Who owns womanhood? ‘Churails,’ mimicry, hybridity, and the reclamation of gender roles in postcolonial Pakistan

In postcolonial Pakistan, gender ideology is often oversimplified through a Eurocentric feminist lens. The web series “Churails” (2020), directed by Abbasi, subverts this narrative by exploring the complexities of gender discrimination within a patriarchal society. Through the stories of four diverse women forming a covert detective agency, the series critiques consumer culture, addresses gender-based violence, and challenges colonial legacies. Employing theories of hybridity and intersectionality, “Churails” presents a nuanced portrayal of Pakistani women’s struggles and resistances. This essay positions “Churails” as a significant cultural artifact that reimagines gender roles and contributes to the discourse on gender equality in a postcolonial context, highlighting the transformative potential of popular culture in feminist resistance.


Introduction
In postcolonial Pakistan, a nation dealing with the complex interplay of historical legacies, religious traditions, and global influences, the discourse on gender ideology often remains mired in oversimplification.Conventional narratives, frequently rooted in a Eurocentric feminist lens, prioritize the experiences and perspectives of Western women, emphasizing individualism, universal sisterhood, and ahistorical notions of gender (Chandra Talpade Mohanty 1988Mohanty , 2003;;Uma Narayan 1998).This reductive approach not only obscures the complex realities of gender discrimination in Pakistan, which, as Gayatri Chakravorty Spivak (2023) argues, is a complex interplay of indigenous traditions and deliberately imposed Western patriarchal structures, but also undermines efforts to achieve meaningful social change by failing to capture the nuances of intersecting oppressions and the specific historical and cultural contexts within which they operate.This imposition of Western patriarchal structures during the colonial era has left an enduring legacy on Pakistan's legal, social, and educational systems, creating a unique form of gender discrimination that reflects both local and postcolonial dynamics.Furthermore, as Chandra Talpade Mohanty (2003) argues, gender discrimination in Pakistan is not a monolithic issue; it intersects with other social hierarchies like class and religion, forming a complex matrix of oppression that demands a nuanced and contextspecific approach to analysis and intervention, one that acknowledges the specific historical and cultural contexts within which these oppressions operate.
Navigating the intricate socio-cultural landscape of Pakistan-a context shrouded in patriarchal norms that marginalize feminist discourses-the web series "Churails" (Asim Abbasi 2020) emerges as an audacious act of socio-political resistance.Directed by 1 Abbasi and released in August 2020 on the Indian streaming platform ZEE5, "Churails" introduces a groundbreaking narrative centered around four women from diverse social backgrounds (see Figure 3) who unite to form a covert detective agency disguised as a fashion boutique, "Halal Designs."This unique setting serves as a façade for their operations while symbolically critiquing consumer culture and its patriarchal underpinnings.The series' innovative use of setting and its exploration of complex female characters align with Homi K Bhabha's (2012Bhabha's ( , 2021) ) concept of hybridity, which involves the creation of new cultural forms that transcend and subvert colonial binaries.This concept is particularly relevant in the postcolonial context of Pakistan, where traditional and contemporary elements often coexist and conflict.In "Churails," this hybridity is evident in the juxtaposition of traditional Pakistani values with modern feminist resistance, embodied by the protagonists' covert detective agency disguised as a fashion boutique.The series employs this hybrid space to challenge colonial legacies and patriarchal norms, making it a significant cultural artifact in the discourse on gender equality in Pakistan.Similarly, Kimberlé Williams Crenshaw's (2013) concept of intersectionality is crucial for understanding the multifaceted oppressions faced by women in Pakistan."Churails" vividly portrays how gender discrimination intersects with class and sexuality, revealing the nuanced realities of Pakistani women's lives.This intersectional approach helps to highlight that women's struggles are not homogenous but are shaped by a complex interplay of social factors, all of which are explored in depth throughout the series."Churails" delves into the complexities of gender-based violence, infidelity, queer identities, class struggles, and the enduring impact of colonialism and neocolonialism on Pakistani women.
Through its provocative narrative, "Churails" exposes the hypocrisy and double standards prevalent in Pakistani society, challenging viewers to confront uncomfortable truths and question deeply ingrained societal norms.The series' unflinching portrayal of violence and its exploration of taboo subjects sparked widespread controversy and the series faced backlash, especially from male viewers in Pakistan, with social media becoming a platform for vitriolic criticism and unfounded conspiracies, labelling it as a "Jewish and Indian scheme" due to its association with ZEE5, an Indian streaming service (Author forthcoming).This led to targeted harassment of the female cast, showcasing deep-seated gender biases in Pakistan.The controversy escalated with the temporary ban of "Churails" by Pakistan's media regulatory authority, highlighting a suppression of artistic expression.Abbasi's public frustration over the censorship, despite international acclaim, underscores the paradoxical reception of "Churails"-celebrated globally yet condemned at home (Rida Lodhi 2020).This reflects the intertwined forces of patriarchy, cultural norms, and geopolitical tensions shaping the reception of progressive content in Pakistan."Churails" is not merely a television series but a significant cultural artifact that actively engages with postcolonial and feminist theories to reimagine gender roles and empower women in contemporary Pakistan.The series features a constellation of female characters, each embodying a unique configuration of gender, class, and ethnicity, challenging the monolithic portrayals of women prevalent in Pakistani media (see subsequent sections).Sara, a lawyer from an elite background, abandons her privileged life to seek justice for women wronged by society.Jugnu, a glamorous wedding planner deeply embedded in high society, utilizes her social connections to support the group's clandestine activities.Zubaida, a young boxer hailing from a conservative family, defies gender norms and societal expectations to pursue her passion for sports.Batool, a former prisoner hardened by her experiences, brings a raw authenticity to the group, having suffered firsthand the brutalities of a patriarchal system.The complexities of their identities and experiences, shaped by their social positions and spaces, highlight the intersectional nature of gender discrimination in Pakistan, emphasizing that women's struggles are not homogenous but are shaped by a complex interplay of social factors.Through its innovative narrative and complex characters, "Churails" exposes colonial and neocolonial impacts on gender dynamics in Pakistan and addresses contemporary issues like economic and cultural globalization.By portraying women as multidimensional individuals who resist oppressive structures, "Churails" disrupts traditional narratives and envisions a more equitable society.This essay thus argues that "Churails" is a powerful example of how popular culture can serve as a site of resistance, critique, and social commentary, illuminating the ongoing struggle for gender equality in a postcolonial context.By analyzing the series through the lens of Bhabha (2012Bhabha ( , 2021) ) concepts of hybridity and mimicry and Crenshaw's (2013) intersectionality, this essay seeks to uncover the nuanced ways in which "Churails" challenges dominant narratives, exposes the complexities of gender discrimination, and offers a vision for social transformation.Ultimately, this essay positions "Churails" as an essential text for anyone interested in exploring the intersection of gender, postcolonialism, and media studies.

