Pakistani media’s portrayal of 'gold-digging' varies significantly, reflecting the fluidity of its meaning and moral interpretation. This article examines two Pakistani dramas, Meray Paas Tum Ho and Quddusi Sahab Ki Bewah, to understand how the portrayal of female gold-diggers can oscillate between serious condemnation and light-hearted humour, based on the meanings attached to the deed in each scenario.
Meray Paas Tum Ho - Gold-Digging as a Moral Failing
In Meray Paas Tum Ho, the narrative centers around Mehwish who is portrayed as an ambitious gold-digger. This character (viewed through a lens of moral scrutiny) is depicted as the antagonist, embodying traits of greed, betrayal, and selfishness. The drama presents her actions – forming relationships for financial gain – as a serious ethical failing. This portrayal aligns with stereotypical societal values that vilify women who prioritise material wealth over emotional or moral integrity in relationships.
The drama's treatment of gold-digging is significant in its seriousness. It not only casts Mehwish in a negative light but also engages with broader societal conversations about gender roles, morality, and the sanctity of marriage. In this context, gold-digging is not just a personal flaw but a symbol of societal decay, reflecting anxieties around changing gender dynamics and the erosion of traditional values. Mehwish is seen as a titular villain for her bold actions and extra-marital relation with Shehwar. She suffers a fateful end where she loses everything - money, social status, her husband, as well as, her son. Shehwar on the other hand, is eventually forgiven by his wife and returns to work with her.
Quddusi Sahab Ki Bewah - Gold-Digging as Humour
Contrastingly, Quddusi Sahab Ki Bewah adopts an entirely different approach. In this drama, the theme of gold-digging is woven into the narrative with a sense of humour. The female characters who engage in gold-digging are not demonised but are instead part of comedic plots, their actions leading to humourous situations and misunderstandings. The titular Shakooran feeds off of the money her daughters earn, while each one of the daughters - Khajista, Badriqa and Shagufta - engage in a constant quest of finding rich people to marry. Rooh Afzah is often seen as demanding and obsessed with appearing “richer.” Never in the drama is the idea of gold-digging vilified. Rather, it is treated as a common trait shared among lower-class households and their members.
This lighter portrayal suggests a more nuanced understanding of gold-digging. Instead of outright condemnation, the drama uses humour to explore the complexities of why individuals might be driven to such actions. The humour does not necessarily absolve the characters of their materialistic motivations but instead humanises them, allowing the audience to engage with their stories in a less judgmental way.
The Fluid Meanings of Gold-Digging in Pakistani Media
These two contrasting portrayals in Pakistani media underscore how the meanings around gold-digging are not fixed but fluid, shaped by the contexts in which they are presented. In Meray Paas Tum Ho, the portrayal reflects societal anxieties about morality, gender roles, and the sanctity of relationships, while Quddusi Sahab Ki Bewah offers a more empathetic and less judgmental view, acknowledging the complexities behind such actions.
While the differing meanings exist, one cannot claim to hold any one of the representation at a higher pedestal than the other. Stuart Hall's theory of Representation argues that there can never be any true representation of events, people, places or histories because meanings are constantly constructed - there is no one true meaning. The differing treatments of gold-digging in these dramas reveal much about changing meanings and perceptions in Pakistan towards women, wealth, and relationships, and can be analysed to comment on the effectiveness of media products, rather than the validity of representation within them.