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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>Asim Azhar returns to Coke Studio with 'Maheya', 10 years after 'Tera Woh Pyar'</title>
			<link>https://tribune.com.pk/story/2632940/asim-azhar-returns-to-coke-studio-with-maheya-10-years-after-tera-woh-pyar</link>
			<comments>https://tribune.com.pk/story/2632940/asim-azhar-returns-to-coke-studio-with-maheya-10-years-after-tera-woh-pyar#comments</comments>
			<pubDate>Sun, 04 Oct 26 11:32:59 +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=2632940</guid>
			<description>
				<![CDATA[A decade later, singer reunites with the platform for a nostalgic yet contemporary new release]]>
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				<![CDATA[Ten years after beginning his Coke Studio journey with the much-loved Tera Woh Pyar, Asim Azhar is back on the platform with Maheya, a new song that is already winning over fans.

The latest Coke Studio Nu.WAV release sees Azhar team up with Aaryan, with Rovalio on production. The song was written by Azhar, Aaryan and Kumail Abbas, while the music brings together Azhar, Azhar Hussain and Rovalio.

Taking to Instagram to celebrate the release, he shared a line from the song, writing, &ldquo;maheya tere pyar vich, jindri mai haareya.&rdquo;

He added, &ldquo;Exactly 10 years ago, it was &lsquo;tera woh pyar&rsquo; today, its &lsquo;maheya&rsquo; thank you for always being here. I&nbsp;hope you all love it as much as we loved making it.&rdquo;





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The milestone gives Maheya an added layer of nostalgia for longtime listeners. Azhar first appeared on Coke Studio in 2015 with Hina Ki Khushbu, before returning with Tera Woh Pyar, his now-iconic collaboration with Momina Mustehsan.

A decade later, he is revisiting the platform through Nu.WAV, Coke Studio&rsquo;s newer space for artists and producers to experiment with their own sounds.

Musically, Maheya leans into longing and heartbreak, with its central refrain capturing the feeling of being completely consumed by love. Azhar&rsquo;s familiar vocals are paired with Aaryan&rsquo;s contribution, while Rovalio&rsquo;s production gives the track a contemporary polish.

The accompanying video takes a distinctly old-school route. Set against a vintage-inspired world, it plays with black-and-white imagery and a fictional 1950s film aesthetic, with Azhar appearing as a playback singer. His styling complements the visual concept, with chic, sophisticated looks that add to the retro mood without making it feel dated.

The response from fans has been just as enthusiastic.



One commenter summed up Azhar&rsquo;s seemingly effortless ability to turn a release into a social media moment, writing, &ldquo;Bro wakes up, drops a banger, makes a transition video to it, and goes back to sleep.&rdquo;

Azhar replied simply: &ldquo;Guilty as charged.&rdquo;

Other fans echoed the sentiment, with listeners saying the track had already landed firmly on repeat.



Maheya also arrives at a particularly busy point in Azhar&rsquo;s career.

Earlier this year, his collaboration Aarzu made waves internationally, reaching No&nbsp;2 on the Official Asian Music Chart and No&nbsp;8 on Billboard&rsquo;s global chart.&nbsp;





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Just last month, Azhar&rsquo;s fans marked&nbsp;his 13th year in the music industry by giving back to children at SOS Village, a gesture the singer warmly acknowledged.

With Maheya, Azhar appears to be marking another personal milestone &mdash; one that connects where his Coke Studio story began with where his music is headed next.]]>
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			<title>Dananeer Mobeen makes her singing debut with upbeat track 'Touch'</title>
			<link>https://tribune.com.pk/story/2632942/dananeer-mobeen-makes-her-singing-debut-with-upbeat-track-touch</link>
			<comments>https://tribune.com.pk/story/2632942/dananeer-mobeen-makes-her-singing-debut-with-upbeat-track-touch#comments</comments>
			<pubDate>Sun, 04 Oct 26 11:50:54 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Actor and content creator teams up with Hydra and Will Baker for an English-Urdu dance track]]>
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			<content:encoded>
				<![CDATA[Dananeer Mobeen is adding another creative pursuit to her growing portfolio. The actor and social media star has made her singing debut with Touch, an upbeat dance track featuring musician Haider Mustehsan, also known as Hydra, and produced with Will Baker.

Mobeen announced the release on Instagram through a collaborative post with Mustehsan, sharing a snippet from the music video. &ldquo;TOUCH - OUT NOW ON ALL PLATFORMS,&rdquo; the pair wrote, with Mobeen adding that she and Baker had put considerable thought into the track.

&ldquo;I hope you guys feel this in your feet,&rdquo; she added, hinting at the song&rsquo;s energetic, dance-friendly sound.





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The track blends English and Urdu lyrics, giving it a contemporary pop feel while retaining a distinctly South Asian flavour. For Mobeen, who first found fame online before making her way into acting, the release marks her first formal step into music.

The accompanying music video leans into the song&rsquo;s carefree mood. Mobeen and Mustehsan are seen dancing alongside a piano, spending time around a house and pool, and driving together in a convertible as they take in scenic views.

Mobeen keeps her look playful and relaxed, wearing a fun long-sleeved black top with jeans and a bandanna tied in her hair.

Mustehsan had also teased the collaboration through a series of artistic videos from the project in the days leading up to its release, leaving followers intrigued by the unexpected pairing.

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The unexpected collaboration appears to have caught fans off guard, with many taking to the comments to celebrate the actor&rsquo;s latest creative turn.

Fellow artists also showed their support, with Shae Gill and Mamya Shajaffer applauding Mobeen in the comments. &ldquo;You&rsquo;re so beautiful,&rdquo; Gill wrote, while Shajaffer added, &ldquo;So cute.&rdquo;



 

Mobeen&rsquo;s move into music comes as she continues to expand beyond the social media fame that first brought her into the spotlight. Her acting credits include Sinf-e-Aahan and Meem Se Mohabbat, while her recent work has also included the sports film Mera Lyari.

Mera Lyari, which starred Mobeen alongside Ayesha Omar and Trinette Lucas, explored Lyari&rsquo;s football culture and the experiences of women in sport. Mobeen has also remained active on the drama front, with projects including Hurmat and Soulmates associated with her recent projects.

From viral internet personality to actor and now singer, Mobeen is embracing an increasingly varied creative career. And if the reaction to Touch is anything to go by, fans are more than ready to see what she tries next.]]>
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			<title>Janhvi Kapoor speaks out against AI deepfake, demands respect for women's consent</title>
			<link>https://tribune.com.pk/story/2632959/janhvi-kapoor-speaks-out-against-ai-deepfake-demands-respect-for-womens-consent</link>
			<comments>https://tribune.com.pk/story/2632959/janhvi-kapoor-speaks-out-against-ai-deepfake-demands-respect-for-womens-consent#comments</comments>
			<pubDate>Sun, 04 Oct 26 15:31:31 +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=2632959</guid>
			<description>
				<![CDATA[Indian actor condemns non-consensual manipulation of her 'Devara' footage and warns of the growing threat of AI abuse]]>
			</description>
			<content:encoded>
				<![CDATA[Indian actor Janhvi Kapoor has condemned an AI-generated deepfake that manipulated footage from her Devara: Part 1 song Chuttamalle, calling the non-consensual use of her image a &ldquo;deeply violating&rdquo; act and warning that the issue reflects a broader reality faced by women.

The altered video, which circulated widely online, digitally manipulated footage featuring Kapoor from the 2024 film and presented her in a sexually explicit manner that was not part of the original production. The incident has triggered strong reactions across the Indian film industry, while renewing concerns about the misuse of artificial intelligence to target women.

Breaking her silence on the controversy on Instagram, Kapoor said the issue extends well beyond the particular video involving her. She argued that the misuse of technology reflects a broader problem surrounding the way women&rsquo;s bodies, choices and boundaries are treated.

&quot;The criminal misuse of technology to objectify women and circulating fictionalised content without consent is deeply violating, bordering on sexual assault. Almost every woman in my industry has faced some version of this. And women everywhere are increasingly being subjected to it,&quot;&nbsp;she wrote.

According to Kapoor, consent should not be viewed as complicated or open to interpretation. A woman&rsquo;s decisions about her body, appearance and personal boundaries remain hers alone, regardless of what she wears or what choices she may have made previously.

She further argued that the growing threat posed by AI-generated abuse comes on top of the physical and social pressures women already face. In her view, technology has created another avenue through which women can be subjected to harassment and violations of their privacy.

&quot;It is about the larger reality of being a woman. The gaze, the judgement, the constant negotiation for safety and the feelings that our boundaries somehow remain open to interpretation. That threat has now expanded into the digital sphere,&quot; she said.



Screengrab: janhvikapoor/Instagram

Kapoor also called for a wider change in social attitudes, saying responsibility should not rest solely on women or their families to protect themselves from harassment. Instead, she said society must challenge the attitudes that lead people to believe they are entitled to cross another person&rsquo;s boundaries.

The actor thanked her Devara co-star Jr NTR for speaking out against the manipulated video. NTR had earlier condemned the clip and said he would pursue legal action against those responsible for creating and circulating it.

The controversy has once again highlighted the growing challenges posed by AI deepfakes, particularly when the technology is used to fabricate intimate or degrading material involving people without their knowledge or consent.

Kapoor ended by emphasising the importance of recognising women&rsquo;s right to control their own images, bodies and boundaries.

&quot;I hope everything unfolding around us right now forces those who participate in any form of harassment to introspect. Is it really too much for a woman to ask to simply be treated and seen as a human being? Her body, her image, her boundaries, her choice&quot;.

Her message ultimately centred on a basic principle: women should be treated as people with the right to control their own images, bodies and boundaries.]]>
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			<title>Ali Azmat reveals his surprisingly minimal 'no-chemical' personal care routine</title>
			<link>https://tribune.com.pk/story/2632944/ali-azmat-reveals-his-surprisingly-minimal-no-chemical-personal-care-routine</link>
			<comments>https://tribune.com.pk/story/2632944/ali-azmat-reveals-his-surprisingly-minimal-no-chemical-personal-care-routine#comments</comments>
			<pubDate>Sun, 04 Oct 26 12:04:53 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Singer says his bathroom has little beyond soap and toothpaste — and reveals he does not use a toothbrush]]>
			</description>
			<content:encoded>
				<![CDATA[Rockstar&nbsp;Ali Azmat has given fans an unexpected glimpse into his personal-care habits, revealing a remarkably minimalist routine that includes soap and toothpaste &mdash; but not a toothbrush.

Appearing on Tabish Hashmi&rsquo;s Hasna Mana Hai, Azmat said his bathroom contains very few personal-care products.

&ldquo;In my bathroom, I just have soap and a toothpaste,&rdquo; he said. His routine became even more surprising when he revealed that he does not use a toothbrush. &ldquo;Not even a toothbrush, I use my finger,&rdquo; he added.

Azmat explained that his approach comes from his personal aversion to what he describes as &ldquo;chemicals&rdquo;, a philosophy he said has become more difficult to maintain as his daughters have grown older and developed an interest in beauty and skincare products.

&ldquo;I personally am against chemicals,&rdquo; he said, adding, &ldquo;For me it is a big exam that my daughters, who are now growing up and are 13-14 years old, they are obsessed with products and wanting certain creams.&rdquo;





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He also recalled a shopping trip in Canada, where he joked that his daughters and their mother persuaded him to spend a significant amount on personal-care products. &ldquo;When I was in Canada they and their mom made me get 1000-2000 money worth of chemicals,&rdquo; he said

Azmat&rsquo;s comments appeared to be less a prescribed routine than a reflection of his personal philosophy: keep things simple, avoid unnecessary products and, where possible, stay away from ingredients he is uncomfortable using.

The conversation also taps into the growing contrast between increasingly elaborate beauty routines and the minimalist approach favoured by some public figures.