Gender representations in Pakistani media: an overview
The media representation of gender in South Asia is a multifaceted landscape, shaped by historical, cultural, and socio-political forces, and reveals both progress and persistent shortcomings.Indian media, for instance, while exhibiting a growing presence of queer characters, often grapples with the nuances of representation.Early studies by Gurpreet Kaur (2010);Sucheta Mallick Choudhuri (2009) acknowledge this increasing visibility but critique the authenticity and respectfulness of these depictions.Researchers such as Kiran Raveendran and Dhishna Pannikot (2023); Pushpinder Kaur (2017) emphasize the negative impact of harmful stereotypes, while Jeffrey Charles Roy (2015); Kamalini Mukherjee (2017) advocate for a broader exploration of queer identities, particularly within the transgender community.Despite the efforts of some filmmakers to subvert heteronormative narratives and explore female agency (Pratiksha Menon 2018; Sheetal Yadav and Smita Jha 2023), concerns over stereotyping and oversimplification persist (Nikita Ramkissoon 2009;Vikrant Kishore 2014).This mirrors a global dissatisfaction with the quality of queer portrayal (Ariel Ariel Florence Bleakley 2018;Martha Gever, Pratibha Parmar and John Greyson 2013), underscoring the need for nuanced and respectful portrayals that transcend stereotypes and engage with the diverse realities of queer lives.Recent scholarly contributions have delved deeper into thematic nuances, such as consent in homosexual contexts (Ankita Chowdhury 2021), the translation of queer narratives through visual and cultural lenses (Harjant Gill 2021), and the integration of queer elements within mainstream frameworks (Sunny Singh 2014).Post-Section 377 repeal studies, like those by Kaitlin Althen (2011), investigate the socio-political impacts on queer discourse, while others critique harmful conflations in media representations (Shohini Ghosh 2013) and explore the potential of digital platforms for innovative storytelling (Pooja Arya 2023).
In contrast, in Pakistan, the media often reinforces a heteropatriarchal structure by confining women to roles that objectify or victimize them (Asmat A Sheikh, Nazia Suleman and Sidrah Mazari 2019;Ayesha Qamar, Aasima Safdar and Samia Manzoor 2020;Hazir Ullah 2014;Sana Ali 2018).These portrayals, deeply influenced by religious and cultural norms, emphasize women's domestic roles and subordination, perpetuating gender inequality by reducing them to passive figures or objects of visual consumption (Farah Adil and Subha Malik 2021;Masrur Alam Khan 2015).Such media representations actively reinforce societal norms, solidifying gender hierarchies and sustaining a gendered worldview that favours certain roles and attributes for women and men.More importantly, Pakistani electronic media, encompassing cinema and mainstream channels, presents a stark contrast to even the nascent global narratives featuring queer identities.This discrepancy stems from deeply ingrained socio-cultural and religious norms, posing significant barriers to queer representation.Mina Khan (2021) pioneers exploration in this underexplored domain, analyzing nuanced portrayals of female same-sex relationships in works like "Kitni Girhain Baaki Hain (How Many Knots Are Left to Untie)," "Chewing Gum," "Churails," "Dedh Ishqiya (One and a Half Passionate)," and "Sukkar Banat (Caramel)."Through comparative analysis with works from other Muslim-majority contexts, Khan (2021) reveals how these narratives navigate complexities by employing subtle visual cues, often blurring the lines between romantic and platonic interactions.This cautious approach highlights the delicate balance between cultural sensitivities and the need for visibility.Syeda Momina Masood (2019) adds another layer with his critical examination of "Zibahkhana," marking a bold departure from traditional portrayals.Through this indie slasher film, Masood (2019) explores the radical embodiment of queer agency and desire through Baby, a queer woman and cannibal, presented as a monstrous yet revolutionary figure."Zibahkhana" disrupts heteronormativity with its depiction of queer aggression and anarchy, offering a transgressive vision of queer futures.This film not only revises Western slasher tropes but also pioneers incendiary representations within Pakistani media, sparking debate despite its significance to the discourse.
Despite the above-mentioned advancements in gender representation in South Asian media, a significant gap remains in nuanced and authentic portrayals, especially in Pakistan where media often perpetuates heteropatriarchal norms by limiting women to objectified or victimized roles.This study advances feminist media studies by addressing this gap in postcolonial feminism within the Pakistani context.Employing Bhabha (2012Bhabha ( , 2021) ) concepts of hybridity and mimicry, and Crenshaw's (2013) intersectionality, "Churails" provides a sophisticated critique of patriarchal norms and colonial legacies, thereby challenging the Eurocentric narratives that dominate global feminist discourses.The series subverts heteronormative narratives and integrates queer themes, providing a transformative vision that resonates beyond Pakistan.It aligns with local feminist movements like the Aurat March, advocating for bodily autonomy and confronting historical constructions of Pakistani womanhood.More significantly, by emphasizing the intersectional nature of oppression and centering the voices of Pakistani women, this study enriches transnational feminist dialogue and showcases the transformative potential of media to redefine gender norms and empower women both in Pakistan and globally.This investigation emphasizes the importance of localized narratives in fostering a more inclusive and nuanced understanding of feminist agency and resistance within the global context.

Subversive sequins and Subaltern Sleuths: mimicry and hybridity in "churails"
Given the context above, this essay contends that "Churails" transcends storytelling to become a pivotal cultural artifact, embodying Bhabha's (2021) postcolonial theories of "hybridity" and "mimicry."These notions highlight how postcolonial subjects navigate and negotiate multiple, often conflicting cultural identities, revealing the intersections of gender and colonial history.It reflects broader socio-political dynamics and subverts gender roles in postcolonial society.Bhabha (2012Bhabha ( , 2021) ) "hybridity" disrupts colonial hierarchies, while "mimicry" critiques colonial authority through paradoxical imitation.These concepts, though complex, offer rich analytical potential and necessitate careful application to avoid reinforcing colonial structures, thus providing fertile ground for scholarly debate.
For the detailed analysis, scenes and characters from "Churails" were selected based on their representative value, prioritizing those that vividly illustrate cultural negotiation, identity conflict, and the subversion of gender norms.Representative value, here refers to the extent to which selected scenes and characters effectively capture and communicate the series' central themes and messages, making them crucial for a comprehensive and insightful analysis.This significance lies in ensuring that the chosen elements accurately reflect the core themes and issues, providing a nuanced understanding of the narrative's cultural and social impact.For instance, the "Halal Designs" boutique was chosen for its striking visual symbolism and narrative function, merging traditional femininity with modern subversive agency, thus serving as a critical site for analyzing the subversion of patriarchal norms.The character arcs of Sara, Jugnu, Zubaida, and Batool were selected for their impactful portrayal of resistance and cultural negotiation, resonating deeply with audiences and stimulating critical discourse on hybridity and mimicry within the postcolonial context.At the second stage, a thematic coding process was employed to identify scenes and characters that best exemplify these concepts, ensuring that the analysis is grounded in specific textual evidence and supported by theoretical frameworks.By methodically selecting and analyzing specific scenes and characters, this essay argues that "Churails" is a significant cultural artifact that engages deeply with postcolonial theory, offering a nuanced critique of gender and identity in contemporary society.This approach not only substantiates the analysis but also situates "Churails" within broader sociopolitical and theoretical discourses, reinforcing its impact and relevance.

