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                        <title>Latest Lifestyle News, Fashion &amp; Celebrity News - The Express Tribune</title>
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                        <description>The Express Tribune keeps you up to date with all the latest happenings from Pakistan and across the world!</description>
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			<title>Karachi festival offers a cultural feast</title>
			<link>https://tribune.com.pk/story/2638320/karachi-festival-offers-a-cultural-feast</link>
			<comments>https://tribune.com.pk/story/2638320/karachi-festival-offers-a-cultural-feast#comments</comments>
			<pubDate>Mon, 02 Nov 26 23:12:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[Our Correspondent]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Music, dance, film and theatre feature alongside discussions on contemporary art and cultural diversity]]>
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				<![CDATA[The fifth day of the 3rd World Culture Festival at the Arts Council of Pakistan, Karachi, featured a vibrant mix of art, music, dance, film and theatre, bringing together international artists to celebrate cultural diversity and creative expression.

As part of its &#39;Artfelt: Conversations Series&#39;, the festival hosted a panel discussion titled &#39;Cultural Diversity as Represented in 21st Century Fine Art&#39;, featuring artists from Ethiopia, Germany, Singapore, Sweden and Kenya.

Participants Kaleab Alemayehu, Petra Kaltenbach, Yip Yew Chong, Domi Forest and Nelson Ijaka discussed contemporary art, artificial intelligence (AI) and the role of artistic expression in promoting cultural identity and understanding.

Alemayehu said art could transcend political divisions and connect people, while Kaltenbach emphasised dialogue and self-transformation as tools for positive change. Yip spoke about using his artwork to introduce Pakistan&#39;s beauty to audiences abroad, while Forest called for greater love and solidarity. Ijaka described art as a means of shaping cultural narratives and building national pride.

The festival also featured a music workshop, &#39;Beyond the Bassline&#39;, by Japanese guitarist Juna Serita, who demonstrated the bass guitar&#39;s potential as a lead instrument and introduced young musicians to improvisation techniques. Brazilian dance group Cia Livre De Danca Da Rocinha conducted a workshop on traditional Brazilian and Samba styles, while an open mic session showcased young singers.

Eight films were screened under the &#39;Arab and North African Shorts&#39; programme, exploring themes including Palestinian identity, displacement, memory, family struggles, social injustice and psychological conflict.

The theatre programme featured Italian performer Tom Corradini&#39;s 50-minute physical comedy &#39;Shaolin Clown&#39;, which explored self-discovery through movement and humour. Pakistani production &#39;Taleem-e-Balighan&#39;, written and directed by Farhan Alam Siddiqui, offered a satirical take on social decline through the chaotic encounters of students at an adult education centre. Both productions received an enthusiastic response, bringing the festival&#39;s fifth day to a lively close.]]>
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			<title>A date with death, courtesy of 007</title>
			<link>https://tribune.com.pk/story/2638323/a-date-with-death-courtesy-of-007</link>
			<comments>https://tribune.com.pk/story/2638323/a-date-with-death-courtesy-of-007#comments</comments>
			<pubDate>Mon, 02 Nov 26 23:12:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[AFP]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Mexico City's spectacular Day of the Dead parade owes its beginnings to a scene from 'Spectre']]>
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				<![CDATA[While the Day of the Dead is a centuries-old tradition in Mexico, its parade over the weekend in the capital is a newer additionwith thanks to Bond, James Bond.

The Day of the Dead, when Mexico honours its deceased by blending pre-Columbian traditions with the Christian All Saints&#39; Day, is historically a family affair. Relatives visit cemeteries and set up altars with food and other items their loved ones enjoyed in life.

Then came 007.

The 2015 Bond film &#39;Spectre&#39; opens with the British spy walking through a crowd dressed as the dead in downtown Mexico City. On Saturday, giant skeletons, floats and performers in feathered headdresses and masks filled the streets of Mexico City for the 10th anniversary of the Day of the Dead parade.

Musicians and acrobats joined the floats, giving the downtown avenues a carnival atmosphere.

Portuguese tourist Ana Suares, 32, called the parade fascinating. &quot;People happy, the costumes, the flowers. It is quite wild! People coming together to remember those who are no longer here but are in our hearts,&quot; she told AFP.

Isabel Halsey, a 37-year-old from the United States, put it this way: &quot;It is colourful, smelly, dramatic, full of people of different nationalities and personalities. I love it!&quot;

Miguel Angel Mancera, who organised the first parade while serving as Mexico City mayor from 2012 to 2018, said the procession quickly exploded in popularity. &quot;Everyone started asking me, &#39;What about the parade? When&#39;s the parade?&#39;&quot; he said. &quot;It was an adventure.&quot;

City officials expected more than half a million visitors from Mexico and abroad to watch this year&#39;s parade, which fell on the same weekend as the city&#39;s Formula One Grand Prix race.

Some of the giant figures used in the Bond film appeared in the first parade in 2016. &quot;It&#39;s a very, very big thing now,&quot; Mancera said. &quot;It&#39;s something I&#39;m really proud of.&quot;

An 11-story sculpture of Catrinaan elegantly dressed female skeletonstands in the Zocalo, the capital&#39;s main square, as part of this year&#39;s festivities.

What was once a &quot;more intimate&quot; celebration has become &quot;a mass event,&quot; said Roberto Montalvo, an academic at the Iberoamerican University.

Tourists now pack some cemeteries, competing with families for space. &quot;Do we adapt the visit to the ritual, or does the ritual adapt to the visitor?&quot; Montalvo asked.]]>
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			<title>Changing fortunes of India's royals</title>
			<link>https://tribune.com.pk/story/2638321/changing-fortunes-of-indias-royals</link>
			<comments>https://tribune.com.pk/story/2638321/changing-fortunes-of-indias-royals#comments</comments>
			<pubDate>Mon, 02 Nov 26 23:12:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[AFP]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Former ruling families turn to politics, business and cultural preservation as they navigate life without kingdoms]]>
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				<![CDATA[In a sprawling palace in western India, the &quot;queen&quot; or Maharani of Baroda welcomes guests with fragrant rose petals, presenting torchlit dances of Hindu myths.

Dressed in glittering finery, Radhikaraje Gaekwad is a queen in name only, a modern businesswoman presiding over a world her ancestors once ruled.

&quot;The key has been that we have adapted,&quot; 48-year-old Gaekwad told AFP in her vast Lakshmi Vilas Palace, describing how India&#39;s former royals have found new roles, from cultural ambassadors to politics.

&quot;My work has always been to try and bring in change for what I feel would be for the betterment of society,&quot; said Gaekwad, who works to preserve art accumulated by generations of rulers. &quot;A glimpse of what was left behind... can bring that sense of identity and pride back in their roots, and help them in the future.&quot;

Under British rule, more than 565 princely states enjoyed nominal autonomy across roughly 40% of the land. Baroda, today Vadodara in Gujarat state, was among the most powerful.

The maharajas joined democratic India after independence in 1947 and became ordinary citizens, but their enduring cultural influence is something politicians of all parties seek to harness.

&quot;This cultural capital has been banked on by the descendants of the erstwhile maharajas to get into active politics,&quot; said historian Manu S Pillai.

Quest for heroes

Prime Minister Narendra Modi&#39;s Hindu-nationalist government has sought to draw on a royal past outside foreign control to reinforce its national narrative. Modi&#39;s party includes elected lawmakers such as Communications Minister Jyotiraditya Scindia, of the Gwalior dynasty, and Rajasthan Deputy Chief Minister Diya Kumari, of Jaipur&#39;s royal family.

&quot;There is a quest for heroes,&quot; Pillai added. &quot;Nationalist history has become very popular and... the Hindu right is very keen to tap into cultural icons.&quot;

Modi last year laid the foundation stone for a $39 million &quot;Museum of Royal Kingdoms&quot; celebrating their history. The site near Vadodara lies beside the world&#39;s tallest statue, a 182-metre monument to Sardar Vallabhbhai Patel, whom Modi honoured with its inauguration in 2018 for his role in bringing princely states into India.

Visitors were divided over the role of royals today. &quot;I hold the royal families in high regard,&quot; said Arti Shukla, visiting from Vadodara. Nishant Kulkarni, a bank worker from Mumbai, was more cynical. &quot;I only came to see this massive statue,&quot; he said. &quot;The royal families certainly played a role in the past, but there is no real need for their services anymore.&quot;

Storytellers

Beyond politics, many maharajahs see themselves as stewards of tradition, said Siddhaant Mohta, director of Sopaan, which organises cultural exhibitions in royal sitesincluding in Vadodara&#39;s palace. &quot;The royal families are custodians of heritage,&quot; Mohta said, pointing to work to overhaul Vadodara&#39;s Maharaja Fateh Singh Museum, which houses more than 30 works by celebrated 19th-century painter Raja Ravi Varma.

A Varma work fetched $17.9 million at auction in Mumbai in April, an Indian record.

Deborah Swallow, former director of London&#39;s Courtauld Institute of Art, is advising on the project, praising the legacy of royal patronage that helped fund it. &quot;That tradition is being beautifully followed today,&quot; she said.

Others, such as Raseshwari Rajya Laxmi, Maharani of Jaisalmer, said their titles open doorsexplaining how her family has helped twin the historic walled city with Carcassonne in France. &quot;We are sharing ideas on promoting and preserving their culture,&quot; she said.

For Gaekwad, her work includes social entrepreneurship, promoting social inclusion through initiatives such as a transgender-run cafe, as well as supporting traditional crafts and customs.

Her father, Ranjitsinh Jhala, 87, took a different path. Born into Wankaner&#39;s ruling family in 1939, before India&#39;s princes surrendered their powers, he was raised in a world where tiger hunting was a royal passion.

But he became a civil servant, drafted India&#39;s wildlife protection law, and helped turn vast tracts of princely hunting grounds into national parks. &quot;If that was what the princes left behind, it compensates far more than what they shot,&quot; he said.

Akshita Bhanj Deo, in her 30s, daughter of the 47th ruler of Odisha&#39;s Bhanja dynasty, represents a younger generation seeking modern meaning in historic titles. She has turned her palace into a hotel, and runs a foundation to support marginalised groups.

&quot;A lot of erstwhile royal families see themselves in a space where they can actually make a sense of community happen,&quot; she said. &quot;We&#39;re just the bards and storytellers between the past and future.&quot;]]>
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			<title>Ritchie expands 'The Gentlemen' universe</title>
			<link>https://tribune.com.pk/story/2638322/ritchie-expands-the-gentlemen-universe</link>
			<comments>https://tribune.com.pk/story/2638322/ritchie-expands-the-gentlemen-universe#comments</comments>
			<pubDate>Mon, 02 Nov 26 23:12:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[News Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Robert Carlyle, Elijah Wood and Orlando Bloom join the Netflix series as production begins in Britain and Morocco]]>
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				<![CDATA[Netflix&#39;s crime drama &#39;The Gentlemen&#39; is returning for a third season, with Robert Carlyle, Elijah Wood and Orlando Bloom among the new additions to its expanding cast as production gets under way in the United Kingdom and Morocco.

Created by Guy Ritchie, the series will see Theo James reprise his role as Eddie Horniman, alongside Kaya Scodelario as Susie Glass. The newcomers include Dexter Fletcher, Bruna Marquezine, Ed Speleers, Saffron Burrows, Philip Arditti and Bugzy Malone.

Announcing the new season, Ritchie said the ambition of the series had grown, with its fictional world expanding and the consequences of its characters&#39; actions becoming more significant, according to Netflix Tudum.

&quot;The ambition of &#39;The Gentlemen&#39; has accelerated, the world has expanded, and the consequences carry weight,&quot; he said. &quot;A third season felt inevitable, and I&#39;m looking forward to pushing the boundaries of it further.&quot;

The announcement follows a turbulent second season in which Eddie moved beyond his initial reluctance to enter the criminal underworld and focused on expanding his empire into Italy while becoming involved in parliamentary politics.

His ambitions, however, strained his business relationships with Bobby, played by Ray Winstone, and Susie, while bringing devastating losses. Although Eddie emerged on top, the season finale raised questions about how far he was prepared to go to protect his position and settle scores.

Lead writer and executive producer Matthew Read said he hoped viewers would question Eddie&#39;s capacity for ruthlessness following the events of the previous season.

James similarly suggested that the character&#39;s pursuit of revenge could come at the cost of his identity, raising questions about how much of himself Eddie might lose along the way.

Meanwhile, Susie&#39;s position has also changed. Scodelario said her character had realised she could no longer depend on her father&#39;s name or assume Eddie would remain a reliable business partner, signalling a possible shift in their relationship.

Netflix has not announced a release date for the eight-episode third season.]]>
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			<title>Dressing up for a slice of fame</title>
			<link>https://tribune.com.pk/story/2638324/dressing-up-for-a-slice-of-fame</link>
			<comments>https://tribune.com.pk/story/2638324/dressing-up-for-a-slice-of-fame#comments</comments>
			<pubDate>Mon, 02 Nov 26 23:12:16 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Mini-drama experiences at China's 'Hollywood' draw visitors seeking entertainment beyond conventional sightseeing]]>
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				<![CDATA[HENGDIAN, CHINA

Visitors to China&#39;s sprawling Hengdian World Studios are finding a new way to experience the country&#39;s film industry: dressing up as emperors, empresses and palace conspirators to star in their own mini-dramas on professional film sets.

Known as &quot;China&#39;s Hollywood&quot;, the eastern Chinese studio complex, where many of the country&#39;s period dramas are filmed, has opened its elaborate sets to tourists willing to pay for a taste of stardom.

In one palace chamber, four women dressed in silk robes and jade hairpins acted out a court intrigue, complete with a slap across the face. After the director called for another take, the performers gathered around their phones, laughing. They were friends who had travelled more than 1,500 kilometres to make their own production.

The studio has expanded into experiential tourism, allowing visitors to shoot scenes against elaborate backdrops, including replicas of Beijing&#39;s Forbidden City and old Shanghai streets used in professional productions.

Since the experience was launched in August, more than 2,000 people have participated, according to Hengdian, with bookings filled on most days, particularly weekends and holidays. &quot;During the National Day holiday, I shoot from morning until dark, and there are still guests we can&#39;t fit in,&quot; said Wang Weili, a director who once filmed 20 groups in a single day.

The attraction reflects a broader shift in Chinese consumer spending, as a slowing economy and prolonged property slump weigh on purchases ranging from luxury goods to household furnishings. Spending on travel, entertainment and experiences, however, has remained resilient, supporting demand for immersive attractions such as live-action role-playing games, historical re-enactments and interactive film shoots.

For 388 yuan ($55) per person, visitors receive professional hair and makeup, costumes, a 30-minute directed shoot and a 90-second edited video. They can choose from more than 20 scripts, most centred on palace intrigue, romance and betrayal.

&quot;When I was a kid, I loved playing director and getting the other children to act out scenes,&quot; said Clare Huang, who played an empress in her group&#39;s production. &quot;I&#39;ve always enjoyed this kind of thing, so today a few of us girls get to see what it feels like,&quot; she added.

Another visitor, 28-year-old influencer Xie, travelled to Hengdian after watching videos of the experience on social media. She paid 498 yuan ($70) for a solo performance based on an original script. &quot;We don&#39;t have proms in China, so now people go out in costume instead,&quot; she said. &quot;Everyone is willing to dress up a bit more boldly and show themselves in the best way they can.&quot;

For Hengdian, the venture offers tourists more than a glimpse behind the scenes of China&#39;s television industry. It allows them to step into the roles, costumes and elaborate settings usually reserved for professional actors, turning a visit to a film studio into an experience of their own.]]>
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			<title>Tarar announces plans to revive PTV Drama, Film Academy</title>
			<link>https://tribune.com.pk/story/2638253/tarar-announces-plans-to-revive-ptv-drama-film-academy</link>
			<comments>https://tribune.com.pk/story/2638253/tarar-announces-plans-to-revive-ptv-drama-film-academy#comments</comments>
			<pubDate>Mon, 02 Nov 26 10:42:07 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[Information minister says project will be 'game-changer' as youth to get practical training in modern studios]]>
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				<![CDATA[Information Minister Attaullah Tarar on Monday announced plans to restore and modernise the Pakistan Television (PTV) Drama and Film Academy, aiming to equip young people with contemporary filmmaking and digital production skills.

In a statement shared on X, Tarar said he had chaired a meeting to discuss the restoration of the academy &quot;and giving it a new shape.&quot;

The minister said that, for the first time in Pakistan, specialised training in colour grading would be made available locally, eliminating the need for aspiring professionals to travel abroad to acquire the skill.

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پی ٹی وی ڈرامہ اینڈ فلم اکیڈمی کی بحالی اور اس کو نئی شکل دینے کے لیے اجلاس کی صدارت کی۔ پاکستان میں پہلی بار کلر گریڈنگ کی تربیت یہیں ملے گی، باہر جانے کی ضرورت نہیں۔ پرائیویٹ سیکٹر کے ساتھ مل کر نوجوانوں کو جدید اسٹوڈیو میں فلم، ڈرامہ اور ڈیجیٹل کنٹینٹ کی عملی تربیت دیں گے،&hellip; pic.twitter.com/GMcYXwRkPE
&mdash; Attaullah Tarar (@TararAttaullah) November 2, 2026


Tarar added, &quot;In collaboration with the private sector, we will provide practical training to the youth in modern studios for films, dramas, and digital content; we will also partner with universities, and PTV&#39;s revenue will increase.&quot;

The minister concluded with expressing hope that the project would &quot;prove to be a game-changer.&quot;

The proposed revival of the PTV Drama and Film Academy came at a time when the film, television and digital content industries increasingly rely on advanced production techniques including colour grading, post-production and modern studio technologies.

By bringing specialised training facilities to Pakistan and involving private-sector partners and universities, the initiative aims to help bridge the skills gap and prepare a new generation of professionals for opportunities in the evolving media landscape.]]>
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			<title>Shah Rukh Khan turns 61 as Bollywood stars celebrate the 'King' ahead of new film</title>
			<link>https://tribune.com.pk/story/2638290/shah-rukh-khan-turns-61-as-bollywood-stars-celebrate-the-king-ahead-of-new-film</link>
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			<pubDate>Mon, 02 Nov 26 15:38:12 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Suhana Khan, Kajol, Kareena Kapoor, Anil Kapoor among others lead tributes as SRK unveils 'King' song 'Tu Mil Jaaye']]>
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				<![CDATA[Bollywood superstar Shah Rukh Khan marked his 61st birthday with a special treat for fans, unveiling Tu Mil Jaaye, the first song from his much-awaited film King, as birthday wishes poured in from family, friends and colleagues across the film industry.

From his daughter Suhana Khan sharing a heartfelt tribute to Kajol, Kareena Kapoor Khan, Shilpa Shetty and Anil Kapoor celebrating the actor, the occasion highlighted the affection he continues to command across Bollywood.

The celebrations also extended to Mumbai, where fans gathered outside his residence, Mannat, to mark the birthday of the man fondly known as Bollywood&#39;s King Khan.



Screengrab: suhanakhan2, theshilpashetty/Instagram

Shah Rukh&#39;s daughter Suhana Khan took to Instagram to celebrate her father, sharing a picture of the poster of his upcoming film King. Keeping her message short and sweet, she wrote, &quot;Happy birthday king.&quot;

Shilpa Shetty also shared a loving birthday tribute on her Instagram Story, calling Shah Rukh her forever Baazigar. Sharing a picture with the superstar, she wrote, &quot;To the one and only King Khan. My forever Baazigar, who wins in every heartbeat. Happy birthday, wishing you endless love, laughter, great health and happiness always.&quot;



Screengrab: sonamkapoor, kajol/Instagram

Sonam Kapoor also wished the superstar with a warm message on her Instagram Story. &quot;Happy happy birthday Shah Rukh Khan. Lots and lots of love to you, always! Can&#39;t wait to see you in King,&quot; she wrote.

Kajol, who shares a much-loved on-screen history with Shah Rukh, also sent him birthday wishes. Sharing a message on her Instagram Story, she wrote, &quot;Happy Birthday SRK! Stay the absolute rockstar that you are. Sending you the biggest hug today!&quot;





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Kareena Kapoor Khan also joined the celebrations with a special Instagram post, sharing a glimpse connected to King. Her caption read, &quot;Happy Birthday King. The forever Ruler of the kingdom. Let&#39;s dance together... Can&#39;t wait. 24-12-26.&quot;

Her message also sparked excitement about what appears to be a special dance collaboration in the upcoming film.

Anil Kapoor, meanwhile, shared a nostalgic birthday message on X, reflecting on the years of friendship and memories he shares with Shah Rukh.



Happy Birthday, Shahrukh! ❤️ Years of laughter, countless memories and you haven&rsquo;t lost an ounce of that charm or madness and clearly neither of us is counting the years. Here&rsquo;s to many more. Jaldi milte hai, Lots of love always! 🤗 @iamsrk pic.twitter.com/AADGn9S4IU
&mdash; Anil Kapoor (@AnilKapoor) November 2, 2026


He wrote, &quot;Happy Birthday, Shah Rukh! ❤️ Years of laughter, countless memories and you haven&#39;t lost an ounce of that charm or madness and clearly neither of us is counting the years. Here&#39;s to many more. Jaldi milte hai, Lots of love always!&quot;

Filmmaker Karan Johar also joined the celebrations, sharing a picture of Shah Rukh looking dapper and noticeably fit for his upcoming film. Praising the actor&#39;s appearance, Karan wrote, &quot;61? Never looked this fine.&quot;



Screengrab: karanjohar/Instagram

Shah Rukh also shared a moment of his own with fans.

Taking to X, the actor posted a photograph of the Bandra-Worli Sea Link illuminated with his pictures and birthday wishes.



Dost ho toh Google Gemini jaisa.. Thank you for the KING-sized love always.... had to sneak out for a drive to get this photo ha ha.. @GeminiApp pic.twitter.com/z3kLfG2Wf5
&mdash; Shah Rukh Khan (@iamsrk) November 1, 2026


He thanked Google Gemini for the special tribute, writing, &quot;Dost ho toh Google Gemini jaisa.. Thank you for the KING-sized love always.... had to sneak out for a drive to get this photo ha ha..&quot;





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The birthday celebrations also drew crowds to Mannat, where fans gathered to celebrate their favourite superstar. The residence was adorned with visuals from King, alongside a special message from Shah Rukh thanking his admirers.

The actor also marked the occasion by unveiling Tu Mil Jaaye, the first song from King, giving fans an early glimpse of the film&#39;s music.

Featuring Shah Rukh Khan and Deepika Padukone, the romantic track is composed by Sachin-Jigar, with vocals by Arijit Singh and Madhubanti Bagchi. British singer Ed Sheeran has also contributed an English rap to the song.

The release offers fans their first musical glimpse into the much-awaited film, which promises a blend of romance and action.





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Directed by Siddharth Anand, King also stars Suhana Khan, Abhishek Bachchan, Rani Mukerji, Anil Kapoor and others. The film is scheduled to arrive in cinemas worldwide on December 24, 2026, making it one of the most anticipated releases of the Christmas season.

With tributes from Bollywood colleagues, celebrations outside Mannat and a musical surprise from King, Shah Rukh&#39;s 61st birthday proved to be a celebration befitting the superstar.]]>
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			<title>Junaid Khan calls for greater investment in independent music, diverse TV stories</title>
			<link>https://tribune.com.pk/story/2638285/junaid-khan-calls-for-greater-investment-in-independent-music-diverse-tv-stories</link>
			<comments>https://tribune.com.pk/story/2638285/junaid-khan-calls-for-greater-investment-in-independent-music-diverse-tv-stories#comments</comments>
			<pubDate>Mon, 02 Nov 26 14:45:43 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Actor-musician says Pakistani TV needs more male-centred narratives, greater room for action and crime genres]]>
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				<![CDATA[Actor and musician Junaid Khan believes Pakistan&#39;s entertainment industry needs to move beyond its established commercial formulas, arguing that independent music deserves greater investment and television needs to make room for stories beyond its predominantly female-centred programming.