At a time when bathroom shelves can be packed with cleansers, serums, moisturisers and specialised treatments, Azmat appears content with considerably less.]]>
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			<title>Karachi film fest attracts movies from 35 countries</title>
			<link>https://tribune.com.pk/story/2632893/karachi-film-fest-attracts-movies-from-35-countries</link>
			<comments>https://tribune.com.pk/story/2632893/karachi-film-fest-attracts-movies-from-35-countries#comments</comments>
			<pubDate>Sun, 04 Oct 26 03:10:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[Qaisar Kamran]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Gandhara Independent Film Festival's seventh edition is featuring 
88 diverse productions in hybrid format]]>
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				<![CDATA[The seventh edition of the Gandhara Independent Film Festival (GIFF) is bringing independent films from Pakistan and around the world to Karachi in a hybrid format, with screenings taking place at the National Academy of Performing Arts (NAPA) alongside an online programme.

The festival, founded by Cirque Films in 2020, is being held from October 2 to 4 at NAPA&#39;s Hindu Gymkhana. This year&#39;s programme features 88 selected films, including 28 being screened in person and another 60 available online through a streaming platform.

The films selected for the 2026 edition represent 35 countries, including Pakistan, Argentina, Australia, Brazil, Canada, China, Egypt, France, Indonesia, Iran, Lebanon, Malaysia, Mexico, Nepal, Norway, Poland, South Korea, Spain, Sweden, Switzerland, Syria, Taiwan, the United Arab Emirates and the United States.

The in-person programme includes nine Pakistani short films and 19 international short films. The online selection includes seven feature films, 25 international shorts and 28 Pakistani shorts.

For GIFF Festival Producer Beenish Umer, the hybrid format is partly a practical response to the limited availability of venues and resources for independent cinema in Pakistan.

Speaking with The Express Tribune Umer said, &quot;This is the seventh edition of the festival, which is held annually around this time of the year. This year, it is a hybrid festival, with 28 Pakistani and international films being screened at NAPA over three days, from October 2 to 4&quot;.

She said the festival would ideally have a longer physical programme, but venue limitations made that difficult.

&quot;There are another 60 films available on OTT platforms. This is mainly because we have limited venues and resources, so we could not book a venue for the entire week,&quot; she said.

&quot;Ideally, all the films should be screened at the festival. International festivals often run for a week or even two weeks, but given what we could manage on the ground, three days was what we could do this year.&quot;

The festival&#39;s organisers say its hybrid model has allowed GIFF to continue expanding its reach beyond a physical venue. Since its launch in 2020, the festival has showcased more than 700 independent films through online, physical and hybrid editions.

This year&#39;s selection also reflects the number of filmmakers seeking platforms for independent work in Pakistan.

According to Umer, the festival received around 500 submissions from filmmakers across Pakistan for this year&#39;s edition.

&quot;We received around 500 film submissions from different parts of the country from filmmakers who wanted to participate in the festival,&quot; she said.

Actor Ayesha Toor, who attended the festival on its opening day, said events such as GIFF were important for creating opportunities to showcase both international and Pakistani independent cinema.

&quot;I feel very good because such events should take place. I don&#39;t know where the Pakistani film industry is going, but we can show international films and we can show local independent films,&quot;

She also highlighted the response from audiences at the festival and said she hoped GIFF would contribute to a wider cultural change in Karachi and Pakistan.

&quot;I&#39;m very hopeful that the Gandhara Film Festival will make that difference, will bring the change that we need in the cultural scene in Karachi and in Pakistan,&quot; she said.

The final selection includes films from a wide range of countries and filmmaking backgrounds.

Most of the Pakistani films in the programme are in Urdu with English subtitles, while the international selection includes films in 32 foreign languages.

The festival&#39;s physical programme is being hosted at NAPA in Karachi, while the online selection allows viewers to access a larger number of films beyond the three-day physical event.

For independent filmmakers, festivals such as GIFF can provide an alternative route to audiences at a time when short films and independent productions often have limited opportunities for theatrical exhibition.]]>
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			<title>Yasir Hussain responds to Akif Ilyas's criticism</title>
			<link>https://tribune.com.pk/story/2632894/yasir-hussain-responds-to-akif-ilyass-criticism</link>
			<comments>https://tribune.com.pk/story/2632894/yasir-hussain-responds-to-akif-ilyass-criticism#comments</comments>
			<pubDate>Sun, 04 Oct 26 03:10:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[Our Correspondent]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA['I respect his opinion', says actor of makeup artist's comments]]>
			</description>
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				<![CDATA[Pakistani actor and comedian Yasir Hussain has responded to comments made about him by celebrity makeup artist Akif Ilyas, who recently discussed their past association and criticised Hussain&#39;s approach to comedy.

Ilyas, who has worked with several leading names in Pakistan&#39;s entertainment industry, spoke about Hussain during an appearance on Nadia Khan&#39;s show. According to Ilyas, Hussain used to contact him early in his career and ask him to help build his portfolio. He claimed that Hussain later mocked his appearance, style and friendships during a live awards show.

Ilyas also questioned the quality of comedy in Pakistan and said younger comedians could learn from performers such as the late Moin Akhtar, arguing that comedy should not come at the expense of others.

The comments prompted reactions online, with social media users debating Ilyas&#39; remarks and Hussain&#39;s response.

Responding to the circulating clip, Hussain acknowledged Ilyas&#39; contribution to his early career and said he had known him for many years.

Hussain said Ilyas had done his first photoshoot and had not charged him for it. He also described Ilyas as a highly talented artist with expertise in both makeup and photography.

&quot;I have mentioned in almost every interview how much he helped me at the beginning of my career,&quot; Hussain said, adding that several other senior artists had also supported him during his journey.

Addressing Ilyas&#39; recent comments, Hussain stressed that he respected his right to have his own opinion.

&quot;Whatever he said in that interview may have been influenced by something he heard or experienced, I don&#39;t know. But that is his personal opinion, and I respect it,&quot; Hussain said.

He ended his response on a conciliatory note, saying: &quot;I love you, Akif bhai.&quot;]]>
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			<title>'Big Brother 28' crowns champion after final showdown</title>
			<link>https://tribune.com.pk/story/2632890/big-brother-28-crowns-champion-after-final-showdown</link>
			<comments>https://tribune.com.pk/story/2632890/big-brother-28-crowns-champion-after-final-showdown#comments</comments>
			<pubDate>Sun, 04 Oct 26 03:10:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[News Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Reality show's finale also sees more prizes for same houseguest]]>
			</description>
			<content:encoded>
				<![CDATA[Big Brother 28 has crowned its Season 28 champion following a dramatic live finale on October 1, with the winner securing the $750,000 grand prize after a six to one jury vote. The runner up received $75,000, while the third finalist left the competition after the final Head of Household decision.

The finale began with three remaining houseguests competing across the final Head of Household competition. The eventual champion won the second and third parts, earning the power to decide which finalist would join them in the Final Two. The decision resulted in a last minute eviction that sent the third place finisher to the jury.

The jury then questioned the two finalists about their gameplay before casting their votes. Six jurors selected the eventual champion, while one vote went to the runner up. The result secured the season&#39;s main cash prize and brought the competition to its conclusion.

The winner also received America&#39;s Favorite Player, adding another $50,000 to the night&#39;s earnings. A separate Pharaoh&#39;s Curse twist awarded an additional $10,000 earlier in the season, bringing the houseguest&#39;s total earnings from the season to $810,000.

The season featured a time travel inspired theme and brought returning reality television personalities into the house alongside new contestants. The winner entered the game as one of the returning players and reached the finale after collecting multiple competition victories during the season.

The finale also brought an emotional conclusion for the third place finisher, who had been closely aligned with the eventual champion before being cut at the final stage.]]>
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			<title>Zach Bryan sports 'Free Palestine' shirt during performance</title>
			<link>https://tribune.com.pk/story/2632892/zach-bryan-sports-free-palestine-shirt-during-performance</link>
			<comments>https://tribune.com.pk/story/2632892/zach-bryan-sports-free-palestine-shirt-during-performance#comments</comments>
			<pubDate>Sun, 04 Oct 26 03:10:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[News Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Singer is scheduled to return for second show on Oct 3]]>
			</description>
			<content:encoded>
				<![CDATA[Zach Bryan drew attention to his appearance at Gillette Stadium on Friday, October 2, after taking the stage in a black shirt bearing the words &quot;Free Palestine&quot;.

Bryan was performing at the Foxborough, Massachusetts venue as part of his With Heaven On Tour. His clothing choice gained attention because the stadium is owned by the Kraft Group, led by New England Patriots owner Robert Kraft, who became involved in the controversy over Macklemore and Ed Sheeran&#39;s Loop Tour.

Macklemore made pro Palestinian comments during performances at MetLife Stadium in September, including a call for &quot;Free Palestine&quot; before performing &quot;Hind&#39;s Hall&quot;. Kraft later confirmed that he had decided Macklemore should not perform at Gillette Stadium during Sheeran&#39;s September 25 and 26 concerts.

Kraft said the decision followed Macklemore&#39;s recent actions, material shared from the stage and what he described as a broader history of antisemitic rhetoric and imagery that he said was offensive and hurtful to the Jewish community. Kraft also said the decision was not intended to deny anyone the right to advocate for Palestinians and said Palestinian suffering was real.

Sheeran&#39;s Gillette Stadium shows were cancelled because of severe weather linked to a nor&#39;easter, while Macklemore was removed from the remaining US dates of the tour. Sheeran said the decision to remove the rapper was made by the promoter after venues indicated they would not host shows with Macklemore on the bill.

Macklemore later announced the Free Palestine Tour, with dates in Dublin, Paris and London selling out.

Bryan&#39;s shirt was notable because his concert took place shortly after the Macklemore and Kraft dispute. Bryan is scheduled to perform a second night at Gillette Stadium on Saturday, October 3.

Neither Bryan nor Kraft announced a connection between the shirt and the dispute. Its meaning remains open to interpretation.

Zach Bryan had released two self-produced studio albums, DeAnn (2019) and Elisabeth (2020), before signing with Warner Records to release his third album and major label debut American Heartbreak (2022), which peaked at number five on the Billboard 200 and was led by the Billboard Hot 100-top ten single &quot;Something in the Orange&quot;. His self-titled fourth album (2023) debuted atop the Billboard 200, while its lead single, &quot;I Remember Everything&quot; (featuring Kacey Musgraves), peaked atop the Billboard Hot 100, Hot Country Songs, and Hot Rock &amp; Alternative Songs charts simultaneously, also earning him a Grammy Award for Best Country Duo/Group Performance. His fifth studio album, The Great American Bar Scene (2024), peaked at number two on the Billboard 200, and his sixth, With Heaven on Top (2026), debuted at number one.

Throughout his career, Bryan has won several awards, including an Academy of Country Music Award, a Grammy Award and four Billboard Music Awards. He has sold over 30 million albums and singles, according to the RIAA.

Bryan started uploading his music to YouTube in 2017, with his friends recording him performing using his iPhone. Bryan&#39;s first song uploaded to YouTube was the single &quot;God Speed&quot; which ended up being a track on his debut album. Many of the songs Bryan would upload to his YouTube were written and recorded by him while serving in the Navy.]]>
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			<title>From Sukkur to Houston: Riaz Rafi’s Day and Night finds a global audience</title>
			<link>https://tribune.com.pk/story/2632763/from-sukkur-to-houston-riaz-rafis-day-and-night-finds-a-global-audience</link>
			<comments>https://tribune.com.pk/story/2632763/from-sukkur-to-houston-riaz-rafis-day-and-night-finds-a-global-audience#comments</comments>
			<pubDate>Sat, 03 Oct 26 09:21:34 +0500</pubDate>
			<dc:creator>
				<![CDATA[Nawal Ahmad]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2632763</guid>
			<description>
				<![CDATA[Riaz Rafi’s journey takes his Pakistani-American art to an international airport and new audiences.]]>
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				<![CDATA[For years, Riaz Rafi has painted the things that cannot always be put into words. Now, one of his paintings is speaking for him in a place where thousands of people pass through every day.

The Pakistani-American artist&rsquo;s Day and Night has been selected for display at the International Airport of Houston (IAH), where it will remain for two years. For Rafi, the placement is about more than having his work seen in a busy public space. It is also an opportunity to carry a piece of his Pakistani identity into an international setting.



Silver Streets Artists took to Instagram to share the exciting news, writing that the airport will be featuring Rafi&#39;s work, which they termed a project that provides &quot;signature energetic abstract brushwork and rich tonal contrast&quot; and &quot;explores the seamless duality of light and shadow, motion and stillness &mdash; a fitting theme for travelers journeying across time zones&quot;.