The Churails are coming!
The title "Churails" holds significant cultural and thematic resonance, merging South Asian and Western interpretations of witches and female empowerment.Traditionally, "churail" is an Urdu term used derogatorily to label women who deviate from societal norms, marking them as witches or malevolent spirits (Rauha Salam-Salmaoui and Shazrah Salam 2024).This mirrors the Western historical depiction of witches as demonic entities, a portrayal deeply intertwined with patriarchal control, as explored by scholars like Mona Chollet (2022); Silvia Federici (2004).These scholars argue that witch hunts served as tools of patriarchal domination.By reclaiming the term "churail" and pluralizing it with the English "s," the series enacts a form of linguistic and cultural hybridity (Bhabha 2021).The title critiques and disrupts entrenched patriarchal narratives, transforming a term of subjugation into a symbol of resistance and empowerment, reflecting feminist reclamations in both South Asian and Western contexts (Helen Macdonald 2020).
Moreover, the title embodies Crenshaw's (2013) notion of intersectionality, highlighting the complex identities and struggles of the protagonists as they navigate and challenge both traditional and Western-influenced societal norms.The collective identity of the "churails," drawn from diverse backgrounds, underscores solidarity and collective agency in resisting gendered oppression.This aligns with the portrayal of churails in South Asian literature, where they symbolize the demonization of rebellious women, often feared for their unchecked desires, as seen in early 20th-century folklore (Cecil Henry Bompas 2023).The depiction of these witches, with their appetite for human flesh or other abject foods, underscores patriarchal anxieties surrounding female autonomy and desire (Marina Warner 2011).
The reclamation of the term "Churails" aligns with global feminist movements, linking local struggles with international feminist discourses.By adopting an identity that unites women across diverse contexts, the series critiques the politics of respectability and asserts women's right to self-definition and resistance.It challenges patriarchal norms and emphasizes the transformative power of collective female agency in a postcolonial context.Thus, the title "Churails" becomes a powerful symbol of intersectional feminist resistance, reclaiming a historically oppressive term to assert a bold narrative of empowerment and solidarity (Brian Easlea 1980;Claire.N Fang 2021).

Halal and unholy?: the boutique as battleground of feminist agency
In "Churails," the "Halal Designs" boutique operates as a multifaceted site of resistance, systematically dismantling patriarchal norms.From the outset, the botique (see Figure 1 & Figure 2) embodies Bhabha's concept of Third Space, a hybrid arena where traditional femininity intersects with subversive modern agency.Outwardly, it conforms to societal expectations of women as consumers and objects of beauty, yet it clandestinely functions as a detective agency run by women.This covert operation challenges patriarchal power structures, utilizing high-tech devices like spy cameras and mobile phones within a traditional South Asian setting (see Figure 2).The subversion extends to the boutique's mannequins, which symbolize female commodification (Emma Engdahl and Marie Gelang 2019; Sarah Baird 2015) while concealing feminist activities.These mannequins, representing idealized beauty and subservience   (Rauha Salam-Salmaoui and Shazrah Salam 2024), are juxtaposed with agentic women who manipulate these symbols of oppression for their liberation.By appropriating fashion and consumerism-the very tools of patriarchal oppression-the protagonists reveal the hypocrisy of a system that profits from women's bodies and labor while ostensibly celebrating their autonomy.This act challenges viewers to critically examine how consumer culture perpetuates patriarchal norms under the guise of female empowerment."Churails" transcends a superficial critique of consumerism, delving into the insidious nature of patriarchal structures that co-opt feminist rhetoric to maintain dominance.Through innovative use of setting and symbolism, "Churails" calls for a deeper interrogation of the complex interplay between gender, consumerism, and social change within a Pakistani context.
Crucially, by adopting the religiously and culturally loaded term "halal," which signifies adherence to Islamic law and is often associated with traditional values, the boutique strategically mimics conservative Pakistani society, enabling the protagonists' covert operations while critiquing patriarchal power structures.This act of mimicry is both performative and subversive, allowing the women to infiltrate and challenge the system from within.The boutique embodies hybridity by fusing the traditional concept of "halal" with the modern, Westernized notion of "design."This blending of seemingly contradictory elements creates a liminal space where traditional and modern, religious and secular, coexist and clash.By manipulating fashion and consumerism, the protagonists expose the inherent hypocrisy of a system that profits from women's bodies and labor while celebrating their autonomy.This subversive act not only challenges viewers to critically examine how consumer culture perpetuates patriarchal norms but also serves as a powerful symbol of female agency and resistance within a postcolonial context.