From the decline of dedicated music channels to the lack of male-centred narratives on television, Khan believes there is considerable room for the industry to diversify. He is particularly interested in exploring action and crime-based projects, genres he feels deserve greater representation in Pakistani entertainment.

In a conversation with Atiqa Odho, Khan discussed his journey across music and acting, the emergence of independent musicians, the commercial priorities shaping television content and his aspirations to move into production.

Khan believes Pakistan&#39;s music industry has enormous potential, particularly with the emergence of younger artists and the accessibility of digital platforms. However, he feels the industry has not invested enough in creating independent opportunities for musicians.

&quot;Now music is played more on YouTube so brands invest those into their dramas,&quot; he explained, pointing to the shift in how music is consumed and commercially supported. &quot;I think most of our channel heads invest music in drama because that is where the money is. If needed, they could have invested in a music channel,&quot; he added.

He recalled how dedicated music channels once provided artists with an important platform before the availability of free Indian music and copyright-related challenges contributed to their decline.

For Khan, music should not have to depend on a drama&#39;s popularity to attract investment. Dedicated music channels, independent productions, music videos and live performances could give musicians more opportunities to build their careers.

&quot;The future of music in Pakistan is very bright,&quot; he said, adding,&nbsp;&quot;There are so many artists, post-Spotify. So many kids in our homes make music on their computers and now they have a free stream platform.&quot;

He is particularly encouraged by younger musicians experimenting with sounds and genres rather than limiting themselves to conventional styles. &quot;Kids these days make such good music and are very creative. There are different genres, not just classic,&quot; he said.

Khan also praised Young Stunners and Hasan Raheem. &quot;Young Stunners are very good. Hasan Raheem is very interesting and has a good tone. There are many who are doing good and keep coming.&quot; He believes Pakistani music has also reached international audiences, while Karachi&#39;s concert culture has grown considerably since his early days performing live.

His concerns about commercial investment extend to television, where he believes audience demographics have a considerable influence on the stories broadcasters choose to finance.

Khan acknowledged that television research points towards a predominantly female audience, which influences the industry&#39;s programming decisions.

&quot;TV is a female-centred audience, that is what research says. Women see it more,&quot; he said. He explained that broadcasters tend to prioritise the larger audience segment rather than invest in content aimed at smaller demographics.

While female-centred dramas have an established audience and an important place in Pakistani television, Khan&#39;s observations point to an opportunity to explore a wider range of experiences and genres.

Action, crime and thrillers, in particular, are areas he would like to see receive more attention. &quot;I like action and crime. As a guy, that is where my interest lies despite it being difficult,&quot; he said.

Having spent considerable time in front of the camera, Khan is also interested in moving towards content creation and production. &quot;I have produced a couple of my own music videos but want to start on television,&quot; he revealed.

His career across music and acting, however, was not necessarily the result of a carefully laid-out plan. Khan described himself as someone who has always needed to stay occupied, rather than someone who consciously set out to develop multiple talents.

&quot;I have never thought of myself to be a man of multiple talents. I did not see talent that way. I always wanted to be doing something in life. I hated being free. I want to keep myself occupied,&quot; he added.

Recalling his college years, he said he was balancing education, employment and music. &quot;I was studying, working, and then going for jams later in the night. Then life went in a way where I stayed like that. There was never a time when I was just free.&quot;

For Khan, music and acting have served different creative purposes.&nbsp;&quot;Music for me was a mode of expression. With acting, I wanted to explore human scripts and minds. How people do these things and how actors work. I was interested in that from the very beginning,&quot; he said.

His interest in performance also extended to theatre. When Odho suggested he would be suited to musical theatre, Khan agreed, recalling watching Chicago in Pakistan and attending Broadway productions in New York. &quot;I salute actors in Pakistan working in theatre,&quot; he added.

Away from his professional commitments, Khan also discussed the importance of balancing work, fitness and family life. He has two children, aged 12 and seven, and makes a conscious effort to dedicate time to them.

&quot;I make sure that I give certain times in the day to family such as dropping kids to school. I then start my day early, go to gym, and go to work. I try to work five days a week and take at least Saturday or Sunday off. There should be balance in everything from fitness, work life, to family life,&quot; he said.

He also spoke candidly about the challenges fame can bring to married life, particularly when an artist receives attention from fans. &quot;Salute to all the wives. Media wives are challenged by this. Even if they are aware if my man is next to me or close to me, they will always have that feeling that your partner is loved by others. That is a thing to bear.&quot;

Khan believes maintaining a healthy relationship requires involving one&#39;s partner in professional life while also respecting personal boundaries. &quot;I try to involve myself and also distance. The plus and minus factor. Involve yourself but keep distance and don&#39;t let small issues make an impact,&quot; he said.

He added that he makes a conscious effort to leave his on-screen persona behind when returning home, ensuring that the pressures and attention associated with fame do not affect his family.]]>
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			<title>Aashir Wajahat sparks 'Parwarish' reunion speculation with Samar Jafri, Abul Hassan</title>
			<link>https://tribune.com.pk/story/2638258/aashir-wajahat-sparks-parwarish-reunion-speculation-with-samar-jafri-abul-hassan</link>
			<comments>https://tribune.com.pk/story/2638258/aashir-wajahat-sparks-parwarish-reunion-speculation-with-samar-jafri-abul-hassan#comments</comments>
			<pubDate>Mon, 02 Nov 26 11:08:33 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Director Meesam Naqvi's appearance in the picture also fuels hopes of another collaboration among the familiar faces]]>
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				<![CDATA[Aashir Wajahat has fuelled speculation about a possible reunion of the Parwarish team after sharing a picture with fellow actors Samar Jafri and Abul Hassan, alongside the drama&#39;s director, Syed Meesam Naqvi.

Captioned simply, &ldquo;The boys&rdquo;, the picture has prompted excitement among Pakistani drama fans, with many hoping the familiar faces are preparing to reunite for another television project.

The possibility of seeing the group work together again has particularly caught viewers&#39; attention given the success of Parwarish and the popularity of its young cast.

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Fans were quick to flood the comments section with excitement, with one user expressing disbelief at the prospect of seeing the three actors together in a drama directed by Meesam.

&ldquo;SAMAR, AASHIR, ABUL IN A DRAMA THAT TOO DIRECTED BY MEESAM SIR? WHAT COULD BE GREATER THAN THIS ???!!!!&rdquo; one fan exclaimed.

Others were already imagining the possibilities of the cast, with one fan suggesting, &ldquo;If you cast all of them together cast Aina too&rdquo;, referring to Aina Asif, who starred alongside Jafri in Parwarish.



&nbsp;

The reactions reflect the enthusiasm surrounding the possibility of another collaboration between the actors and director, although no new project has been officially announced.

Jafri and Hassan previously appeared together in the hit drama Parwarish, which premiered in April 2025. Directed by Naqvi and written by Kiran Siddiqui, the series explored generational differences, family pressures, identity and the challenges of growing up.

Jafri played Wali Jahangir, a young musician struggling to pursue his dreams amid family expectations, while Hassan portrayed Sameer. The drama resonated with younger audiences through its portrayal of family relationships and the pressures faced by young people.

Naqvi has also directed projects such as Mayi Ri and Parwarish, earning recognition for his work with young performers. Aashir, meanwhile, has another connection to the director, having appeared in the drama Kafeel as Subuk.

Beyond their professional collaborations, Wajahat and Jafri share a longstanding friendship that has become a favourite talking point among their followers.

The two have grown up in the entertainment industry together, building careers across acting and music. Their friendship has also translated into several creative collaborations, including the song Aaja Chal Jhoomay from the 2024 film Daghabaaz Dil and their appearance together in the Eid comedy Na Baligh Afraad.

Earlier this year, the duo teased their second musical collaboration, Tum Na Ho, with a nostalgic childhood photograph that offered fans a glimpse of how far the two friends had come together. Their musical partnership has continued to attract attention, with both artists discussing songwriting, music culture and their creative approaches in interviews.

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			<title>Hamza Malik and Zain Zohaib's 'Alfaaz' crosses 50 million Spotify streams</title>
			<link>https://tribune.com.pk/story/2637610/hamza-malik-and-zain-zohaibs-alfaaz-crosses-50-million-spotify-streams</link>
			<comments>https://tribune.com.pk/story/2637610/hamza-malik-and-zain-zohaibs-alfaaz-crosses-50-million-spotify-streams#comments</comments>
			<pubDate>Thu, 29 Oct 26 16:06:34 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Collaboration gains traction in India, ranks on Genius's weekly Top 10 and inspires viral covers]]>
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				<![CDATA[Pakistani singers Hamza Malik and Zain Zohaib&rsquo;s collaboration Alfaaz has crossed 50 million streams on Spotify, while its reported chart performance in India and recognition on Genius have added to the song&rsquo;s growing success.

The milestone was highlighted by Malik on his Instagram story, which showed 50,240,450 all-time Spotify streams alongside a celebratory message. The figure reflected the total displayed when the story was posted.



Screengrab: lifewithumzamalik/Instagram

Released in July, Alfaaz brought Malik and Zohaib together on a romantic track whose emotive sound has resonated with listeners. Its continued streaming growth has helped the collaboration reach audiences beyond Pakistan.

The song&rsquo;s reported chart performance has further fuelled its momentum. An Instagram story shared by Zohaib&rsquo;s official music account reported that Alfaaz had reached No&nbsp;1 on Spotify&rsquo;s charts in both India and Pakistan, as well as No&nbsp;39 on Spotify&rsquo;s global chart.





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The reported rankings mark a notable achievement for a Pakistani collaboration gaining traction in India, one of the region&rsquo;s largest music markets.

The song&rsquo;s reach also illustrates how streaming platforms can help music travel across national borders and connect artists with listeners in different markets.

Alfaaz has also gained recognition on Genius.

A screenshot shared by the singers on Instagram showed the track at No&nbsp;5 on the platform&rsquo;s Top 10 Songs of the Week chart, alongside songs by international artists including Tate McRae, Olivia Rodrigo, Chappell Roan, AD&Eacute;LA and Mariah Deborah.



Screengrab: zulfiqarjkhan/Instagram

Beyond streaming platforms, the song has found an audience through social media covers.

One video attracting widespread attention featured Norwegian singer and Quick Style dance member William Gamborg sitting with children from Lahore&rsquo;s SurTaal Music Academy as they sang a cover of Alfaaz.Shared on Gamborg&rsquo;s Instagram account, the video amassed 10 million views, offering another indication of the song&rsquo;s reach beyond its streaming audience.






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Shared on Gamborg&rsquo;s Instagram account, the video amassed 10 million views, offering another indication of the song&rsquo;s reach beyond its streaming audience.

The singers have continued to build on that momentum with the release of an acoustic version just days ago, giving listeners a different take on the original.





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The new rendition arrived as Alfaaz continued to circulate across streaming platforms and social media.]]>
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			<title>Hasan Raheem submits 'Bewajah' for consideration in two Grammy categories</title>
			<link>https://tribune.com.pk/story/2635234/hasan-raheem-submits-bewajah-for-consideration-in-two-grammy-categories</link>
			<comments>https://tribune.com.pk/story/2635234/hasan-raheem-submits-bewajah-for-consideration-in-two-grammy-categories#comments</comments>
			<pubDate>Fri, 16 Oct 26 14:49:59 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Song blends Urdu, Shina lyrics with visuals showcasing Gilgit-Baltistan’s music, traditional attire and freestyle polo]]>
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				<![CDATA[Singer Hasan Raheem has submitted his song Bewajah&nbsp;for consideration at the 2027 Grammy Awards in two categories: Best Music Video and Best Global Music Performance.

The singer announced the submission on Instagram through a post shared by the Hasan Raheem Global page, captioned &ldquo;BEWAJAH | FOR YOUR GRAMMY&reg;️ CONSIDERATION&rdquo;.

The post listed both categories, marking a notable moment for Raheem as his music continues to bring the sounds and traditions of his native Gilgit-Baltistan to wider audiences.

The submission does not guarantee a Grammy nomination, but it places Bewajah&nbsp;in contention for consideration at one of the music industry&rsquo;s most prestigious awards. It is notable not only for the song itself but also for the cultural heritage it represents.

While Best Global Music Performance recognises music from across diverse traditions, Best Music Video focuses on the visual production accompanying a recording. Bewajah&nbsp;brings the two elements together through its musical influences and portrayal of northern Pakistan.





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A tribute to Gilgit-Baltistan

Released in March 2026, Bewajah&nbsp;features producer Umair and blends Urdu lyrics with a bridge in Shina, a language spoken in Gilgit-Baltistan. The track draws on the region&rsquo;s musical identity, combining emotional storytelling with sounds rooted in Raheem&rsquo;s cultural heritage.

The music video is equally central to the song&rsquo;s appeal. Filmed in Gilgit, Pakistan, it unfolds against the region&rsquo;s dramatic mountainous landscape, incorporating traditional clothing, Gilgiti dance and a freestyle polo match. Raheem, dressed in white and adorned with jewellery, stands out against the dark-clad players and spectators, while the surrounding mountains add to the video&rsquo;s striking cinematography.

By placing freestyle polo, traditional attire and local dance at the centre of its visual narrative, the video gives the release a distinct cultural identity that extends beyond its musical arrangement.

He has also spoken about freestyle polo, a sport closely associated with the region&rsquo;s Shandur Polo Festival, describing it as an experience everyone should witness at least once. The video&rsquo;s setting reflects his continuing interest in bringing the traditions of Gilgit-Baltistan to wider audiences.

Raheem rose to wider prominence with tracks including Aisay Kaisay&nbsp;and Joona, later expanding his audience through collaborations and appearances on Coke Studio Pakistan. His work has frequently drawn on his roots, making Gilgit-Baltistan an important part of his artistic identity.]]>
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			<title>Masood Alam to unveil debut album ‘Mohabbat-Naama’ on October 16</title>
			<link>https://tribune.com.pk/story/2634648/masood-alam-to-unveil-debut-album-mohabbat-naama-on-october-16</link>
			<comments>https://tribune.com.pk/story/2634648/masood-alam-to-unveil-debut-album-mohabbat-naama-on-october-16#comments</comments>
			<pubDate>Tue, 13 Oct 26 14:41:02 +0500</pubDate>
			<dc:creator>
				<![CDATA[Our Correspondent]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[The nine-track collection explores love, longing, heartbreak and reconciliation]]>
			</description>
			<content:encoded>
				<![CDATA[Music producer, composer, songwriter and vocalist Masood Alam is set to unveil his debut album, Mohabbat-Naama, at a pre-release event at the Pakistan American Cultural Centre (PACC) on October 16.

After more than 15 years of producing music for Pakistan&rsquo;s advertising and commercial industry, Alam is stepping into the spotlight with a nine-song collection that traces different stages of love, from attraction and longing to heartbreak, reconciliation and the possibility of finding love again.

According to the correspondent&rsquo;s report, the event will feature screenings of all nine songs and their accompanying music videos, alongside a presentation on the album&rsquo;s creative journey and behind-the-scenes material.

Featured vocalists Neha Khan and Zoya Raza will join Alam for interviews and a question-and-answer session with members of the media.

Alam has spent over a decade and a half working behind the scenes in Pakistan&rsquo;s commercial music industry, collaborating with directors Ahsan Rahim, Mukhtar Zaidi, Nabeel Qureshi, Sibtain Shabbir, Raheel Faridi and Jibran Baig. His work has also involved advertising agencies including Adcom, Ogilvy, Synergy and Stimulus.

His artist collaborations include Atif Aslam, Hadiqa Kiani and Natasha Baig.

With Mohabbat-Naama, Alam is moving from producing music for commercial projects to presenting a collection under his own artistic identity. The album&rsquo;s nine songs bring together themes of romance, emotional upheaval and reconciliation, charting the different turns a relationship can take.

The October 16 event will offer media an opportunity to experience the album in its entirety ahead of its release and learn more about the creative process behind Alam&rsquo;s debut project.]]>
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			<title>The Songs That Went Away</title>
			<link>https://tribune.com.pk/story/2632913/the-songs-that-went-away</link>
			<comments>https://tribune.com.pk/story/2632913/the-songs-that-went-away#comments</comments>
			<pubDate>Sun, 04 Oct 26 07:10:29 +0500</pubDate>
			<dc:creator>
				<![CDATA[Brian Bassanio Paul]]>
			</dc:creator>
			<category><![CDATA[Pakistan]]></category><category><![CDATA[T-Magazine]]></category><category><![CDATA[Entertainment]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2632913</guid>
			<description>
				<![CDATA[What happened to our bilingual music and artistic industry]]>
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				<![CDATA[A question Professor Dr Rukhsana A Siddiqui asked me, some time ago, has stayed with me. Did the loss of East Pakistan cost Pakistan something specific in its musical and artistic life, not in a vague, sentimental sense, but in documentable, traceable ways?&nbsp;

Let me state plainly, at the outset, it is not an argument that losing East Pakistan is the reason Pakistani music declined. That claim doesn&#39;t survive contact with the historical record. The single explanation most historians and musicians themselves point to for the institutional marginalisation of music during 1977&ndash;88,&nbsp; the shrinking of concert space, a wave of classical performers relocating&nbsp; for work. That is a distinct process, with its own causes, arriving a full six years after Dhaka fell in December 1971. Conflating the two would be intellectually dishonest.

What I can trace, carefully, is narrower and more useful, specific institutions, specific collaborations, specific people who moved between Dhaka, Karachi, and Lahore in a single, functioning cultural market before 1971, and what happened to those particular threads when the country split. That&#39;s the response Dr Siddiqui&#39;s question deserves.

Pakistan&#39;s split from what became Bangladesh followed a period of intense political crisis between the country&#39;s two wings. The human cost remains genuinely disputed to this day, and I won&#39;t adjudicate that dispute here, it isn&#39;t this essay&#39;s subject. What concerns us is narrower, the cultural and musical infrastructure that existed before that rupture, and what specifically became unreachable after it.



Before 1971, East Pakistan had its own film industry, built with state investment. The East Pakistan Film Development Corporation&ndash; established in 1957, gave Dhaka a studio and processing infrastructure that filmmakers had previously needed Kolkata or Lahore to access. Between 1956 and 1971, that infrastructure produced roughly 154 Bengali and 53 Urdu-language feature films&ndash; a genuine, functioning bilingual cinema, not a token gesture.

Its finest hour is a film most Pakistanis today have never heard of &lsquo;Jago Hua Savera&rsquo; (1959). Shot entirely in a fishing village near Dhaka, it was scripted by Faiz Ahmed Faiz, directed by A.J. Kardar, and became Pakistan&#39;s first-ever submission for the Academy Award for Best Foreign Language Film. It won a prize at the Moscow International Film Festival, was screened at institutions from the Flaherty Foundation to the University of Southern California, and stands today, by the assessment of international film critics and archivists, among the finest works of neorealist cinema produced anywhere in South Asia. It was, in the fullest sense, a joint achievement: West Pakistani poet, West Pakistani director, East Pakistani setting, cast, and crew, East Pakistani production infrastructure. That particular kind of film, Urdu-scripted, Dhaka-produced, internationally minded, simply cannot exist again in its original form, because the single country that made it possible no longer exists.



Commercially, the same infrastructure produced films like Chakori (1967), released simultaneously in Urdu and Bengali &quot;double versions&quot; for audiences on both sides of the country&ndash; evidence of a real, functioning, cross-lingual audience and distribution network, not a hypothetical one.

If you want a single human thread that shows exactly what this bridge looked like in practice, follow the career of Robin Ghosh. Born in Baghdad to a Bengali Hindu father and an Arab Catholic mother, raised from age six in Dhaka&#39;s Wari neighbourhood, Ghosh started at Radio Pakistan&#39;s Dhaka station in the late 1950s, composed his first film score for the Bengali picture Rajdhanir Bookay (1960), and married the actress who would become Shabnam, the most successful leading lady in West Pakistani cinema for two decades. Ghosh followed her west, first to Karachi and then Lahore, and kept composing. His score for Aina (1977), made six years after Bangladesh&#39;s independence, became one of the biggest commercial successes in the history of Pakistani cinema, running for roughly 400 weeks in theatres. He won seven Nigar Awards, Pakistan&#39;s top film honour, across a career that spanned both countries.

Ghosh&#39;s story complicates any simple &quot;we lost it all&quot; narrative in an important way: talent that had already crossed over before the split largely stayed, and kept working, for years afterward. What ended wasn&#39;t Bengali musical talent&#39;s presence in Pakistani cinema overnight, it was the pipeline that had produced people like Ghosh in the first place, a shared training ground, a shared radio station network, a shared audience spanning both wings of East and West Pakistan, that no longer had a mechanism to keep feeding new talent westward after 1971.



The clearer case of direct loss is Runa Laila. Born in Sylhet in 1952, raised largely in Karachi where her father was posted as a civil servant, she trained in classical music and Kathak from early childhood. Making her film playback debut at 12, by her mid-teens Laila was, by multiple contemporary accounts, second only to Noor Jehan in the affection of Pakistani audiences, performing regularly on PTV, hosting her own show, singing for major Urdu films including Umrao Jaan Ada (1972). In 1974, her family relocated to newly independent Bangladesh. She went on to have a legendary career there and across India, but the specific thing Pakistan lost was concrete and dated; a teenage prodigy, fully formed by its own broadcasting and film institutions, whose subsequent decades of work happened somewhere else.

The premise that East Pakistan&#39;s cultural presence simply enriched a receptive, harmonious &quot;one nation&quot; musical fabric doesn&#39;t fully hold up. The most documented cultural flashpoint of the pre-1971 period runs in the opposite direction. In 1967, Pakistan&#39;s information and broadcasting ministry, under Ayub Khan&#39;s government, formally restricted the broadcast of Rabindranath Tagore&#39;s songs, Rabindra Sangeet&ndash; a cornerstone of Bengali musical and literary identity&ndash; on Radio Pakistan and later on the newly launched PTV, on the grounds that Tagore&#39;s work carried &quot;Indian&quot; and Hindu cultural associations incompatible with Pakistani ideology. This wasn&#39;t a fringe decision; it followed nearly a decade of official unease dating to opposition against Dhaka&#39;s plans to mark Tagore&#39;s birth centenary in 1961, and it became one of the specific grievances Bengali cultural organisations, including Chhayanaut, founded in 1963 specifically to keep Tagore&#39;s music alive in public life, cited in the years leading to the independence movement.



I raise this not to relitigate 1971, but because it changes what the honest answer to Dr Siddiqui&#39;s question actually is. Pakistan, as a state, did not simply enjoy unrestricted access to a rich Bengali musical inheritance and then lose it through separation. Part of what it lost, it had already been in the process of pushing away, a state apparatus in Islamabad and Karachi treating an entire musical tradition as ideologically suspect while people like Robin Ghosh and Runa Laila were simultaneously, and genuinely, thriving within the same country&#39;s film and broadcast industry. Both things were true at once. That contradiction, official suspicion of Bengali high culture running alongside real commercial and artistic collaboration in cinema and radio is a more honest, and frankly more interesting, story than a simple tale of harmony interrupted.