They added, &quot;As part of IAH&rsquo;s one-year public art program, &quot;Day &amp; Night&quot; will welcome millions of international and domestic visitors passing through Houston over the next 12 months&quot;.



https://www.instagram.com/p/DduX2DKIPB2/?utm_source=ig_web_copy_link&amp;stkn=NTc4MTIwNjQ2YQ==



&ldquo;As a Pakistani, I am proud that my painting is displayed at an international airport,&rdquo; Rafi says. &ldquo;First, it is to be a Pakistani and also that a work is displayed there and the theme, colours and everything.&rdquo;

The significance of the setting is not lost on him. An airport is a place of constant movement, where people from different countries and cultures briefly share the same space. Rafi sees that as an opportunity for art to communicate something about the country and culture an artist comes from.

He calls it a country&rsquo;s &ldquo;soft image&rdquo; &mdash; an idea he says he had discussed previously on a podcast.



&ldquo;The soft image which is produced of an image of country, they always show how your country is,&rdquo; he says. &ldquo;Your art, culture, music, and dance and all is a reflection of that, so it is a good way to show a soft image of Pakistan.&rdquo;

That idea is particularly relevant to Day and Night, a work created from the perspective of someone who belongs to two worlds. Rafi is Pakistani by origin and American by residence, and the painting reflects that duality.

Rafi says he is normally reluctant to give his paintings titles. He prefers viewers to arrive at their own interpretations and questions. In this case, however, a title was necessary.

&ldquo;For the title, I am not keen on just making one,&rdquo; he says. &ldquo;I want the viewer to look themselves and see how to understand the painting and raise questions but this was an area where I had to give a title.&rdquo;

The title itself draws on both Pakistani language and American symbolism.

&ldquo;In Urdu, we have a saying, &lsquo;Kabhi ke raate bari, kabhi ke din bare&rsquo; &mdash; some days are long, some nights are long,&rdquo; he explains. &ldquo;So here our American flag also has two colours, blue and red, so I kept that in mind when making the creation.&rdquo;

&ldquo;Because I am a Pakistani-American artist, I wanted to paint from that point of view.&rdquo;

The painting will now occupy a very different kind of audience from the galleries and exhibitions where Rafi has shown his work over the decades. He expects travellers from different countries and backgrounds to encounter it, even if only for a few moments.

&ldquo;This will be in display for two years and whoever travels in those years will see and appreciate the work,&rdquo; he says.

Rafi&rsquo;s path to that airport wall has hardly been straightforward.

Born and raised in Sukkur, he developed an interest in drawing as a child. His early years in the city became an important foundation for an artistic career that would eventually take him to Lahore, Karachi and, decades later, Houston.



His formal education in art included the National College of Arts in Lahore and the Karachi School of Art. His journey through the Pakistani art world also brought him into the orbit of influential artists and institutions that would shape his development.

One of the most important figures in his development was Ali Imam, the influential Pakistani artist and gallerist. Rafi worked at the Indus Art Gallery in Karachi and has repeatedly credited Imam and that environment with helping shape his artistic sensibility.

&ldquo;Ali Imam was one of Pakistan&rsquo;s people who made us how we are,&rdquo; Rafi says. &ldquo;In 1970 he opened Pakistan Indus Gallery which was country&rsquo;s first modern gallery which created awareness of art and brought it to people&rsquo;s houses.&rdquo;

&ldquo;My real growth happened from Indus Art Gallery.&rdquo;

He also encountered artists and cultural figures including Firdous Haider and Nighat Chaudhry. His interests were never limited to painting. He learned Kathak from Chaudhry, not as a professional dancer but as another way of understanding movement.

&ldquo;I am not a professional but I used my art and learning of strokes. I wanted to learn rhythm and continuity through that,&rdquo; he says.

That sense of rhythm can be found in the way Rafi discusses his paintings. His work has moved between figurative art, abstraction, calligraphy and mixed media, with his influences and interests evolving throughout his career.

But perhaps the most remarkable chapter of his life came when he temporarily lost the ability to speak.

A complicated operation left Rafi without his voice for a period of years. Before that, his artistic life had also crossed into television and acting. The experience of suddenly being unable to speak became another unexpected source of material for his work.

Rafi recalls that during a drama shoot in Hyderabad, he suddenly lost his ability to speak and people thought he was a beggar. He began thinking about what it meant for someone to lower himself completely in order to ask another person for something.

&ldquo;When I felt that, I left that &mdash; a man who is begging for something, he has put himself so low to ask for something,&rdquo; he says.

&ldquo;That beggar instinct came as a thought process.&rdquo;

The experience became a subject for his art.

&ldquo;From there, the subject came to me,&rdquo; he says. &ldquo;That subject came to me because those thoughts always come naturally.&rdquo;

The loss of his voice gave that instinct for visual communication another dimension. The canvas became a place where he could continue expressing ideas when spoken communication was temporarily unavailable.

There is a certain irony in that history now. A man who once lost his voice is seeing a painting of his speak for him to international travellers.

Rafi says he does not approach the canvas with a rigid blueprint. Instead, ideas accumulate through observation &mdash; nature, birds, people, cultural events and the everyday environment around him.

&ldquo;For planning, when you sit at the canvas there is none,&rdquo; he says. &ldquo;But naturally because I get inspiration from nature and birds as well as the culture here and meeting people, there is always something going on.&rdquo;

&ldquo;Being here, the thought process is going on and whatever culture event there is, something comes on the canvas on its own. Aesthetically, it is a very strong painting.&rdquo;

His background in journalism has also remained part of the way he approaches painting.

&ldquo;My painting usually has a generalist approach. I also have a masters in journalism so there is also that approach in my strokes and colours,&rdquo; he says.



After coming to the United States in 2013, Rafi says he initially travelled around, visiting museums and galleries before deciding that Houston offered the kind of environment in which he could work with greater calm and freedom.

&ldquo;I came here in 2013. I actually came from an exhibition and after exploring museums and galleries, I felt that here I could work very calmly and with much freedom,&rdquo; he says.

Houston also gave him a community in which he could continue exhibiting and developing his practice. His studio is part of the city&rsquo;s large artist community, where he works alongside hundreds of other creatives.

&ldquo;The background is that my studio is in my medium district where there are around 200 artists, from which I am but I am one of few South Asians,&rdquo; he says. &ldquo;Wherever there are group exhibitions, they ask us for work.&rdquo;

The city&rsquo;s airport programme has similarly tried to make its terminals a reflection of Houston&rsquo;s diversity. In its official calls for artists, the City has described airport art as an opportunity to create memorable first impressions for international travellers and to represent the city&rsquo;s diverse culture, landscape and ideas.

For Rafi, however, the journey from Pakistan to Houston is not simply about geography. It is about the accumulation of experiences that eventually find their way onto a canvas.

His career has taken him from Sukkur to Karachi, from the galleries of Ali Imam to television, from painting to dance, from a period of silence to a renewed visual language, and now to an international airport where his work will be encountered by people from around the world.

Asked about what comes next, Rafi is reluctant to make grand predictions.



&ldquo;For future, I can&rsquo;t say but I believe your work speaks volumes and if it is good and powerful, people will appreciate it,&rdquo; he says.

He says money, status and displays of material success have never been his motivation.

&ldquo;I am never on money or showing cars or anything,&rdquo; he says. &ldquo;Your work speaks volumes.&rdquo;

For Rafi, the airport selection is therefore another chapter in a career built less around spectacle than persistence. He sees the opportunity as evidence that the work itself can travel beyond identity, geography and background.

&ldquo;Because things happened here on merit, they didn&rsquo;t see I&rsquo;m South Asian or Pakistani,&rdquo; he says. &ldquo;They saw my work over many white artists too.&rdquo;

&ldquo;I am not such a big artist but for many years I&rsquo;ve been doing work with dedication and let&rsquo;s see where future takes me now. It will only bring more success.&rdquo;

For an artist whose life has repeatedly crossed boundaries &mdash; between Sukkur and Karachi, painting and dance, speech and silence, Pakistan and America &mdash; Day and Night may be an especially fitting painting to carry his story forward.

At an international airport, people will arrive and depart beneath its colours. Some may know the artist. Others may know nothing about Pakistan, Sukkur, Ali Imam or the years when Rafi could not speak.

They will simply encounter the painting. And, for Rafi, that is enough.]]>
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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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2632630</guid>
			<description>
				<![CDATA[Users can now access Apple’s music streaming service through local Apple accounts, with plans starting at Rs379]]>
			</description>
			<content:encoded>
				<![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>Taylor Swift makes VMAs history and dedicates award to Dolly Parton</title>
			<link>https://tribune.com.pk/story/2631888/taylor-swift-makes-vmas-history-and-dedicates-award-to-dolly-parton</link>
			<comments>https://tribune.com.pk/story/2631888/taylor-swift-makes-vmas-history-and-dedicates-award-to-dolly-parton#comments</comments>
			<pubDate>Mon, 28 Sep 26 12:25:16 +0500</pubDate>
			<dc:creator>
				<![CDATA[Reuters]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Swift took home three awards, bringing her career total to an unmatched 33; previously ‌tied with Beyonce at 30]]>
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				<![CDATA[Taylor Swift&#39;s showgirl-inspired The Fate of Ophelia claimed the most prestigious trophy at MTV&#39;s annual Video Music Awards on Sunday, and the singer dedicated the honour to the late country music legend Dolly ​Parton.

Swift took home three awards at this year&#39;s VMAs, bringing her career total to an unmatched 33. She had previously &zwnj;been tied with Beyonce at 30 awards apiece.

Ophelia,&nbsp;the first single off the record-breaking 2025 The Life of a Showgirl&nbsp;album, was named video of the year.

As she held her latest Moon Person trophy, Swift praised Parton as &quot;the ultimate showgirl&quot; who told stories that were &quot;so vivid and so rich.&quot; &quot;I think that we were all very lucky ​to share this planet with Dolly Parton for a time,&quot; Swift said.

Parton, an award-winning country singer, songwriter and businesswoman, died in August ​at the age of 80.

Earlier in the ceremony, Swift was awarded the inaugural MTV VMA Artist Director Honors. ⁠The 36-year-old has written and directed 18 videos of her roughly 60 videos during her career.

The most recent, for her new single Patient Zero,&nbsp;​debuted during the ceremony. The video starred Dakota Johnson and Colin Farrell as a couple in an unhealthy relationship.

&quot;The main reason I love ​writing and directing music videos so much is because you, the fans, make it so much, so much fun,&quot; Swift said. &quot;You actually care about what we&#39;re making.&quot;

She also won best direction for her Opalite&nbsp;video.

The VMAs were broadcast live on CBS and MTV and streamed on Paramount+ and hosted by Snoop Dogg. Winners in the top categories ​were selected by fan votes.

Pop music legend Madonna led this year&#39;s field of winners with seven awards including artist of the year and ​best dance video for Confessions II -- The Film.&nbsp;She recalled her 1984 performance of Like a Virgin&nbsp;at the first VMAs, which she said was considered too provocative &zwnj;for cable ⁠television at the time.

&quot;I think most of you were probably not yet born,&quot; the 68-year-old told the crowd before explaining that she had to quickly recover during that performance from a shoe mishap.

&quot;I dove onto the stage to try and make myself look cute and sexy,&quot; she said. &quot;My butt cheek was hanging out. In those days, butt cheeks were not hanging out ... my manager told me my career was over.&quot;

Speaking about ​the Confessions II&nbsp;album, Madonna said she ​spent the past 18 months &quot;finding ⁠myself, believing in myself and really making the music I wanted to make.&quot; &quot;To me, that really is the definition of being an artist,&quot; she said.

Madonna kicked off the show with a high-energy performance of two of ​her recent collaborations. Sabrina Carpenter joined her for Bring Your Love&nbsp;- a song later named best collaboration - and ​Charli XCX took ⁠the stage for Danceteria Afterhours&nbsp;surrounded by dancers on a set that looked like a club restroom.

In a more quiet moment, Kacey Musgraves paid tribute to Parton by singing the enduring song I Will Always Love You.