Queer echoes in churails' feminist fight
Likewise, "Churails'" deliberate inclusion of marginalized individuals-lower-middle-class women like Zubaida and Batool, and members of the queer community-directly confronts the systemic marginalization and erasure that queer Pakistanis experience due to the enforcement of Section 377 2 and deeply ingrained societal norms (Hijaab Yahya 2020; Fawzia Afzal-Khan 2023; Faris Khan 2019).Instead of relying on overt displays, this show opts for a subtler approach, interlacing elements of queer life organically into its storytelling.For instance, during a stakeout, Pinky and Babli, an alleged lesbian couple, share a coded exchange (Hum donon ek doosre ke liye kaafi hain' ('We are enough for each other'), followed by Babli's suggestive 'Sab kaam ke liye!' ('To do everything!")),affirm their queer relationship.This subtle interaction, met with knowing laughter from their companions, underscores their bond without explicit revelation.
Significantly, Episode 4 marks a significant shift in the explicit representation of queer identities within the series.A pivotal scene involves a confrontation between a woman and her husband, Professor Ehtisham, revealing his infidelity with another man "I have never loved another woman like I have loved you but what should I do with what I feel inside (referring to his feelings for another man)?I do I control this feeling of loving someone without any fear and restrictions."This revelation triggers an extreme emotional response, culminating in the wife's violent act of murdering her husband.The wife's discovery of her husband's infidelity with another man is emphasized with profound shock and betrayal, underscoring the entrenched societal and personal expectations of marital fidelity and heteronormativity.Her subsequent act of violence, resulting in her husband's murder, is depicted not as justifiable but as a visceral, desperate reaction to profound emotional and psychological devastation.
The episode critiques the rigid societal norms and heteronormative pressures that precipitate such extreme actions.By portraying the wife's violent response, the narrative highlights the destructive impact of these norms, which force individuals into traditional roles and suppress authentic identities.The concealed queer identity of the professor and the wife's violent retaliation are indicative of the oppressive societal structures that marginalize diverse sexual identities and relationships.Thus, the episode approaches the murder of Professor Ehtisham with critical reflection rather than clear moral judgment, illustrating the tragic consequences of societal constraints on queer identities.It calls on viewers to examine the broader implications of these rigid norms on individual lives and actions, emphasizing the urgent need for societal change.
Similarly, "Churails" challenges heteronormative domesticity by depicting Sameer's disruption of gender norms through doll play, mirroring Andrew Gorman-Murray and Robyn Dowling (2007); Louise C Johnson's (2000) findings on queer domestic complexities.The family's ambivalent response sparks a discourse on gender fluidity, critiquing societal constructs (Rauha Salam-Salmaoui and Shazrah Salam 2024) and highlighting the ongoing negotiation between resistance and societal expectations faced by queer individuals in Pakistan.By showcasing these individuals as valued members of a collective fighting for justice and equality, the series creates a Bhabha (2021) "hybrid space" that disrupts the heteronormative and discriminatory norms that perpetuate their invisibility and marginalization (Momin Rahman 2010).This strategic inclusion of marginalized voices not only challenges traditional power structures by redefining agency and expertise beyond privileged identities but also embodies Bhabha's "third space" concept.Within this hybrid space, the diverse gender identities, and experiences of the "Churails" collective intersect and intermingle, fostering new forms of resistance and social transformation.This representation, while navigating the complexities of a conservative society, opens up a space for dialogue and visibility that has the potential to contribute to a more inclusive and equitable Pakistani society.

Sara, Jugnu, Batool, and Zubaida: the witches of Pakistani feminism
To deconstruct "Churails" effectively, it is essential to situate it within Pakistan's intricate gender ideology, shaped by historical and socio-political contexts.This ideology is deeply rooted in the interplay of religion, culture, nationalism, and state power (Rauha Salam-Salmaoui 2022).The imposition of Victorian gender norms during the British colonial period entrenched patriarchal structures by marginalizing women to the domestic sphere and codifying gender inequality into legal frameworks.These colonial legacies are perpetuated in contemporary Pakistan, where state policies continue to regulate female sexuality and reinforce heteropatriarchal family structures (Zoya Rehman 2019).General Zia-ul-Haque's regime (1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984)(1985)(1986)(1987)(1988) exemplifies this reinforcement, using Islam to legitimize his rule and pushing women into the domestic sphere through policies like the Hudood Ordinances, which codified discrimination and restricted women's agency (Afshan Jafar 2005; Rauha Salam-Salmaoui 2022).As Mohanty (2003); Spivak (2023) argue, these norms are intertwined with Western patriarchal structures, creating a unique form of gender discrimination that necessitates a nuanced, context-specific approach.
Contemporary feminist movements in Pakistan, such as the Aurat March, highlight the ongoing struggle against these entrenched norms.The slogan "Mera Jism, Meri Marzi" (My Body, My Right) epitomizes the challenge to patriarchal control over women's bodies, asserting bodily autonomy and confronting both historical and modern state practices (Neelam Hussain 2019).These movements reject traditional norms of the private sphere and reclaim women's spaces in the public sphere, challenging the gendered division of labor and patriarchal authority.Initiatives like Girls at Dhabas, which encourage women to occupy public spaces, further subvert patriarchal control (Rubina Saigol and Nida Usman Chaudhary 2020).By emphasizing bodily autonomy, public presence, and intersectionality, these feminist movements critique the pervasive patriarchal structures shaped by colonial and contemporary socio-political factors.Understanding the gender ideology in Pakistan requires recognizing the intertwined influences of colonial history and modern state practices, with contemporary feminist resistance offering a comprehensive critique of these enduring structures (Rehman 2019).
Against this backdrop, "Churails" stands as a formidable critique of dominant gender ideologies, with its female protagonists-Sara, Jugnu, Zubaida, and Batool-epitomizing resistance through unique intersections of gender, class, and religion.

Sara: navigating mimicry, habitus, and respectability
Sara's character arc in "Churails" serves as a poignant illustration of the complex negotiation of gender roles within postcolonial Pakistan's socio-political landscape.Initially presented as conforming to the archetypal subservient Pakistani wife, her actions and motivations are far more nuanced and subversive than they first appear.This challenges simplistic readings of female characters in Pakistani media.Sara's initial compliance with societal expectations of domesticity and wifely subservience can be interpreted through Bhabha (2012) concept of mimicry, a survival tactic employed by colonized subjects who adopt the behaviors and values of the colonizer to navigate oppressive power structures.However, Sara's performance of these roles is not merely an act of submission but rather a calculated strategy.This echoes the arguments of Holly M Hapke (2013); Kalwant Bhopal (2019), who highlight the agency and strategic maneuvering of women within patriarchal systems.Sara's adherence to societal norms is a mask, a performance designed to maintain her social standing while she plots her rebellion.
Sara's calculated performance also aligns with Pierre Bourdieu's (2014) concept of habitus, where societal norms become ingrained in individuals, shaping their actions and beliefs.Sara's initial embodiment of the dutiful wife reflects the internalization of these norms.However, her subsequent defiance demonstrates that habitus is not immutable but can be disrupted and challenged, especially when confronted with personal betrayals and systemic injustices.This act of defiance exceeds the personal realm and becomes a potent political statement.By eschewing the prescribed norms of respectability, as defined by a patriarchal society that often confines women to domestic roles and silences their voices (Mohanty 2003), Sara exposes the artificiality of these constructs.Her actions resonate with the work of scholars like Smitha Radhakrishnan (2009) and Elizabeth Evans (2016), who argue that respectability is not an inherent quality, but a socially constructed concept used to control and limit women's autonomy.In the Pakistani context, respectability is often intertwined with religious and cultural norms, with figures like Sayyid Abul Ala Maududi (1987) advocating for strict adherence to traditional gender roles.Sara's rejection of these norms, therefore, is not merely a personal rebellion but a challenge to the very foundations of a patriarchal system that seeks to maintain its power by policing women's behavior and restricting their agency.By forming a clandestine organization dedicated to aiding wronged women, she actively subverts the dominant narrative and creates a space for female empowerment and solidarity.

