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Dil Wali Gali Mein starts as a lighthearted romantic dramedy set in a lower-middle-class neighbourhood that slowly spirals into a lesson on how not to write a female lead, or for that matter, a love story.

Starring Sajal Aly as Deeju and Hamza Sohail as Mujji, the drama follows the ‘enemy families and lovers’ trope — a spin on the classic ‘enemies-to-lovers’ arc.

Written by Zafar Mairaj and directed by Kashif Nisar, early episodes of Dil Wali Gali Mein present viewers with a fresh take on modern love with moments of humour and relatability, capturing Deeju and Mujji’s attempts to build a life together, irrespective of the tension between their families.

But as the drama progresses, their love story becomes mired in a tiring cycle of manipulation, entitlement, and emotional immaturity, disillusioning viewers. The problem? One poorly written character.

A quick recap

SPOILERS AHEAD

The drama opened in a courtroom where Mujtaba Siddique (Mujji) and Khadeeja Bilal (Deeju), first cousins, get married without the approval of their families.

The families are at odds: Mujji is the son of Durdana Siddique, who runs a school with her daughter Tamkinat and son-in-law Ishtiaq. Deeju’s parents, Bilal and Lubna, are critical of Muji’s family. As a consequence, their children — Deeju, Cookie, and Dabu — have grown up with a biased perception of them.

The drama never clearly articulates why the two families are at odds, leaving a lot to be desired from its script. It briefly alludes to a falling out between Lubna and Durdana shortly after Lubna’s marriage to Bilal, prompting the couple to move out and build an independent life.

Scattered references hint at a turbulent past — including Deju’s reluctance to face the same accusations her mother once did — but these suggestions are vague and underdeveloped.

All we know is that due to these unresolved, unaddressed differences, Deeju and Mujji’s relationship becomes increasingly toxic, with one partner, Deeju, acting impulsively and irresponsibly, becoming increasingly unlikable, and the other, Mujji, having little control over the situations presented.

Deeju’s character: Flawed writing or intentional immaturity?

Deeju’s stubbornness, manipulative behaviour, and constant negativity overshadow any redeeming qualities she once appeared to have. Instead of evolving into a strong, relatable female lead, she becomes a textbook example of how not to behave in a relationship.

Shortly after their marriage, Deeju moves out of her in-laws’ home over privacy concerns. Although valid, she starts living with Mujji at her parents’ house, where they don’t have a designated space of their own.

They then move into an apartment offered to them by a local don, and after he dies, they shift to an even smaller place in inner Lahore. They also invest in an under-construction apartment, taking loans from friends and family. When Deeju discovers that the apartment project is under legal dispute, she becomes involved in a court case with other residents.

Rather than portraying a woman adjusting to her new life with resilience, Deeju’s character arc becomes dominated by impulsive, self-centred decisions.

While it’s true that in our society, the burden of ‘adjusting’ is often placed on women since they’re expected to move into a completely new household, leaving the comfort of their own home behind, the story ends up failing to create lasting sympathy for Deeju because of the way she operates when confronted with challenges. When she manages to get what she wants, which is often, she fails to sustain it.

She also continues to make impulsive decisions that get her and Mujji in trouble, be it leaving her in-laws’ house without a solid plan B or pressuring Mujji to take financial risks. Her actions reflect a desire for independence, but also highlight a lack of consideration for the emotional and practical realities of her relationship with Mujji and their financial situation.

Deeju also becomes abusive in her relationship with Mujji. She slaps him in public over a misunderstanding, and when she sees him with another woman, she jumps to the worst conclusions and files for divorce without discussing the issue.

She makes baseless accusations — involving drug use, domestic abuse, and infidelity — making her irredeemable in the viewers’ eyes. This wasn’t just dramatic exaggeration; it was character assassination.

The good guy dilemma: Mujji’s devotion and its downside

While Deeju is often perceived as the one calling the shots in their marriage, Mujji isn’t a passive bystander. He is an active, willing participant — motivated by love and a desire to keep Deeju happy.

From the very beginning, Muji is portrayed as the greenest of green flags: gentle, loving, and emotionally invested. When his mother humiliates Deeju’s father in front of school staff, Mujji demands an apology from her and ultimately leaves his family home when she refuses — showing that he can, in fact, take a stand for his wife.

But while Mujji is a caring and committed partner, he avoids confronting Deeju and struggles to assert himself. He constantly adjusts to Deeju’s demands — not because he is weak, but because he believes keeping the peace is more important than being right. He forgives quickly, even when Deju crosses serious boundaries.

When she slaps him at his workplace, he doesn’t respond with anger. When she assumes the worst after seeing him with another woman and walks away without listening, he goes to her parents’ house to explain the whole situation. After receiving divorce papers and facing serious accusations, he tries repeatedly to speak with Deju and discuss the matter, but she refuses to give him a single chance.

He also continues to tell the court again and again that he loves her and wants to be with her. He even chooses not to hire a lawyer, afraid of bringing a third party into what he considers a personal matter.

What went wrong

Was Deeju meant to represent a flawed, modern woman pushing back against patriarchy, but the execution was so clumsy it backfired?

Perhaps the creators intended Deeju to be a bold, complex female character — someone pushing against traditional expectations and refusing to conform. But without a layered script or moments of genuine vulnerability, her assertiveness comes off as entitlement and her desire for independence, a desire for control.

When Mujji is at his lowest — jobless, grieving his mother’s declining health, and juggling domestic and school responsibilities after his brother leaves, she also fails to offer him emotional support and instead, serves him a divorce.

While the drama may have intended to portray a woman asserting her rights, it ends up crafting a character who lacks empathy.

A disastrous conclusion

Perhaps the most frustrating aspect of Dil Wali Gali Mein was its ending. By the time the final episode aired, Deeju’s sudden change of heart felt forced and opportunistic. She reconsidered divorce as soon as the apartment case was settled. That, coupled with the shift in her body language and attitude, made it seem like financial stability, rather than love, dictated her choices.

The bottom line

Rather than celebrating independence or challenging societal norms, Dil Wali Gali Mein glorified entitlement masked as assertiveness. In doing so, it undermined the emotional labour and mutual respect required for maintaining a healthy relationship.

What could have been a progressive love story instead highlighted the consequences of poorly crafted characters. Despite capable performances and decent production value, the screenplay never allowed the characters, particularly Deeju, the space to evolve meaningfully.

At its best, Dil Wali Gali Mein had the potential to be a refreshing take on young married life. At its worst, it became a cautionary tale of how poor character writing can turn an anticipated romantic comedy into an infuriating watch.

If we want richer, more honest portrayals of women on screen, it starts with better writing. Deeju deserved that. So did we.