So, to answer the question as narrowly and defensibly as the evidence allows, Pakistan lost a functioning bilingual film and broadcast market roughly twice the size of what remained, with its own studio infrastructure in Dhaka that West Pakistani productions had begun to draw on. It lost a specific generation-defining talent pipeline, musicians, composers, and playback singers trained in East Pakistani conservatories, liturgical music, and radio stations, several of whom, like Ghosh and Laila, had already proven capable of producing work that topped the charts. It lost the possibility of further Faiz-calibre East-West artistic collaborations of the kind that produced Jago Hua Savera. And it lost, this is worth being honest about, a chance, foreclosed years before the actual war, to fully and officially embrace Bengali music as part of a shared national inheritance rather than treating it as a suspect import.

What it did not lose, in any simple sense, is its own capacity to make music. West Pakistani classical and film music had its own robust, independent lineages, the different gharanas, Roshan Ara Begum, Mehdi Hassan, Noor Jehan, that owed nothing to East Pakistan and continued, largely undisturbed, through the 1970s. The steep institutional decline of concert culture, classical patronage, and public musical life that people rightly associate with Pakistan today has a clearer, better-documented cause sitting six years later on the calendar, Zia&#39;s martial law, and the slow retreat of the state from supporting music as a legitimate public art.&nbsp;

The human insight here isn&#39;t nostalgia for a lost golden age, it&#39;s a lesson about what shared institutions quietly do. A single national broadcaster, a single national film certification and distribution system, a single national conservatory-adjacent training pipeline, does something that no amount of individual goodwill can replace afterward, it forces talent from different corners of a country to keep meeting each other, whether the state fully means to enable that or not. Ghosh didn&#39;t move to Lahore because Pakistan had a coherent cultural policy welcoming Bengali composers. He moved because a director in Dhaka happened to hire him, and love and ambition did the rest. The infrastructure created the conditions for the encounter; it didn&#39;t guarantee the outcome, and it didn&#39;t stop the state from simultaneously banning Tagore on the same airwaves.



The practical action for anyone thinking about Pakistan&#39;s musical future now is to stop waiting for a unifying national institution to hand talent a stage, and to build the smaller, unglamorous versions of what EPFDC and Radio Pakistan&#39;s Dhaka station once did by accident, cross-city, cross-language training pipelines and distribution networks that don&#39;t depend on ideological approval to function.

The better question to ask is: which of the cultural bridges we still have today between provinces, between languages, between forms of music the state considers respectable and the ones it doesn&#39;t? Are we currently one step away from losing the way Radio Pakistan lost Tagore, quietly, years before anyone called it a rupture?

I don&#39;t have a comfortable answer to that one either. But I leave you with an honest one.

&nbsp;

The writer is a music enthusiast and cultural critic. He writes about the intersection of music, society, and the human condition. He can be reached at brian.bassanio@gmail.com

All facts and information are the sole responsibility of the writer

&nbsp;]]>
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			<title>Apple Music finally arrives in Pakistan after 11 years</title>
			<link>https://tribune.com.pk/story/2632630/apple-music-finally-arrives-in-pakistan-after-11-years</link>
			<comments>https://tribune.com.pk/story/2632630/apple-music-finally-arrives-in-pakistan-after-11-years#comments</comments>
			<pubDate>Fri, 02 Oct 26 14:51:26 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Users can now access Apple’s music streaming service through local Apple accounts, with plans starting at Rs379]]>
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				<![CDATA[Apple Music is finally available in Pakistan, more than a decade after Apple first launched its music streaming service.&nbsp;

Subscriptions start at Rs379 per month for the Individual plan and Rs649 for the Family plan, with new users eligible for a one-month free trial.

Pakistan was among four countries added to Apple Music&rsquo;s availability this week, alongside Albania, Brunei and Burkina Faso.

According to Apple Insider, the expansion was spotted through Apple&rsquo;s Media Services availability information on September 30.





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Apple Music first launched in June 2015, initially rolling out across more than 100 countries. Pakistan, however, remained off the list for the next 11 years, leaving users unable to officially subscribe through a Pakistan-based Apple account.

That has now changed, with Pakistani users gaining official access to Apple&rsquo;s catalogue of songs, albums and playlists, as well as features including personalised recommendations, offline downloads and, where supported, lossless and Dolby Atmos audio.





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For Apple users, the biggest change is that Apple Music is now officially integrated into the local Apple ecosystem. Subscribers can access the service through the Music app on compatible devices without relying on a different regional account.

The arrival also brings Pakistan in line with several other Asian and Middle Eastern markets where Apple Music has been available for years, including India, Saudi Arabia, the UAE, Indonesia and Japan.

While the launch does not mean all of Apple&rsquo;s services are now available in Pakistan, Apple Music marks a notable addition to the company&rsquo;s offerings in the country.]]>
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			<title>Fashion moves to artificial beauty</title>
			<link>https://tribune.com.pk/story/2637660/fashion-moves-to-artificial-beauty</link>
			<comments>https://tribune.com.pk/story/2637660/fashion-moves-to-artificial-beauty#comments</comments>
			<pubDate>Thu, 29 Oct 26 22:51:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Brands explore AI as models fear for jobs and digital identities]]>
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				<![CDATA[Fashion brands are increasingly turning to artificial intelligence to create lifelike models for online retail, promising production savings of 90% or more but raising concerns about models losing jobs and surrendering control over their digital identities.

A Reuters review of more than a dozen confidential photoshoot contracts and interviews with 15 modelling agency directors found that brands including Diesel, Calvin Klein and L&#39;Oreal had sought rights to modify models&#39; appearances, create digital replicas and use images to train AI tools, sometimes without additional compensation.

The proposed terms included swapping a model&#39;s face with another person&#39;s, altering body proportions and creating digital clones for future use. Some contracts also contained broad legal language that lawyers warned could leave models vulnerable to uses of their images beyond what they had anticipated.

As retailers expand their use of AI-generated imagery, modelling agencies are reporting declining bookings, while photo studios have closed. London-based model Adot Gak, who has appeared in campaigns for Balmain and H&amp;M, warned that the technology could sharply reduce opportunities, particularly in e-commerce, where retailers require constant supplies of new product images.

&quot;Within a year, even the next six months, there&#39;s going to be less jobs for models, especially our bread and butter, which is ecommerce,&quot; Gak said. She warned that the industry could become dominated by artificial models if professionals failed to speak up.

The contracts reviewed by Reuters illustrate how the shift is unfolding. Diesel sought permission to alter or reconstruct facial features and body proportions, swap faces between participating models and place a model&#39;s face on another person&#39;s body.

Its parent company, OTB, said the document was drafted for a specific campaign and did not represent its typical agreements. It added that the company did not systematically modify models using AI.

Reale Actives, the skincare brand launched by social media personality Alix Earle, sought the right to create AI replicas of models and use them for a year without further payment. The company said it used real models and had not replicated anyone using AI, adding that the contract wording originated with an unnamed production partner.

A draft Calvin Klein contract sought permission to use reasonably unrecognisable images of models, without identifying features, to train and fine-tune AI tools. The company said it was testing the technology and that its use of AI was guided by regulation, industry standards and respect for models&#39; rights.

L&#39;Oreal sought rights to use AI for modifying or enhancing the appearance of cosmetic products, packaging and shades, as well as for retouching. The company said it used standard AI tools in post-production and editing that did not affect a model&#39;s image.

The commercial appeal is already evident. Zalando, Europe&#39;s largest online fashion retailer, rapidly adopted AI-generated imagery for marketing and closed both its Berlin photo studios last year. About You, acquired by Zalando in July 2025, also shut its studio. Zalando cut more than 340 jobs, although it said some employees were retained in other roles.

About You&#39;s Scayle Studios now creates digital imagery for other retailers using AI-generated models and promises production-cost savings of more than 90%. The company said it had 130 brand clients and generated 190,000 outfits in the previous month.

&quot;We are saving so much money,&quot; said Julian Jansen, About You&#39;s vice president of marketing, describing AI as a way to match the speed of online retail with image production.

Regulation, however, remains limited. New York&#39;s Fashion Workers Act, which took effect in June 2025, prohibits brands from creating or modifying replicas of models without their explicit consent. In Britain, the British Fashion Model Agents Association has drawn up a voluntary code stating that AI should be used only with a model&#39;s consent and that the model should own any digital twin.

Industry representatives warn that voluntary standards cannot offer the same protection as binding laws. Melanie Howard, a lawyer representing brands and talent, said sweeping contract language could make it difficult for models to challenge unauthorised uses of their images.

For younger models in particular, the consequences could last well beyond a single campaign. Patrick Staal, head of Barcelona-based Uniko Models, warned that signing away AI rights early in a career could affect a model for years.

&quot;The misuse of models&#39; images is not new, but with AI that problem is accelerated tenfold,&quot; said Sara Ziff, founder of the New York-based Model Alliance, which backed the New York legislation.

As fashion embraces cheaper, faster digital production, the central question is whether models will retain control over their likenesses - or find themselves helping to train the technology that eventually replaces them.]]>
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			<title>Louis Vuitton shows slinky dresses and fluid jackets, adapts to warming world</title>
			<link>https://tribune.com.pk/story/2633492/louis-vuitton-shows-slinky-dresses-and-fluid-jackets-adapts-to-warming-world</link>
			<comments>https://tribune.com.pk/story/2633492/louis-vuitton-shows-slinky-dresses-and-fluid-jackets-adapts-to-warming-world#comments</comments>
			<pubDate>Wed, 07 Oct 26 10:57:26 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[Louis Vuitton’s Ghesquière unveils airy designs, adapting fabrics and silhouettes to rising temperatures worldwide]]>
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				<![CDATA[Louis Vuitton showed fluid jackets and slinky, sheer dresses on Tuesday as womenswear creative director Nicolas Ghesqui&egrave;re said hotter temperatures caused by climate change were ​changing his approach to developing fabrics and designing clothes.



Designer Nicolas Ghesquiere appears on the runway of his Spring/Summer 2027 collection show for fashion house Louis Vuitton during Paris Fashion Week in Paris, France, October 6, 2026. PHOTO: Reuters

Light, flowing fabrics were used throughout the spring/summer 2027 collection on simple strappy dresses, ​loosely fastened jackets and sheer skirts in white or pastel pink and blue.

A black and ​white check look and dresses covered in an iridescent diamond pattern provided graphic elements in otherwise pared-back, tonal outfits.

Models emerged in between Louis Vuitton-branded cars on a set made to look like a highway, with ​a tar floor and road markings &mdash; decor Ghesqui&egrave;re said was inspired by learning that ​the stunning Louvre courtyard was for decades used as a parking lot for finance ministry officials, before the &zwnj;museum&#39;s ⁠famous glass pyramids were installed.



Models present creations by designer Nicolas Ghesquiere as part of his Spring/Summer 2027 collection show for fashion house Louis Vuitton during Paris Fashion Week in Paris, France, October 6, 2026. PHOTO: Reuters

Jackets featured flowing sleeves with some also extending into a long train trailing behind the model, and trousers were wide and fluid with long slits up the side to let air in. Small, simple handbags came in cream and lemon tones.

Ghesqui&egrave;re told ​reporters after the show ​that despite the ⁠minimalist appearance, &quot;making things extremely light is very complex and the engineering and development of fabric to fight that gravity is also very complex&quot;.



Models present creations by designer Nicolas Ghesquiere as part of his Spring/Summer 2027 collection show for fashion house Louis Vuitton during Paris Fashion Week in Paris, France, October 6, 2026. PHOTO: Reuters

Louis ​Vuitton, the flagship brand of luxury giant LVMH, has struggled with ​falling sales ⁠of its famous monogrammed handbags as fewer middle-class shoppers feel they can stretch to high-end purchases. The monogram was used lightly in the collection, featuring only on a couple of handbags and ⁠a ​leather bomber jacket.

A crowd of screaming fans outside the ​show greeted the arrival of K-pop star Felix, while France&#39;s first lady Brigitte Macron was among the celebrity guests, ​along with actors Zendaya, Emma Stone, and Saoirse Ronan.]]>
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			<title>Armani unveils shimmering collection in pursuit of 'evolution'</title>
			<link>https://tribune.com.pk/story/2631890/armani-unveils-shimmering-collection-in-pursuit-of-evolution</link>
			<comments>https://tribune.com.pk/story/2631890/armani-unveils-shimmering-collection-in-pursuit-of-evolution#comments</comments>
			<pubDate>Mon, 28 Sep 26 12:38:04 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[Giorgio Armani’s 'Evolution' blends signature tailoring with shimmer as the brand adapts after founder’s death]]>
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				<![CDATA[Giorgio Armani presented a womenswear collection on Sunday that combined its trademark tailoring with shimmering fabrics, ​as the Italian luxury group navigates a transition period &zwnj;a year after the death of its founder.

Titled &quot;Evolution&quot;, the new collection by Silvana Armani &ndash; the late designer&#39;s niece &ndash; featured a palette ​of ivory, black and gold and showcased eighties-inspired sharp-shoulder ​jackets with knee-length trousers, bold geometries and body-skimming ⁠evening gowns.



Models present creations from Giorgio Armani Spring/Summer 2027 womenswear collection during Milan Fashion Week, in Milan, Italy, September 27, 2026. Photo: Reuters

&quot;Style is a way of being, rather than ​an immutable code: the ability to change while remaining true ​to oneself,&quot; the group said in notes to accompany its runway show at Teatro Armani, one of the group&#39;s headquarters buildings in ​Milan.

Noting that &quot;identity can evolve&quot;, it added that the butterflies featured ​on brooches and necklaces symbolised metamorphosis.

Speaking to reporters after the show, Silvana &zwnj;Armani ⁠reaffirmed she was committed to continuity with the brand&#39;s aesthetic while allowing room for an &quot;evolution&quot;, pointing to the introduction of cotton as an example of change.

The Italian fashion house ​is entering ​a pivotal period as ⁠the clock starts ticking on plans to sell an initial 15% stake to outside ​investors.



Designer Silvana Armani appears during Giorgio Armani Spring/Summer 2027 womenswear collection presentation as part of the Milan Fashion Week, in Milan, Italy, September 27, 2026. Photo: Reuters

CEO Giuseppe Marsocci said the group was open ​to multiple ⁠investors in the share sale, adding that no decision had been made.

Earlier this month, the group named Dario Vitale creative director ⁠of ​Emporio Armani and Giorgio Armani accessories, ​marking the first time someone from outside the Armani family has taken ​on that role.]]>
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			<title>Omar Mansoor brings Punjab's heritage to New York Fashion Week</title>
			<link>https://tribune.com.pk/story/2628736/omar-mansoor-brings-punjabs-heritage-to-new-york-fashion-week</link>
			<comments>https://tribune.com.pk/story/2628736/omar-mansoor-brings-punjabs-heritage-to-new-york-fashion-week#comments</comments>
			<pubDate>Fri, 11 Sep 26 10:27:23 +0500</pubDate>
			<dc:creator>
				<![CDATA[Nawal Ahmad]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2628736</guid>
			<description>
				<![CDATA[Designer's Spring/Summer 2027 collection celebrates handwoven craft, artisanal skill and natural character of khaddar]]>
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			<content:encoded>
				<![CDATA[Pakistani designer Omar Mansoor brought a piece of Punjab&#39;s textile heritage to New York Fashion Week on Thursday, placing handwoven khaddar at the centre of his Spring/Summer 2027 collection, The Living Loom.

Presented on Broadway, the collection explored the relationship between traditional craftsmanship and contemporary fashion, with khaddar providing the foundation for a series of sharply tailored jackets, coat dresses, A-line silhouettes and elongated column dresses.

For Mansoor, however, the significance of the fabric lies as much in how it is made as in how it looks.

&ldquo;The collection started with khaddar,&rdquo; he told The Express Tribune. &ldquo;It is a tribute to the ancient tradition of handwoven fabric and to the artisans who have kept this craft alive for generations. I wanted to bring that tradition into a modern wardrobe without losing its true character.&rdquo;



A look into &#39;The Living Loom&#39; collection at NYFW. Photo: Author

Woven by artisans in the Punjab city of Kamalia, the khaddar is made using handspun thread and traditional looms. Its subtle variations in texture and weave have deliberately been left intact throughout the collection, making the fabric&#39;s natural character part of the garments rather than something to be corrected.

&ldquo;The artisans of Kamalia, Punjab, were a big inspiration for me,&rdquo; Mansoor said. &ldquo;The fabric is handspun and handwoven, using handspun thread, so every piece has its own character.&rdquo;

The collection itself remains firmly contemporary, with a restrained palette of ivory and black and silhouettes that rely on clean lines, proportion and construction rather than elaborate ornamentation. Triangular forms appear as a recurring motif, drawing on the simple geometric language of Indus Valley artefacts and pottery.

&ldquo;I was also inspired by the simple geometric forms found in Indus Valley artefacts, which became part of the shapes in the collection,&rdquo; he said.



Omar Mansoor walks the runway to conclude his show. Photo: Author

The choice to leave the khaddar&#39;s irregularities visible also speaks to a broader philosophy behind The Living Loom. In an industry increasingly shaped by rapid production and uniformity, Mansoor wanted to highlight the time, skill and human labour involved in creating the material.

&ldquo;I wanted people to look at the clothes and feel the human hand behind them,&rdquo; Mansoor said. &ldquo;Today, so much is made very quickly and very uniformly. I wanted to celebrate something made slowly, with care, where every small difference in the fabric has meaning.&rdquo;

Khaddar, therefore, is more than a textile reference in the collection. It becomes a way of connecting the finished garment to the people and processes behind it, from the spinning of the thread to the weaving of the cloth and ultimately its transformation into contemporary clothing.



American Designers launching their Spring/Summer 2027 collections at NYFW. Photo: Author

&ldquo;Khaddar was the heart of the collection,&rdquo; Mansoor said. &ldquo;It is made with handspun thread and handwoven on traditional looms. I wanted to keep the natural texture and small irregularities of the fabric visible. For me, those details are not imperfections. They are what make the cloth special.&rdquo;

That approach also informs Mansoor&#39;s understanding of sustainability. Rather than limiting the concept to the finished garment, The Living Loom considers the origins of its materials, the people who produce them and the communities supported by their continued production.

The collection consequently places a traditional textile practice within an international fashion context without attempting to reproduce traditional Pakistani dress. Its silhouettes and styling remain contemporary, while the provenance of the fabric provides the collection with its deeper narrative.



American Designers launching their Spring/Summer 2027 collections at NYFW. Photo: Author

Mansoor&#39;s show was among the fashion events taking place across New York on September 10 as the city entered Spring/Summer 2027 fashion week.

The wider schedule brought together established American names and international designers, making the city a meeting point for different approaches to contemporary fashion.





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For Mansoor, that international stage ultimately led back to the material at the centre of his collection and to the people who continue to make it. &ldquo;The narrative is distilled to its source. It begins with the cloth. And before the cloth, the loom,&rdquo; he said.

Hailing from a textile family, Mansoor grew up surrounded by fabrics, art, architecture and design before moving to London to study fashion, where he developed his signature approach to clean, elegant and timeless silhouettes.

He launched his eponymous label in 2008, and his designs have since been worn on international red carpets by actresses and members of royalty and featured in publications such as Vogue UK and the Financial Times.]]>
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			<title>Olivia Rodrigo wears dress featuring Palestinian tatreez at event for Daisy Chain Fields festival</title>
			<link>https://tribune.com.pk/story/2626538/olivia-rodrigo-wears-dress-featuring-palestinian-tatreez-at-event-for-daisy-chain-fields-festival</link>
			<comments>https://tribune.com.pk/story/2626538/olivia-rodrigo-wears-dress-featuring-palestinian-tatreez-at-event-for-daisy-chain-fields-festival#comments</comments>
			<pubDate>Sun, 30 Aug 26 09:41:18 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[American singer joins Bella Hadid, Saja Kilani in spotlighting Palestinian heritage through fashion]]>
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				<![CDATA[American singer Olivia Rodrigo became the latest global star to bring Palestinian craftsmanship into the fashion spotlight, wearing a handmade dress featuring traditional tatreez embroidery at her inaugural Daisy Chain Fields festival. She joined a list of other celebrities who have used fashion as a symbol for the Palestinian cause.

According to Khaleej Times, the Grammy-winning singer wore a custom pale pink mini dress by Palestinian fashion label N&ouml;l Collective during a press presentation ahead of the festival at Great Park in Irvine, California.

The handmade piece featured embroidered birds and interconnected daisy chains, a fitting nod to the women-led festival&#39;s name and wider themes. Olivia&nbsp;paired the look with vintage Gucci Mary Jane heels and a silver pendant.

N&ouml;l Collective, founded by Palestinian-American designer Yasmeen Mjalli,&nbsp;based in Ramallah, works with family-run sewing workshops, artisan studios and women&#39;s cooperatives across Palestine. The label places traditional craftsmanship, including tatreez embroidery, handweaving and natural dyeing, at the centre of its work.

While the singer&#39;s dress drew attention for its craftsmanship, she is not the first public figure to use fashion as a means to draw attention to Palestinian culture and heritage amid the region&#39;s ongoing crisis.

Bella Hadid and the keffiyeh dress

Few celebrities have brought Palestinian heritage to the fashion conversation as consistently as model Bella Hadid.

At the 2024 Cannes Film Festival, the Palestinian-Dutch supermodel wore a vintage red-and-white dress made from keffiyeh fabric, transforming one of the world&#39;s most photographed&nbsp;events into a moment of cultural expression.





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According to Vogue, the dress was originally created in 2001 by design duo Michael and Hushi. Its distinctive chequered fabric echoed the keffiyeh, a symbol of Palestinian identity and solidarity.

Cate Blanchett&#39;s debated Cannes statement

Australian actor Cate Blanchett also sparked discussion at Cannes in 2024 when she appeared in a custom gown that many interpreted as a subtle visual reference to the Palestinian flag.

Cate wore a black gown with a green panel and a pale pink section at the back. When photographed against the red Cannes carpet, many social media users interpreted the resulting combination of colours as a gesture of solidarity with Palestine.

However, Cate herself did not publicly confirm that the ensemble was intended as a pro-Palestine statement.

What is less ambiguous is the actor&#39;s wider public advocacy. As a UNHCR Goodwill Ambassador, she has previously spoken about the humanitarian crisis in Gaza and called for a ceasefire.

Saja Kilani brings tatreez to the Golden Globes

Palestinian-Jordanian-Canadian actor Saja Kilani made one of the most direct recent tributes to Palestinian heritage on the 2026 Golden Globes red carpet.

The Voice of Hind Rajab actor wore a custom black gown by Jordanian designer Reema Dahbour inspired by the traditional Palestinian thobe.

The dress incorporated tatreez embroidery around the neckline while combining traditional references with a contemporary, structured silhouette.





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For the actor, the choice carried an especially profound significance given the subject of The Voice of Hind Rajab, which centres on the story of a Palestinian child killed in Gaza.

Saja&#39;s dress demonstrated how traditional stylistic elements from Palestinian culture could move into contemporary fashion, carrying history and identity onto one of Hollywood&#39;s most visible red carpets.

The Artists4Ceasefire pins

&nbsp;

Fashion statements in support of a ceasefire have also appeared in smaller but highly visible forms.

At the 2024 Academy Awards, stars including singer Billie Eilish, her brother Finneas, actors Mark Ruffalo, Ramy Youssef and filmmaker Ava DuVernay wore Artists4Ceasefire pins on various red carpet events.

The pins represent&nbsp;calls for an immediate and permanent ceasefire in Gaza, alongside the release of hostages and the delivery of humanitarian aid to civilians in Gaza.