Jugnu: hybridity, killjoy feminism, and the politics of resistance
Jugnu's character in "Churails" exemplifies Bhabha (2012Bhabha ( , 2021) ) concept of hybridity, challenging reductive notions of Pakistani femininity through her deliberate negotiation of identity.Her defiance of traditional norms-manifested through her provocative language, substance use, and overt sexuality-transcends personal rebellion and functions as a calculated subversion of hegemonic discourses surrounding female behavior in Pakistan.Bhabha's hybridity theory asserts that in postcolonial contexts, the colonized subject actively engages with and transforms the colonizer's culture, creating new cultural forms that subvert dominant power structures.Jugnu embodies these hybrid elements of Western feminism, particularly in her assertive demeanor and independent lifestyle, creating an identity that resists binary categorization.In this context, Western feminism refers to the adoption of feminist principles prevalent in Western societies, such as autonomy, resistance to patriarchal constraints, and the rejection of traditional female roles (Susan Bordo 2023; Violet K Dixon 2011).
She is neither fully traditional nor entirely Westernized but rather a product of the complex cultural and historical forces shaping Pakistani society.By refusing to conform to the idealized image of the "perfect Muslim woman" as prescribed in texts like Ashraf Thanvi's "Behishti Zevar" (Ashraf Thanvi 1981), Jugnu challenges the hegemonic discourse that seeks to control and confine women's bodies and behaviors.This defiance aligns with Sara Ahmed's (2010Ahmed's ( , 2014) ) concept of the feminist killjoy, as Jugnu actively disrupts societal norms and expectations that prioritize women's conformity and silence over their autonomy and self-expression.Her jarring and confrontational actions serve as a powerful resistance against patriarchal structures limiting women's agency and voice.
Jugnu's character also underscores the importance of intersectionality (Crenshaw 2013) in understanding the complexities of women's experiences in Pakistan.While her affluent background affords her certain privileges, she remains subject to patriarchal constraints that view women primarily through their relationships to men.This tension between privilege and oppression highlights the multifaceted nature of gender discrimination in Pakistan, where social hierarchies intersect to create unique challenges for women from different backgrounds.Jugnu's evolution from a self-centered socialite to an advocate for marginalized women demonstrates the transformative potential of feminist consciousness-raising.This transformation reflects broader trends in contemporary Pakistani feminism, as noted by Saigol and Usman Chaudhary (2020), which increasingly emphasize intersectionality and the need to amplify the voices of women from diverse social locations.The historical context of General Zia-ul-Haque's regime (Jafar 2005), which further restricted women's rights and autonomy, provides a critical backdrop for understanding Jugnu's rebellious spirit.Her defiance can be seen as a direct response to oppressive policies and cultural norms that have historically sought to control and silence women in Pakistan.
Jugnu's narrative also challenges simplistic notions of empowerment often equated with economic independence (Andrea Edwards and Jenny Cornwall 2015).Despite her privileged background, Jugnu recognizes the limitations of individualistic empowerment and actively engages in collective struggle against patriarchal structures oppressing women across social classes.This nuanced understanding of empowerment aligns with Mohanty's (2003) critique of Western feminist discourse, which often overlooks the complex interplay of class, gender, and colonial legacies in postcolonial societies.Jugnu's character in "Churails" thus serves as a powerful counter-narrative to dominant discourse on Pakistani womanhood.Her defiance of patriarchal norms, embrace of her sexuality, and commitment to social justice challenge viewers to reconsider their assumptions about gender, class, and agency in a postcolonial context.Through Jugnu's complex and multifaceted portrayal, "Churails" offers a nuanced exploration of female empowerment and resistance, resonating with the ongoing struggles of women in Pakistan and beyond.

Batool: emotional decolonization, and survivalist resistance
Batool's character in "Churails" functions as a searing indictment of the interconnectedness of colonial legacies, patriarchal oppression, and gendered resistance in postcolonial Pakistan.Batool's experiences resonate deeply with postcolonial feminist tenets, particularly those articulated by Mohanty (2003); Spivak (2023), which highlight the enduring impact of colonialism on gender relations and the multifaceted nature of female subjugation in postcolonial societies.Her forced marriage and subsequent abuse are not isolated incidents but emblematic of systemic violence against women from marginalized backgrounds.These experiences highlight Mohanty's (2003) assertion that women's oppression in postcolonial contexts is a complex interplay of indigenous patriarchy and the lingering effects of colonial rule, resulting in a generational "soul wound." Batool's act of violence against her husband, though morally complex, can be interpreted through Bhabha ( 2012) lens of mimicry and hybridity.By utilizing violence-a tool traditionally wielded by patriarchal power-Batool attempts to reclaim agency within a system that systematically denies her autonomy.This act of resistance, leading to her imprisonment, demonstrates the paradoxical nature of agency in a postcolonial context, where the oppressed must often use the tools of their oppressors to challenge the status quo.Her incarceration further exposes the punitive nature of legal and social systems that criminalize women's resistance to patriarchal violence, aligning with Spivak's (2023) critique of the subaltern's marginalized position, where their voices and agency are often silenced.
Significantly, Batool's emotional journey, from suppressed rage to overt defiance, engages with postcolonial feminist discussions on the role of emotions in decolonization and the fight against patriarchal oppression.Her rage, borne from prolonged injustice and threats to her daughter, signifies "emotional decolonization" (Sara Ahmed 2014;Helena Flam 2008), reclaiming her right to anger and resistance.This emotional labor highlights the importance of recognizing emotions in feminist struggles, particularly for marginalized women historically denied the right to express their anger.In the context of decolonizing therapy, Jennifer Mullan's (in S Almonte 2023) emphasis on acknowledging intergenerational anger to challenge colonial structures resonates with Batool's experience.Her rage transcends personal trauma, manifesting as collective anger against generational oppression by colonial and patriarchal systems.Batool's violent act channels ancestral anger, aligning with Mullan's (in Almonte 2023) concept of "abolition," the dismantling of oppressive structures, as she rejects the legal and social systems that failed to protect her and her daughter.Though her resistance is ultimately met with further marginalization within the penal system, it highlights her desperate attempt to reclaim agency and resist inflicted violence.
Batool's narrative contrasts sharply with those of Sara and Jugnu, highlighting intersectionality in gendered oppression and resistance (Crenshaw 2013;Clare Hemmings 2012).While Sara and Jugnu leverage their social and economic privilege to navigate and challenge patriarchal norms, Batool's marginalized position severely limits her options.This disparity underscores the necessity of recognizing diversity within feminist movements and understanding how different forms of oppression and privilege shape women's experiences and strategies of resistance.Batool's "survivalist resistance" starkly reminds us that, for many women, resistance is not a choice but a necessity for survival, demanding that feminist movements acknowledge and address the varying forms of oppression and resistance across socio-economic contexts.Thus, Batool's character in "Churails" serves as a powerful testament to the resilience and agency of women facing intersecting forms of oppression.Her story challenges simplistic notions of empowerment and underscores the importance of recognizing diversity within feminist movements.

