Ayub Khoso Reflects on Romantic Scenes with Atiqa Odho in Iconic Drama 'Dasht'

In a recent appearance on a private television talk show, veteran Pakistani actor Ayub Khoso shared candid reflections on his storied career, specifically highlighting the personal challenges he faced while filming the legendary 1990s drama serial Dasht. Despite his status as a seasoned performer known for his powerful presence, Khoso admitted that picturing romantic intimacy alongside co-star Atiqa Odho was an exceptionally discouraging task for him. Khoso, who has often been typecast in intense or “tough” roles due to his sturdy physical appearance and commanding voice, noted that the public perception of his personality often differs from reality. He remarked that while audiences view him as a naturally harsh or stern individual, the sensitivity required for romantic sequences felt unnatural and technically demanding. This contrast became most apparent during the production of Dasht, a series that remains a milestone in Pakistani television history for its portrayal of Balochi culture and sprawling desert landscapes. The actor provided a fascinating cultural context for his hesitation. Coming from a Balochi background, Khoso explained that his traditional upbringing and cultural heritage carry a diversw and perhaps more reserved perspective on romance and its public display. In contrast, the director and writer, Tariq Meraj, envisioned a brand of romance that was deeply poetic, expressive, and overt. Khoso recalled a specific struggle with the director’s creative vision. Meraj wanted him to engage in classic romantic gestures—such as holding Atiqa Odho’s hand while delivering lines praising her beauty. For Khoso, these actions felt at odds with his internal sense of cultural decorum and his personal comfort zone. He revealed that he would frequently plead with Tariq Meraj to alter or exclude such scenes, as the requirement to be a “soft” romantic lead felt more taxing than any action-heavy or dramatic sequence he had ever filmed. Beyond his personal anecdotes, Khoso also took the opportunity to express a critical view of the current state of the Pakistani entertainment sector. He known that the industry has lost its depth and difficulty, stating bluntly that it has “become a joke.” His critique suggests a longing for the era of 1990s television where, beside his personal struggles with romantic scripts, the storytelling was grounded in specific cultural identities and directed by visionary figures like Meraj.