Lisa, a member of the group Blackpink, won the VMA for best pop video for her ⁠solo effort Dream.&nbsp;

​Sporting a black outfit with large white fringe sleeves, she spoke through tears as ​she thanked her fans, known as Lillies. &quot;I wouldn&#39;t be here without you guys,&quot; she said. &quot;Thank you so much for your love and support.&quot;

English singer and songwriter Sienna Spiro, who ​combines pop, jazz and soul music, was named best new artist.]]>
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			<title>Fact check: Ed Sheeran has not performed solo after opening acts cancelled due to Macklemore incident</title>
			<link>https://tribune.com.pk/story/2630073/fact-check-ed-sheeran-has-not-performed-solo-after-opening-acts-cancelled-due-to-macklemore-incident</link>
			<comments>https://tribune.com.pk/story/2630073/fact-check-ed-sheeran-has-not-performed-solo-after-opening-acts-cancelled-due-to-macklemore-incident#comments</comments>
			<pubDate>Fri, 18 Sep 26 15:19:07 +0500</pubDate>
			<dc:creator>
				<![CDATA[Fact Check By iVerify]]>
			</dc:creator>
			<category><![CDATA[World]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2630073</guid>
			<description>
				<![CDATA[Viral clip shows Ed Sheeran's 2022 Wembley performance]]>
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				<![CDATA[Several users and journalists have been sharing a video across social media platforms since September 16, 2026, claiming it shows Ed Sheeran performing after his opening acts pulled out of a tour following the Macklemore controversy. However, the video is old from December 2022.

American rapper Macklemore announced on September 14, 2026, that he had been dropped from Ed Sheeran&rsquo;s Loop tour after making pro-Palestinian statements on stage.

On September 15, 2026, Ed released an official statement on his Instagram, defending his decision to drop Macklemore from the tour, saying that he was axed following threats from venue owners, including Robert Kraft.

The backlash to his statement was severe, with all the musical artists set to perform with him dropping out from the tour in support of Macklemore.

Many renowned celebrities and singers also showed support for Macklemore. Among them were American singer-songwriter Finneas, Irish singer Aaron Rowe, Irish band Beoga, and Danish pop band Lukas Graham, who announced they would be pulling out of the tour.

How it started 

On September 16, the producer of Jay Weber Show on News Talk 1130, Gregory Jon, shared a video on X, claiming it shows Ed Sheeran performing after his opening acts cancelled the tour, with the following caption: &ldquo;So the opening acts cancelled and his own band quit. Ed Sheeran says hold my beer.&rdquo;

The post gained 12.2 million views.

A social media user shared the same clip with the following caption: &ldquo;Fuck you nig****, he doesn&rsquo;t need a band!&rdquo;

The post accumulated 2.3m views

S&eacute;bastien M&eacute;li&egrave;res, editorial director at news magazine Vistazo, also shared the same video with the following caption: &ldquo;Ed Sheeran was left without a band and without opening acts at the last minute. Instead of cancelling, he went out alone with the guitar and absolutely smashed it in the stadium. For two hours he was once again the artist of his beginnings.&rdquo;

The post racked up 1.6m views.

Another social media user shared the same video with a similar caption, accumulating 1.1m views.

American journalist Joel M. Petlin posted the same clip with the following caption: &ldquo;For all the Ed Sheeran haters out there who think he can&rsquo;t perform on a stadium stage without a few anti-Israel warm up acts and a back up band, I have some really bad news for you.&rdquo;

It garnered 1m views.

Another X account posted the same clip with a similar caption, gaining 1m views.

Another social media user shared the same video with the following caption: &ldquo;WOW!!! Ed Sheeran had his own band cancel on him and he came out and crushed it in front of thousands of Fans. Absolutely incredible.&rdquo;

It gained 1.3m views.

Several other users also shared the clip across Facebook, Instagram, and X, as can be seen here, here, here, and here; collectively accumulating 1.18m views.

Methodology

A fact-check was initiated to determine the veracity of the claim due to its high virality and keen public interest in the Sheeran-Macklemore controversy.

A keyword search was conducted to verify whether any credible international media outlets had recently reported that Sheeran performed an entire concert alone after his band and opening acts withdrew but no such reports or visuals confirming the recent solo performance were found.

A reverse image search was subsequently conducted to trace the origin of the viral video clip and yielded an earlier video shared on YouTube by a user who appears to be a Sheeran fan on December 7, 2022, with the caption: &ldquo;Ed Sheeran performing Shivers at Wembley Stadium. Loop pedal close up! Note: this video was extracted from the &lsquo;Full Circle&rsquo; documentary about the Mathematics Tour, so unfortunately it&rsquo;s not a full performance. Not the perfect audio as well, but it was the best I could record.&rdquo;

The visuals were the same as those in the viral video.





A similar video from another angle, containing the same concert visuals, was also shared by a YouTube fan page dated July 4, 2022, with the following caption: &ldquo;Ed Sheeran Mathematics Tour (+&ndash;=&divide;x Tour) - Shivers, 1 July 2022 - Wembley Stadium, London.&rdquo;





The official Wembley Stadium website further confirms that Sheeran performed at Wembley Stadium for five nights in June and July 2022 as part of his + - = &divide; x Tour, also known as the Mathematics Tour. The venue listed June 24, June 25, June 29, June 30 and July 1, 2022, as Sheeran&rsquo;s concert dates and stated that the shows featured his staging in the round, with the artist performing surrounded by the audience.

The information listed on the official Wembley Stadium website predates the recent viral claim and dates back to Sheeran&rsquo;s 2022 Mathematics Tour, rather than his ongoing Loop Tour in 2026.

Furthermore, according to the Los Angeles Times report on September 16, 2026, several supporting acts had recently withdrawn from Sheeran&rsquo;s Loop Tour following the removal of Macklemore from the lineup. However, the report stated that Sheeran&rsquo;s next scheduled performance was still set to take place at Lincoln Financial Field in Philadelphia on Saturday, September 19, 2026, and that the supporting acts for the concert had not yet been finalised.

Fact-check status: false

The claim that a viral clip shows Ed Sheeran performing after his opening acts cancelled is false.

The viral clip is of Ed Sheeran&rsquo;s 2022 Mathematics Tour performance at Wembley Stadium and predates the recent claims. Sheeran has not delivered any performance, solo or in a group, since the Macklemore incident.

This fact check was originally published by iVerify Pakistan &mdash; a project of CEJ-IBA and UNDP.]]>
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			<title>Macklemore dropped from Ed Sheeran tour after ‘Free Palestine’ comments</title>
			<link>https://tribune.com.pk/story/2629285/macklemore-dropped-from-ed-sheeran-tour-after-free-palestine-comments</link>
			<comments>https://tribune.com.pk/story/2629285/macklemore-dropped-from-ed-sheeran-tour-after-free-palestine-comments#comments</comments>
			<pubDate>Mon, 14 Sep 26 18:08:32 +0500</pubDate>
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				<![CDATA[Pop Culture &amp; Art]]>
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			<category><![CDATA[Entertainment]]></category>
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			<description>
				<![CDATA[Macklemore has been dropped from Ed Sheeran’s U.S. tour after his 'Free Palestine' comments sparked controversy]]>
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				<![CDATA[Macklemore has been removed from the remaining U.S. dates of Ed Sheeran&rsquo;s Loop Tour following controversy over the rapper&rsquo;s comments supporting Palestine during a recent performance.

A spokesperson for Messina Touring Group, the promoter for Sheeran&rsquo;s U.S. tour, confirmed Monday that Macklemore would no longer perform as an opening act. The statement said venues on upcoming tour dates would not allow concerts to proceed with Macklemore on the lineup.

The promoter said keeping him on the tour could have resulted in cancellations affecting hundreds of thousands of fans. After discussions with stakeholders, Macklemore was therefore removed from the remaining support dates.

The decision comes less than two weeks after Macklemore performed at MetLife Stadium in New Jersey. During his opening set, he told the audience that part of his reason for joining the tour was to use stadium performances to say &ldquo;Free Palestine&rdquo;.&nbsp;



Macklemore says Ed Sheeran and his team decided to remove him from tour due to his comments in support of Palestine, after Kraft Group rallied stadium owners and gave Ed an ultimatum:

&ldquo;[Ed] told me that the words &lsquo;Free Palestine&rsquo; and the image of the Palestinian flag were&hellip; pic.twitter.com/NQneebKFDh
&mdash; Pop Base (@PopBase) September 14, 2026



Macklemore has publicly supported Palestinians for years. In 2024, he released &ldquo;Hind&rsquo;s Hall&rdquo;, a protest song addressing the war in Gaza, which he also performed before Sheeran&rsquo;s set at MetLife Stadium.

His comments during the tour prompted an Israeli-American Council petition calling for his removal. Singer Pink also faced criticism after resharing a post supporting the decision to drop him from the tour.

Macklemore later addressed the response, saying criticism of Israel and opposition to genocide should not be interpreted as criticism of Jewish people. He also wrote on X that wanting equal treatment for all people should not be controversial.

The next U.S. Loop Tour date is scheduled for September 19 in Philadelphia, where Lukas Graham and Aaron Rowe are set to perform as opening acts. Sheeran&rsquo;s U.S. dates continue through November 7.]]>
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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]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![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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				<![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]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2626538</guid>
			<description>
				<![CDATA[American singer joins Bella Hadid, Saja Kilani in spotlighting Palestinian heritage through fashion]]>
			</description>
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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>Pakistani content creator Atifa Arshad wears spiderweb sari to 'Spider-Man' premiere</title>
			<link>https://tribune.com.pk/story/2621317/pakistani-content-creator-atifa-arshad-wears-spiderweb-sari-to-spider-man-premiere</link>
			<comments>https://tribune.com.pk/story/2621317/pakistani-content-creator-atifa-arshad-wears-spiderweb-sari-to-spider-man-premiere#comments</comments>
			<pubDate>Fri, 31 Jul 26 08:58:20 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Forbes honouree Zainab Jiwa embraces superhero theme with pearl web corset, henna at event]]>
			</description>
			<content:encoded>
				<![CDATA[United Kingdom-based Pakistani content creator Atifa Arshad attended the&nbsp;Spider-Man: Brand New Day premiere London, wearing a&nbsp;custom spiderweb-inspired sari that fused the Marvel fandom with South Asian fashion.

Atifa shared photos from the premiere on Instagram. The content creator donned a black sari featuring intricate red spiderweb embroidery, complemented with matching red embroidery along the neckline. She completed the look with traditional jewellery, a sleek bun, and a handbag featuring the same spiderweb motif.





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&quot;Spidey Sari for the Spider-Man: Brand New Day premiere! HELLOO?!! (I fear nothing will ever top this look),&quot; she wrote.

Discussing the outfit, Atifa revealed that the design was created by Lebanese designer Rita Qaranbach before being stitched by her family&#39;s tailor in Pakistan.&nbsp;

On her Instagram stories, she shared the original concept sketch by Qaranbach and explained that the outfit had been planned months before she even received an invitation to the premiere.&nbsp;&quot;She designed what I envisioned. I then sent this to my tailor. I&#39;m talking three months ago with, yes, NO INVITE!&quot; she said.



Screengrabs: atifaarshad/Instagram

Atifa&#39;s look drew praise from international fashion commentators, including American celebrity stylist Luxury Law, who has worked with actors and singers including Zendaya and Ariana Grande.



Screengrabs: atifaarshad/Instagram

Atifa was not the only South Asian creator to embrace the superhero theme. Content creator and Forbes&#39; 30 Under 30 honouree Zainab Jiwa also attended the premiere in a modest Spider-Man-inspired ensemble.

Her outfit featured a skirt by Raishma and a pearl web corset created by Harriet Christelow.





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Zainab also incorporated South Asian tradition into the look with intricate spiderweb-inspired henna.





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Atifa and Zainab&#39;s outfits demonstrated how traditional craftsmanship can be creatively fused with pop culture, representing South Asian fashion at a major Hollywood event.]]>
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			<title>Tiny kurtas, polka dots and Y2K fashion define Pakistani influencers' summer style</title>
			<link>https://tribune.com.pk/story/2620924/tiny-kurtas-polka-dots-and-y2k-fashion-define-pakistani-influencers-summer-style</link>
			<comments>https://tribune.com.pk/story/2620924/tiny-kurtas-polka-dots-and-y2k-fashion-define-pakistani-influencers-summer-style#comments</comments>
			<pubDate>Wed, 29 Jul 26 11:17:34 +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=2620924</guid>
			<description>
				<![CDATA[From fusion dressing to tailored basics, creators are reimagining nostalgic trends for modern wardrobes]]>
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			<content:encoded>
				<![CDATA[&nbsp;

If there is one thing Pakistani influencers have agreed on this summer, it&#39;s that Y2K fashion is making a comeback.