Whether through a handmade dress like Olivia&#39;s or a small pin on a lapel, celebrities have increasingly used red-carpet moments to spotlight Palestinian heritage and the humanitarian crisis in Gaza &mdash; a trend the singer&#39;s Daisy Chain Fields look now joins.]]>
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			<title>New month, new binge: Here's what's landing on Netflix this October</title>
			<link>https://tribune.com.pk/story/2633525/new-month-new-binge-heres-whats-landing-on-netflix-this-october</link>
			<comments>https://tribune.com.pk/story/2633525/new-month-new-binge-heres-whats-landing-on-netflix-this-october#comments</comments>
			<pubDate>Wed, 07 Oct 26 15:17:10 +0500</pubDate>
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			<description>
				<![CDATA[Florence Pugh, Ben Affleck, Keri Russell headline a packed month of new releases, returning series and documentaries]]>
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				<![CDATA[Netflix is welcoming October with a packed lineup of new films, original series, returning favourites and documentaries, giving subscribers plenty to watch throughout the month.

The streaming giant&#39;s October schedule includes Ben Affleck&#39;s Animals, a new adaptation of John Steinbeck&#39;s East of Eden, the Victorious spin-off Hollywood Arts, and new seasons of popular shows including Nobody Wants This, Lupin and The Diplomat.

The month will also bring a collection of documentaries focusing on comedians and entertainers, including Martin Mull, Norm Macdonald, Maria Bamford and Matthew Perry.

Here are some of the biggest new titles coming to Netflix in October:

East of Eden&nbsp;&mdash; October 1



One of Netflix&#39;s most ambitious October releases is East of Eden, a seven-episode adaptation of John Steinbeck&#39;s celebrated novel.

The period drama follows the complicated lives of two brothers and Cathy Ames, a fiercely independent woman whose arrival has lasting consequences for the family.

Florence Pugh stars as Cathy, with Christopher Abbott and Mike Faist also leading the cast. Created by Zoe Kazan, the series explores family, rivalry, love, ambition and the ways personal choices can shape generations.

Steinbeck&#39;s novel, first published in 1952, is considered one of the author&#39;s defining works and was itself inspired in part by the biblical story of Cain and Abel.

Crazy Rich, Incredibly Broke &mdash; October 1



Netflix&#39;s October comedy slate begins with Crazy Rich, Incredibly Broke, which centres on the wealthy AlThahabi family.

The family has built its identity around luxury and social status, but its comfortable existence begins to unravel when it discovers that its financial situation is far worse than expected.

Rather than immediately acknowledge their problems, the family attempts to keep up appearances, creating a series of comic situations as they try to protect their reputation.

Who Is Martin Mull? &mdash; October 7



Netflix&#39;s documentary lineup includes Who Is Martin Mull?, a look at the life and career of the late actor, comedian, musician and artist.

Mull built a career that crossed several creative fields, appearing in television and film while also pursuing music and visual art. The documentary explores his unconventional career and features contributions from people who knew and worked with him.

Animals &mdash; October 9



One of October&#39;s biggest film releases is Animals, starring Ben Affleck and Kerry Washington.

Affleck plays Mark Kimball, a Los Angeles mayoral candidate whose family is thrown into turmoil when his son is kidnapped. His wife, Abigail, played by Washington, joins him as they attempt to secure their son&#39;s release.

The situation forces the couple to make increasingly difficult decisions while confronting secrets within their own lives.

Affleck also directed and co-wrote the thriller. The cast includes Gillian Anderson, Steven Yeun, Adriana Paz and Luis Gerardo M&eacute;ndez.

The film arrives on Netflix on October 9, giving subscribers one of the month&#39;s most prominent new movie releases.

Hollywood Arts &mdash; October 15



Fans of Nickelodeon&#39;s Victorious will recognise a familiar face in Hollywood Arts.

Daniella Monet returns as Trina Vega in the new sitcom, which revisits the performing-arts school from the original series but introduces a new generation of students. Trina is no longer a student herself. After failing to achieve the acting career she had hoped for, she finds herself back at Hollywood Arts as a substitute teacher.

The series also brings back Yvette Nicole Brown as Principal Helen while introducing several new young performers.

The Diplomat Season 4 &mdash; October 15



Keri Russell returns as diplomat Kate Wyler for the fourth season of Netflix&#39;s political thriller The Diplomat.

Kate continues dealing with the fallout from the political and personal upheaval of previous seasons as tensions between the United States and Britain become increasingly complicated.

Her relationship with husband Hal, played by Rufus Sewell, remains another major part of the story as Kate faces new political challenges and threats.

Norm: The Tale of Norm Macdonald &mdash; October 16



Comedian Norm Macdonald is the subject of another major Netflix documentary arriving this month.

Norm: The Tale of Norm Macdonald looks at the comedian&#39;s career, from his rise in stand-up to his celebrated run on Saturday Night Live and his later work in television and film.

Directed by Judd Apatow, the documentary draws on archival material and personal footage to examine Macdonald&#39;s distinctive approach to comedy and his influence on other performers.

It arrives on October 16.

Nobody Wants This Season 3 &mdash; October 22



Kristen Bell and Adam Brody return as Joanne and Noah in the third season of Nobody Wants This.

After the twists and complications of their relationship in the earlier seasons, the new episodes move the couple into another stage of their romance.

Season 3 explores what happens when Joanne and Noah attempt to build a life together rather than simply trying to figure out whether they should be together.

Lupin Part 4 &mdash; October 23



French crime series Lupin returns with Omar Sy once again playing master thief Assane Diop.

Part 4 takes place four years after the events of the previous chapter. Assane remains in prison and appears ready to accept his situation, but circumstances soon threaten to pull him back into the world of crime and deception.

The series, inspired by the fictional gentleman thief Ars&egrave;ne Lupin, has become one of Netflix&#39;s most successful French-language productions since its debut in 2021.

Paralyzed by Hope: The Maria Bamford Story &mdash; October 23



Comedian Maria Bamford becomes the focus of Paralyzed by Hope: The Maria Bamford Story.

The documentary explores Bamford&#39;s career, family life and experiences with mental health while examining the personal experiences that have influenced her comedy.

The One About Matthew Perry &mdash; October 27



Netflix will also look back at the life of Matthew Perry in the three-part documentary series The One About Matthew Perry.

Perry became an international star through his role as Chandler Bing on Friends, but his life away from the sitcom was marked by struggles with addiction and efforts to maintain his career while dealing with his personal challenges.

The documentary draws on interviews, photographs and footage from Perry&#39;s life and explores both his fame and the difficulties he faced away from the screen.

Older Halloween favourites also return

While the focus of Netflix&#39;s October schedule is on new releases, the platform is also bringing back several older titles that fit the Halloween season.

The Twilight films will return for viewers looking for supernatural romance, while Alfred Hitchcock&#39;s classic Psycho offers a more traditional psychological thriller.

The original Friday the 13th will also be available for horror fans, alongside A Haunted House and its sequel for viewers who prefer their Halloween scares mixed with comedy.

Netflix&#39;s October lineup offers a mix of major new productions, returning series and documentaries, giving viewers plenty of options throughout the month. From the literary drama of East of Eden and the suspense of Animals to new chapters of The Diplomat, Nobody Wants This and Lupin, the schedule covers a wide range of genres.

Whether audiences are tuning in for a new drama, a returning favourite or a classic Halloween rewatch, October offers a packed selection of titles to explore.]]>
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			<title>Wasim Akram advises over-50s to limit WhatsApp, social media use</title>
			<link>https://tribune.com.pk/story/2635556/wasim-akram-advises-over-50s-to-limit-whatsapp-social-media-use</link>
			<comments>https://tribune.com.pk/story/2635556/wasim-akram-advises-over-50s-to-limit-whatsapp-social-media-use#comments</comments>
			<pubDate>Sun, 18 Oct 26 15:27:34 +0500</pubDate>
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			<description>
				<![CDATA[Former cricketer urges over 50+ to use WhatsApp wisely, avoid excessive messages and respect others' time]]>
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				<![CDATA[Former Pakistan cricket captain Wasim Akram has shared a humorous message for people aged over 50, offering advice on how to use mobile phones, WhatsApp and social media without overwhelming others with messages and calls.

Sharing the video on Instagram, Akram wrote, &ldquo;Viewer discretion: THIS VIDEO IS AVAILABLE FOR PEOPLE OVER 50 ON HOW AND WHEN TO USE A MOBILE PHONE/ WHATSAPP. AND YOU ARE WELCOME...&rdquo;

In the video, Akram said he could understand Gen Z and Gen Alpha because they were always on their phones. However, he suggested that older generations should learn to use their devices more thoughtfully, particularly when communicating with younger people.

&ldquo;This is special for 50+ that they should use WhatsApp, social media and their phones the correct way,&rdquo; he said, before advising viewers to stop sending random content to people every day.

&ldquo;Firstly, most importantly, stop sending random stuff to people every day,&rdquo; Akram said, explaining that such messages could become annoying, even when the sender had good intentions. He added that people should not feel obliged to send good morning messages to everyone daily.

Akram also highlighted the importance of considering people&#39;s attention spans before forwarding videos. He suggested that lengthy videos were less likely to be watched in full, with shorter clips of around two minutes being more suitable for many viewers.

&ldquo;I get you mean well, but it annoys people. Also, you don&#39;t have to send good morning to everyone every day. The third thing is when you send videos, please know that attention spans are short these days. Nobody will watch a 30-minute-long video, only 2 minutes&rdquo;, he added.

His next piece of advice concerned constant phone use. Akram urged people not to remain available on WhatsApp around the clock, pointing out that there was nothing wrong with replying to a message five minutes later. Constantly checking notifications and responding immediately, he suggested, could create unnecessary stress.

Reflecting on his own experiences, Akram said he had friends who never seemed to put their phones down, even when spending time together. He encouraged people to take things easy, enjoy life and manage their messages rather than feeling pressured to respond to everything immediately.

Akram explained that he still checked and forwarded messages but preferred to keep things under control instead of allowing his phone to dominate his time.

The video sparked a discussion among social media users, with some agreeing with Akram&#39;s advice while others felt his message needed a more compassionate approach.



One user wrote, &ldquo;At some part, I agree with you but never make someone feel like a burden because they are trying to stay connected.&rdquo;

Another commenter expressed complete agreement, particularly with his point about daily good morning messages and people forwarding disaster videos.

The differing reactions highlighted a familiar dilemma in the digital age: while excessive messages and unsolicited videos can overwhelm recipients, such gestures may also be a way for some people to maintain relationships and feel connected to family and friends.

Akram&#39;s light-hearted advice highlights the importance of digital etiquette in an age when smartphones and social media have become central to everyday communication. His message is not necessarily about discouraging older people from using technology, but about encouraging them to be mindful of other people&#39;s time, attention and boundaries.

At the same time, staying connected should not make anyone feel like a nuisance or a burden. Whether it is forwarding videos, sending daily greetings or making frequent calls, a little consideration can go a long way. Ultimately, the goal is to use technology to strengthen relationships, not strain them, while remembering that meaningful connections matter far more than the number of messages exchanged.]]>
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			<title>Samar Jafri, Fajr Raza reflect on the making of Express Entertainment's 'Raja London Ka'</title>
			<link>https://tribune.com.pk/story/2628547/samar-jafri-fajr-raza-reflect-on-the-making-of-express-entertainments-raja-london-ka</link>
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			<pubDate>Thu, 10 Sep 26 13:40:41 +0500</pubDate>
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			<description>
				<![CDATA[Actor and director discuss Jafri’s physical transformation, gritty visuals and the creative choices behind the serial]]>
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				<![CDATA[Actor Samar Jafri and Director Fajr Raza reflected on the transformation behind Raja London Ka, from bulking up and tanning for the camera to building a deliberately gritty world that they knew would invite criticism.

Jafri, who had spent years playing gentle, family-oriented characters, said Raja was designed to be the opposite. &ldquo;The character I played previously was a family boy, a very gentle person,&rdquo; describing Raja as carrying &ldquo;anger and a roughness that is very different from my past roles.&rdquo;

For Raza, making that transformation believable meant ensuring Jafri did not fall back into familiar territory. &ldquo;I told Samar that I didn&#39;t want a typical chocolate boy here,&rdquo; he said, explaining that since Raja was written as someone from Landa Bazaar, the actor needed to &ldquo;beef up a bit and get tanned so it looks like he works out in the sun day in and day out.&rdquo;

The physical transformation, however, was only part of what Jafri had to change. &ldquo;I had to completely switch off from the real-life Samar,&rdquo; he said, adding that performing the show&#39;s action sequences meant first convincing himself that &ldquo;this violence is justified.&rdquo;

Raza was equally particular about the world around his lead actor. &ldquo;If we had shot on polished sets, the show would have lost its soul,&rdquo; adding that the set needed to look &ldquo;crusty and grungy so the character actually felt part of that environment.&rdquo;

That visual approach extended to the way the cast was placed within the setting. Raza said that if the lead actors looked too clean, they would appear out of place, so he made sure they blended into &ldquo;the brown tones and gritty textures of the background.&rdquo;

He also used blocking as a storytelling tool, positioning Raja physically lower than his love interest, Rani, &ldquo;whether on stairs or relative to a car,&rdquo; so audiences would register the power dynamic between them without it being spelt out.

&ldquo;Raja has to become worthy of Rani,&rdquo; Raza said. &ldquo;The story isn&#39;t just about a hero showing up and winning the heroine; he has to build himself up mentally and socially.&rdquo;

The visual choices were part of a wider gamble with the serial. Express Entertainment had billed Raja London Ka as a departure from its usual slate, blending romance with action and thriller elements rather than relying on the family-drama template that commonly dominates Pakistani television.

Raza acknowledged the risk of that approach, particularly in choosing an aesthetic that was intentionally rough around the edges. &ldquo;People might say it should have looked cleaner or more typical, but real life isn&#39;t always polished,&rdquo; he said. &ldquo;We intentionally chose a grungy tone because that&#39;s what the show demanded.&rdquo;

That instinct also shaped the way Raza approached scripts. &ldquo;I don&#39;t select a script based on a risk assessment,&rdquo; Raza said. &ldquo;I look at whether the story excites me. If I am genuinely excited by it, the audience will feel that excitement too.&rdquo;

For Jafri, meanwhile, stepping into Raja meant confronting a side of performance that was unfamiliar to him. Describing himself as non-violent by nature, he said the show&#39;s action sequences tested him in ways his earlier roles had not.

&ldquo;In real life, I am a very non-violent person,&rdquo; he said, recalling that he felt guilty every time he had to kick or punch a co-star during a fight scene.

Making those sequences convincing mattered to him as much as performing them. &ldquo;If action looks fake, it ruins the whole scene,&rdquo; adding that every hit needed to carry weight to look &ldquo;earned and believable on screen.&rdquo;

With little time for rehearsal, much of the choreography came together on set. &ldquo;We didn&#39;t have weeks for extensive rehearsals,&rdquo; Jafri said, crediting action director Azam and DOP Imad for designing camera angles on the spot each morning.

Beyond the physical demands of the role, Jafri also reflected on how his relationship with the industry had changed over the years. Early in his career, he said, there had been constant pressure to prove himself and carve out space. &ldquo;But now it feels like a family,&rdquo; he said. &ldquo;There is a comfort zone on set where you can express yourself freely.&rdquo;

He credited a sense of gratitude with helping him keep that pressure in perspective. &ldquo;I rely heavily on Tawakkul,&rdquo; Jafri said, referring to trust in God, adding that focusing on gratitude and the process rather than external validation stopped industry pressure from becoming overwhelming.

His approach to working with Raza was similarly rooted in trust. Jafri said he deferred to the director&#39;s judgement even when their interpretations differed, since a director was working with &ldquo;the entire map&rdquo; rather than a single character&#39;s arc. Disagreements, he added, were simply part of reaching a version of the project that worked for everyone.

Raja London Ka cast Jafri in a role far removed from the soft-spoken leads he had built his career on. The serial brought together romance, action and thriller elements in a departure from the family-drama template, with its deliberately unpolished visual world forming a central part of that experiment.]]>
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			<title>Sajal Aly asks fans to choose kindness over hate</title>
			<link>https://tribune.com.pk/story/2628120/sajal-aly-asks-fans-to-choose-kindness-over-hate</link>
			<comments>https://tribune.com.pk/story/2628120/sajal-aly-asks-fans-to-choose-kindness-over-hate#comments</comments>
			<pubDate>Tue, 08 Sep 26 10:31:40 +0500</pubDate>
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				<![CDATA[Life And Style Desk]]>
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			<description>
				<![CDATA[Encourages fans to approach online conversations with kindness rather than hostility]]>
			</description>
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				<![CDATA[Pakistani actor Sajal Aly shared a message for her fans on how supporting a favourite celebrity should never come at the expense of putting someone else down.

Taking to social media, the actor urged her followers to refrain from spreading hate or negativity in her name, stressing that a fan&rsquo;s behaviour can also reflect on the person they claim to support.

&ldquo;Being someone&rsquo;s fan doesn&rsquo;t mean you have to hate or put down others. In fact, when you claim to represent someone, your words and actions reflect on them too,&rdquo; Sajal wrote.

She went on to address her fans directly, encouraging them to approach online conversations with kindness rather than hostility.

&ldquo;To all my fans, I hope you always choose love over hate, appreciation over negativity and kindness over aggression. Support the people you love but never at the expense of someone else,&rdquo; she said.



PHOTO: sajalaly/Instagram

The actor added a particularly direct message for those who may use her name while attacking others: &ldquo;If you&rsquo;re spreading hate in my name, you&rsquo;re not really my fan.&rdquo;

Sajal concluded her note by asking her followers to rise above online negativity, writing, &ldquo;Be the bigger, wiser person. Spread love and peace.&rdquo;

The actor did not specify what prompted the message or identify any particular person, fandom or incident she was referring to. Her comments come amid considerable online discussion surrounding her ongoing drama Zanjeerein, with the show and her performance generating attention among viewers in recent days.

Rather than addressing a specific dispute, Sajal&rsquo;s message focused on the wider relationship between celebrities and their fan communities. Her words suggested that admiration does not require hostility towards those who may have different favourites, opinions or interpretations.]]>
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			<title>5 new Netflix releases to add to your watchlist this week</title>
			<link>https://tribune.com.pk/story/2625590/5-new-netflix-releases-to-add-to-your-watchlist-this-week</link>
			<comments>https://tribune.com.pk/story/2625590/5-new-netflix-releases-to-add-to-your-watchlist-this-week#comments</comments>
			<pubDate>Mon, 24 Aug 26 11:41:15 +0500</pubDate>
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			<description>
				<![CDATA[From emotional coming-of-age drama and Bollywood romance to crime thrillers and the final 'Outer Banks' adventure]]>
			</description>
			<content:encoded>
				<![CDATA[With August drawing to a close, Netflix has plenty to offer viewers looking for something new to watch this week. From emotional coming-of-age drama and Bollywood romance to a chilling crime thriller and the long-awaited final chapter of Outer Banks, the latest additions cover a little bit of everything.

Whether you are in the mood for an emotional film, a complicated love story or one last treasure hunt with the Pogues, here are five titles worth adding to your Netflix watchlist this week.

Don&#39;t Say Good Luck



PHOTO: The Arts Fuse

Sunny Sandler takes centre stage in Don&#39;t Say Good Luck, an emotional coming-of-age film about a teenager whose biggest school opportunity arrives at the same time as her family faces a devastating crisis. The movie was released on August 14th and directed by Julia Hart.

Sandler plays Sophie Birenbaum, a high-school student who lands the lead role in her school musical. But her excitement is short-lived when she discovers that her mother&#39;s cancer has returned. Sophie must navigate rehearsals, friendships, teenage relationships and the increasingly difficult reality at home.

Directed by Julia Hart and inspired by writer Laura Hankin&#39;s own experience, the film explores grief, family and the way art can help people process difficult moments. Netflix describes it as a heartfelt and bittersweet drama, with Melanie Lynskey playing Sophie&#39;s mother, Elizabeth.

Other cast members include Melanie Lynskey, Max Greenfield, Jack Champion, Stephanie Beatriz, Bebe Neuwirth and Steve Buscemi.

Cocktail 2



PHOTO: Filmfare

The sequel to the 2012 romantic comedy Cocktail brings a new trio into the centre of a complicated relationship story.

Shahid Kapoor plays Kunal, while Rashmika Mandanna plays Diya, his longtime partner. A holiday in Sicily is supposed to give the couple some breathing room as they face questions about their future together. Instead, their trip becomes complicated when they reconnect with Ally, played by Kriti Sanon, Diya&#39;s old friend.

What begins as a seemingly harmless situation quickly develops into a messy emotional triangle, forcing Kunal and Diya to reconsider their relationship and what they really want from each other. Netflix describes the film as a romantic dramedy built around the couple&#39;s reunion with Ally.

Cocktail 2 originally opened in cinemas on June 19 before arriving on Netflix on August 14.

For nostalgic watchers, this serves as a sequel to the original film starring Deepika Padukone.

The Whisper Man



PHOTO: Netflix

For something darker, Netflix&#39;s The Whisper Man brings together Robert De Niro, Adam Scott and Michelle Monaghan in a crime thriller based on Alex North&#39;s bestselling novel.

The story follows Tom Kennedy, a widowed crime writer whose eight-year-old son is abducted. Desperate to find him, Tom turns to his estranged father, Peter Willis, a retired detective who once arrested a notorious serial killer known as the Whisper Man.

When another child disappears, an old case suddenly becomes relevant again. The investigation forces father and son to confront both the killer&#39;s legacy and their own complicated relationship.

Directed by James Ashcroft, the film also stars Hamish Linklater and Owen Teague. Netflix has confirmed its release for August 28.

If psychological mysteries, missing-person cases and serial-killer thrillers are your thing, The Whisper Man is arguably the most suspenseful title on this week&#39;s list.

Main Vaapas Aaunga



PHOTO: Frontline

Imtiaz Ali returns with a story about love, memory and the lasting wounds of Partition in Main Vaapas Aaunga.

The film centres on Ishar Singh Grewal, played by Naseeruddin Shah, an elderly man whose fading memory is intertwined with memories of his youth and a love story that began around the time of the 1947 Partition.

His grandson, played by Diljit Dosanjh, becomes involved in Ishar&#39;s desire to return to Sargodha, where his grandfather&#39;s first love remains part of his memories. Vedang Raina and Sharvari portray the younger versions of the central characters.

The film was released in cinemas on June 12 and made its Netflix debut on August 7. A.R. Rahman&#39;s music adds another emotional layer to Imtiaz Ali&#39;s nostalgic story of love separated by borders and time.

For audiences who enjoy slow-burning romances with history, nostalgia and emotional depth, Main Vaapas Aaunga offers something considerably more reflective than a conventional love story.

Outer Banks Season 5



PHOTO: Deadline

The Pogues are back for one final adventure.

The fifth season of Outer Banks premiered on Netflix on August 20, bringing the popular treasure-hunting drama to an end after five seasons.

Season 5 begins in the aftermath of JJ&#39;s death, with John B, Sarah, Kiara, Pope and Cleo struggling to deal with the loss of their friend. JJ was killed by his father, Chandler Groff, at the end of Season 4 after Groff took the coveted Blue Crown.

The remaining Pogues are now determined to avenge JJ and recover the treasure. They face Groff, the Lupine Corsairs and the Kooks while attempting to reclaim their future. Rafe also becomes an unlikely part of their alliance.

The final season ultimately gives the characters a chance at closure, with the Royal Merchant gold recovered and the Pogues moving into new chapters of their lives. The finale also brings John B and Sarah&#39;s story to a conclusion, with the couple rebuilding their life together.

