever use of satire to question conventional norms and its humorous undertone are what make it so enduring. On the other hand, Aas Paas ensures emotional weight without being overpowering by softening its narrative with sincere performances and cleverly crafted subplots.
Then there is the eerie drama Inteha, which explores mental health and obsession. Realistic in nature, Sabreen Hisbani’s performance offers an unapologetic glimpse into psychological deterioration. Through the use of understated yet powerful imagery, Inteha creates a narrative cadence that is both poetic and confusing. Its social undertone—bringing attention to untreated trauma in Pakistani households—is difficult to overlook.
Lastly, Ishq Tum Se Hua is a story about emotional fortitude. It explores personal loss, social judgment, and the fortitude needed to heal rather than just offering a romantic tale. With a female lead who is both fierce and vulnerable, Laiba Khan’s portrayal of empowerment and heartbreak is particularly admirable. This series is especially empowering for younger audiences who are looking for stories about their own value.
When examining the entertainment industry as a whole, a remarkably similar trend is emerging: dramas are still anchored by the captivating presence of Ayeza Khan, Feroze Khan, and Mehwish Hayat. Newer artists like Laiba Khan and Aina Asif, however, are redefining the gaps rather than merely filling them. Through their collaborations with innovative directors such as Siraj ul Haq and Farooq Rind, these actors are bringing about a noticeable acceleration in the development of the drama industry.
Discussions in various online forums in recent days have emphasized how these dramas mirror important societal issues, such as class conflict, gender inequality, mental health, and family disintegration. They humanize these problems without coming across as didactic by using clever storytelling. The effect is multi-layered: fiction turns into reflection, and entertainment turns into education.