Scroll through Instagram and you&#39;ll spot a wave of familiar silhouettes and nostalgic styling cues: tiny kurtas that look as though they were borrowed from an early-2000s Bollywood wardrobe, cheerful polka dots, tailored vests, crisp button-downs and effortless fusion outfits that blur the lines between Eastern and Western dressing.

But this isn&#39;t a full-fledged Y2K revival complete with low-rise jeans and flashy accessories. Instead, creators are borrowing the era&#39;s playful spirit and adapting it for today&#39;s wardrobes.

The result is a season built around timeless staples, thoughtful styling and versatile pieces that can be dressed up or down with ease. Across Instagram, these influences are appearing in different ways, from nostalgic silhouettes to elevated everyday basics.

The Y2K revival

The influence of the early 2000s is impossible to ignore. From capri pants and headbands making a surprise return to warm, nostalgic colour palettes featuring butter yellow, cherry red, chocolate brown, powder blue and soft pink, influencer wardrobes are echoing an era once defined by carefree dressing.

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Tiny kurtas are back

Perhaps no trend has made a stronger comeback than the tiny kurta. Once a staple throughout the late &#39;90s and early 2000s, the silhouette has found a new audience among fashion creators.

Styled with straight-leg jeans, capris, tailored trousers or flowing skirts, the tiny kurta strikes the perfect balance between nostalgia and modernity.

The look feels unmistakably reminiscent of old Bollywood films while fitting seamlessly into today&#39;s minimalist aesthetic.

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Polka dots make a playful return

After seasons dominated by florals and abstract prints, polka dots are quietly reclaiming their place in summer wardrobes.

Whether worn on dresses, matching sets or separates, the classic print brings a playful, vintage-inspired touch without feeling overly retro.

It&#39;s another reminder that timeless patterns never truly disappear&mdash;they simply return with a fresh perspective.

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Basics are having their moment

Statement pieces have taken a back seat to wardrobe essentials. Oversized button-down shirts, classic vests and relaxed tailoring have become the foundation of countless influencer outfits this season.

Worn over denim, tucked into tailored trousers or layered beneath lightweight outerwear, these basics prove that simple styling often makes the strongest statement.





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Fusion dressing takes centre stage

Perhaps the defining characteristic of this summer&#39;s fashion is its embrace of fusion dressing. Influencers are increasingly pairing traditional and Western pieces rather than keeping them in separate wardrobes.

Kurtas are being styled with denim, skirts paired with waistcoats, shalwars worn with fitted tank tops and structured blazers layered over Eastern separates.

The combinations feel less like carefully curated trends and more like a natural reflection of how younger Pakistanis are choosing to dress&mdash;comfortably, creatively and without rigid fashion rules.





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Romantic silhouettes return

At the softer end of the spectrum, flowing silhouettes are making a comeback. Satin maxi dresses, Scandinavian-inspired cotton dresses and airy white cotton skirts have become staples for those embracing understated elegance.

Lightweight fabrics, clean lines and neutral tones offer a refreshing contrast to structured tailoring, proving that effortless femininity still has a place in summer fashion.





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More than any single trend, this summer&#39;s style is defined by the freedom to mix eras, silhouettes and influences. Whether it&#39;s reviving the tiny kurta, embracing Y2K-inspired colour palettes, reaching for a tailored vest or pairing Eastern staples with Western basics, Pakistani influencers are proving that personal style no longer fits neatly into one category.

Nostalgia may have sparked many of this season&#39;s looks, but they&#39;re being reimagined for a generation that values versatility over rules. If this summer is any indication, the future of Pakistani fashion lies not in choosing between tradition and trends but in blending the two effortlessly.]]>
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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>
			<comments>https://tribune.com.pk/story/2628547/samar-jafri-fajr-raza-reflect-on-the-making-of-express-entertainments-raja-london-ka#comments</comments>
			<pubDate>Thu, 10 Sep 26 13:40:41 +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 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>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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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>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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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>Six Pakistani dramas that let their women be more than victims</title>
			<link>https://tribune.com.pk/story/2622947/six-pakistani-dramas-that-let-their-women-be-more-than-victims</link>
			<comments>https://tribune.com.pk/story/2622947/six-pakistani-dramas-that-let-their-women-be-more-than-victims#comments</comments>
			<pubDate>Sun, 09 Aug 26 11:07:19 +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[From Sana in 'Ankahi' to Zebo in 'Udaari', these female leads worked, endured and fought back]]>
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				<![CDATA[Long before &quot;female-led&quot; became a marketing line, writers like Haseena Moin were putting female leads on screen who held jobs and said no to men while the script stood firmly behind them.

Some of these dramas lived on VHS tapes before satellite television reached Pakistani households,&nbsp;sparking living-room arguments over the female role.

Either way, the six shows noted below share one thing: a woman at the centre who was allowed to be ambitious, wounded and whole, all at once.

Ankahi (1982)



Screengrab: Ankahi/YouTube

Also written by Haseena Moin, Ankahi put Shehnaz Sheikh opposite Javed Sheikh, Behroze Sabzwari and Qazi Wajid. The lead, Sana Murad, has&nbsp;no money, no real qualifications and an endless supply of nerve, which she uses&nbsp;to talk her way into a job she was not remotely prepared for.

Sana&#39;s father dies early in the story, leaving the family in a financial dilemma, and Sana decides it&#39;s on her to fix it. A chance meeting with a company chairman gets her hired, and what follows is a mostly comic, occasionally moving account of a woman figuring out office life as she goes.

Tanhaiyaan (1985)



Photo: Tanhaiyaan/IMDB

Written by Haseena Moin and directed by Shahzad Khalil, Tanhaiyaan&nbsp;starred&nbsp;Marina Khan, Shehnaz Sheikh and Behroze Sabzwari. The drama centred around two sisters who lose both their parents and their family home in a blow. They are then left to figure out how to hold onto what&#39;s left of their lives.

What made the show radical for its time wasn&#39;t the tragedy but everything that came after it. With women finding work and earning money, the drama never stopped to explain or justify the choice to the audience; it simply let them get on with it, the way any drama about young men finding their feet might have.

Underneath the loss and the rebuilding, genuine warmth and wit run through the sisters&#39; friendships and mishaps, and it&#39;s that mix of humour and hardship rather than the &quot;landmark drama&quot; label it&#39;s usually handed that has kept people rewatching it decades on.

Maat (2011)



Screengrab: Maat/YouTube

Written by Umera Ahmad and starring Saba Qamar and Aamina Sheikh, Maat,&nbsp;meaning defeat, puts two sisters from the same lower-middle-class household on opposite paths and lets their choices do the talking.

Saman, played by Saba, chases comfort and status through one marriage and then another, while her older sister Aiman quietly absorbs the harsh reality of the world while building herself up.

For most of the show, Aiman looks like the one who&#39;s lost, passed over, underestimated, treated as an afterthought by almost everyone around her, including her own sister. However, 25 years later, it&#39;s Saman who ends up alone and regretful, while Aiman is the one who builds a home and has a son.

Maat&nbsp;tells the story of the kind of strength that looks like patience from the outside and turns out, decades later, to have been the winning move all along.

Durr-e-Shehwar (2012)



Screengrab: Durr-e-Shehwar/YouTube

Played by Samina Peerzada in one version and Sanam Baloch in another, the female lead in Durr-e-Shehwar&nbsp;marries expecting warmth and love but ends up getting cold silence from her husband and open hostility from her mother-in-law instead.

The daughter, Shandana, grows up assuming her parents had a flawless marriage, until she learns what her mother went through to hold it together.

That gap between the story a daughter believes and the reality her mother lived becomes the real subject of the drama:&nbsp;how each generation defines compromise differently, and what it costs to keep a marriage standing.

Digest Writer (2014)



Photo: Digest Writer/IMDB

Saba Qamar plays Fareeda, a lower-middle-class college student whose father has already decided that all the family money and attention belongs to her brother. Writing is the one place Fareeda gets to exist on her own terms, and she pours herself into it under the pen name Rashk-e-Hina, sending her stories into a literary world that has no real interest in taking a woman&#39;s ambition seriously.

A producer named Rida spots something in Fareeda&#39;s writing and offers her a shot at adapting it for television, a break that should have been the turning point of her life. Instead, it drags her into a world of industry egos, professional betrayal and family pressure.

What makes Digest Writer linger is that it never lets Fareeda&#39;s talent alone save her. She gets her recognition, eventually, but the show is honest about what she has to give up to get it, and it&#39;s that honesty, more than the glamour of a writing career, that has kept the drama in conversation years after it aired.

Udaari (2016)



Screengrab: Udaari/YouTube

At the heart of Udaari is Zebo, a child whose innocence is shattered by abuse from her own stepfather. However, the drama doesn&#39;t let the trauma swallow Zebo whole; instead, it builds toward a version of her who fights back, refusing to stay quiet about what was done to her.

Zebo&#39;s&nbsp;mother, widowed and initially blindsided by the man she remarried, eventually turns her guilt into protection, leaving everything behind to shield her daughter and start over under a new identity. Then it&#39;s Meera, a singer next door with troubles of her own, who steps in when Zebo needs it most, pushing her toward the courage to speak up rather than stay silent.

By the time Zebo takes the stand, she&#39;s carrying the strength of every woman who refused to let her be broken by what happened to her.

A popular moment from Udaari&nbsp;is a courtroom scene, where Zebo flips the script on who should feel ashamed and names herself a survivor rather than a victim.

The shows reveal a pattern across four decades of Pakistani television: women who work, absorb, push back, and refuse to be flattened into either pure victim or pure hero. From Sana talking her way into an office to Zebo standing her ground in a courtroom, the dramas trusted their leads to be authentic, strong, and relatable.]]>
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			<title>Faysal Quraishi urges Pakistan to prioritise local content over foreign productions</title>
			<link>https://tribune.com.pk/story/2622006/faysal-quraishi-urges-pakistan-to-prioritise-local-content-over-foreign-productions</link>
			<comments>https://tribune.com.pk/story/2622006/faysal-quraishi-urges-pakistan-to-prioritise-local-content-over-foreign-productions#comments</comments>
			<pubDate>Tue, 04 Aug 26 07:27:47 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<description>
				<![CDATA[Actor says Pakistani dramas draw more YouTube views per episode than Netflix shows]]>
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				<![CDATA[Actor Faysal Quraishi stressed that Pakistan should focus on promoting local content rather than foreign productions, arguing that Pakistani dramas on YouTube often received more views than episodes on Netflix.

Appearing on&nbsp;a podcast, he stated that Pakistani dramas were watched globally through free platforms, receiving millions of views.&nbsp;&quot;If you look at our episodes on YouTube and compare them to an episode on Netflix, ours would have more views,&quot; Quraishi said.

The actor added,&nbsp;&quot;Netflix and other platforms are running in Pakistan, but even then our dramas are watched around the world, whether by Pakistanis or people who understand Urdu or Hindi. Our competition is directly with Netflix series, and they go towards billions because our serials have so many episodes.&quot;

Quraishi also argued that&nbsp;India did not air Pakistani drama serials because of the competition they posed, while stressing that every country prioritised&nbsp;its own entertainment industry. &quot;If we discuss competition, India is a big player, so why do they not play our dramas? Because they have their own thing. Their narrative is to stick to their local people,&quot; he stated.

Despite this, he expressed positivity regarding colleagues such as Mawra Hocane who have worked in the Indian entertainment industry.&nbsp;&quot;I think it is good when people go and work there,&quot; Quraishi said.

Discussing the global potential of Pakistani media, the actor noted the need for higher budgets, and argued&nbsp;that a film&#39;s success ultimately depended on audience satisfaction. &quot;If we make people spend Rs2,000 at the cinema, they want to get what they are promised. If they expect to get scared, they should be scared. If they expect to cry, they should cry, and if they expect to laugh, they should laugh,&quot; he noted.