Zubaida: knocking out gender norms and colonial legacies
Zubaida's character in "Churails" provides an interesting lens through which to explore the intricate dynamics of gender, resistance, and cultural identity in a postcolonial context.Her aspiration to become a boxer, despite her father's violent opposition, challenges traditional gender roles prescribed for Pakistani women and aligns with Bhabha (2012Bhabha ( , 2021) ) concept of hybridity.By embracing a sport deeply rooted in Western culture and often associated with Western ideals of individual achievement and physical prowess, Zubaida forges a hybrid identity that transcends her traditional upbringing.This act of self-definition and self-expression carves out a unique space for herself, demonstrating the potential for cultural exchange and transformation in a postcolonial society.It also aligns with bell Hooks (2000) emphasis on self-love and self-actualization in feminist struggles, as Zubaida reclaims agency over her body and choices, subverting gender stereotypes and resisting both traditional Pakistani and Western feminist ideals.
Moreover, Zubaida's engagement with boxing resonates deeply with Bordo's (2023) and Iris Iris Marion Young's (2005) discussions on female physicality and the reclamation of the female body.Bordo critiques the societal expectations that govern women's bodies, highlighting the importance of physical empowerment as a form of resistance against patriarchal norms.Similarly, Young emphasizes the active and assertive potential of female physicality, challenging the notion that strength and aggression are inherently masculine traits.By stepping into the boxing ring, Zubaida embodies these theoretical perspectives, transforming a space traditionally dominated by men into one where female strength and resilience are celebrated.
Zubaida's choice of boxing as her form of resistance is not just a personal rebellion but a broader cultural statement.It challenges the binary distinctions between East and West, traditional and modern, feminine and masculine.Her actions illustrate that cultural practices can be fluid and transformative, capable of transcending imposed boundaries.This further aligns with Bhabha (2021) hybridity, where the interplay of different cultural elements creates new and dynamic identities.Zubaida's hybrid identity defies simplistic categorizations, reflecting the complex realities of postcolonial societies where cultural exchange and negotiation are constant.In this light, Zubaida's boxing is a multifaceted act of defiance.It is a reclamation of her body from patriarchal control, an assertion of her right to participate in spaces traditionally denied to women, and a challenge to the cultural hierarchies that seek to define and limit her.By engaging in boxing, Zubaida not only resists the specific oppressions she faces but also contributes to a broader discourse on gender and cultural identity, embodying the potential for transformative change within a postcolonial framework.On the other hand, her father's aggression exemplifies patriarchal control, highlighting societal pressures that confine women to predetermined roles.This is consistent with Judith Butler's (1990) theory of gender performativity, which suggests that gender is a social construct maintained through repeated performances.Zubaida's defiance disrupts these performances and challenges the foundations of patriarchal authority, echoing Simone de Beauvoir's (1974) assertion that women are socially constructed through societal conditioning.
Zubaida's resistance epitomizes intersectionality (Crenshaw 2013), demonstrating how her experiences are shaped by the complex interplay of gender, social class, and family background.Her struggle to pursue boxing poignantly reveals the multifaceted intersections of gender discrimination with other forms of oppression, necessitating a nuanced and comprehensive understanding of women's experiences in Pakistan.This analytical perspective aligns with Patricia Hill Collins (2000) "matrix of domination," which underscores the interconnected nature of various systems of oppression.Zubaida's journey vividly illustrates this complexity, as her efforts to enter a male-dominated sport are hindered not only by gendered barriers but also by socio-economic pressures from her family, which prioritize traditional roles and stability over personal ambition and nonconformity.These intersecting oppressions create a multifaceted landscape that Zubaida must navigate, underscoring the inadequacies of a single-axis framework that examines gender discrimination in isolation.Consequently, Zubaida's resistance emerges as a multidimensional act of defiance, simultaneously challenging patriarchal norms that seek to confine her and socio-economic barriers that further limit her agency.This intersectional perspective not only deepens our understanding of Zubaida's individual struggle but also illuminates the broader dynamics of oppression impacting women in similar contexts, thereby highlighting the necessity of addressing these complexities in a holistic and integrative manner.
Zubaida's journey highlights the significance of anger as a catalyst for feminist resistance, as theorized by Sara Ahmed (2014); Audre Lorde (1984).Her anger, stemming from patriarchal oppression and her father's violent opposition, becomes a source of empowerment.However, as Hemmings (2012) cautions, individual acts of resistance are often constrained by broader social and political structures.Zubaida's defiance, while personally empowering, may lead to further marginalization and isolation within her community, highlighting the complex nature of feminist struggle in a postcolonial context.Thus, the characters in "Churails" function as a scathing critique of Eurocentric feminist discourse, challenging the universalizing tendencies of Western frameworks and foregrounding the complex socio-cultural realities of Pakistani women (Mohanty 2003).Their nuanced narratives disrupt the hegemonic portrayal of victimhood and empowerment, offering a multi-faceted understanding of resistance that aligns with Bhabha's (2012Bhabha's ( , 2021) ) concept of hybridity.These characters navigate the intersections of gender, class, and colonial legacies, embodying both traditional and modern roles in their defiance of patriarchal norms (Spivak 2023).This multifaceted approach to resistance problematizes the simplistic portrayal of empowerment often found in Western feminist narratives, underscoring the importance of intersectionality (Maria Lugones 1994) and localized cultural contexts in understanding feminist agency.Their journeys, marked by anger, defiance, and the navigation of complex emotions, serve as a powerful rejoinder to the Western feminist emphasis on reason over emotion (Ahmed 2014, Lorde 1984), thus reclaiming the emotional landscape as a crucial site of feminist struggle in postcolonial contexts.

