Beneath the glittering facade of Pakistan’s burgeoning entertainment and media industry lies an entrenched, feudal-corporate power dynamic often referred to in local industry parlance as the Seth culture. Named after the traditional, autocratic tycoon or patriarch (seth) who finances commercial ventures, this environment operates less like a modern creative ecosystem and more like an absolute fiefdom. In television production houses, film financing circles, and media networks, the Seth holds near-absolute dominion over capital, casting decisions, and career trajectories. This archaic model of ownership has transformed artistic spaces into high-risk arenas where systemic exploitation, particularly of women, flourishes unchecked behind closed doors.
The mechanics of the Seth culture rely heavily on the commodification of vulnerability. Aspiring actresses, models, and female crew members stepping into the limelight often encounter an informal hierarchy where professional advancement is inextricably tied to personal compliance. Because the industry lacks institutionalized human resources departments, transparent employment contracts, or enforceable workplace safety regulations, young women find themselves at the mercy of powerful financiers and producers. The notorious casting couch and backdoor quid pro quo arrangements are normalized under this framework, masked as mentorship or necessary networking. Those who resist these unwritten rules frequently face subtle blacklisting, character assassination, or sudden contract terminations, effectively freezing them out of a tightly controlled market.
Furthermore, this patriarchal framework dictates not only behind-the-scenes interactions but also the very narratives projected onto screens. Seth-led production houses prioritize sensationalized, hyper-conservative tropes that safely objectify women or confine them to suffering archetypes, ensuring that alternative perspectives which might empower women are routinely silenced or rejected. When female artists attempt to speak out against harassment, delayed payments, or toxic on-set environments, they face severe institutional backlash and aggressive social media character smearing designed to discredit their professional integrity.
The Seth culture represents a profound systemic bottleneck within Pakistani media. By wedding modern commercial entertainment to feudal authoritarianism, it perpetuates a cycle where women's labor is heavily exploited and their autonomy is systematically undermined. Until formal regulatory bodies, transparent contracting, and independent oversight dismantle this autocratic control, the industry’s glittering output will continue to mask an undercurrent of institutionalized coercion.
Examples:
The Jang Group / Geo Television Network: Founded by Mir Khalil-ur-Rahman and subsequently led by figures such as Mir Shakil-ur-Rahman, representing one of the largest media conglomerates in the region spanning print, news, and entertainment.
The ARY Group: Founded by Haji Abdul Razzak Yaqoob and led by Salman Iqbal, controlling major news and entertainment broadcasting networks.
Hum Network: Founded and steered by Sultana Siddiqui alongside key executives, operating major satellite channels and production infrastructure.
The Express Group: Founded by Sultan Ali Lakhani, encompassing extensive print, digital, and television platforms.
Major Production Tycoons & Showrunners: Prominent actor-producers and corporate heads who run leading private production houses—such as Humayun Saeed (co-founder of Six Sigma Plus) and production executives like Abdullah Kadwani and Asad Qureshi (leading 7th Sky Entertainment under the Geo umbrella)—who control the greenlighting, casting, and financing pipelines for mainstream television content.