In the late nineties, BTV was flooded with package dramas. Back then, the family stood at the center of every story. The tensions between parents, siblings, and relatives kept viewers hooked. Maybe that’s why long-running dramas like Ayomoy, Kothao Keu Nei, Sangsaptak, Aj Robibar, Oi Shob Din Raatri, Shokal-Shondha, Bondhon, or Rupnagar still hold a place in people’s memories.
The strength of these family-centered narratives carried the popularity of serial dramas for years. This was the genre that dominated the medium. Then suddenly the tide shifted. Television became crowded with romance-driven stories. Outside the hero–heroine love track, hardly anyone else got space. Many experienced and talented actors began losing regular work. At the same time, comedy dramas also began to take over.
In recent years, single-episode dramas haven’t changed much, but serials have once again found their footing in family stories.
Since November 5, the family serial Eta Amaderi Golpo, produced by Cinemawala and directed by Mohammad Mostafa Kamal Raz, has been on air, already picking up impressive popularity. Another family serial from the same production house, Dena Pawna, has also been warmly received. Across different TV channels, the presence of family narratives in serials has grown. BTV is airing Dhushor Projapoti, Maasranga has Shadi Mubarak, Deepto TV continues with Rupnagar, and NTV is broadcasting 7 Kilo 1 Gram.
Among the family dramas gaining traction, Mamar Bari, Attiyo, Ekannoborti, Tomader Golpo, Uttoradhikar, and Babao Manush have each earned several million views on YouTube. Most comments under these videos are overwhelmingly positive.
For years, senior directors and actors complained that producers spent most of the budget on just one or two artists and then claimed there wasn’t enough left to hire seasoned performers. They also said producers believed dramas wouldn’t work with older actors, so no one even considered building stories around them.
Veteran actor and director Abul Hayat told Times of Bangladesh, “I don’t think these shows are being made from any sense of social responsibility. Its trend driven. Viewers like it now, so everyone’s leaning that way.”
This wave of family-centered serials really began with Mohammad Mostofa Kamal Raz. After his series Family Crisis became a hit, the industry rushed back to the family genre. Raz responded to the criticism from fellow directors and actors.
He told Times of Bangladesh, “I can’t speak for others, but I’ve always wanted to tell these kinds of stories. If you look closely, most of my work revolves around family bonds or crises.”
On the question of budgets and sponsorship, Raz said, “Before I start a project, I present my plan to the sponsors. Not once have they told me they won’t support a show because it’s a family story.”
On responsibility, Raz was direct, “There are three reasons I make these stories. Yes, there’s a sense of responsibility—without family, you don’t have a story. The other two reasons are simple: audiences enjoy it, and I genuinely love telling these stories.”