Churails' soundtrack: a sonic rebellion in Pakistan
Moreover, the series' auditory landscape significantly enhances the narrative of hybridity and resistance, effectively countering both historical and contemporary forms of domination.This is exemplified by the title song "Doosra Janum" (Second Birth) from the Pakistani web series Churails, which embodies Bhabha's notion of the third space as a site of hybridity and subversive mimicry.The song resists patriarchal and colonial norms while navigating through neo-colonial contexts, thereby reinforcing the series' overarching themes of resistance and hybridity through its auditory elements.This resistance manifests through a multi-layered reclamation and subversion of cultural and linguistic signifiers (see e.g., Salam-Salmaoui and Salam 2024).The reclamation of the term "churail" (witch), typically used to demonize and marginalize women, is a clear manifestation of hybridity, fusing a traditional figure with contemporary feminist agency (Bhabha 2012).This reclamation transforms the churail from a passive object of fear into a symbol of empowerment and defiance, echoing Jane De Gay and Lizbeth Goodman (2003) observation that reclaiming demonized figures can empower marginalized communities.The song's mimicry of societal expectations of female modesty and shame, followed by a defiant rejection of these norms, is a form of subversive mimicry, exposing the fragility and artificiality of these norms (Bhabha 2021).This act of mocking and challenging dominant discourse aligns with Bhabha's (2012, 156) assertion that mimicry "reverses the effects of the colonialist disavowal."The song's aural elements further amplify this resistance, blending South Asian traditions with Western cinematic and musical techniques, disrupting both patriarchal and colonial norms.This "cultural translation" (Bhabha 2012) crafts a narrative that transcends neo-colonial constraints, resonating with both Pakistani and international audiences.Furthermore, the song's lyrics and the visual representation of the "churails" in the series embody "material forms of opposition, struggle, and protest" (David Jefferess 2008, 29), translating the song's defiant spirit into concrete action.This resistance aligns with Spivak's (2023) concern for marginalized voices, Priya Kapoor's (2017) emphasis on the recognition of difference and agency, and Ritu Tyagi's (2013) call for challenging silences imposed on women in postcolonial societies.The song's evocation of anger and defiance, a justified response to systemic oppression, aligns with Sara Ahmed's (2013) "cultural politics of emotions," challenging the expectation of docile femininity.In conclusion, "Doosra Janum" exemplifies the potential of Bhabha's third space as a site of resistance and transformation, demonstrating how marginalized voices can challenge and subvert dominant narratives in a postcolonial and neo-colonial context through hybridity, mimicry, and concrete action.

Churails: hacking patriarchy, one byte at a time
Similarly, Churails leverages technology as a critical tool in its multifaceted resistance against patriarchal and colonial legacies.The show's strategic use of technology, exemplified by the "chosen seven" scene in the second episode, where women reclaim and repurpose traditionally male-dominated tools like hacking and surveillance.This act of technological appropriation, evident in the characters of "the honey trap," "the catfish," and "the hackers," is a powerful manifestation of Bhabha (2012) concept of hybridity, wherein the fusion of traditional and modern elements creates a new, transgressive identity.It also exemplifies subversive mimicry, as the women of Churails use technology to dismantle the very systems that have historically marginalized them, thereby challenging the gendered dichotomies that permeate technological fields and broader society (Wendy Faulkner 2000).This reclamation of agency aligns with feminist critiques of technology as a potential site of empowerment (Cynthia Cockburn 1991;Judy Wajcman 2000).By embracing technology, the churails not only defy societal norms but also challenge the historical gender disparities in technology access and use, documented in studies by EIGE (2019a) and the European Commission (2018i).Their actions resonate with the concept of "co-production" in feminist technology studies (Anne-Jorung Berg 2019; Nina E Lerman, Arwen Palmer Mohun and Ruth Oldenziel 1997), demonstrating a dynamic interplay between gender and technology, where women actively shape and redefine their relationship with technological tools to resist oppression and reclaim agency.This is particularly significant in the Pakistani context, where traditional gender roles often restrict women's access to and use of technology.Thus, Churails transcends the limitations of traditional feminist discourse by showcasing how technology, through characters like "the honey trap," "the catfish," and "the hackers," can be harnessed as a powerful instrument of resistance against both patriarchal and colonial legacies, paving the way for a more inclusive and equitable future.
Interestingly, the decision to host the series on the Indian OTT platform Zee Zindagi, rather than on Pakistani mainstream media, is a strategic maneuver that exposes the complex interplay of transnational politics and digital media in South Asia.By circumventing Pakistan's stringent regulatory environment, characterized by PEMRA's tightening control over content deemed critical or "subversive" (Asad Baig 2020), the producers capitalized on regulatory asymmetries between nations, a trend increasingly observed across the region (Amanda D Lotz 2021).This choice not only shielded the series from potential censorship but also strategically leveraged the platform's extensive regional and global reach, aligning with the broader phenomenon of content creators seeking refuge in more liberal media landscapes to amplify their voices and defy nationalistic constraints (Alexis Parrot 2023; Chandran Ajay, Athira P Rajah and Prasanth A P 2022; Jean K Chalaby 2022).Further, the selection of Zee Zindagi, a platform known for its progressive content, transcends mere distribution strategy and delves into the realm of soft power and cultural diplomacy.The platform's popularity across South Asia enables the series to engage a diverse audience, fostering cross-border cultural dialogue and challenging parochial narratives.However, this move also raises questions about cultural dominance and representation, as the prevalence of Indian content on regional platforms like Zee Zindagi can be perceived as a form of cultural imperialism (Lotz 2021).Nevertheless, the series' global accessibility through Zee Zindagi's international network underscores the democratization of content distribution in the digital age, challenging traditional notions of geographically bounded media landscapes and highlighting the potential of streaming platforms to transcend national borders and promote cultural exchange, even in the face of political censorship and cultural resistance (Chalaby 2022).