This week&#39;s Netflix lineup has something for almost every kind of viewer. Don&#39;t Say Good Luck brings an emotional family story, Cocktail 2 delivers Bollywood romance, The Whisper Man offers a darker mystery, and Main Vaapas Aaunga explores love and memory against the backdrop of Partition.

But for fans who have been following the Pogues since 2020, the biggest attraction is undoubtedly Outer Banks Season 5. With the series now complete, it is the perfect time to return to the Outer Banks and take one final ride with John B, Sarah, Kiara, Pope and Cleo.]]>
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			<title>Indie cinema takes centre stage in Doha</title>
			<link>https://tribune.com.pk/story/2637662/indie-cinema-takes-centre-stage-in-doha</link>
			<comments>https://tribune.com.pk/story/2637662/indie-cinema-takes-centre-stage-in-doha#comments</comments>
			<pubDate>Thu, 29 Oct 26 22:51:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[APP]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2637662</guid>
			<description>
				<![CDATA[Japanese filmmaker Naomi Kawase to head film festival jury]]>
			</description>
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				<![CDATA[From independent cinema to a Japanese animated hero who became part of childhood across the Arab world, Doha is preparing to celebrate two distinct forms of storytelling as the city&#39;s film festival and pop culture scene bring generations of audiences together.

The Doha Film Festival (DFF) 2026 has named acclaimed Japanese filmmaker Naomi Kawase as head of its International Feature Film Competition jury, while a separate immersive exhibition, Grendizer Xperienz, will invite visitors to revisit the legacy of the iconic animated character from December 10, 2026, to January 16, 2027.

Kawase will lead a jury comprising French-Tunisian actor Adam Bessa, Tunisian producer Dora Bouchoucha, Palestinian filmmaker and artist Kamal Aljafari, and Italian documentary filmmaker Gianfranco Rosi. Their collective experience spans fiction, documentary filmmaking and performance.

The jury will select the winning films from a 15-film international competition featuring filmmakers from the Arab world, Asia, Africa, Europe and the Americas. The festival, scheduled for November 19-27, aims to champion original storytelling, creative risk and cultural exchange.

&quot;Independent cinema is where the most vital, courageous and transformative stories of our time find their voice,&quot; said Fatma Hassan Alremaihi, chief executive of the Doha Film Institute and director of the festival. She said the festival sought to protect creative freedom, bring overlooked perspectives to the screen and build bridges across cultures.

The jury&#39;s appointment reflects the festival&#39;s stated commitment to filmmakers who challenge conventions and expand cinema&#39;s artistic horizons. Key partners include Katara, Media City Qatar Film Committee and Visit Qatar.

Meanwhile, Grendizer Xperienz will offer a different journey through the power of storytelling, celebrating a character whose Arabic-dubbed adventures have remained in the region&#39;s cultural memory for decades.

Powered by Geekdom in partnership with the Doha Film Institute and Qatar Museums, and sponsored by Qatar Calendar by Visit Qatar, the experience was unveiled at a press conference on Tuesday. It will trace the history of UFO Robot Grendizer, from its earliest beginnings to its latest releases, bringing together material from its Japanese, French, Italian and Arabic versions.

&quot;For many of us who grew up in this region, Grendizer was never just a cartoon,&quot; said Mohamed Jaidah, group executive director of Jaidah Group, co-founder of Sixty Degrees and co-curator of the experience. &quot;It was a story about courage, loyalty and standing up for what is right, and it stayed with us long after it left our screens.&quot;

Created by Japanese artist Go Nagai and produced by Toei Animation, UFO Robot Grendizer aired 74 episodes between 1975 and 1977. Its Arabic version, dubbed in Lebanon with Jihad Al-Atrash voicing Duke Fleed, became one of the most prominent dubbed productions in Arab television history.

Abdulla Al Mosallam, deputy chief executive of the Doha Film Institute and founder of Geekdom, said the exhibition would allow longtime fans to revisit childhood memories while introducing younger audiences to the character&#39;s legacy. He described the project as an extension of Geekdom&#39;s effort to bring together enthusiasts of animation, gaming, comics and collectibles.]]>
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			<title>New film highlights Pakistani women's stellar anti-polio role</title>
			<link>https://tribune.com.pk/story/2636762/new-film-highlights-pakistani-womens-stellar-anti-polio-role</link>
			<comments>https://tribune.com.pk/story/2636762/new-film-highlights-pakistani-womens-stellar-anti-polio-role#comments</comments>
			<pubDate>Sat, 24 Oct 26 23:01:52 +0500</pubDate>
			<dc:creator>
				<![CDATA[Qaisar Kamran]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2636762</guid>
			<description>
				<![CDATA[Sharmeen Obaid-Chinoy's 'Across Every Doorway' focuses on
challenges faced by vaccination workers]]>
			</description>
			<content:encoded>
				<![CDATA[A new documentary by Oscar-winning filmmaker Sharmeen Obaid-Chinoy will focus on four women working to eradicate polio in Pakistan, highlighting the challenges faced by vaccination workers and scientists protecting children from the disease.

Titled Across Every Doorway, the film was announced by SOC Films on October 24 to mark World Polio Day. It follows women working in Karachi, Rawalpindi, Peshawar and Islamabad, documenting their roles in vaccination campaigns, community outreach and laboratory testing.

The documentary explores how health workers deal with vaccine refusals, misinformation and public mistrust, while trying to ensure that every child receives polio drops.

&quot;Behind every door is a family, a conversation, and a child whose future deserves to be protected,&quot; Obaid-Chinoy said, adding that the film aimed to bring attention to the women whose work often goes unseen.

In Karachi, Fouzia Ahmed, an area supervisor with the World Health Organisation&#39;s Polio Programme, works with vaccination teams and visits households reluctant to vaccinate their children. The documentary shows how she manages resistance while supporting colleagues who sometimes face verbal abuse and safety concerns.

In Rawalpindi, area coordinator Dr Shumaila Akbar monitors vaccination campaigns and checks whether teams are following required standards. Her work also involves travelling and managing responsibilities in the face of social expectations surrounding women&#39;s roles.

The film follows community health worker Laiba Ijaz in Peshawar as she tries to reach children who might otherwise be missed, including newborns and families who have recently moved into the area. Her personal journey, shaped by financial difficulties after her father fell ill, forms another part of the story.

In Islamabad, virology and immunology laboratory scientist Dr Riqba Akhtar tests environmental and human samples for traces of poliovirus. Her work helps authorities monitor the virus and inform responses on the ground.

The documentary also examines how conversations with doctors, religious leaders and local officials can help address concerns about vaccination.

Known for her work in films that highlight the inequality with women, as of 2019, Sharmeen Obaid-Chinoy&#39;s accolades include two Academy Awards, seven Emmy Awards and a Knight International Journalism Award. In 2012, the Government of Pakistan honoured her with the Hilal-i-Imtiaz, the second-highest civilian honour of the country. She features in listings of the world&#39;s most popular personalities and Time named her one of the 100 most influential people in the world in 2012.

She received her bachelor&#39;s degree in economics and government from the Smith College and two master&#39;s degrees from Stanford University. While at Stanford, she made two award-winning films, and upon returning to Pakistan, she launched her career as a filmmaker with her first film Terror&#39;s Children (2002) for The New York Times. She went on to win the Emmy Award for Best Documentary for the war-on-terror Pakistan&#39;s Taliban Generation (2009). She gained wider recognition for the documentaries Saving Face (2012) and the biographical A Girl in the River: The Price of Forgiveness (2016). For her work in both of these, she won the Academy Award for Best Short Subject Documentary and five Emmy Awards in different categories. She gained wider recognition for making the musical journey Song of Lahore (2015), and the animated 3 Bahadur film series (20152018). The latter is the country&#39;s first-ever computer-animated feature length film.

Her Academy Award win for Saving Face made her the first Pakistani to win an Academy Award, is one of only eleven female directors who have ever won an Oscar for a non-fiction film and is the first female film director to have won two Academy Awards by the age of 37. She is the first non-American to win the Livingston Award for Young Journalists for Reinventing the Taliban (2003). In 2017, Obaid-Chinoy became the first artist to co-chair the World Economic Forum.

Across Every Doorway is scheduled for release in November 2026.]]>
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			<title>Filming through fire</title>
			<link>https://tribune.com.pk/story/2635500/filming-through-fire</link>
			<comments>https://tribune.com.pk/story/2635500/filming-through-fire#comments</comments>
			<pubDate>Sun, 18 Oct 26 06:06:09 +0500</pubDate>
			<dc:creator>
				<![CDATA[Paula Roderick]]>
			</dc:creator>
			<category><![CDATA[Pakistan]]></category><category><![CDATA[T-Magazine]]></category><category><![CDATA[World]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2635500</guid>
			<description>
				<![CDATA[Filmed in Gaza shows two Palestinian photojournalists and the cost of bearing witness in a war with no safe spaces]]>
			</description>
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				<![CDATA[No one moved, the room was silent as the last film credit ran. It was comforting to be in a small gathering of friends&mdash;I couldn&rsquo;t imagine a safer group with whom to watch Filmed in Gaza. I had seen many of the video clips shown, but I had followed one of the NBC journalists, Samed Abu Zarifa, for years, reading his work and observing his reporting.

Yet this documentary goes behind the news stories to witness the lives of two NBC News journalists who fought so hard to bravely bring the stories to a reluctant and sometimes ill-informed public. We&rsquo;re told that journalists have to be objective, detached from the people whose stories they tell. Filmed in Gaza makes one ask: is that possible when your life, your families&rsquo; lives, are inextricably bound to the events that you&rsquo;re filming? And where does truth telling overshadow the elusive &ldquo;objective&rdquo; reporting?

From the outset, Filmed in Gaza takes us on a journey through some of the rough days of the current genocidal assault on Palestinian enclave, as it follows the two journalists, Samed Abu Zarifa and Samir Al Boji, who are determined to keep reporting what is happening on the ground despite their own experiences trying to survive as well. The documentary is directed by Samed and captures his video journalism work and that of his colleague and friend, Samir, winner of two News and Documentary Emmy Awards at the 47th Annual Awards in May 2026.



Samed is in his early 30s, married, a father of two young children. He&rsquo;s been working as an NBC News photojournalist for over 10 years. Samir also has worked as a photojournalist for years. He is 40-years-old, married, and has a family of six. For his part, Samir explained why it was difficult to find a partner&mdash;some families were reluctant for their daughters to marry him when they found out his profession&mdash;journalism&mdash;because in Gaza it&rsquo;s such a dangerous occupation. He proudly states, it is dangerous, and I love it. Their producer at NBC, Lawahez Jabari, gives us a short introduction: she tells the viewers that Samir is the older of the two, but is the one who brings laughter into their daily work; Samed is more serious. From there, the camera follows these journalists through almost two years of reporting starting in October 2023 when the most recent war against Palestinians began.

Following the Hamas-led attack on Israel that year, Israel banned foreign journalists from entering Gaza to report on Israel&rsquo;s assaults unless they were accompanied by the IDF. As a result, Palestinian journalists Samed, Samir, and their colleagues have been the major source of news. Against that backdrop, the documentary opens with a scene of Samed in one of a number of tents, getting his hair cut, as the voice over explains, Israel has called for the area to be evacuated, but the people have no idea where to go to be safe, and so they stay, while Samed and the film crew continue filming.

Then Samir told the gripping story. &ldquo;Samed and I were covering an assault on a house in Khan Younis,&rdquo; he narrates. &ldquo;I asked one of the first men that came out of the building what happened, and he said, the IDF bombed without warning. Samed went inside to set up more interviews, and as I was filming, the house collapsed. I knew Samed was inside, so we started searching, day and night. The rescuers were responding to our requests to do more and more, and finally Samed came out, standing tall and strong, confident, and telling the rescuers, there are more guys, more of our crew, still inside. When you see an entire building collapse on your colleague, on your friend, on someone documenting the suffering, you realise you are part of the suffering.&rdquo;

In other scenes, Samed talks about losing the home he and his family spent years building, destroyed in minutes. &ldquo;Our work as journalists doesn&#39;t negate our feelings. We have feelings.&rdquo; Later, in April 2025, Israel bombed the tent next to Samed&rsquo;s tent, and his close friend Yousef was killed.

Samir explained that filming children affected him the most. But they still continue to film. They report, for example, the story of the young father who left his children at home while he went out to the market. When he returned, Israel had bombed his home, and his children had been killed. &ldquo;Sometimes, I am not sure if I should film or not.&rdquo; Samir captured the video of a young boy who took on the role of parents for his five siblings after their mother was killed. He would go out to find food, and warm milk for his baby sister. As the film progresses, watching Samed and Samir and their colleagues moving from one location to the next makes it real that there are no safe spaces&mdash;not for the journalists or their families, and certainly not for the children, and the families they report on. And still, Samed says letting his wife and children leave Gaza was one of the hardest things he did. But he says it was his duty to continue reporting.



Meanwhile, NBC News producer Lawahez Jabari explains that they send out the videos so that the world can see what&#39;s happening. But Samed and Samir and their colleagues&mdash;they see and smell the blood, hear the screams, the journalists see the scenes that aren&#39;t filmed&mdash;and I can see how it has affected them. It has changed their personality, everything. Eventually, she begins to tell them they have to get out. Toward the end, Samir collapses: &ldquo;I haven&#39;t eaten in three days.&rdquo; And we see them struggle with the decision to leave, watch NBC&rsquo;s efforts to get them out, and just when it looks as if it will happen, Israel revokes their visas&mdash;and there is no explanation. In doing so, Jabari covers the efforts they had to make to get Samed and Samir out.

Told largely from the video segments and voice overs, the photojournalists tell the news stories, but this documentary tells the heart wrenching stories about the storytellers. I had watched many of these stories when they were first reported, now I saw the price the reporters paid to make those videos. I also learned about the team behind Samed and Samir and their crew, as Lawahez Jabari, the NBC News producer in Tel Aviv, relates how she came to work with them and became intricately involved in following their reports and ultimately insisting that they also had to leave Gaza.

Ultimately, the film makes clear: there may be no easy answers when journalists are reporting on and filming stories so intimately connected to their own lives, where there are no breaks, no down time, no safe spaces, and where the only escape routes are controlled by the government responsible for the bombing. Samir and Samed show us this reality&mdash;cooking a meal in a tent shared by your colleagues in one moment, reaching for the well-known Press vest, hat, and cameras in the next. What remained with me most are the scenes with the journalists outside of their working roles: Samed saying goodbye to his wife and children as they prepare to leave Gaza, his son asking to carry the suitcase, his daughter Mariam. Samir on the phone with his young children, offering them encouragement, despite what was happening around him.

And yet the reality remains&mdash;there is no simple resolution. I wanted a good ending, and the film delivers the scenes when Samir and Samed finally get through the checkpoints, leave Gaza, and meet Lawahez Jabari in person for the first time, sharing a hug and much laughter. But that isn&rsquo;t the end: the final scenes, when Israel bombs the tent that Samed and Samir share with their colleagues, capture the moment five of the journalists they had only recently left are killed.

In the end, Filmed in Gaza left me with questions I cannot close. How does one return to normal after bearing witness? What happens to the stories you couldn&rsquo;t tell, the photos you couldn&rsquo;t share, the memories that refuse to be filed away? How do you carry them so a world grown used to ignoring horror does not forget? According to the Committee to Protect Journalists, 196 journalists and storytellers have been killed in this war. That number is not an answer. It is an accusation. When will this end? How will it end? I don&rsquo;t know. But I know it cannot end in silence. It cannot end in forgetting. It must end with someone still bearing witness&mdash;still filming, still naming, still refusing to look away. When will this end? How will it end? Not with forgetting. Not with silence. It will end only when the world finally refuses to look away.

&nbsp;

The writer is an attorney and human rights activist in Chicago who closely follows news about Gaza after a tour to Palestine and Israel in May 2008.

All facts and information are the sole responsibility of the writer.]]>
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			<title>Andrew Garfield says OpenAI film 'Artificial' turns lens on creators of 'new world'</title>
			<link>https://tribune.com.pk/story/2634446/andrew-garfield-says-openai-film-artificial-turns-lens-on-creators-of-new-world</link>
			<comments>https://tribune.com.pk/story/2634446/andrew-garfield-says-openai-film-artificial-turns-lens-on-creators-of-new-world#comments</comments>
			<pubDate>Mon, 12 Oct 26 14:41:42 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2634446</guid>
			<description>
				<![CDATA[English-American actor stars as Sam Altman, exploring AI’s rise, power, ethics and safety through curiosity]]>
			</description>
			<content:encoded>
				<![CDATA[Curiosity and fear powered actor Andrew Garfield&#39;s performance in Luca Guadagnino&#39;s OpenAI movie Artificial, which premiered at the London Film Festival on Sunday.

Garfield plays OpenAI CEO Sam Altman in the film, which unfolds over two decades and chronicles the conception and growth of the artificial intelligence company behind ChatGPT and Altman&#39;s dramatic firing and rehiring in 2023.

&quot;I think the reason I was drawn to it was just pure curiosity and fear and really trying to understand as deeply as possible the people who are ushering us into this next phase of the world,&quot; said Garfield.

&quot;There&#39;s a sense of courage and imagination and resilience these people at the top of these companies must have, the ability to withstand so much criticism and such a microscopic lens on them as people. And it&#39;s important that we do that because we need to know who&#39;s in power and who&#39;s creating our new world,&quot; he said.

Garfield, who also starred in 2010&#39;s Facebook origin film The Social Network, did not contact or meet with Altman in preparation for the role.

&quot;I don&#39;t know Sam and I have a lot of compassion for a person who&#39;s my age, almost, and there&#39;s a movie being made about him,&quot; Garfield said. &quot;It&#39;s not him, but it&#39;s an idea of what this story is and his part in it.&quot;

OpenAI did not respond to a Reuters request for comment. In an interview with Vanity Fair, Altman said he was not expecting an &quot;accurate depiction&quot;.

With a screenplay by Emmy-winning Saturday Night Live writer Simon Rich, Artificial stars Russian Oscar-nominee Yura Borisov as OpenAI co-founder and former chief scientist Ilya Sutskever, who left the company after his involvement in Altman&#39;s brief ouster. It follows the ethical differences and conflict over AI safety between Altman and Sutskever, who trained under Geoffrey Hinton, known as the &quot;Godfather of AI&quot;, portrayed in the film by Mark Rylance.

The film also stars Ike Barinholtz as Tesla CEO Elon Musk. Monica Barbaro plays Mira Murati, OpenAI&#39;s former technology chief. It was shot in 2025 and comes at a time of mounting concerns triggered by recent incidents at OpenAI and Anthropic that have sparked fears rogue AI systems may slip beyond human control.

&quot;It&#39;s so fascinating making a film like this when the topic is so relevant right now,&quot; said Barbaro. &quot;We&#39;d be on set, watching two people argue with each other on Twitter, who we were portraying in this movie. It was really wild to have that experience. It&#39;s exciting and it&#39;s also really daunting because you want to be truthful, but the truth seems to change every month.&quot;]]>
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			<title>Kashmiri filmmaker Arfat Sheikh released from US ICE detention, campaign says</title>
			<link>https://tribune.com.pk/story/2633900/kashmiri-filmmaker-arfat-sheikh-released-from-us-ice-detention-campaign-says</link>
			<comments>https://tribune.com.pk/story/2633900/kashmiri-filmmaker-arfat-sheikh-released-from-us-ice-detention-campaign-says#comments</comments>
			<pubDate>Fri, 09 Oct 26 11:48:45 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2633900</guid>
			<description>
				<![CDATA[Sheikh was detained on September 24; his work explores conflict in the valley]]>
			</description>
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				<![CDATA[Award-winning Kashmiri filmmaker Arfat Sheikh was released from US Immigration and Customs Enforcement detention on bond on Thursday after being detained on September 24, &zwnj;according to a statement by a campaign of his friends and relatives to free him.

Sheikh, whose work has explored conflict in his native India-administered Kashmir, was detained by ICE, part of the Department of Homeland Security, while coming off a plane from California at the Washington Dulles International Airport, the campaign said.

It said Sheikh&#39;s bond was granted on Tuesday and he was released on Thursday, adding that ⁠the deportation case against him continues.

The campaign said Sheikh, who lived in Alexandria, Virginia, entered the US in 2019 on a student visa to pursue graduate studies in film at Georgia State University and filed for asylum in 2020. The campaign said he had a pending immigration application and was authorized to work and live in the US.

DHS said on Wednesday Sheikh was arrested on September 24. It said Sheikh &quot;legally entered the US on a temporary basis and illegally overstayed his lawful admittance.&quot;

A pending application does not confer legal status in the US, DHS said, adding he will receive due process.

President Donald Trump&#39;s administration said in August it &zwnj;was ⁠working &quot;to identify and revoke the non-immigrant visas of foreigners who have come to the US claiming to be short-term visitors, but then file for asylum to stay here permanently.&quot;

Trump has pursued an immigration crackdown and deportation drive that he says aims to improve domestic security. Rights advocates say the crackdown has violated due process and free speech rights and created an ⁠unsafe environment, particularly for ethnic minorities, who have raised concerns about racial profiling.

Sheikh&#39;s first feature film, 2024&#39;s &quot;Saffron Kingdom&rdquo; won Best Feature Film at the Chicago Filmmakers Awards, the LA Film and Documentary Awards, the Melbourne Independent Film Festival and the Wake ⁠Forest Film Festival. Sheikh, who hails from India-administered Kashmir, won the Emerging Filmmaker Activist Award at the Teaneck International Film Festival.

The film explored conflict in Kashmir through the journey of a family from Srinagar in ⁠India-administered Kashmir in the 1990s to Atlanta in 2019.]]>
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			<title>Dictionary.com names 'maxxing' its 2026 Word of the Year</title>
			<link>https://tribune.com.pk/story/2637044/dictionarycom-names-maxxing-its-2026-word-of-the-year</link>
			<comments>https://tribune.com.pk/story/2637044/dictionarycom-names-maxxing-its-2026-word-of-the-year#comments</comments>
			<pubDate>Mon, 26 Oct 26 15:25:00 +0500</pubDate>
			<dc:creator>
				<![CDATA[Anadolu Agency]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2637044</guid>
			<description>
				<![CDATA['It was everywhere,' says lexicography director, adding the word evolved from internet slang into mainstream culture]]>
			</description>
			<content:encoded>
				<![CDATA[Dictionary.com named &ldquo;maxxing&rdquo; its 2026 Word of the Year, highlighting a growing internet-driven culture focused on optimising different aspects of life, the Guardian reported on Monday.

&ldquo;Maxxing,&rdquo; sometimes written as &ldquo;-maxxing,&rdquo; is short for &ldquo;maximising&rdquo; and refers to doing something to the fullest or optimising it as much as possible, according to the online dictionary.

The term gained popularity among Gen Z and Gen Alpha and has evolved into a flexible slang expression that can function as a noun, verb, adjective, or adverb.

Examples include &ldquo;gymmaxxing&rdquo; for optimising workout routines, &ldquo;healthmaxxing&rdquo; for maximising health and wellness practices, &ldquo;sleepmaxxing&rdquo; for optimising sleep and &ldquo;tokenmaxxing&rdquo; for deliberately maximising the use of artificial intelligence tools.

&ldquo;Maxxing really stood out this year because not only was it everywhere, in all types of articles, but it crossed a lot of different domains,&rdquo; Steve Johnson, director of lexicography for Dictionary Media Group, which operates Dictionary.com, told CBS News.

The term has also appeared in political messaging, including the use of &ldquo;homelandmaxxing,&rdquo; while &ldquo;cozymaxxing&rdquo; has been used to describe efforts to optimise leisure and comfort.

