Humayun Saeed Calls for Pakistan’s Own OTT Platform to Take Pakistani Dramas Global
Actor and producer Humayun Saeed has said Pakistan should build its own streaming platform so that Pakistani dramas can reach audiences around the world, arguing that local stories deserve a home of their own instead of depending only on international services. In a new interview, Saeed said the country’s dramas already have a style and identity that viewers abroad could connect with — but they need a platform built for them first.
The Humayun Saeed Pakistan OTT platform call, reported on 28 October 2026, is not an announcement of a new service. No company, launch date, budget or project plan was shared in the interview. What Saeed offered was a clear argument: create the platform, show the work, and wider interest — including from global streamers — will follow.
Why Saeed wants a Pakistani platform first
Saeed’s case starts with what makes Pakistani television different. In the interview with Ali Salman, he pointed to the writing, the way dialogue is delivered, and the use of Urdu as the qualities that give local dramas their own character. That identity, he suggested, is exactly what could travel — if it is given the right shop window.
On the question of Netflix, Saeed acknowledged that streaming originals often take a bolder, edgier approach than broadcast television. Even so, he said dramas Pakistan has already made could still find an audience on international platforms. He also suggested that political considerations might shape how Netflix approaches Pakistan, while saying he was unsure when local productions might appear there.
Rather than wait, he argued for building at home. His reasoning was simple: once a local platform exists, filmmakers and actors have somewhere to present their work, and audiences — at home and abroad — have somewhere to find it. He pointed to India, where he said local streaming platforms came first, as an example of how a home-grown ecosystem can grow before global interest follows. He also called on the government to give the entertainment industry greater attention and support.
Social media has changed how new actors are found
Beyond streaming, Saeed spoke about how social media has changed the route into acting. He recalled a time when newcomers had to audition, meet directors, learn from experienced professionals and rehearse before getting a role. Today, he said, platforms such as TikTok let people show their skills directly — a change that creates new openings, but also makes it harder to judge real acting ability from online popularity alone.
He gave Hania Aamir as an example, saying he first saw her on Dubsmash and then cast her in a drama. That, he said, shows talent can be found online. But he cautioned that performing well in short videos does not necessarily mean someone can carry a scripted role, because an actor’s skills become clearer when they are given proper dialogue and scenes to play.
What The Crown taught him about discipline
Saeed also reflected on playing Dr Hasnat Khan in the Netflix series The Crown, describing discipline, organisation and professionalism as the most important lessons he took from the international production. He described carefully planned arrangements for transport, make-up timings, meals and call times, and contrasted that with what he sees as less structured practices in Pakistan’s entertainment industry.
He said co-star Elizabeth Debicki stayed focused on her work and followed a strict schedule, and that international productions communicate schedules clearly so cast members know when to report to set.
He also rejected the idea that his profession makes him a star, saying acting is simply his work. His latest released film is Love Guru (2025), a romantic comedy directed by Nadeem Baig and co-starring Mahira Khan, and he appeared in the television drama Main Manto Nahi Hoon in 2025.
What this means — and what it does not
It is important to keep the Humayun Saeed Pakistan OTT platform call in proportion. This is a proposal from one of Pakistan’s most experienced actor-producers, not a confirmed project. Until a broadcaster, studio or government body puts forward a plan with funding and a timeline, the idea remains an argument about direction — a strong one, given Saeed’s standing, but an argument all the same.
Still, the timing matters. Pakistani dramas already travel through clips, fan pages and word of mouth far beyond Pakistan. What they lack, in Saeed’s view, is a single, credible home where that audience can find them properly, in full, and on terms set by Pakistani makers. If that home is built, he believes, the world’s interest will not be far behind.
Sources: CW Pakistan, reporting the interview with Ali Salman (28 October 2026). This article is written in UrduPro’s own words; no text has been copied from the source report.
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