Pakistani drama Sher has taken both television and online platforms by storm, becoming one of the most-watched local productions in recent years.

Produced by Abdullah Seja, the serial’s opening episode alone drew an astonishing 55 million views, with overall numbers now well past the four-billion mark across different platforms.

Seja — known for previous successes such as Kaisi Teri Khudgharzi — has built a name for himself as one of the youngest producers shaping Pakistan’s entertainment industry today.

In a recent conversation with a Dubai-based outlet, he reflected on his creative journey and the shifts he’s witnessed in how audiences now consume content.

Seja said producing for the screen carries a sense of responsibility that goes beyond numbers and ratings.

A good producer, he believes, must stay connected to the society they’re creating for — a balance that, in his words, brings “its own kind of pressure.”

Having exposure to diverse age groups and social segments, he tries to keep those perspectives in mind while developing new projects.

Currently spending time in Dubai, Seja described the city as his “second home” — a creative hub that inspires him every time he visits.

The producer said that he often visits the UAE to realign his creative vision and understand the latest trends shaping the global entertainment markets.

Discussing his audience in the Middle East, Seja noted that the presence of people belonging to South Asia in the UAE gives Pakistani producers a chance to reach out to the Urdu- and Hindi-speaking viewers.

The engagement from the Dubai-based audience, he said, is clearly visible through online feedback and social media interaction.

He said he was optimistic that collaborations with regional broadcasters and OTT platforms are possible in the near future to create Urdu-based original content for audiences in the MENA region.

As Dubai continues to attract a growing expatriate population, Seja believes such productions will help residents stay connected to their cultural roots.

When asked how viewing habits are changing, Seja described YouTube as the new “second screen,” saying the platform offers audiences the flexibility to watch content at their own convenience.

“Habits may change, but content will remain the same,” he said, pointing out that storytelling has always revolved around a limited set of archetypes — it is the execution and presentation that continue to evolve.

In his view, present-day audiences prefer subtlety over lengthy exposition, with more left to interpretation.

However, this shift has also reduced attention spans, forcing creators to compress storytelling.

“What I previously wanted to tell you in 38 minutes,” he remarked, “I will now have to convey in eight.”

Reflecting on his recent projects, Seja said that after the mass-market entertainer Sher, the drama Sharpasand represented a deliberate change in tone — a smaller, more intimate story with a different emotional texture.

Having spent over a decade in the industry, he recognises that each drama has its own life and appeal.

“Every drama will be received by its unique audience,” he explained.

“Some will become hits, others will connect on a smaller scale — but no two shows will ever have the same effect on the audience or the producer.”

For Seja, the process is about constant evolution: finishing one story and moving on to the next, always learning what resonates most deeply with viewers.

With Sher and Sharpasand catering to distinct audiences, he sees each project as a reflection of Pakistan’s growing diversity in storytelling — and a step forward for the country’s drama industry.