Dictionary.com said its selection was based on an analysis of search data, social media trends and news coverage, as well as the word&#39;s cultural significance.

Johnson said the dictionary&#39;s lexicographers maintain a list of words to monitor throughout the year, examining their frequency and how they reflect broader cultural developments.

The choice marks a contrast with Dictionary.com&#39;s 2025 Word of the Year, &ldquo;67,&rdquo; a viral expression whose meaning often remained unclear to users.

Other 2026 Finalists

Dictionary.com selected finalists from internet culture, politics, technology and wider media trends.

They included &ldquo;affordability,&rdquo; reflecting concerns over housing, groceries, childcare and other rising costs; &ldquo;data centre,&rdquo; amid the expansion of infrastructure supporting artificial intelligence; &ldquo;unc,&rdquo; a Gen Z and Gen Alpha slang term for an older person perceived as uncool or out of touch; and &ldquo;odyssey,&rdquo; referring to a long and eventful journey that gained renewed cultural attention following Christopher Nolan&#39;s 2026 film adaptation of Homer&#39;s epic.]]>
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			<title>Sally Rooney's books no longer sold in UK over support for banned pro-Palestinian group</title>
			<link>https://tribune.com.pk/story/2635019/sally-rooneys-books-no-longer-sold-in-uk-over-support-for-banned-pro-palestinian-group</link>
			<comments>https://tribune.com.pk/story/2635019/sally-rooneys-books-no-longer-sold-in-uk-over-support-for-banned-pro-palestinian-group#comments</comments>
			<pubDate>Thu, 15 Oct 26 11:51:01 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
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			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2635019</guid>
			<description>
				<![CDATA[Bestselling author has been a vocal supporter of Palestine Action]]>
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				<![CDATA[Irish novelist Sally Rooney&#39;s books will no longer be sold in Britain over her plans to use her royalties to support Palestine ​Action, a pro-Palestinian group banned as a terrorist organisation, Rooney and &zwnj;her publisher said on Wednesday.

The bestselling author, known for novels including Normal People&nbsp;and Conversations with Friends, has been a vocal supporter of Palestine Action, including after it was proscribed by ​the British government under terrorism laws last year.

Rooney previously said in ​a witness statement submitted to London&#39;s High Court, in support of ⁠a legal challenge over the ban on Palestine Action, that her plans ​could lead to her books being withdrawn from sale in Britain.

Her publisher Faber ​said on Wednesday that it had agreed with Rooney that &quot;we can no longer supply her works in the UK in any format&quot;, though it would sell her works elsewhere.

&quot;Current ​legislation in the UK has led to circumstances where Faber cannot pass ​on UK earnings to Sally Rooney for her work,&quot; Faber said in a statement. &quot;To sell &zwnj;a ⁠writer&#39;s work and not be able to pass on earnings is an unconscionable situation for a publisher.&quot;

Rooney said in a statement: &quot;I have made every effort to be honest with the public about my beliefs and intentions and I ​am wholly prepared to ​accept the ⁠consequences.&quot;

Palestine Action, which had increasingly targeted Israel-linked defence companies, was banned shortly after a June 2025 break-in at the ​Royal Air Force&#39;s Brize Norton base.

Last year, Palestine Action&#39;s co-founder ​Huda Ammori ⁠challenged the ban and the High Court ruled in her favour in February, before the Court of Appeal overturned that decision in June. The Supreme Court is due ⁠to ​hear an appeal next month.

More than 3,000 people ​have since been arrested for holding signs in support of Palestine Action and its proscription has ​been criticised by civil liberties groups.]]>
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			<title>Hundreds queue in Hong Kong to glimpse Van Gogh painting unseen in public for 60 years</title>
			<link>https://tribune.com.pk/story/2634655/hundreds-queue-in-hong-kong-to-glimpse-van-gogh-painting-unseen-in-public-for-60-years</link>
			<comments>https://tribune.com.pk/story/2634655/hundreds-queue-in-hong-kong-to-glimpse-van-gogh-painting-unseen-in-public-for-60-years#comments</comments>
			<pubDate>Tue, 13 Oct 26 15:16:51 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Van Gogh’s long-unseen painting draws Hong Kong crowds ahead of a record-breaking $180 million Sotheby’s auction]]>
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				<![CDATA[Hundreds of people queued in Hong Kong on Tuesday to view a Vincent van Gogh painting never publicly exhibited in more than six decades, ahead of a Sotheby&#39;s ​auction in New York where it is expected to fetch about $180 million.

The November 18 &zwnj;auction will test the strength of the high-end art market, in which collectors have continued to compete for scarce trophy works, undeterred by broader economic uncertainty.

Painted in May 1890, &quot;Ch&acirc;taigniers en fleurs&quot;, or &quot;Chestnut Trees in Blossom&quot;, is one ​of the most important works from the Dutch artist&#39;s final days in the French ​village of Auvers-sur-Oise, where he died about two months later, aged 37.

The painting ⁠is poised to set a new auction record for a Van Gogh work, said Scott Niichel, ​of Sotheby&#39;s modern and contemporary art department in New York.

&quot;This is a moment of extraordinary optimism, ​frenetic energy, enthusiasm, passion, and colour in the artist&#39;s body of work,&quot; he said.

Paintings from Van Gogh&#39;s final Auvers-sur-Oise period, just after his release from a psychiatric asylum in Saint-Remy-de-Provence, rarely come to market and the auction will ​draw the attention of collectors, museums and investors.

&quot;I&#39;d never heard of this painting before, so I ​wanted to see it with my own eyes,&quot; said Li Shanshan, a 50-year-old art lover who travelled about &zwnj;2-1/2 hours ⁠from the southern city of Shenzhen to view the artwork.

The painting, which depicts a massive blossoming chestnut tree with a flowering canopy that dominates the composition, will be sold among part of a collection of 12 long-unseen works, including items by Paul Cezanne and Claude Monet.

Five unveiled at Sotheby&#39;s ​in London in late ​September included Cezanne&#39;s &quot;Arlequin&quot; and ⁠Monet&rsquo;s &quot;Le Jardin des Tuileries&quot;.

After Van Gogh&#39;s death in July 1890, &quot;Ch&acirc;taigniers en fleurs&quot; was passed to his brother Theo, and then to the latter&#39;s widow ​Johanna van Gogh-Bonger and their son Vincent Willem.

Subsequently it was owned by ​German publisher ⁠Samuel Fischer, founder of S. Fischer Verlag, before entering the collection of George &quot;Buddy&quot; DeSylva, the American songwriter, film producer and co-founder of Capitol Records.

In 1953, the painting was acquired by collector Harriet Harris-Jonas, whose holdings ⁠were ​considered significant enough that New York&#39;s Metropolitan Museum of Art ​organised visits for patrons to view works in her Fifth Avenue apartment.

The painting was acquired by the Blaquier family from ​art dealer Wildenstein in 1975.]]>
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			<title>Bilawal's 'Princess Gloria' denial couldn't stop the memes</title>
			<link>https://tribune.com.pk/story/2626750/bilawals-princess-gloria-denial-couldnt-stop-the-memes</link>
			<comments>https://tribune.com.pk/story/2626750/bilawals-princess-gloria-denial-couldnt-stop-the-memes#comments</comments>
			<pubDate>Mon, 31 Aug 26 16:05:55 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2626750</guid>
			<description>
				<![CDATA[From Dubai chocolate comparisons to bhabhi jokes, Twitter had a field day over the PPP chairman's marriage rumours]]>
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				<![CDATA[Pakistan People&#39;s Party Chairman Bilawal Bhutto-Zardari spent Monday afternoon denying he was engaged to anyone named &quot;Princess Gloria&quot;.

The viral engagement reports originated from online claims asserting that he was set to marry into a prominent Austrian royal family in Vienna later this year. Social media users speculated that President Asif Ali Zardari and other family members had personally travelled to Austria to finalise the arrangements and set a wedding date, linking the politician to Liechtenstein and Austrian lineage.

Addressing the flurry of memes and viral chatter, Bilawal took to X (formerly Twitter) to set the record straight:



ایک تو سوشل میڈیا نے میری بات پکی کروادی، منگنی اور شادی بھی کروادی ہے
میں واضح کروں کہ ایسا کچھ نہیں ہوا ہے اور نہ ہی میں کسی پرنسز گلوریا کو جانتا ہوں
سوشل میڈیا پر یہ تماشے حقیقی ایشوز پر سے توجہ ہٹانے کے لئے ہوتے ہیں۔ pic.twitter.com/zI6OljDC3r
&mdash; Bilawal Bhutto Zardari (@BBhuttoZardari) August 31, 2026


Whereas X&#39;s users spent Monday afternoon deciding that didn&#39;t matter, the memes had already started days before the denial, and his statement only threw fuel on the fire.

By the time Bilawal went on record to say he&#39;d never heard of any Princess Gloria, the internet had already cast her.



Hmari bhabhi kesi ho&mdash;&mdash;

Gloria Habsburg-Lothringen jesi ho&mdash;#Bilawal #Shadi
&mdash; Shaheer Malik (@DrShaheer_Malik) August 29, 2026


The archduchess&#39;s full name did some heavy lifting too, inspiring comparisons to Pakistan&#39;s other recent European obsession.



why is bilawal dressed like dubai chocolate https://t.co/Q0JpcnvLeh
&mdash; geeli mitti (@qoghkhor) August 30, 2026


Then there was the reaction contingent, Twitter&#39;s favourite genre, imagining how other political figures would take the news. First up, Sheikh Rasheed:



Sheikh rasheed after hearing about bilawal&#39;s wedding pic.twitter.com/gI7kZUDTQc https://t.co/Je0o0BlPsD
&mdash; Hasnat (@hasnataliiiii) August 30, 2026


And Nawaz Sharif wasn&#39;t spared either:



Bilawal courting the Austrian princess pic.twitter.com/Hn8JgITMFv
&mdash; Raza (@SocialDigitally) August 30, 2026


One user found a different heartbreak angle entirely:



Dil tootne ki wajah Bilawal ki shaadi nahi, unka wo &#39;Kaampay Tang Rahi Hain&#39; wala Urdu accent hoga jo dulhan ko roz sunna parega!&quot; 😭 https://t.co/vEC11wK9j4
&mdash; Sheikhspeare (@SheikhspearePk) August 31, 2026


Others used old videos of politicians reciting poetry over the heartbreak:



Sheikh rasheed after Bilawals wedding news pic.twitter.com/JMOjU7LbZt
&mdash; 𝙏𝘼𝙕 (@MindfulCritique) August 29, 2026


While some couldn&#39;t hold back on wondering when their own prince is arriving:



Bilawal Getting Married with Princess
Ek Mera Prince hai Jo abhi tak lapata hai 😏
&mdash; Panadol ♡ (@_aqsa1) August 30, 2026


While social media continues to fuel the meme cycle surrounding the mythical royal alliance, the official stance remains unequivocal: no engagement has taken place, no wedding is scheduled, and the PPP chief maintains he has never met the elusive Austrian princess.]]>
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			<title>Momina Iqbal shares stunning wedding moments with Hamza Habib</title>
			<link>https://tribune.com.pk/story/2611070/momina-iqbal-shares-stunning-wedding-moments-with-hamza-habib</link>
			<comments>https://tribune.com.pk/story/2611070/momina-iqbal-shares-stunning-wedding-moments-with-hamza-habib#comments</comments>
			<pubDate>Tue, 02 Jun 26 12:34:29 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Actor showcases multiple designer ensembles and heartfelt moments with husband]]>
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				<![CDATA[Actor Momina Iqbal tied the knot with Hamza Habib this week, sharing photographs and videos from their wedding festivities, including the Dua-e-Khair, Mayoun, Mehndi Lagayi, Mehndi and Baraat ceremonies.

The actor documented each event on Instagram, giving followers a glimpse into the celebrations through candid moments, couple portraits and detailed looks at her bridal wardrobe.

Iqbal began by sharing images from her Dua-e-Khair ceremony, where she wore a light pink garara paired with a gold blouse and an embroidered dupatta by Aneelas Formals. She completed the look with soft pink-toned makeup and fresh pink roses woven into her hair.





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For the Mayoun ceremony, the couple coordinated in shades of yellow. Iqbal complemented the traditional colour palette with orange floral accessories and a matching dupatta.

At her Mehndi Lagayi event, the actor chose a golden sharara ensemble by Haseens, consisting of a shirt and dupatta adorned with intricate detailing.

She later switched to a heavily embellished gown by Ahmad Sultan for the Mehndi celebration, pairing it with a dark purple dupatta while Habib coordinated his attire to complement her look.





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However, it was her bridal ensemble that drew the most attention.

Designed by Fahad Hussayn, the orange-and-gold outfit featured intricate craftsmanship, statement jewellery and bold bridal makeup.





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One of the most distinctive elements of the look was the use of three dupattas &mdash; one draped over her shoulders, another styled across her outfit, and a third placed traditionally over her head.&nbsp;





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In her final wedding post, Iqbal shared a heartfelt message dedicated to designer Fahad Hussayn alongside a series of bridal portraits.

&ldquo;Fahad, I honestly don&#39;t have enough words to express my admiration for you or to offer prayers that truly reflect how much you deserve,&rdquo; she wrote.

&ldquo;Meeting you made me understand why God grants certain people such respect, recognition, honour and a special place in the hearts of others.&rdquo;





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The actor also expressed gratitude to the photographers, stylists and the wider team involved in bringing the wedding celebrations together.

The couple&#39;s wedding photos have since garnered widespread attention on social media, with fans congratulating the newlyweds and praising Iqbal&#39;s carefully curated looks throughout the festivities.]]>
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			<title>Miss Universe Pakistan finalist Aneesa Sheikh calls for end to cyberbullying, harassment</title>
			<link>https://tribune.com.pk/story/2615920/miss-universe-pakistan-finalist-aneesa-sheikh-calls-for-end-to-cyberbullying-harassment</link>
			<comments>https://tribune.com.pk/story/2615920/miss-universe-pakistan-finalist-aneesa-sheikh-calls-for-end-to-cyberbullying-harassment#comments</comments>
			<pubDate>Wed, 01 Jul 26 11:25:53 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Issues an appeal directly to women worldwide to disrupt toxic subcultures]]>
			</description>
			<content:encoded>
				<![CDATA[Amidst intense digital scrutiny and mounting online tensions, Miss Universe Pakistan finalist Aneesa Sheikh has delivered a powerful, heartfelt public service announcement urging a complete halt to cyberbullying and harassment.

The Pakistani-American model, singer, and academic, who previously represented the nation as Miss Grand Pakistan 2022, took to her official platform to clarify her stance on internet safety. Far from a routine pageant response, her statement carries deeply personal weight, referencing the tragic loss of her 22-year-old brother to online bullying.

In an emotional video and caption, Aneesa made it undeniably clear that human safety and mental health must always take precedence over any title. &quot;No competition, no title, and no disagreement is ever worth someone&rsquo;s safety or mental health,&quot; she shared. &quot;Having lost my brother to online bullying, this is an issue I take incredibly seriously. I will always condemn threats, harassment, intimidation, and bullying toward anyone, regardless of who they are.&quot;

The announcement comes at a critical juncture in the Miss Universe Pakistan selection cycle. When tensions recently escalated online, with digital fanbases and aggressive commentary beginning to target the competition&#39;s judging panel, prompting previous titleholders to speak out against coordinated cyber harassment.

Addressing the behaviour of digital spaces, Aneesa firmly distanced herself and her management from any abusive behaviour, emphasising that a true community is built on empathy rather than division. While acknowledging that no single individual can police the entire internet, she vowed to continue using her voice to lead by example, fostering discussions rooted in kindness.

She also issued an appeal directly to women worldwide to disrupt toxic subcultures, asking them to &quot;Shift away from habits that tear others down, cultivate meaningful, compassionate discussions and prioritise unity and think twice before posting.&quot;

In an Instagram post, Aneesa said that to ensure accountability, her team has set up a dedicated reporting channel where users can forward screenshots of credible threats, targeted harassment, or abusive messaging.

&quot;Valid reports are being systematically documented and forwarded to the appropriate authorities and legal commissioners in Lahore and Islamabad for immediate official review,&quot; she said.]]>
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			<title>Nida Yasir shares highlights from Europe trip with son</title>
			<link>https://tribune.com.pk/story/2611043/nida-yasir-shares-highlights-from-europe-trip-with-son</link>
			<comments>https://tribune.com.pk/story/2611043/nida-yasir-shares-highlights-from-europe-trip-with-son#comments</comments>
			<pubDate>Tue, 02 Jun 26 09:07:11 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[TV host documents her travels, sharing sightseeing adventures, family moments and a stylish vacation wardrobe]]>
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				<![CDATA[Television host Nida Yasir has been drawing attention on social media after sharing glimpses of her recent family trip to Europe with her son, Balaj.

Through a series of Instagram posts and videos, Nida documented moments from her travels, including sightseeing tours, interactive art experiences and visits to some of the region&#39;s most popular attractions.

One of the most talked-about clips from the trip shows the host riding a Vespa scooter through the streets of Budapest, passing several iconic landmarks.

In the video, she is seen wearing a yellow dress paired with a brown top and statement jewellery.





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The post received an enthusiastic response from followers, with many praising her energy and adventurous spirit. One user commented, &quot;The heart should stay young,&quot; applauding her youthful outlook.



In another update, Nida shared footage from a visit to Fr&ouml;csk&ouml;lő, an interactive art space where participants paint on one another as well as on surrounding surfaces, turning the activity into a colourful paint-filled experience.





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The host also gave followers a look at her travel wardrobe, which differed from the traditional attire viewers are accustomed to seeing on her morning show appearances.

During the trip, Nida opted for several Western outfits, including a black-and-white polka dot dress paired with a white cardigan.

Fans were quick to notice the style shift and compliment her fashion choices throughout the vacation.





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Nida is married to actor and director Yasir Nawaz, and the couple have three children. She is widely recognised as a long-running morning show host on television.]]>
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			<title>Reports suggest strain in Justin Timberlake, Jessica Biel’s marriage amid singer’s drinking habits</title>
			<link>https://tribune.com.pk/story/2609135/reports-suggest-strain-in-justin-timberlake-jessica-biels-marriage-amid-singers-drinking-habits</link>
			<comments>https://tribune.com.pk/story/2609135/reports-suggest-strain-in-justin-timberlake-jessica-biels-marriage-amid-singers-drinking-habits#comments</comments>
			<pubDate>Wed, 20 May 26 08:37:40 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2609135</guid>
			<description>
				<![CDATA[Tabloid claims Biel 'sick of being publicly embarrassed' following husband's 2024 drink-driving charge]]>
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				<![CDATA[Reports suggest that singer Justin Timberlake may be facing strain in his marriage to Jessica Biel after 13 years together, with rumours alleging the situation has worsened due to public scrutiny surrounding Timberlake&#39;s alleged driving-related incidents and concerns regarding aspects of his lifestyle.

A report by&nbsp;Radar Online&nbsp;suggests Biel has long tolerated the musician&rsquo;s irresponsible behavior and drinking habits, and is now reportedly feeling embarrassed about how their relationship is perceived publicly.





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Timberlake received a driving while ability impaired (DWAI) charge in September 2024 after prosecutors dropped the more serious driving while intoxicated (DWI) count as part of a plea deal. The singer was required to pay a $500 fine, complete 25 hours of community service, and publish a public safety announcement.

The case drew further attention in March 2025 when additional police bodycam footage emerged showing the singer performing sobriety tests.

&ldquo;She [Biel] does everything with the kids, and she&rsquo;s sick of being publicly embarrassed&rdquo;, an insider told Radar Online. The source also told the outlet, &ldquo;Justin is the kind of guy that when he&rsquo;s out, has always had a drink in hand&rdquo;, referring all the way back to the singer&#39;s NSYNC prime tour days.

Timberlake and Biel, married since 2012, share two sons. However, they have reportedly been going through a rough patch ever since their engagement days in 2011, when Biel warned Timberlake to &ldquo;settle down or she was out&rdquo;.]]>
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			<title>Lindsay Clancy case shines a light on the urgent reality of postpartum psychosis</title>
			<link>https://tribune.com.pk/story/2627104/lindsay-clancy-case-shines-a-light-on-the-urgent-reality-of-postpartum-psychosis</link>
			<comments>https://tribune.com.pk/story/2627104/lindsay-clancy-case-shines-a-light-on-the-urgent-reality-of-postpartum-psychosis#comments</comments>
			<pubDate>Wed, 02 Sep 26 14:55:38 +0500</pubDate>
			<dc:creator>
				<![CDATA[Web Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Murder case involving Clancy and her 3 children highlights postpartum psychosis and gaps in care]]>
			</description>
			<content:encoded>
				<![CDATA[Postpartum psychosis has been at the centre of the Lindsay Clancy case, drawing renewed attention to one of the most severe mental health conditions that can affect women after childbirth.

Clancy, a 36-year-old former nurse pleaded not guilty in connection with the deaths of her three children who were five-year-old Cora, three-year-old Dawson and eight-month-old Callan in January 2023.

In an ongoing case, prosecutors have alleged that she planned the killing of her children using exercise bands, while her defence argued that she was experiencing postpartum psychosis, including delusions and hallucinations, at the time.

According to The Guardian, the case has brought global attention to postpartum psychosis and the gaps that remain in its diagnosis and treatment. Experts say greater awareness is needed to ensure women experiencing severe symptoms receive help before their condition worsens.

&ldquo;Each case I have been part of treating has shown just how incredibly devastating postpartum psychosis can be,&rdquo; Crystal Schiller, a clinical psychologist at the University of North Carolina at Chapel Hill Center for Women&rsquo;s Mood Disorders, told The Guardian.

The case has focused heavily on Clancy&#39;s mental health history, with psychiatrists, doctors and family members becoming central to discussions surrounding her condition and the care she received and failed to recieve.

&ldquo;Women deserve better access to care, and they deserve experts who really understand what&rsquo;s going on and who can provide answers on how to treat and prevent this illness,&rdquo; Schiller said.

According to Dr Soudabeh Givrad, an associate professor of psychiatry and behavioural sciences at Stanford Medicine, symptoms of postpartum psychosis can begin within two weeks after giving birth.

The condition affects approximately one to two women in every 1,000 births and is considered a psychiatric emergency.

&ldquo;Its onset possibly stems from an interaction between an underlying biological vulnerability and triggering factors like the profound changes to hormones, lack of sleep and the immune system that happen during pregnancy,&rdquo; Givrad said.

Symptoms can worsen rapidly and may include severe sleep disruption, irritability, racing thoughts, confusion, delusions and hallucinations.

In Clancy&rsquo;s case, questions have also been raised about her treatment and the use of different medications while she was struggling with her mental health.

Experts stress that postpartum psychosis can be treated when it is identified quickly and managed by experienced clinicians.

&ldquo;It&rsquo;s been shocking to me to see the difference between when our patients are admitted to our inpatient unit for postpartum psychosis and once they&rsquo;ve received adequate treatment,&rdquo; Schiller said. &ldquo;It&rsquo;s like a switch gets flipped and they are back to their usual self.&rdquo;

The condition can therefore be treatable with timely intervention, appropriate care and support from trusted medical professionals.

However, fear and stigma can prevent women from speaking openly about their symptoms.

&ldquo;Many women are afraid they&rsquo;ll be referred to law enforcement or their children will be taken away if they disclose anything,&rdquo; Schiller said.

Experts say this fear can delay treatment, making it crucial for women experiencing severe symptoms to seek urgent medical and psychiatric support.