Further, Quraishi stressed that performers&nbsp;should receive royalties, saying it was standard practice for creators to earn a share of the revenue generated by their work.

He also urged actors to advocate not only for themselves but for future generations. &quot;Every person should stand up for themselves and think about the people after us and the future too. Do you really think people 100 years ago would have imagined Karachi becoming as busy as it is today?&quot; he said, adding that meaningful change only happened when people were willing to push for it.

On the professional front, Quraishi is set to star in the upcoming drama Wafa Jurm Ho Jaise. The actor most recently appeared in Behroopia and Khaie.]]>
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			<title>Karachi film fest attracts movies from 35 countries</title>
			<link>https://tribune.com.pk/story/2632893/karachi-film-fest-attracts-movies-from-35-countries</link>
			<comments>https://tribune.com.pk/story/2632893/karachi-film-fest-attracts-movies-from-35-countries#comments</comments>
			<pubDate>Sun, 04 Oct 26 03:10:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[Qaisar Kamran]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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				<![CDATA[Gandhara Independent Film Festival's seventh edition is featuring 
88 diverse productions in hybrid format]]>
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				<![CDATA[The seventh edition of the Gandhara Independent Film Festival (GIFF) is bringing independent films from Pakistan and around the world to Karachi in a hybrid format, with screenings taking place at the National Academy of Performing Arts (NAPA) alongside an online programme.

The festival, founded by Cirque Films in 2020, is being held from October 2 to 4 at NAPA&#39;s Hindu Gymkhana. This year&#39;s programme features 88 selected films, including 28 being screened in person and another 60 available online through a streaming platform.

The films selected for the 2026 edition represent 35 countries, including Pakistan, Argentina, Australia, Brazil, Canada, China, Egypt, France, Indonesia, Iran, Lebanon, Malaysia, Mexico, Nepal, Norway, Poland, South Korea, Spain, Sweden, Switzerland, Syria, Taiwan, the United Arab Emirates and the United States.

The in-person programme includes nine Pakistani short films and 19 international short films. The online selection includes seven feature films, 25 international shorts and 28 Pakistani shorts.

For GIFF Festival Producer Beenish Umer, the hybrid format is partly a practical response to the limited availability of venues and resources for independent cinema in Pakistan.

Speaking with The Express Tribune Umer said, &quot;This is the seventh edition of the festival, which is held annually around this time of the year. This year, it is a hybrid festival, with 28 Pakistani and international films being screened at NAPA over three days, from October 2 to 4&quot;.

She said the festival would ideally have a longer physical programme, but venue limitations made that difficult.

&quot;There are another 60 films available on OTT platforms. This is mainly because we have limited venues and resources, so we could not book a venue for the entire week,&quot; she said.

&quot;Ideally, all the films should be screened at the festival. International festivals often run for a week or even two weeks, but given what we could manage on the ground, three days was what we could do this year.&quot;

The festival&#39;s organisers say its hybrid model has allowed GIFF to continue expanding its reach beyond a physical venue. Since its launch in 2020, the festival has showcased more than 700 independent films through online, physical and hybrid editions.

This year&#39;s selection also reflects the number of filmmakers seeking platforms for independent work in Pakistan.

According to Umer, the festival received around 500 submissions from filmmakers across Pakistan for this year&#39;s edition.

&quot;We received around 500 film submissions from different parts of the country from filmmakers who wanted to participate in the festival,&quot; she said.

Actor Ayesha Toor, who attended the festival on its opening day, said events such as GIFF were important for creating opportunities to showcase both international and Pakistani independent cinema.

&quot;I feel very good because such events should take place. I don&#39;t know where the Pakistani film industry is going, but we can show international films and we can show local independent films,&quot;

She also highlighted the response from audiences at the festival and said she hoped GIFF would contribute to a wider cultural change in Karachi and Pakistan.

&quot;I&#39;m very hopeful that the Gandhara Film Festival will make that difference, will bring the change that we need in the cultural scene in Karachi and in Pakistan,&quot; she said.

The final selection includes films from a wide range of countries and filmmaking backgrounds.

Most of the Pakistani films in the programme are in Urdu with English subtitles, while the international selection includes films in 32 foreign languages.

The festival&#39;s physical programme is being hosted at NAPA in Karachi, while the online selection allows viewers to access a larger number of films beyond the three-day physical event.

For independent filmmakers, festivals such as GIFF can provide an alternative route to audiences at a time when short films and independent productions often have limited opportunities for theatrical exhibition.]]>
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			<title>Maitreyi Ramakrishnan on how South Asian representation is changing in Hollywood</title>
			<link>https://tribune.com.pk/story/2630373/maitreyi-ramakrishnan-on-how-south-asian-representation-is-changing-in-hollywood</link>
			<comments>https://tribune.com.pk/story/2630373/maitreyi-ramakrishnan-on-how-south-asian-representation-is-changing-in-hollywood#comments</comments>
			<pubDate>Sun, 20 Sep 26 12:07:05 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<description>
				<![CDATA['Best of the Best' star reflects on authentic storytelling, cultural diversity and the pioneers who helped open doors]]>
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				<![CDATA[Maitreyi Ramakrishnan has spoken about the changing landscape of South Asian representation in Hollywood, saying that while the industry still has work to do, the growing presence of varied and authentic stories has helped move the conversation forward.

Speaking to Gulf News about her new Netflix film Best of the Best, Ramakrishnan reflected on how representation has evolved in recent years. &ldquo;In recent years, representation has gotten strides farther than where we were before. It&#39;s personality first, and then the non-changeable factors of their cultural backgrounds is additional information,&rdquo; she said.

For Ramakrishnan, progress does not necessarily mean dismissing the work that came before.&nbsp;&ldquo;But I have to give the dues where it&#39;s deserved. We did have past representations that might not have necessarily been what we fully resonated with or saw ourselves in, but sometimes even just existence, though might not be reflective of your experience, still moves the needle,&rdquo; she said.

She added that projects such as Best of the Best are part of a much longer journey, built on the efforts of performers and creators who pushed for South Asian characters and stories to have a place in Western entertainment.

&ldquo;A project like ours stands on the backs of all those past projects that you know paid their dues and fought the good fight to get that side role, because it all builds together. That&#39;s the only way we&#39;re going to continue,&rdquo; Ramakrishnan said.

That idea of moving beyond surface-level representation is also reflected in the film&#39;s dance sequences. Best of the Best centres on a university Bollywood-fusion dance team, allowing the filmmakers to incorporate multiple South Asian dance traditions rather than treating them as a single style.

Ramakrishnan was particularly emphatic about the care taken with the choreography. &ldquo;All these dance styles come from very rich cultures and histories and our choreographers kept it real. We&#39;re not settling for just waving our hands in the air anymore. That&#39;s not happening,&rdquo; she said.

Director Lena Khan has similarly spoken about the multicultural nature of the project.

In a previous interview with Variety, Khan noted that the world around the characters reflects the reality of a country where people from different cultural backgrounds live alongside one another. &ldquo;At some point this country and the world is just full of people in different cultures,&rdquo; she&nbsp;said.

According to Variety, the production&#39;s choreography drew from styles including Kuthu, Bharatanatyam and Pakistani-influenced dance, reflecting the different cultural backgrounds represented by the fictional university team.

The film, which began streaming globally on Netflix on September 18, follows childhood friends Maya, played by Ramakrishnan, and Anjali, portrayed by Priyanka Kedia, as they arrive at UCLA and join its competitive Bollywood-fusion dance team.

What initially appears to be an exciting new chapter quickly becomes a tougher journey as the pair set their sights on the US championship.

The ensemble includes Lilly Singh, Janina Gavankar, Ankur Rathee, Chaneil Kular, Nico Greetham, Nihar Duvvuri, Shreya Navile, Amryn Khurana, Tanishq Joshi, Saara Chaudry and Sasha Bhasin.

For Ramakrishnan, the project also represents another stage in a career that began with one of Netflix&#39;s most visible South Asian-led coming-of-age series.

Her breakout came with Never Have I Ever, which premiered during the Covid-19 pandemic and quickly became a global streaming success. Reflecting on the unusual circumstances surrounding her sudden rise to fame, Ramakrishnan told Gulf News that the timing initially made the experience feel somewhat unreal.

&ldquo;Never Have I Ever season one came out in COVID and because everything was online, it kind of felt a little fake at first. It was right after Tiger King, Love is Blind, and Too Hot to Handle. So, everyone&#39;s bars were really low, and we slid right in there with a nice little comedy that&#39;s actually a story about grief,&rdquo; she said.

Ramakrishnan was only 18 when Never Have I Ever arrived, thrusting her into an industry she was still learning to navigate. She credits creator Mindy Kaling with helping her adjust to the sudden attention and the demands that came with it.

&ldquo;I got the biggest gift in having the best first boss in the world with my icon and one of the first true faces and pioneers of South Asian representation in the West, Mindy Kaling,&rdquo; she added.

She recalled Kaling as someone who did not simply make the transition into fame easier, but remained direct with her while looking out for her as a young newcomer.

&ldquo;She always kept it real and never went easy on me. She would always lead with her heart and truly saw me as a young kid who she realised she plucked out of nowhere and doesn&#39;t know this world. She really took such good care of me,&rdquo; Ramakrishnan said.

With a characteristic touch of humour, she added: &ldquo;So, I didn&#39;t crash out, I&#39;m not shaving my head yet. We&#39;re still here. So, I guess we&#39;re all right.&rdquo;

Now, with Best of the Best, Ramakrishnan is stepping into another story rooted in South Asian culture while playing a character navigating friendship, ambition, identity and the pressures of competition.

For an actor whose career began amid a major shift in how South Asian teenagers were portrayed on screen, the film offers another opportunity to expand what that representation can look like &mdash; this time through friendship, collegiate life and the energetic world of competitive dance.]]>
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			<title>From Hollywood to Bollywood: 10 must-see films releasing this month</title>
			<link>https://tribune.com.pk/story/2629878/from-hollywood-to-bollywood-10-must-see-films-releasing-this-month</link>
			<comments>https://tribune.com.pk/story/2629878/from-hollywood-to-bollywood-10-must-see-films-releasing-this-month#comments</comments>
			<pubDate>Thu, 17 Sep 26 14:33:35 +0500</pubDate>
			<dc:creator>
				<![CDATA[Life And Style Desk]]>
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			<description>
				<![CDATA[Sequels and reunions make up September's line-up, spanning Bollywood dramas and Hollywood's fall biggest releases]]>
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				<![CDATA[September is proving to be a packed month at the movies, with Bollywood and Hollywood both rolling out heavyweight releases within weeks of each other.

From a long-awaited witchy sequel to a courtroom-set Bollywood two-hander, here&#39;s a look at what&#39;s hitting the big screen this month:

Practical Magic 2



Twenty-eight years after the original became a cult favourite, Sandra Bullock and Nicole Kidman return as the Owens sisters in this legacy sequel, directed by Susanne Bier and adapted from Alice Hoffman&#39;s follow-up novel, The Book of Magic.

The film brings back original stars Stockard Channing and Dianne Wiest. Meanwhile, Joey King and Maisie Williams join as Sally&#39;s daughters, who learn about the family&#39;s harsh curse: any man they fall in love with dies soon after. Critics are already sharing their love for the world, noting how much fans adore the cosy outfits and coastal setting.

Primetime



Robert Pattinson stars in Primetime, a gripping factual drama based on the controversial TV show To Catch a Predator. Pattinson plays journalist Chris Hansen, who confronted men tricked in online sting operations, a role already generating early Oscar buzz.

Directed by Lance Oppenheim, the film has already generated buzz on the festival circuit, with Pattinson tipped as a potential Best Actor contender. The supporting cast includes Merritt Wever, Skyler Gisondo and Anna Faris; the film leans into the murky ethics behind the reality-television sting operation that made Hansen a household name.

The Weight



Fresh from his hit role in Blue Moon, Ethan Hawke returns in a gritty period drama. Set in Oregon during the Great Depression, The Weight stars Hawke as a single dad wrongly sent to a harsh work camp. To save his daughter from being taken away, he must strike a deal with a cruel warden, played by Russell Crowe.

The catch? Hawke and his fellow inmates must smuggle bags of stolen gold across the country on foot.

