Pakistani television drama, produced largely at Lahore and Karachi, has an audience in Indian Punjab and always has, first through spillover signal and now online.
It is made in Urdu rather than Punjabi, which is the same displacement described elsewhere on this site, though Punjabi appears in comedy and in regional productions.
Pakistani Punjabi cinema, based at Lahore, produced a large body of films from the 1950s to the 1990s, including the Maula Jatt tradition of violent rural drama that is a genre in its own right, and it declined and has recently revived.
Indian Punjabi cinema and Pakistani Punjabi cinema make films in the same language for audiences that cannot legally see each other's work, and both are watched across the border anyway.
Punjabi music crosses freely because nobody can stop it. Film does not, because distribution is licensed.
The one cultural market in the world where two industries make work in the same language for a divided audience and neither can sell to the other is this one.
It runs the other way too. Indian Punjabi songs are ubiquitous at Pakistani weddings and Indian Punjabi film circulates on cable and on discs, and none of it is licensed. What people on each side actually watch has never matched what either government permits them to.
Pakistani Punjabi cinema had its own star system and its own register. Sultan Rahi made hundreds of films in the gandasa line and they were loud, violent, Punjabi and enormously popular, and polite opinion in Lahore was embarrassed by them the whole time they were being made.
Punjabi is the lower register on both sides. The prestige language is Urdu in one country and Hindi in the other, and a Punjabi writer or director in either is working in the language people speak rather than the language the industry respects.