&ldquo;I hope that increased awareness of this [postpartum psychosis] will allow other specialty programmes like ours to grow and blossom,&rdquo; Schiller said. &ldquo;It&rsquo;s so important that women have access to high-quality care in this kind of emergency situation.&rdquo;

Givrad also stressed the need for postpartum psychosis to receive greater recognition as a distinct illness.

&ldquo;As a field, we&rsquo;re really hoping it will be recognised as a distinctive illness, because it has distinctive timing,&rdquo; Givrad said. &ldquo;Inclusion in the DSM means it&rsquo;s easier to develop how to make sure postpartum individuals don&rsquo;t fall through the cracks.&rdquo;

The Lindsay Clancy case has highlighted the devastating reality of postpartum psychosis and the need for better awareness, diagnosis and access to specialist care.

While the condition can become severe rapidly, experts emphasise that early intervention and proper treatment can make a significant difference. Greater understanding could help ensure that women experiencing this psychiatric emergency receive the support they need without fear, stigma or delay.]]>
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			<title>From hiking to hotpot, lonely consumers in China fuel a $7.4b companionship economy</title>
			<link>https://tribune.com.pk/story/2611049/from-hiking-to-hotpot-lonely-consumers-in-china-fuel-a-74b-companionship-economy</link>
			<comments>https://tribune.com.pk/story/2611049/from-hiking-to-hotpot-lonely-consumers-in-china-fuel-a-74b-companionship-economy#comments</comments>
			<pubDate>Tue, 02 Jun 26 09:50:26 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2611049</guid>
			<description>
				<![CDATA[Young adults in China are paying gig workers for emotional support and shared activities to cure social anxiety]]>
			</description>
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				<![CDATA[On the stone steps leading up Mount Tai, one of China&rsquo;s best-known peaks, hikers can book and &zwnj;pay for &ldquo;climbing buddies&rdquo; to walk with them, carry bags, and take photos for a few hundred yuan.

The increasingly popular service is part of a broader &ldquo;companionship economy&rdquo; emerging in China, which includes paid partners for running, sightseeing, and even eating out at hotpot restaurants, a meal traditionally shared with friends.

Providers, often students or ​young gig workers, advertise on social media with promises of &ldquo;emotional value&rdquo; conversation, and practical help, turning what was once an ​experience or favour among friends into a bookable &ndash; and payable &ndash; service.

While there is no official data about ⁠the size of the companion economy, estimates cited by state media said it was worth around 50 billion yuan ($7.4 billion) in 2025.

The ​trend reflects broader shifts in China&rsquo;s urban lifestyles and service economy.

Researchers and state media have described growing demand for &ldquo;emotional consumption&rdquo; as young ​people live and work farther from family networks, face longer working hours and have a harder time maintaining traditional social ties.

China&#39;s prolonged youth unemployment has coincided with - and contributed to - a growing reliance on gig and flexible work among young people, as graduates and job seekers turn to delivery, ride‑hailing and ​other online platform work in the absence of stable jobs.

Official data shows China has more than 200 million so-called flexible workers.

Paying for company

After leaving the army in 2022, Chen Wenxin founded a hiking-companion company, with a focus on the eastern province of Shandong. &ldquo;I have always been &zwnj;a hiker ⁠and have a lot of hiking experience,&quot; Chen said. &quot;I noticed rising demand in the hiking escort service, then decided to try my hand in the field.&rdquo;

His team has expanded from fewer than 10 workers to about 370 now. He said the company charges 800 yuan ($116) for daytime climbs on Mount Tai, the highest point in Shandong.

Psychotherapist Sami Wong, managing director of research firm 3Drips Psychology, said the appeal ​of paid companions is partly about ​certainty and control in a ⁠social environment that can otherwise feel like a lot of effort and high-risk.

Meeting people requires emotional labour and investment, she said, and &ldquo;the outcome is very uncertain,&rdquo; which creates anxiety. Paid companionship can help ​customers avoid the sting of rejection. &ldquo;When you pay for this service, you always get a &#39;yes&#39;,&rdquo; Wong ​said.

Tang Junxing, 24, a ⁠junior at a university in the southern Chinese city of Guilin, said he earns pocket money as a travel companion. The side gig started when a university professor asked him to be her driver on a week-long road trip.

&ldquo;That&rsquo;s when I realised you can actually make money ⁠by accompanying ​people on trips and driving for them,&rdquo; he said. Tang says he typically ​earns 3,000 to 5,000 yuan a month.

&ldquo;Most of my clients are women and their core need is emotional value, someone who makes them feel good and makes the ​trip easy,&rdquo; he said.]]>
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			<title>In New York, waiting in line becomes a social scene</title>
			<link>https://tribune.com.pk/story/2611619/in-new-york-waiting-in-line-becomes-a-social-scene</link>
			<comments>https://tribune.com.pk/story/2611619/in-new-york-waiting-in-line-becomes-a-social-scene#comments</comments>
			<pubDate>Fri, 05 Jun 26 12:18:46 +0500</pubDate>
			<dc:creator>
				<![CDATA[AFP]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2611619</guid>
			<description>
				<![CDATA[The power of social media trends means that for some, waiting for hours is an attraction in itself in New York]]>
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			<content:encoded>
				<![CDATA[In front of L&#39;industrie Pizzeria, as at many other New York restaurants and shops, customers line up behind barriers in this case, all to grab a prized pizza slice.

Not everyone in America&#39;s biggest city finds standing in line to be a chore. The power of social media trends means that for some, waiting for hours is an attraction in itself.

&quot;It&#39;s gotten pretty crazy in the city recently,&quot; food influencer Ali Chilton, who has 168,000 followers on Instagram, told AFP.

&quot;Some would blame me for the lines at some of those places,&quot; the 31-year-old said, citing a craze for hot chocolates at dessert shop Glace after a video she posted in 2023 racked up tens of millions of views.

People can queue overnight in New York if needed, as happened last year when punters sought to bag free tickets for a play starring Lupita Nyong&#39;o and Peter Dinklage in Central Park.

Isabella Downes, who lately waited 40 minutes outside a Manhattan deli, said she was drawn to the idea of &quot;participating in something trendy and fun.&quot;

She was queuing to try out Dot Cakes, small frosted cakes with multicoloured sprinkles that went viral and sell for $11 apiece.

In a &quot;polarising&quot; world, she said, &quot;being collectively together over one thing, and it&#39;s usually a pretty happy and excited environment, that can be really nice too.&quot;

Line sitters



Photo: Queue outside Swatch/AFP

For the impatient, a new tool has recently become available: the website &quot;Damn Lines&quot; estimates waiting times in real time using cameras installed in nearby homes, in exchange for payment.

Or you can hire a line sitter to wait in your place.

One firm, Same Ole Line Dudes, says its workers are in at least two separate queues on any given day.

They charge clients $25 an hour for the privilege of sparing them the boredom of waiting. At courts, where media outlets often use line sitters to get a seat for high-profile cases, the rate rises to $50 an hour.

Robert Samuel, the company&#39;s founder, said that customers include businesses that may hire sitters to create a queue, enticing others to join it.

&quot;I can&#39;t say the name, but we&#39;ve had a few companies that have hired my line sitters as posers to wait outside their establishments,&quot; he told AFP.

Social ritual

Roberto Casati, a French-Italian philosopher, pointed to a deeper sense of meaning for people who join long queues like those in New York.

&quot;A social ritual is being created around the line,&quot; Casati, a research director at the French National Centre for Scientific Research, told AFP.

These moments become &quot;shareable,&quot; &quot;Instagrammable&quot; experiences and therefore more &quot;acceptable&quot; than waiting at the supermarket, he added.

Samuel Abrams, a professor at Sarah Lawrence College in New York state, said that queuing was about &quot;status.&quot;

&quot;To wait at the right place signals taste, knowledge, and stamina,&quot; he wrote in a piece for specialist website NewGeography.com.

The phenomenon can, however, create tensions.

In 2024, the hugely popular bagel chain Apollo ended up in court with the owner of a building over its long lines blocking neighbouring tenants&#39; entrances.]]>
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			<title>French museum reports theft of arty banana</title>
			<link>https://tribune.com.pk/story/2610853/french-museum-reports-theft-of-arty-banana</link>
			<comments>https://tribune.com.pk/story/2610853/french-museum-reports-theft-of-arty-banana#comments</comments>
			<pubDate>Mon, 01 Jun 26 07:26:51 +0500</pubDate>
			<dc:creator>
				<![CDATA[AFP]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2610853</guid>
			<description>
				<![CDATA[In July last year, a visitor ate the fruit but guards quickly intervened and stuck up a replacement banana]]>
			</description>
			<content:encoded>
				<![CDATA[The missing fruit, which was taped to a wall to form the provocative work by Cattelan called &quot;Comedian&quot;, was noticed by a guard on Saturday to have gone missing.

The Pompidou-Metz museum, which is a branch of the famous Pompidou Centre in Paris, said in a statement it had lodged a criminal complaint for theft against persons unknown.

It also said it had replaced the banana.

It is not the first time damage has been dealt to the conceptual artwork, whose perishable banana centrepiece is replaced every three days to keep it contemporary.

In July last year, a visitor to the museum ate the fruit. But guards quickly intervened and stuck up a replacement banana.

Cattelan said at the time he was disappointed the hungry visitor had consumed only the banana and not the tape as well. The museum did not take legal action in that instance.

This time, though, it decided to make its criminal complaint because the perpetrator was unidentified, and therefore &quot;there is no possibility of dialogue&quot;.

It also said that &quot;this is the second time this has happened&quot;, and it felt it was an issue of respect for the artwork.

Cattelan&#39;s edible creation, which aims to question the notion of art and its value, has sparked controversy ever since it made its debut at the 2019 Art Basel show in Miami Beach with an asking price of $120,000.

A performance artist, David Datuna, ate &quot;Comedian&quot; at that 2019 show, saying he felt &quot;hungry&quot;.

But the work&#39;s value has only risen.

Chinese-born crypto founder Justin Sun, in 2024, forked out $5.2 million for one iteration of the work, then days later ate it in front of cameras in Hong Kong.

As well as &quot;Comedian&quot;, Cattelan is also known for producing an 18-carat, fully functioning gold toilet called &quot;America&quot; that was offered to Donald Trump during his first term in the White House.

A British court in March found two men guilty of stealing it during an exhibition in 2020 in the United Kingdom, from an 18th-century stately home that was the birthplace of wartime prime minister Winston Churchill.

It was split up into parts, and none of the gold was ever recovered.]]>
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			<title>PCOS renamed Polycystic Metabolic Ovarian Syndrome in hopes of improving diagnoses</title>
			<link>https://tribune.com.pk/story/2607884/pcos-renamed-polycystic-metabolic-ovarian-syndrome-in-hopes-of-improving-diagnoses</link>
			<comments>https://tribune.com.pk/story/2607884/pcos-renamed-polycystic-metabolic-ovarian-syndrome-in-hopes-of-improving-diagnoses#comments</comments>
			<pubDate>Wed, 13 May 26 10:51:46 +0500</pubDate>
			<dc:creator>
				<![CDATA[Web Desk]]>
			</dc:creator>
			<category><![CDATA[Technology]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2607884</guid>
			<description>
				<![CDATA[PCOS renamed PMOS after 14-year global effort to better reflect hormonal and metabolic nature of condition]]>
			</description>
			<content:encoded>
				<![CDATA[Polycystic Ovary Syndrome (PCOS) has officially been renamed Polyendocrine Metabolic Ovarian Syndrome (PMOS), following a landmark 14-year collaboration between Monash University, medical experts, researchers, and patients worldwide.

The announcement was made by The Lancet on Tuesday, marking a significant shift in how the condition is understood and discussed globally. The condition affects around one in eight women, impacting more than 170 million people worldwide.

According to speakers at a press conference announcing the change, the previous name &ldquo;Polycystic Ovary Syndrome&rdquo; was considered misleading because it inaccurately suggested the condition was primarily a gynecological issue centered on ovarian cysts.

Patient advocacy and professional organisations, including the Endocrine Society, participated in the renaming process. Experts explained that the new term, PMOS, better reflects the complex nature of the condition by highlighting its hormonal, metabolic, and reproductive aspects rather than focusing solely on the ovaries.

The updated name aims to simplify public understanding of the condition while recognising its broad effects on the body. PMOS is associated with hormonal imbalances, metabolic complications, weight fluctuations, skin issues, mental health challenges, and reproductive health concerns.

A three-year international transition period will now begin, supported by educational campaigns and awareness initiatives involving healthcare professionals, researchers, and governments worldwide. The updated terminology is expected to be formally incorporated into the 2028 International Guideline update. 

&ldquo;The thought behind that is that there&#39;s no cysts in the ovary, so it&rsquo;s very confusing,&rdquo;&nbsp;said Dr Melanie Cree, of the pediatric endocrinology department at the University of Colorado. She added, &ldquo;The hope was that with a more comprehensive and accurate name change, that it would start to enable and push better care.&rdquo;

The conference also highlighted the contributions of Lorna Berry, an Australian woman living with PMOS who played a key role in the renaming initiative. &ldquo;This is about accountability and progress,&rdquo;&nbsp;she said.

Berry added, &ldquo;It is about my daughters, their daughters, and the countless women yet to be born. We deserve clarity, understanding, and equitable healthcare from the very beginning.&rdquo;

Rachael Morman, chair of Verity, also welcomed the change, saying the new name properly acknowledges the hormonal and metabolic dimensions of the condition.

&ldquo;It is fantastic that the new name now leads with hormones and recognises the metabolic dimension of the condition,&rdquo; she said. She concluded, &ldquo;This shift will reframe the conversation and demand that it is taken as seriously as the long-term, complex health condition it is.&rdquo;]]>
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			<title>Soviet-era watches revived for luxury market</title>
			<link>https://tribune.com.pk/story/2603857/soviet-era-watches-revived-for-luxury-market</link>
			<comments>https://tribune.com.pk/story/2603857/soviet-era-watches-revived-for-luxury-market#comments</comments>
			<pubDate>Mon, 20 Apr 26 20:10:40 +0500</pubDate>
			<dc:creator>
				<![CDATA[reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2603857</guid>
			<description>
				<![CDATA[From frozen factory floors to the wrist of Putin, former British lawyer turns ailing Raketa into a success story]]>
			</description>
			<content:encoded>
				<![CDATA[When David Henderson-Stewart first visited Russia&#39;s Raketa watch factory, its few remaining watchmakers were huddled in winter coats over vintage equipment.

The British former lawyer knew nothing about watches, but his love of Soviet design led him to see potential in the ailing enterprise, which once employed 7,000 workers and produced timepieces for astronauts and the mass market.

President Vladimir Putin now wears a watch made by its bespoke offshoot, Imperial Peterhof Factory. &quot;I would never have found something as interesting as Raketa in the West,&quot; said Henderson-Stewart, who did not wear a watch until he took over the factory outside St Petersburg with a partner in 2010.

A yearning to live abroad drove Henderson-Stewart to move to Russia to work in law after studying at Oxford and at Paris&#39;s Sorbonne University. He has stayed, raising three children, who all have Russian citizenship. Under his leadership, Raketa&#39;s pivot to high end watches with an emphasis on their &quot;Made in Russia&quot; credentials has paid off.

Western sanctions imposed over the war in Ukraine squeezed trade and shuttered foreign luxury stores in Russia from 2022, but domestic demand rose for the largely unsanctioned company, while sales continued to Europe and the Middle East. Its own supply chain was little affected.

&quot;We don&#39;t depend on the West for components. We produce most of them ourselves,&quot; Henderson-Stewart said at the revamped Raketa facility, whose industrial roots date to 1721. &quot;That&#39;s what our community likes ... that it&#39;s a Russian-made watch.&quot;

PUTIN BOOST

In the factory, some of the over 200 employees use refurbished machinery to fashion tiny cogs, wheels and springs, continuing the rare practice of making all mechanical parts in-house. Elsewhere, watchmakers with magnifying eyepieces work painstakingly, pop music blaring in the background.

Raketa received a boost in 2022 when Putin was spotted wearing his Imperial Peterhof Factory watch. Some local media read it as a signal of support for domestic production after the invasion of Ukraine. Putin has since worn the watch regularly, spurring demand for similar designs, said Henderson-Stewart.

Public records show Raketa posted profit of 109 million roubles ($1.43 million) in 2025, over 15% more than in 2024. Priced from around $700 to $3,500, Raketa watches are mostly based on Soviet designs, including the steely-faced Baikonur, named after the cosmodrome from which Moscow still launches crewed space flights.

The hands of another of its watches sweep counter-clockwise. This unique model has become a bestseller since it was brought to Henderson-Stewart&#39;s attention by head engineer Lyudmila Voynik, 86, who has worked at the factory since the 1950s. &quot;I have lived my life here. I am proud that we managed to revive it all once again.&quot;]]>
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			<title>Shehzad Roy unveils teaser of new podcast featuring Malala Yousafzai</title>
			<link>https://tribune.com.pk/story/2600850/shehzad-roy-unveils-teaser-of-new-podcast-featuring-malala-yousafzai</link>
			<comments>https://tribune.com.pk/story/2600850/shehzad-roy-unveils-teaser-of-new-podcast-featuring-malala-yousafzai#comments</comments>
			<pubDate>Fri, 03 Apr 26 08:52:03 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2600850</guid>
			<description>
				<![CDATA[Shot at her London home, Malala appears as the first guest on Roy’s new venture, ‘Laga Reh Podcast’]]>
			</description>
			<content:encoded>
				<![CDATA[Shehzad Roy has given fans a first look at his new venture, Laga Reh Podcast, with a teaser featuring Nobel Peace Prize winner Malala Yousafzai as his first guest.

The short clip, shared on Thursday on YouTube and Instagram, was filmed in Malala&rsquo;s London home and promises a conversation that is open, honest, and more personal than usual interviews.

In the teaser, Roy is seen asking Malala questions about her life, her work in education, and the challenges she has faced over the years. The discussion touches on topics that are often surrounded by public debate, showing that the episode will not shy away from tough questions.





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At the same time, the conversation feels natural, with moments of light humour and relaxed chatting, making it clear that the podcast will mix serious discussion with friendly conversation.

The teaser also shows Malala&rsquo;s husband, Asser Malik, joining parts of the conversation. Roy directs a few questions to him, including topics about Malala&rsquo;s bestselling book. This gives a hint that the podcast will not just focus on Malala alone but also on the people around her, giving viewers a fuller picture of her life and work.





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What makes the promo stand out is how relaxed and open the conversation feels. The podcast will be more than a standard interview, aiming instead to give viewers a chance to hear personal thoughts and insights that are rarely shared in public.

The pacing and tone of the teaser suggest that the full episode will be a mix of deep questions, personal stories, and lighthearted moments.





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With this first glimpse, anticipation is growing for the full episode.

Fans are eager to hear Malala speak openly about her experiences all in the calm and thoughtful style that Roy brings to his podcast.]]>
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			<title>Thought-provoking 'Khali Stage' wins hearts on World Theatre Day</title>
			<link>https://tribune.com.pk/story/2599838/thought-provoking-khali-stage-wins-hearts-on-world-theatre-day</link>
			<comments>https://tribune.com.pk/story/2599838/thought-provoking-khali-stage-wins-hearts-on-world-theatre-day#comments</comments>
			<pubDate>Sat, 28 Mar 26 20:36:34 +0500</pubDate>
			<dc:creator>
				<![CDATA[APP]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2599838</guid>
			<description>
				<![CDATA[Play captivates audience with powerful message, artistic brilliance; receives all-round praise from enthusiastic audie]]>
			</description>
			<content:encoded>
				<![CDATA[Marking World Theatre Day on Friday, the thought-provoking play &quot;Khali Stage&quot;, presented in collaboration with Dolphin Communication and the Pakistan National Council of the Arts, captivated the audience with its powerful message and artistic brilliance. The hall echoed with applause for a long time after the outstanding performance, as attendees paid rich tribute to the creative efforts of Asma Ismail Butt.

They remarked that such meaningful and creative productions not only breathe new life into theatre but also play a vital role in highlighting social values and intellectual awareness.

The play was written by Muhammad Waqar Azeem, while direction and presentation were led by Ms. Asma Ismail Butt.

The drama effectively and movingly portrayed the spirit of theatre, its history, and its decline and revival. The cast included Lareb Rathore, Imran Rashdi, Kaleem Khan, Masooma Shah, Noor Shararti, Waqas, and Samran Ali, all of whom delivered powerful and deeply felt performances that received great appreciation from the audience.

The story revolves around a young girl who is deeply connected to theatre. On an empty stage, she begins to see characters from the past come alive before her eyes. However, as soon as a modern director enters the scene, all the characters disappear.The dialogue that unfolds between the girl and the director reflects the lack of creative spirit in modern theatre and raises important questions about its future.

According to the CEO of Dolphin Communication, Ms. Asma Ismail Butt, &quot;Khali Stage&quot; is a sincere effort to highlight the creative and intellectual dimensions of theatre and to remind audiences of its enduring importance.

At the end of the performance, the audience praised the play wholeheartedly and stated that such productions play an important and necessary role in promoting intellectual awareness and cultural sensitivity in society.

World Theatre Day (WTD) is an international observance celebrated on 27 March. It was initiated in 1961 by the International Theatre Institute.

World Theatre Day was initiated in 1962 by the International Theatre Institute (ITI). It is celebrated annually on 27 March by ITI Centres and the international theatre community. Various national and international theatre events are organized to mark this occasion. One of the most important of these is the circulation of the World Theatre Day International Message through which at the invitation of ITI, a figure of world stature shares his or her reflections on the theme of Theatre and a Culture of Peace. The first World Theatre Day International Message was written by Jean Cocteau (France) in 1962. It was first in Helsinki, and then in Vienna at the 9th World Congress of the ITI in June 1961 that President Arvi Kivimaa proposed on behalf of the Finnish Centre of the International Theatre Institute that a World Theatre Day be instituted. The proposal, backed by the Scandinavian centres, was carried with acclamation.

The 2023 International Message was entrusted to Samiha Ayoub, an Egyptian actress mainly in theater, but also active in the world of cinema and television.

For the 62nd edition of World Theatre Day in 2024, the message, entitled &#39;Art is Peace&#39;, was written by Jon Fosse, Norwegian writer and playwright. It strongly and profoundly recalls the founding values of theatre with respect to the global community, emphasizing the peaceful and universal value of art.

The 2026 International Massage was entrusted to American actor Willem Dafoe with the conclusion: &quot;In a world that seems to get more divisive, controlling and violent, our challenge as theatre makers is to avoid the corruption of theatre solely as a commercial enterprise dedicated to the entertainment by distraction or as the dry institutional preserver of traditions, but rather to foster its strength to connect peoples, communities, cultures and above all to question where we are going.&quot;]]>
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			<title>James Tolkan, iconic 'Back to the Future' actor, dies at 94</title>
			<link>https://tribune.com.pk/story/2599840/james-tolkan-iconic-back-to-the-future-actor-dies-at-94</link>
			<comments>https://tribune.com.pk/story/2599840/james-tolkan-iconic-back-to-the-future-actor-dies-at-94#comments</comments>
			<pubDate>Sat, 28 Mar 26 20:36:34 +0500</pubDate>
			<dc:creator>
				<![CDATA[News Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[Also famous for his 'Top Gun' role, star leaves behind strong legacy]]>
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				<![CDATA[James Tolkan, the veteran character actor known for his steely presence and unforgettable roles, has died at 94 in Saranac Lake, New York, a family spokesperson confirmed. Tolkan became an indelible figure in Hollywood with his portrayals of intense, no-nonsense characters, leaving a mark on audiences across decades.