Critics are already praising the film. Chase Hutchinson of The Wrap calls Hawke &quot;mesmerising,&quot; highlighting the tense action scenes and the emotional depth that keeps viewers hooked. As the plot turns increasingly violent, Hawke grounds every single moment.

Forgotten Island



From DreamWorks Animation comes Forgotten Island, a psychedelic fantasy and the first major Hollywood film to draw on Filipino folklore. Forgotten Island follows childhood best friends Jo (voiced by H.E.R.) and Raissa (Liza Soberano), who stumble through a portal into the mystical island of Nakali on the eve of their high school graduation.

The catch: escaping the island may cost them the very memories of their friendship. With a voice cast that includes Lea Salonga, Dave Franco, Manny Jacinto and Jenny Slate, the film has already drawn a standing ovation at this year&#39;s Annecy animation festival ahead of its release.

Heart of the Beast



Brad Pitt takes on survival-thriller territory in this David Ayer-directed film, playing former Army Special Forces officer James Belmont, who is left stranded deep in the Alaskan wilderness with his retired combat dog Odin after their small plane crashes.

Written by Cameron Alexander, the film centres almost entirely on the bond between Belmont and Odin as the pair contend with the elements, and reportedly wildlife including bears and wolves, in a bid to make it back to civilisation.

JK&nbsp;Simmons and Anna Lambe round out the film&#39;s small human cast. It marks Pitt&#39;s second collaboration with Ayer after 2014&#39;s Fury, and Simmons&#39; second pairing with the actor as well.

Haiwaan 



Akshay Kumar and Saif Ali Khan reunite on screen for the first time since Tashan (2008) in this Priyadarshan-directed remake of his own 2016 Malayalam hit Oppam.

The film pairs the two stars in drastically different roles, featuring a stellar supporting cast that includes Boman Irani, Saiyami Kher, Shriya Pilgaonkar, and Sharib Hashmi. Akshay takes on a menacing new avatar, while Saif plays a visually impaired man trapped at the very centre of a dangerous mystery.

Driven by intense suspense and unexpected twists, the movie promises to showcase a fresh, darker side to both lead actors.&nbsp;

Daayra



Meghna Gulzar, known for grounded, issue-driven dramas like Raazi and Talvar, brings together Kareena Kapoor Khan and Prithviraj Sukumaran for the first time in Daayra.

The two play DCP-ranked police officers on opposing sides of the investigation into an alleged fake encounter following the murder of a young woman.

Inspired by true events without being tied to one specific case, the film examines how power, morality and the justice system intersect when the people investigating a crime disagree on what justice actually looks like.

Vibe



Fresh from writing and directing, Kunal Kemmu returns with Vibe, an action-comedy that sets up a box-office clash with his sister-in-law Kareena Kapoor Khan.

Starring Kemmu alongside Preity Zinta and newcomer Vanshika Dhir, the story follows two ordinary friends whose regular life goes completely wrong when they accidentally stumble upon a dangerous terrorist plot. What starts as a mess quickly turns into a high-stakes mission to protect the nation.

Zinta plays a pivotal role as the leader of the mission, guiding the two unlikely heroes through their chaotic and dangerous journey.

Don&#39;t Be Shy



Don&#39;t Be Shy is a young-adult romantic comedy produced by Alia and Shaheen Bhatt&#39;s Eternal Sunshine Productions. Written and directed by Sreeti Mukerji, the coming-of-age film centres on friendship, young love, heartbreak, and navigating life.

It introduces four talented newcomers, Aarushi Bajaj, Ansh Duggal, Bianca Arora, and Piyush Khati, in the lead roles. They are supported by a strong veteran cast featuring Kunaal Roy Kapur, Anurag Basu, Neha Dhupia, and Anju Alva Naik. Described as a joyful and heartfelt celebration of the messy journey of growing up, the project reflects the creative vision of the Bhatt sisters.

This heartfelt romantic comedy promises to charm audiences globally with its honest look at youth and romance.

Lust Stories 3



The popular anthology franchise is back with Lust Stories 3, diving once again into modern relationships, desires, and complex romantic choices.

Directed by an acclaimed lineup of filmmakers including Vikramaditya Motwane, Kiran Rao, Shakun Batra, and Vishal Bhardwaj, alongside a massive collaborative writing team, the project brings together top-tier talent to explore the messy and emotional realities of love and intimacy.

Featuring a powerhouse cast led by Radhika Apte, Konkona Sen Sharma, Vijay Varma, Ali Fazal, Aditi Rao Hydari, and Siddharth, this third instalment packs bold storytelling and deeply human characters designed to spark plenty of conversation.]]>
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			<title>Sarmad Khoosat's 'Lali' wins Best Director at DC South Asian Film Festival</title>
			<link>https://tribune.com.pk/story/2629686/sarmad-khoosats-lali-wins-best-director-at-dc-south-asian-film-festival</link>
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			<pubDate>Wed, 16 Sep 26 15:33:43 +0500</pubDate>
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				<![CDATA[Punjabi-language drama adds another international honour ahead of its upcoming screenings in Canada]]>
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				<![CDATA[Sarmad Khoosat&rsquo;s Lali has picked up the Best Director award at the 15th DC South Asian Film Festival (DCSAFF), adding another festival honour to a year that has already taken the Punjabi-language drama from Berlin to London.

The win was announced by DCSAFF on Instagram as part of the 2026 edition&rsquo;s &ldquo;Bridging Cultures Through Films&rdquo; award slate, which also named Boong Best Feature Film, Hills Don&rsquo;t Dance Alone Best Short Film, and Kritika Kamra Best Actress for The Great Shamsuddin Family.





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Khoosat shared the news on his Instagram story, expressing gratitude to the people who had &ldquo;been bringing our stories to America for the last 15 years with so much warmth and dedication,&rdquo; while congratulating his Lali team.

The award marked his second DCSAFF Best Director win. The festival had previously honoured him in the same category for Kamli in 2023.



Screengrab: Instagram/sarmadkhoosat

Co-written by Khoosat and Sundus Hashmi, Lali has had a busy year on the international festival circuit, beginning with its premiere at the 76th Berlin International Film Festival in February.

The film made history there as the first fully Pakistani-produced feature to screen at the Berlinale.

In April, Lali received an honourable mention from the feature jury at the Indian Film Festival of Los Angeles for its genre fluidity and visual richness.

Earlier this month, the film was also selected to screen on the opening day of the 70th BFI London Film Festival, which runs from October 7 to 18, as part of the festival&rsquo;s &ldquo;Laugh&rdquo; strand.

At the centre of Lali is Zeba (Mamya Shajaffar), a young woman branded a &ldquo;cursed bride&rdquo; after three of her previous suitors died in mysterious circumstances. She is subsequently arranged to marry Sajawal (Channan Hanif).

The ensemble cast also includes Joyland&rsquo;s Rasti Farooq and Churails star Meher Bano, while Joyland director Saim Sadiq serves as the film&rsquo;s editor.





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Lali is next scheduled to open the Mississauga International South Asian Film Festival (MISAFF), where it has been named the opening-night red carpet gala film, according to a post by the festival&rsquo;s Instagram account.]]>
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			<title>'Spider-Man: Brand New Day' dethrones Star Wars at the domestic box office</title>
			<link>https://tribune.com.pk/story/2629688/spider-man-brand-new-day-dethrones-star-wars-at-the-domestic-box-office</link>
			<comments>https://tribune.com.pk/story/2629688/spider-man-brand-new-day-dethrones-star-wars-at-the-domestic-box-office#comments</comments>
			<pubDate>Wed, 16 Sep 26 15:48:15 +0500</pubDate>
			<dc:creator>
				<![CDATA[Pop Culture &amp; Art]]>
			</dc:creator>
			<category><![CDATA[Entertainment]]></category>
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			<description>
				<![CDATA['Spider-Man: Brand New Day' overtakes Star Wars: The Force Awakens to become the highest-grossing domestic movie ever]]>
			</description>
			<content:encoded>
				<![CDATA[Spider-Man: Brand New Day has overtaken Star Wars: The Force Awakens to become the highest-grossing movie in North American box office history.

The Tom Holland-led Marvel film has earned $936.773 million domestically after 47 days in theatres, surpassing The Force Awakens, which previously held the record with $936 million since its 2015 release.

The latest milestone adds to the impressive box office performance of Spider-Man: Brand New Day, which has continued to draw audiences since opening in late July. The film debuted with $360 million in North America and $932 million globally during its opening weekend. It crossed $1 billion worldwide after six days and reached $2 billion after three weekends.

The Marvel and Sony release has now earned $2.45 billion globally, placing it among the highest-grossing films of all time. According to the source, it ranks behind Avatar and Avengers: Endgame while ahead of Avatar: The Way of Water and Titanic.

Spider-Man: Brand New Day is Tom Holland&rsquo;s fourth solo film as Peter Parker. Directed by Destin Daniel Cretton, the movie follows the events of 2021&rsquo;s Spider-Man: No Way Home, in which the world forgets Peter Parker&rsquo;s identity.

The film also achieved several domestic box office milestones during its run. It became the fastest movie to reach $700 million, $800 million and $900 million in North America and is only the second film to cross $900 million domestically.

With its latest record, Spider-Man: Brand New Day has become a major box office success for Marvel following a difficult 2025 that included underperforming releases such as Captain America: Brave New World and The Fantastic Four: First Steps.]]>
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			<title>Nayyirah Waheed reopens long-running dispute with Rupi Kaur over 'salt' and 'milk and honey'</title>
			<link>https://tribune.com.pk/story/2630816/nayyirah-waheed-reopens-long-running-dispute-with-rupi-kaur-over-salt-and-milk-and-honey</link>
			<comments>https://tribune.com.pk/story/2630816/nayyirah-waheed-reopens-long-running-dispute-with-rupi-kaur-over-salt-and-milk-and-honey#comments</comments>
			<pubDate>Tue, 22 Sep 26 15:26:04 +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=2630816</guid>
			<description>
				<![CDATA[Poet renews accusations of literary appropriation while linking dispute to race, recognition and power in publishing]]>
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				<![CDATA[A decade after Rupi Kaur&rsquo;s milk and honey became a global publishing phenomenon, poet Nayyirah Waheed has once again put their long-running literary dispute in the spotlight &mdash; framing it not simply as a question of literary similarity, but of accountability, race and who gets recognised in the contemporary poetry world.

Just recently, Waheed posted on Instagram accusing Kaur of taking credit for her work and announcing that her book salt would be distributed in stores around the world, allowing readers to finally see what she described as the original creation.





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&ldquo;Rupi Kaur, since you took credit for my blueprint/literary innovation &lsquo;salt&rsquo; (in front of the whole world) &mdash; I&rsquo;ll also take the credit for those 11-12+ million copies of Milk and Honey&rdquo;, she said.&nbsp;

&ldquo;I&rsquo;ll also take credit for the multi-millions that were made from these global sales, the industry, the economy, the entire genre, that was created from my innovation. Thank you&rdquo;,&nbsp;she further said, adding, &ldquo;Get ready to see &lsquo;salt&rsquo;. EVERYWHERE&rdquo;.

Waheed also used the post to argue that she was not the first writer or artist to accuse another artist of taking from their work. She cited Willie Mae &quot;Big Mama&quot; Thornton&rsquo;s Hound Dog&nbsp;and Elvis, Little Richard and Pat Boone, Richard Berry and The Kingsmen, and Muddy Waters and Willie Dixon and Led Zeppelin.





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The post came days after Waheed published a lengthy statement on September 11 directly addressing Kaur and her team, accusing them of refusing to engage with her invitation for a formal discussion mediated by a major media outlet.

&ldquo;At the time of this post,&rdquo; Waheed wrote, &ldquo;Kaur and her team are using silence, ignoring, and refusal of acknowledgment of Waheed&rsquo;s invitation for a formal discussion with a major media outlet as mediator.&rdquo;

The latest statement goes beyond the plagiarism allegations that first brought the two poets into the same conversation almost a decade ago.

Waheed accused Kaur of relying on what she described as &ldquo;silence and erasure tactics&rdquo; while continuing with her public career and upcoming performances.