So, Is churails coding a new feminist future in Pakistan?
The study's findings assert that "Churails" reclaims a derogatory term for witches and strategically employs it as a potent symbol of female empowerment and resistance.The series employs Bhabha's concept of hybridity and Crenshaw's intersectionality to critique patriarchal norms, with the boutique "Halal Designs" serving as a subversive space.By including queer characters and their struggles, "Churails" challenges rigid societal norms and advocates for a nuanced understanding of feminist agency and intersectionality in both local and global contexts.
"Churails" represents a radical departure from earlier waves of Pakistani feminism by confronting patriarchal norms that historically confined women to the domestic sphere and limited their agency.The series unflinchingly addresses taboo subjects such as infidelity, queer identities, and class struggles while depicting violence against women, thereby challenging traditional expectations imposed on women in Pakistani society.Aligning with the fourth wave of feminism in Pakistan, characterized by the Aurat March movement, "Churails" seeks to dismantle patriarchal structures in both public and private spheres (Alia Chughtai 2019).The series' audacious reclamation of female sexuality and bodily autonomy, echoing the Aurat March slogan "Mera Jism, Meri Marzi" (My Body, My Right), directly confronts the historical construction of Pakistani womanhood as a symbol of national "Muslim" honor and identity (Rehman 2019).This exploration of diverse resistance strategies among its protagonists-from Sara's strategic maneuvering to Batool's visceral rebellion-disrupts the hegemonic portrayal of victimhood often associated with women in Pakistani media, amplifying the complex and multifaceted nature of feminist agency.
"Churails" exceeds typical entertainment narratives, embodying a profound exploration of intersectionality within the Pakistani socio-cultural landscape (Mohanty 2003).Crenshaw's (2013) intersectionality framework illuminates the layered oppressions faced by Pakistani women, while the characters embody theoretical insights from Uma Chakravarti and Sharmila Rege.Sara's initial compliance and subsequent subversion of patriarchal expectations through her class privilege resonate with Uma Chakravarti's (1993) critique of Brahmanical patriarchy, while Batool and Zubaida's defiance and solidarity reflect Sharmila Rege's (1998) emphasis on the agency of marginalized women.This portrayal not only challenges dominant narratives within Pakistan but also enriches global feminist discourse by centering marginalized voices and showcasing their struggles and triumphs."Churails" disrupts entrenched patriarchal norms and offers a nuanced critique of gender, class, and sexuality, redefining the potential for media to drive social transformation and foster cultural exchange in South Asia.The series stands as a testament to the power of media to challenge and reshape societal structures, contributing to a more inclusive and representative global feminist discourse.
Moreover, "Churails" stands in stark opposition to prevailing trends in Pakistani media, offering a sophisticated critique of entrenched gender norms and societal structures.Traditional Pakistani media often perpetuates heteropatriarchal norms, confining women to objectified or victimized roles shaped by religious and cultural narratives (Ali 2018;Qamar, Safdar, and Manzoor 2020;Sheikh, Suleman, and Mazari 2019;Ullah 2014).In contrast, "Churails" emerges as a significant point of departure by presenting complex female characters who subvert these norms, thereby establishing itself as a pioneering force in the media landscape.The series includes marginalized characters from diverse socio-economic and queer backgrounds, contrasting the limited and often stereotypical queer representation in Pakistani media (Khan 2021;Yahya 2020;Afzal-Khan 2023).Furthermore, by navigating cultural sensitivities with a cautious approach (Khan 2021), "Churails" subtly challenges heteronormative and patriarchal frameworks through its portrayal of female relationships and complex female characters.This duality allows the series to contribute to the ongoing decolonization of Pakistani media discourse in two distinct ways.Firstly, the subtle visual cues hinting at same-sex relationships push the boundaries of acceptable representation in a society where overt queer expression faces significant barriers.This aligns with the global trend of increasing queer visibility, albeit within the constraints of the Pakistani socio-cultural context.Secondly, by depicting women who reject societal expectations and actively resist patriarchal structures, "Churails" aligns with feminist critiques of media representations highlighted by scholars such as Farah Adil and Subha Malik (2021).Similarly, the nuanced incorporation of queer themes subverts heteronormative narratives and advances a sophisticated discourse on gender fluidity and queer existence.By doing so, "Churails" not only redefines the potential for media to challenge entrenched patriarchal norms but also offers a transformative vision that resonates within and beyond the Pakistani context.This multifaceted approach not only reflects the ongoing evolution of gender representation in South Asia but also actively contributes to it, empowering women through its depiction of complex female characters and subtly pushing the boundaries of queer representation (Salam-Salmaoui and Salam 2024).
Ultimately, "Churails" exemplifies the interplay of gender, class, religion, and colonial legacies, revealing the multi-layered discrimination experienced by Pakistani women and challenging dominant narratives both within Pakistan and in Western-centric feminist discourse.The diverse backgrounds and struggles of the protagonists-Sara, Jugnu, Batool, and Zubaida-embody Crenshaw's (2013) concept of structural intersectionality, demonstrating how their experiences of domestic violence, societal expectations, and legal constraints are uniquely shaped by their social locations.By actively centering marginalized voices and showcasing their complex struggles and triumphs, "Churails" shatters the monolithic image of Pakistani womanhood and offers a more nuanced understanding of feminist agency.In doing so, it aligns with broader feminist projects globally, challenging deeply ingrained patriarchal norms and advocating for gender equality (Chughtai 2019;Sylvia Walby 2009).This series stands as a potent example of how localized stories, amplified through transnational media platforms, can contribute to a more inclusive and nuanced global feminist discourse, fostering a more inclusive understanding of feminist agency and resistance.
The director's writing for "Churails" is notably influenced by media featuring strong yet flawed female protagonists.Abbasi, who has a background in film theory and gender studies, cites works such as "Bad Feminist" and "The Second Sex" as shaping his understanding of the female and male gaze in cinema.2. Section 377: Section 377 of Pakistan's Penal Code, derived from British colonial law, criminalizes "unnatural offences," including consensual homosexual acts, oral, and anal sex.The law stipulates life imprisonment or imprisonment of no less than two years for anyone engaging in such acts.Specifically, subsection (2) mandates life imprisonment without parole or death for carnal intercourse with a boy under 18.Unlike India, where a Supreme Court judgment in 2018 decriminalized consensual same-sex acts, Pakistan has not yet reformed or repealed Section 377.

Disclosure statement
No potential conflict of interest was reported by the author(s).

Funding
The work was supported by the Koneen Saatio, Finland [202205064].Rauha Salam-Salmaoui Rauha Salam-Salmaoui completed her PhD in English Linguistics from University of Jyväskylä, Finland.In her doctoral dissertation "Constructing Gender Identities Multimodally: Young, middle-class Pakistanis on Facebook" she explored how young middle-class Pakistani men and women mobilize visual and linguistic resources in constructing their gender identities in their Facebook posts.Her research interests include gender identities, Islam, and representation of women in mainstream and social media, Multimodal Discourse Analysis, feminism, and religion.
Salam Shazrah Salam did her PhD in English literature from Massey University, New Zealand.Her doctoral dissertation "Imposed Silences, Subversive Voices: (Re)Reading Selected Pakistani Anglophone Writing through the Bodies of Pakistani-Muslim Women" analysed the inscription and framing of Pakistani-Muslim women in selected Anglophone Pakistani fiction.She is a tenured lecturer in Department of English at Bahauddin Zakariya University, Multan, Pakistan.Her areas of interest include Pakistani English fiction, postcolonial feminism, and fictional representations of the female body.