Tolkan is perhaps best remembered for Back to the Future, where he played the strict Hill Valley High School principal Mr. Strickland, famously berating students as &#39;slackers&#39;. He reprised the role in the sequel and even appeared as Strickland&#39;s grandfather in the third installment. Audiences also cheered his commanding presence as Tom Cruise&#39;s officer, Pete &#39;Stinger&#39; Jardian, in Top Gun.

Beyond these iconic roles, Tolkan&#39;s filmography spanned a remarkable range. He appeared in Woody Allen&#39;s Love and Death as Napoleon and his look-alike, played the crooked accountant Numbers in Dick Tracy, and featured in three Sidney Lumet films: Serpico, Prince of the City, and Family Business. His versatility extended to horror with The Amityville Horror, sci-fi with WarGames, and fantasy with Masters of the Universe.

On stage, Tolkan shone in Broadway productions, including the original Glengarry Glen Ross as Dave Moss and Wait Until Dark, where he replaced Robert Duvall in the role of Harry Roat. His television credits were equally extensive, with appearances on Remington Steele, Miami Vice, The Fresh Prince of Bel-Air, The Wonder Years, Leverage, and A Nero Wolfe Mystery, where he also directed several episodes.

Born on June 20, 1931, in Calumet, Michigan, Tolkan moved through Chicago and Tucson, Arizona, after his parents divorced. Following service in the U.S. Navy, he studied at Coe College, the University of Iowa, and honed his craft at The Actors Studio alongside classmates like Warren Beatty. He made his onscreen debut in 1960 on Naked City and built a career defined by dedication, discipline, and memorable intensity.

Tolkan is survived by his wife, Parmelee, whom he met on the set of the off-Broadway play Pinkville in 1971. The couple married that year in Lake Placid. Fans wishing to honour Tolkan&#39;s memory are encouraged to donate to local animal shelters or Humane Society chapters.

Tolkan is perhaps best known for his role in the 1985 film Back to the Future as the strict Hill Valley High School vice principal Gerald Strickland; the character refers to Marty McFly, his father, and Biff Tannen derisively as &quot;slackers&quot;.]]>
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			<title>When New York turns the movies into a summer ritual</title>
			<link>https://tribune.com.pk/story/2632949/when-new-york-turns-the-movies-into-a-summer-ritual</link>
			<comments>https://tribune.com.pk/story/2632949/when-new-york-turns-the-movies-into-a-summer-ritual#comments</comments>
			<pubDate>Sun, 04 Oct 26 12:38:39 +0500</pubDate>
			<dc:creator>
				<![CDATA[Nawal Ahmad]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[From Bryant Park to Pier 17 rooftops, outdoor screenings are turning films and TV finales into shared city experiences]]>
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				<![CDATA[From Bryant Park to Pier 17 and Manhattan rooftops, New Yorkers are turning movie and television screenings into shared summer rituals, where the setting, the crowd and the stories become part of the experience.

There is something different about watching a movie in New York when the cinema has no walls.

Instead of rows of seats in a dark theatre, there is grass beneath you, people arriving with blankets and snacks, friends trying to find a good spot, couples settling in beside strangers and a city skyline providing a backdrop that no movie theatre could reproduce.

Then the lights go down and, for the next two hours, hundreds of people are watching the same story together.

That simple idea has become one of New York&#39;s most enjoyable summer rituals. Across the city, parks, waterfronts and rooftops are transformed into temporary cinemas.

Some screenings are devoted to beloved classics, while others are built around the latest television obsession.



Photo: Author

Many of the outdoor events are free and operate on a first-come, first-served basis, while special screenings may require registration or reservations. But what they have in common is the feeling of watching something together.

After experiencing several of these events myself, I have started to think that the movie is sometimes only half of the attraction.

Bryant Park is one of the clearest examples of how this works. Its Movie Nights have become a New York summer tradition, with people arriving well before the film begins to claim a place on the lawn.

The atmosphere starts building long before the opening credits, as people bring blankets, meet friends, bring food and settle in for an evening rather than simply arriving for a two-hour screening.

This year, the summer movie-night special ended with The Truman Show being screened for the second time, as watchers came in the afternoon and waited until after sunset for the film to begin.

Sitting on the lawn in the middle of Manhattan and watching a film that so many people already know by heart made the experience feel strangely new.



Photo: Author

The movie itself was familiar, but the setting and the audience changed it. Someone laughs at a line you have heard ten times before, someone reacts to a scene you had forgotten was coming, and people around you quietly comment on moments as they happen. You become part of an audience again.

Perhaps that is one reason these screenings feel particularly appealing now, when so much entertainment is consumed privately and on demand.

Streaming has made it possible to watch almost anything at any time, but it has also made entertainment increasingly solitary. Outdoor cinema brings back the simple pleasure of reacting to a story alongside other people.

Television becomes a communal event

The phenomenon is not limited to old movies. Last summer, I experienced the other side of this culture with The Summer I Turned Pretty.

I went to Bryant Park for a special screening of the first two episodes of the show&#39;s third and final season. Fans gathered on the lawn with blankets, snacks and friends, and the atmosphere was closer to a concert or fan gathering than an ordinary television screening.



Photo: Author

What made the evening particularly memorable was the appearance of the cast. The actors came onto the stage to greet the fans, turning what had already been a large communal viewing experience into a live fan event.

For people who had followed the characters and storylines through the previous seasons, suddenly seeing the cast in front of them added another layer to the experience.

The audience already had theories, favourite characters and strong opinions about what was going to happen next. So when something happened on screen, the reaction travelled across the lawn: laughter, screams, cheers and collective gasps. It was essentially a giant group chat, except everyone was sitting together in the same physical space.

That is where watching television becomes something more than watching television. The audience is no longer simply consuming an episode; it is participating in a shared cultural moment.

City skylines become part of the film

The same idea takes on a completely different atmosphere at Pier 17. Brooklyn Bridge Park&#39;s Movies With A View brings free outdoor films to the waterfront, where audiences can watch with New York Harbor and the Manhattan skyline behind the screen. The screenings are first-come, first-served, making arriving early part of the ritual.

I first watched Forrest Gump at Pier 17, where the waterfront setting changes the entire feeling of a familiar film. The light changes as the evening progresses, the water moves, buildings begin to glow and the skyline becomes part of the visual experience. Somewhere between the real city and the movie on the screen, the two begin to overlap.

You are not just watching Forrest Gump anymore. You are watching Forrest Gump in New York on a summer night. That distinction sounds small, but it is exactly what makes these events memorable. The location becomes part of the story you remember later, just as much as the film itself.



Photo: Author

Branding for entertainment

The Summer I Turned Pretty experience also showed another side of this new entertainment culture.

For the show&#39;s finale, I attended a special screening event at the rooftop at 230 Fifth, where the atmosphere was much closer to a nightlife event than a traditional television screening. There was a bar-style rooftop setting, fans gathered around the screening and the feeling that the finale was an occasion rather than simply another episode.

There were even Sephora gift bags with Summer Fridays lip balms as part of the special collab.

That detail might sound incidental, but it says a lot about where entertainment culture is going. The show was not only being watched; it was being experienced, photographed, branded and remembered. The screening itself became content, the rooftop became part of the story, and the gift bag became something to photograph and take home.

The people attending were not just viewers anymore. They were part of a community of fans who could say they were there.



Photo: Author

This is where the relationship between entertainment and brands becomes particularly interesting. Streaming platforms and advertisers have realised that audiences do not necessarily want another advertisement telling them to watch something. Increasingly, they want to be invited into the world of the show.

The Summer I Turned Pretty Bryant Park event is a good example. Prime Video partnered with T-Mobile to transform the park into an experience inspired by the show&#39;s Cousins Beach setting, with themed installations and fan activities. The event brought the fictional world of the series into a real New York park and gave fans an opportunity to interact with the show beyond simply watching it on a screen.

The brand is no longer simply interrupting the entertainment; it is helping construct an experience around it. A beauty company can appear through gift bags, a telecommunications company can create a fan experience and a streaming platform can transform a television premiere into a physical gathering. The marketing becomes experiential.

And that can be remarkably effective because people are more likely to remember an experience than an advertisement. You may forget seeing a sponsored post online, but you are less likely to forget sitting on a lawn with hundreds of fans, watching a new episode and then seeing the cast walk onto the stage in front of you.

There is a larger cultural reason these evenings work. New York is one of the most densely populated cities in the world, yet it can also be surprisingly isolating. We pass thousands of people every day without knowing anything about them. Outdoor cinema temporarily changes that dynamic because everyone is looking at the same screen, waiting for the same scene and reacting to the same ending.

For a few hours, strangers become a temporary community.

That may be the most interesting thing about the city&#39;s outdoor cinema culture. It is not really about replacing the movie theatre; it is about adding something that the theatre, and certainly streaming at home, cannot provide: a sense of occasion, a sense of place and a sense that other people are experiencing the same thing at exactly the same moment.

Perhaps that is why New Yorkers keep coming back, bringing blankets, snacks and friends and waiting for the sun to go down. In a city where everyone is constantly moving, these screenings offer a rare opportunity to stop, sit beside strangers and share a story from beginning to end.

Because sometimes we do not just want to watch the story. We want to have someone beside us when it happens.]]>
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			<title>Where Lahore meets Brooklyn: Inside BK Jani's burger scene</title>
			<link>https://tribune.com.pk/story/2631698/where-lahore-meets-brooklyn-inside-bk-janis-burger-scene</link>
			<comments>https://tribune.com.pk/story/2631698/where-lahore-meets-brooklyn-inside-bk-janis-burger-scene#comments</comments>
			<pubDate>Sun, 27 Sep 26 14:28:05 +0500</pubDate>
			<dc:creator>
				<![CDATA[Nawal Ahmad]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[From mint chutney to nihari sandwiches, the restaurant blends Pakistani flavours with the familiar comfort of a burger]]>
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				<![CDATA[Walking into BK Jani in Brooklyn feels a little like stepping into a conversation between Lahore and New York. The restaurant is small and casual, but its walls carry an identity that is much bigger than its footprint.

Traditional Pakistani visual elements sit alongside the energy of Brooklyn, while the menu takes something as universally recognisable as a burger and gives it a distinctly South Asian point of view.

Their instagram page termed &#39;Jani&#39; as a &#39;form of endearment&#39;, with the restaurant saying they serve the best Pakistani burgers in all of New York.





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What immediately caught my attention was the atmosphere. The walls weren&#39;t simply decorated; they felt lived in. Pakistani-inspired artwork and photographs gave the space a sense of place, while handwritten messages from customers created another layer of personality.

There was an entire wall filled with people&#39;s reactions to the food&mdash;compliments, jokes, and desi references written by diners who clearly wanted to leave a little piece of their experience behind.

Some of the phrases by customers read, &quot;Itni khawari ke baad maza aaya (The pain was worth the wait)&quot;, &quot;Dil jeetliya bhai (You won my heart, brother)&quot;, and &quot;Pakistan Zindabad!!&quot;.

It almost felt like a guestbook, except instead of signatures, the walls were filled with food memories.

That sense of community is part of what makes BK Jani interesting. You can see how different audiences have found their way into the same room.

There were young Gen Z diners, South Asians who seemed immediately familiar with the flavours and references, and people from outside the culture who had simply heard about the burgers and wanted to understand what the hype was about.

And then there was the music. The soundtrack moved between Pakistani and Indian music from Ali Sethi, Samar Jafri to Arjit Singh, creating another bridge between the traditional and the contemporary.

For someone familiar with South Asian music, hearing those songs in a Brooklyn burger joint creates an unmistakable feeling of nostalgia. For someone encountering it for the first time, it becomes part of the experience of discovering another culture through food.

That is perhaps what BK Jani does particularly well: it doesn&#39;t separate the food from the culture that produced it.



PHOTO: New York Daily News

According to The Hugh, the restaurant was founded by Sibte Hassan, a Lahore native, and that background is important to understanding the concept. Hassan brought the flavours and food traditions he grew up with into a Brooklyn setting, rather than trying to reproduce a conventional American burger joint.

Earlier accounts of BK Jani describe Hassan personally running the grill and explaining the idea behind the restaurant, including the preference for eating the food with your hands&mdash;a practice deeply familiar in South Asian dining culture.

The menu itself tells the same story.

Take chutney. In an American burger context, the expected companions are usually ketchup, mustard, mayonnaise, or perhaps barbecue sauce. At BK Jani, chutney changes the entire equation. The signature Jani burger is built around a beef patty with mint chutney, grilled tomato, and a touch of raita.

Mint chutney isn&#39;t simply a sauce replacing mayonnaise. It brings heat, freshness, acidity, herbs, and the unmistakable flavour profile of South Asian cooking. Raita adds another familiar element, traditionally associated with yogurt-based accompaniments that help balance spicy foods. Together, those ingredients transform the idea of what a burger can be.



Photo: Author

The Lahori burger pushes that idea even further. The menu describes it as spicy ground beef with mild raita and fresh cucumber, essentially building cooling and spicy elements into the same sandwich.

And then there is the Nihari sandwich, which takes another distinctly Pakistani food tradition and puts it into a handheld format. Nihari is a slow-cooked beef dish associated with richly spiced, long-simmered meat; BK Jani turns that tradition into a sandwich rather than serving it in its more familiar form.

That is what makes the menu more interesting than simply calling it &quot;Pakistani burgers.&quot; It is really a conversation between food traditions. The burger is Brooklyn. The chutney is Lahore. The format is familiar, but the flavours carry a different history.

And that may be the most compelling thing about BK Jani. It isn&#39;t trying to make Pakistani food feel distant or overly formal. It puts those flavours right in the middle of Brooklyn&#39;s everyday food culture.

The walls preserve the memories. The music preserves the nostalgia. The chutney preserves the flavour. And the customers&mdash;Pakistani, Indian, Brooklyn-born, immigrant, Gen Z, or simply curious&mdash;keep adding to the story, being a perfect example of how food travels.]]>
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			<title>Salman Toor honoured by TIME100 Art 2026 for shaping future of art</title>
			<link>https://tribune.com.pk/story/2630052/salman-toor-honoured-by-time100-art-2026-for-shaping-future</link>
			<comments>https://tribune.com.pk/story/2630052/salman-toor-honoured-by-time100-art-2026-for-shaping-future#comments</comments>
			<pubDate>Fri, 18 Sep 26 12:05:43 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Pakistani-American artist earns his second recognition as his work on intimacy and isolation draws global attention]]>
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				<![CDATA[Pakistani-American artist Salman Toor has been named to TIME&rsquo;s TIME100 Art 2026 list, marking the second time the artist has been recognised by the magazine.

TIME100 Art 2026 was announced on Friday afternoon, with Toor featured among the 100 most influential people shaping the future of art.

The 42-year-old artist was named alongside internationally recognised painters, photographers, artists, museum leaders and philanthropists, bringing together some of the most prominent figures working across the global art world.

Toor was recognised for his work exploring intimacy and isolation, with TIME highlighting the way his paintings depict young brown men experiencing moments of connection and solitude.

In its profile of the artist, TIME described his work as portraying young brown men &ldquo;in states of convergence and of isolation.&rdquo; &ldquo;Sometimes, the men are dancing at a bar, bathed in emerald light; other times, they are alone, lying in bed,&rdquo; it wrote.

The latest recognition adds to Toor&rsquo;s growing international profile and follows several notable milestones in his career.

In 2020, TIME reported that Toor&rsquo;s paintings had sold for more than $1 million at auction, highlighting the growing interest in his work in the international art market.

Since then, he has continued to expand his presence through exhibitions and major international art events. Toor toured a solo exhibition to four museums, bringing his work to audiences in different parts of the world, and also participated in the Venice Biennale, one of the art world&rsquo;s major international events.

The artist has also held a two-part gallery exhibition that sold out, adding to a series of milestones that have marked his career in recent years.

Another major moment is on the horizon, with Toor&rsquo;s first solo European exhibition set to open at the Courtauld Gallery in London in October.

His inclusion in TIME100 Art 2026 is also not his first appearance on a TIME list. Toor was previously featured on the magazine&rsquo;s TIME100 Next list in 2021, making his latest recognition another appearance on one of TIME&rsquo;s influential annual lists.]]>
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			<title>Why New Yorkers are willing to wait in line for almost anything</title>
			<link>https://tribune.com.pk/story/2629085/why-new-yorkers-are-willing-to-wait-in-line-for-almost-anything</link>
			<comments>https://tribune.com.pk/story/2629085/why-new-yorkers-are-willing-to-wait-in-line-for-almost-anything#comments</comments>
			<pubDate>Sun, 13 Sep 26 14:47:52 +0500</pubDate>
			<dc:creator>
				<![CDATA[Nawal Ahmad]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Waiting in queue for a free product and a good deal has become the city’s new social trend]]>
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				<![CDATA[In New York City, waiting in line has become less of an inconvenience and more of a social ritual, whether it is for coffee, beauty freebies or the latest luxury pop-up.

In the city, there is always somewhere to be. And increasingly, there is always a line to get there.

It might be for a coffee. It might be for a lip balm. It might be for a fashion experience that lasts fifteen minutes.

It might even be for a free tote bag that will eventually end up carrying groceries.

Whatever the prize, New Yorkers have developed a new relationship with the queue. Waiting in line is no longer simply something you have to do. For some, it has become the event itself.





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On a recent weekend, a coffee-and-beauty collaboration at Caff&egrave; Paradiso in SoHo demonstrated just how far the pop-up phenomenon has come.

Summer Fridays teamed up with the coffee shop for a limited-edition Salted Mocha Butter &amp; Oat Latte, inspired by the indulgent flavours of the beauty brand&#39;s Holiday Collection Lip Butter Balms.

The deal was simple: purchase the latte and receive a full-size Lip Butter Balm, along with a deluxe sample of Sunlit Vanilla Eau de Parfum.

The latte itself was not exactly a mystery to New Yorkers. Caff&egrave; Paradiso&#39;s salted brown butter oat latte had already developed a reputation for attracting long lines.

But add a cult beauty brand, a limited-edition drink and a full-size product that costs considerably more than the coffee, and suddenly the queue becomes something else entirely.



The line to get to Caff&egrave; Paradiso for the Summer Fridays collab in Soho. Photo: Author

The latte costs around $10. The lip balm, meanwhile, is the real incentive.

A full-size Summer Fridays Lip Butter Balm typically retails for considerably more, making the purchase feel, in the language of &ldquo;girl math&rdquo;, less like spending $10 on coffee and more like getting a beauty product at a discount with a drink attached.

And people are willing to wait for it.

Some New Yorkers arrive after a Pilates class. Others stop by before work. Friends make a morning of it.

For the particularly committed, the day can start at dawn for an event that does not begin until later in the morning, all in the hope of getting ahead of the crowd. By midday, a line can stretch down the block, with hundreds of people waiting their turn.

The queue becomes a temporary community of its own. Strangers compare wait times, check Instagram Stories, take photographs of the line and try to calculate whether the coveted freebie will still be available by the time they reach the front.

There is now an entire digital infrastructure helping New Yorkers decide which lines are worth standing in.

Platforms and Instagram accounts such as NYC For Free and DoNYC have become unofficial guides to the city&#39;s free events, giveaways, activations and pop-ups. The result is a city where people do not simply ask what they should do on a Saturday. They ask what is happening, what is free and, perhaps most importantly, how early they need to arrive.

Of course, there is another New Yorker watching all of this unfold and she is not impressed.





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As one woman cycling through New York recently filmed one of the enormous pop-up lines and captioned the Reel, &ldquo;All this for a coffee and lip gloss.&rdquo;

The reaction captures the divide surrounding the city&#39;s pop-up culture. To some, the queues are part of the fun: a spontaneous social activity, a chance to discover something new and an excuse to leave the house with a friend. To others, they are a symbol of a city increasingly turning ordinary activities into branded experiences.

There is something undeniably strange about spending a significant portion of a morning standing on a pavement for a drink and a beauty product when New York has no shortage of coffee shops. But that is precisely what makes the phenomenon interesting.

It extends far beyond food and beauty. New York&#39;s temporary retail landscape has increasingly blurred the lines between fashion, beauty, hospitality, art and social media. Luxury houses have embraced pop-ups and immersive experiences as a way of bringing their brands directly into the city&#39;s streets.

Chanel, for instance, has used New York spaces to create experiential activations around its fragrance and fashion worlds, turning a traditional product launch into something visitors can physically step into.

YSL Beauty has similarly experimented with highly Instagrammable retail concepts, including a SoHo bodega-inspired activation built around its beauty and fragrance offerings.

And part of it is simply that New York is a city built around doing things.

Maybe the strange thing is not that hundreds of New Yorkers are willing to wait for coffee and lip balm.

Maybe it is that, in a city where everything is constantly changing, the pop-up gives people something remarkably simple: a place to be, a thing to chase and a story to tell afterwards.]]>
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			<title>Love your tea piping hot? New research suggests it could raise your cancer risk</title>
			<link>https://tribune.com.pk/story/2628704/love-your-tea-piping-hot-new-research-suggests-it-could-raise-your-cancer-risk</link>
			<comments>https://tribune.com.pk/story/2628704/love-your-tea-piping-hot-new-research-suggests-it-could-raise-your-cancer-risk#comments</comments>
			<pubDate>Fri, 11 Sep 26 05:52:58 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Researchers say liquid at 65°C or above is linked to nearly triple the risk of oesophageal cancer, BBC reports]]>
			</description>
			<content:encoded>
				<![CDATA[For millions of people, the day does not properly begin until a scalding cup of tea or coffee is in hand.

But according to the BBC, a new study has linked drinking beverages while &ldquo;very hot&rdquo; to a significantly higher risk of oesophageal cancer, reviving questions about a habit most people never think twice about.

Researchers tracked close to a million middle-aged adults in the UK over some 14 years, comparing people who described their tea and coffee as &ldquo;very hot&rdquo; with those who drank theirs &ldquo;warm&rdquo;, the BBC reported.

Those in the very-hot group were found to have close to three times the risk of developing squamous cell carcinoma of the oesophagus, the tube connecting the mouth to the stomach.

The threshold researchers used for &ldquo;very hot&rdquo; was 65&deg;C or higher, the same cut-off the International Agency for Research on Cancer uses to classify hot beverages as a probable carcinogen. By comparison, most people&rsquo;s tea and coffee sits closer to 50&ndash;60&deg;C, although this varies by region and by how a drink is prepared.





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Frequency mattered too. People who drank six or more hot beverages a day faced a further increase in risk compared with occasional drinkers, according to the BBC.

Experts cited by the BBC explained that repeatedly scalding the lining of the food pipe may injure its cells over time, potentially making them more vulnerable to becoming cancerous. Oxford researcher Keren Papier, a co-author of the study, was quoted as saying that the scale of the research strengthened the case that hot and very hot drinks raised the risk of this particular type of cancer.

Even so, the BBC noted caution from outside scientists. One physiologist who was not involved in the study pointed out that drink temperature was self-reported rather than measured, while people&rsquo;s sensitivity to heat in the mouth varied widely. The findings, therefore, were best understood as a strong association rather than definitive proof of cause and effect.

It also noted that smoking remained the single biggest risk factor for oesophageal cancer overall. The disease is more common in parts of Eastern Asia and Southern and Eastern Africa, where heavy alcohol use and indoor air pollution are also thought to play a role.

Oesophageal cancer is relatively rare globally, and the BBC stressed that even a tripled risk from hot drinks started from a low baseline.

For now, the practical takeaway highlighted in the report is simple: letting tea, coffee or other hot beverages cool for a few minutes before drinking may be an easy way to cut down on unnecessary exposure. There is no need to give up the ritual altogether &mdash; just let it breathe a little before that first sip.]]>
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