She also framed the broader dispute through the language of &ldquo;Anti-Blackness, Racism, Erasure, Appropriation, and Cultural Extraction&rdquo;, alleging that Black writers &mdash; particularly Black women &mdash; have been treated as sources of creative material without corresponding recognition or accountability.

She continued, &ldquo;Kaur believes she can use fame, resources, and the machine of the mainstream as a shield &mdash; because she has done so for 13+ years. She has been rewarded by the world for stealing from a Black woman in real time. She believes she can continue to operate in this way &mdash; but not this time&rdquo;.





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Waheed self-published salt in 2013, while Kaur&rsquo;s milk and honey followed in 2014 and went on to become one of the most commercially successful poetry collections of the 21st century. Kaur&rsquo;s publisher&nbsp;says the book has sold more than seven million copies worldwide and been translated into more than 40 languages.

In a 2018 interview, Kaur was asked directly about Waheed&rsquo;s accusation. She responded that the literary form in question was not something she believed either poet owned, pointing to earlier writers who had used lowercase writing and short-form poetry.

The similarities between salt and milk and honey have remained a point of debate. Some commentators have argued that they are too extensive to dismiss as coincidence, while others have pointed out that minimalism, short-form poetry, lowercase writing and social-media presentation were not invented by either poet and had existed in different forms for decades.

A 2017 analysis in The Varsity described what it considered evidence of &ldquo;hyper similarity&rdquo; and paraphrasing, while stopping short of definitively declaring Kaur&rsquo;s work plagiarised.

The Guardian similarly reported on the plagiarism controversy, noting that the two poets shared a broader form of short, confessional poetry and that Waheed had accused Kaur of ignoring messages concerning the similarities.

The dispute, however, has increasingly been framed by Waheed as something larger than a question of whether two poets share a similar writing style. Her latest posts place the issue within a broader argument about race, publishing, cultural power and the economics of literary visibility.

For now, the latest development is not a legal ruling or an institutional finding, but Waheed&rsquo;s decision to publicly reopen the confrontation in unusually direct language. Nearly a decade after milk and honey helped transform Kaur into a global literary brand, Waheed is making clear that, in her view, the story surrounding that rise is not finished.]]>
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			<title>Nemrah Ahmad warns AI creators over unauthorised videos of her novel</title>
			<link>https://tribune.com.pk/story/2621809/nemrah-ahmad-warns-ai-creators-over-unauthorised-videos-of-her-novel</link>
			<comments>https://tribune.com.pk/story/2621809/nemrah-ahmad-warns-ai-creators-over-unauthorised-videos-of-her-novel#comments</comments>
			<pubDate>Mon, 03 Aug 26 09:50:06 +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=2621809</guid>
			<description>
				<![CDATA[Author says AI adaptations of her novels are illegal and warns creators of copyright action and legal consequences]]>
			</description>
			<content:encoded>
				<![CDATA[Novelist Nemrah Ahmad has criticised the growing number of AI-generated videos based on her bestselling novel Jannat Kay Pattay, describing the practice as &quot;extremely illegal&quot; and unethical.

In a statement shared on Instagram, Ahmad warned YouTube channels and Instagram pages creating AI adaptations of her novels without permission that they would face copyright complaints and possible legal action.

&quot;PSA: All the YouTube channels/Instagram pages making AI videos on my novels, especially Jannat Kay Pattay, need to delete those because one by one we are going to report them for copyright violations,&quot; she wrote.

Ahmad said copyright complaints could result in social media accounts being removed and warned that those responsible could be identified through legal channels.

&quot;Not only will your channel/Insta be taken down, you will also be traced legally through Meta. You cannot hide behind keyboards because Meta has a responsibility when it comes to such copyright violations, and they are supposed to provide details about YOU to the government that requests it,&quot; she added.



Screengrab: nemrahahmad_/Instagram

The author stressed that she had never authorised visual adaptations of her novels. &quot;You have no right to make video content on my novels. I never gave my novels to TV productions. Doing this with AI is not only illegal, unethical but extremely cheap.&quot;

She also urged readers to report any AI-generated videos based on her work.

The videos circulating on social media typically use generative AI to recreate scenes, characters and settings from Jannat Kay Pattay, presenting animated interpretations of the novel without the author&#39;s involvement or permission.

Ahmad is one of Pakistan&#39;s best-known contemporary novelists, with works including Jannat Kay Pattay, Namal and Mus&#39;haf. Her fiction is widely recognised for blending suspense, mystery, romance and Islamic themes.

Her warning comes amid growing concerns within the publishing industry over the unauthorised use of generative AI to reproduce creative works, as authors and artists increasingly seek stronger protections for their intellectual property.]]>
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			<title>10 book-to-screen adaptations to revisit after 'The Odyssey'</title>
			<link>https://tribune.com.pk/story/2620916/10-book-to-screen-adaptations-to-revisit-after-the-odyssey</link>
			<comments>https://tribune.com.pk/story/2620916/10-book-to-screen-adaptations-to-revisit-after-the-odyssey#comments</comments>
			<pubDate>Wed, 29 Jul 26 10:00:30 +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=2620916</guid>
			<description>
				<![CDATA[From 'To Kill a Mockingbird' to 'Wuthering Heights', readers can see classical literature make it to the big-screen]]>
			</description>
			<content:encoded>
				<![CDATA[Christopher Nolan&#39;s The Odyssey has reignited audiences&#39; love for literary epics, reminding viewers that some of cinema&#39;s most unforgettable stories began on the pages of classic novels.

From the moral complexities of To Kill a Mockingbird to the sweeping romance of Pride and Prejudice, filmmakers have spent decades bringing beloved books to life, allowing readers to finally see the characters and worlds they once imagined.

Whether it&#39;s fantasy, historical drama, romance or crime, these adaptations have introduced generations to timeless stories in an entirely new way.

Here are 10 book adaptations worth revisiting after watching The Odyssey:

1. To Kill a Mockingbird (1962)

Novel published: 1960



Based on Harper Lee&#39;s Pulitzer Prize-winning novel, To Kill a Mockingbird follows young Scout Finch as she watches her father, Atticus Finch, defend a Black man falsely accused of assault in the racially divided American South.

Told through a child&#39;s eyes, the film explores justice, empathy and prejudice, with Gregory Peck delivering an Oscar-winning performance as Atticus alongside Mary Badham, Phillip Alford and Brock Peters.

2. The Godfather (1972)

Novel published: 1969



Francis Ford Coppola&#39;s masterpiece adapts Mario Puzo&#39;s bestselling novel about the powerful Corleone crime family.

As reluctant heir Michael Corleone is drawn deeper into the family&#39;s criminal empire, the story evolves into one of cinema&#39;s greatest tales of loyalty, ambition and betrayal.

Marlon Brando and Al Pacino lead a stellar cast that also includes James Caan, Robert Duvall and Diane Keaton.

3. The Shawshank Redemption (1994)

Novel published: 1982 (Rita Hayworth and Shawshank Redemption)



Adapted from Stephen King&#39;s novella, the film follows banker Andy Dufresne after he is wrongfully imprisoned for murder and forms an unlikely friendship with fellow inmate Red.

Tim Robbins and Morgan Freeman bring remarkable emotional depth to this enduring story of hope, resilience and redemption.

4. The Lord of the Rings: The Fellowship of the Ring (2001)

Novel published: 1954



Peter Jackson&#39;s Oscar-winning fantasy epic begins with Frodo Baggins embarking on a perilous quest to destroy the One Ring before it falls into the hands of the Dark Lord Sauron.

Elijah Wood leads the adventure alongside Ian McKellen, Viggo Mortensen, Orlando Bloom and Sean Astin, bringing JRR Tolkien&#39;s legendary world to life.

5. Pride and Prejudice (2005)

Novel published: 1813



Joe Wright&#39;s adaptation of Jane Austen&#39;s beloved novel follows the spirited Elizabeth Bennet as she gradually overcomes her prejudice towards the reserved Mr Darcy.

Keira Knightley and Matthew Macfadyen headline the romantic period drama, supported by Rosamund Pike and Donald Sutherland.

6. The Hunger Games (2012)

Novel published: 2008



Set in the dystopian nation of Panem, Suzanne Collins&#39; bestselling novel follows Katniss Everdeen as she volunteers to take her sister&#39;s place in a brutal televised competition.

Jennifer Lawrence anchors the blockbuster franchise alongside Josh Hutcherson, Liam Hemsworth, Woody Harrelson and Elizabeth Banks.

7. The Great Gatsby (2013)

Novel published: 1925



Baz Luhrmann&#39;s lavish adaptation revisits F&nbsp;Scott Fitzgerald&#39;s Jazz Age classic through the eyes of Nick Carraway, who becomes captivated by the enigmatic millionaire Jay Gatsby and his longing for Daisy Buchanan.

Leonardo DiCaprio stars opposite Carey Mulligan, with Tobey Maguire and Joel Edgerton completing the central cast.

8. Little Women (2019)

Novel published: 1868



Greta Gerwig&#39;s acclaimed adaptation breathes fresh life into Louisa May Alcott&#39;s classic, chronicling the lives, dreams and relationships of the four March sisters.

Saoirse Ronan, Florence Pugh, Emma Watson and Eliza Scanlen lead the ensemble, joined by Timoth&eacute;e Chalamet, Laura Dern and Meryl Streep.

9. Emma (2020)

Novel published: 1815



Autumn de Wilde&#39;s colourful adaptation follows the wealthy and well-intentioned Emma Woodhouse, whose attempts at matchmaking often create more complications than romance.

Anya Taylor-Joy shines in the title role alongside Johnny Flynn, Bill Nighy, Mia Goth and Josh O&#39;Connor.

10. Wuthering Heights (2026)

Novel published: 1847



Emily Bront&euml;&#39;s Gothic classic returns to the big screen in Emerald Fennell&#39;s highly anticipated adaptation.

Chronicling the passionate and destructive relationship between Heathcliff and Catherine Earnshaw, the film stars Jacob Elordi and Margot Robbie, offering a fresh take on one of literature&#39;s most enduring romances.

The enduring appeal of literary adaptations lies in their ability to transform words into unforgettable cinematic experiences. While every reader imagines characters and settings differently, these films offer a fresh perspective on stories that have stood the test of time.

As The Odyssey inspires a new appreciation for classic literature on screen, these adaptations prove that some of the greatest adventures, romances and dramas are best experienced both on the page and in the cinema.]]>
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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>
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			<description>
				<![CDATA[From Dubai chocolate comparisons to bhabhi jokes, Twitter had a field day over the PPP chairman's marriage rumours]]>
			</description>
			<content:encoded>
				<![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]]>
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			<category><![CDATA[Life &amp; Style]]></category>
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			<description>
				<![CDATA[Actor showcases multiple designer ensembles and heartfelt moments with husband]]>
			</description>
			<content:encoded>
				<![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]]>
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			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2615920</guid>
			<description>
				<![CDATA[Issues an appeal directly to women worldwide to disrupt toxic subcultures]]>
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				<![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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2611043</guid>
			<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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			<content:encoded>
				<![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]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2627104</guid>
			<description>
				<![CDATA[Murder case involving Clancy and her 3 children highlights postpartum psychosis and gaps in care]]>
			</description>
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				<![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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				<![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]]>
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			<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>
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				<![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]]>
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				<![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’]]>
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				<![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]]>
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				<![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]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2599840</guid>
			<description>
				<![CDATA[Also famous for his 'Top Gun' role, star leaves behind strong legacy]]>
			</description>
			<content:encoded>
				<![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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2632949</guid>
			<description>
				<![CDATA[From Bryant Park to Pier 17 rooftops, outdoor screenings are turning films and TV finales into shared city experiences]]>
			</description>
			<content:encoded>
				<![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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2631698</guid>
			<description>
				<![CDATA[From mint chutney to nihari sandwiches, the restaurant blends Pakistani flavours with the familiar comfort of a burger]]>
			</description>
			<content:encoded>
				<![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]]>
			</dc:creator>
			<category><![CDATA[Life &amp; Style]]></category>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2630052</guid>
			<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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2629085</guid>
			<description>
				<![CDATA[Waiting in queue for a free product and a good deal has become the city’s new social trend]]>
			</description>
			<content:encoded>
				<![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>
			<guid isPermaLink="false">https://tribune.com.pk/?p=2628704</guid>
			<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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